BEGIN:VCALENDAR VERSION:2.0 PRODID:DPCALENDAR CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:America/Denver X-MICROSOFT-CDO-TZID:12 BEGIN:STANDARD DTSTART:20251102T080000 TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST END:STANDARD BEGIN:STANDARD DTSTART:20261101T080000 TZOFFSETFROM:-0600 TZOFFSETTO:-0700 TZNAME:MST END:STANDARD BEGIN:DAYLIGHT DTSTART:20260308T090000 TZOFFSETFROM:-0700 TZOFFSETTO:-0600 TZNAME:MDT END:DAYLIGHT END:VTIMEZONE X-WR-TIMEZONE:America/Denver BEGIN:VEVENT DTSTART;TZID=America/Denver:20190201T200000 DTEND;TZID=America/Denver:20190201T233000 UID:FEA921A3-BBEB-4D90-ABA1-603410B59CC0 SUMMARY:Marty Stuart & His Fabulous Superlatives DTSTAMP:20181221T192941Z DESCRIPTION:With legends like George Jones, Johnny Cash and Merle Haggard all passed on, country music purists often echo the question Jones himself asked: “Who’s going to fill their shoes?” The answer, in part, is Marty Stuart.\NWhile he’s too gracious to admit it himself, the Grammy-winning singer, songwriter and musician is living, breathing country-music history. He’s played alongside the masters, from Cash to Lester Flatt, who discovered him; been a worldwide ambassador for Nashville, Bakersfield and points in between; and safeguarded country’s most valuable traditions and physical artifacts. Including its literal shoes: Stuart counts the brogan of Carter Family patriarch A.P. Carter and an assortment of Cash’s black boots among his vast collection of memorabilia.\NWith legends like George Jones, Johnny Cash and Merle Haggard all passed on, country music purists often echo the question Jones himself asked: “Who’s going to fill their shoes?” The answer, in part, is Marty Stuart.\NWhile he’s too gracious to admit it himself, the Grammy-winning singer, songwriter and musician is living, breathing country-music history. He’s played alongside the masters, from Cash to Lester Flatt, who discovered him; been a worldwide ambassador for Nashville, Bakersfield and points in between; and safeguarded country’s most valuable traditions and physical artifacts. Including its literal shoes: Stuart counts the brogan of Carter Family patriarch A.P. Carter and an assortment of Cash’s black boots among his vast collection of memorabilia.\NWith legends like George Jones, Johnny Cash and Merle Haggard all passed on, country music purists often echo the question Jones himself asked: “Who’s going to fill their shoes?” The answer, in part, is Marty Stuart.\NWhile he’s too gracious to admit it himself, the Grammy-winning singer, songwriter and musician is living, breathing country-music history. He’s played alongside the masters, from Cash to Lester Flatt, who discovered him; been a worldwide ambassador for Nashville, Bakersfield and points in between; and safeguarded country’s most valuable traditions and physical artifacts. Including its literal shoes: Stuart counts the brogan of Carter Family patriarch A.P. Carter and an assortment of Cash’s black boots among his vast collection of memorabilia. X-ALT-DESC;FMTTYPE=text/html:

With legends like George Jones, Johnny Cash and Merle Haggard all passed on, country music purists often echo the question Jones himself asked: “Who’s going to fill their shoes?” The answer, in part, is Marty Stuart.

While he’s too gracious to admit it himself, the Grammy-winning singer, songwriter and musician is living, breathing country-music history. He’s played alongside the masters, from Cash to Lester Flatt, who discovered him; been a worldwide ambassador for Nashville, Bakersfield and points in between; and safeguarded country’s most valuable traditions and physical artifacts. Including its literal shoes: Stuart counts the brogan of Carter Family patriarch A.P. Carter and an assortment of Cash’s black boots among his vast collection of memorabilia.

With legends like George Jones, Johnny Cash and Merle Haggard all passed on, country music purists often echo the question Jones himself asked: “Who’s going to fill their shoes?” The answer, in part, is Marty Stuart.

While he’s too gracious to admit it himself, the Grammy-winning singer, songwriter and musician is living, breathing country-music history. He’s played alongside the masters, from Cash to Lester Flatt, who discovered him; been a worldwide ambassador for Nashville, Bakersfield and points in between; and safeguarded country’s most valuable traditions and physical artifacts. Including its literal shoes: Stuart counts the brogan of Carter Family patriarch A.P. Carter and an assortment of Cash’s black boots among his vast collection of memorabilia.

With legends like George Jones, Johnny Cash and Merle Haggard all passed on, country music purists often echo the question Jones himself asked: “Who’s going to fill their shoes?” The answer, in part, is Marty Stuart.

While he’s too gracious to admit it himself, the Grammy-winning singer, songwriter and musician is living, breathing country-music history. He’s played alongside the masters, from Cash to Lester Flatt, who discovered him; been a worldwide ambassador for Nashville, Bakersfield and points in between; and safeguarded country’s most valuable traditions and physical artifacts. Including its literal shoes: Stuart counts the brogan of Carter Family patriarch A.P. Carter and an assortment of Cash’s black boots among his vast collection of memorabilia.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190131T221425Z X-ACCESS:1 X-HITS:186 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190202T210000 DTEND;TZID=America/Denver:20190202T233000 UID:214E00D7-2817-45F3-BE1B-622A9A11B982 SUMMARY:Brett Dennen DTSTAMP:20181221T192628Z DESCRIPTION:For the past ten years, Brett Dennen – with his poet’s perspective, off-kilter vocals, insane sense of humor, and limitless musical freedom – has turned dancing like no one’s watching into a lifestyle. As a songwriter, performer, watercolor artist, and environmental conservationist and outdoorsman, the shows he performs and the events he hosts generate more than good vibes. His impact has been to gather like-minded music fans to consistently try to make the world a better place.\NHere's Looking At You Kid was released in August 2018 as the second half of a two-part EP collaboration with Dan Wilson (Semisonic, Adele, Dixie Chicks) on Downtown Records. The first EP, entitled Let’s… was released Feb. 2018 and included “Already Gone,” which rose to #3 on BDS AAA and #4 on MB AAA. X-ALT-DESC;FMTTYPE=text/html:

For the past ten years, Brett Dennen – with his poet’s perspective, off-kilter vocals, insane sense of humor, and limitless musical freedom – has turned dancing like no one’s watching into a lifestyle. As a songwriter, performer, watercolor artist, and environmental conservationist and outdoorsman, the shows he performs and the events he hosts generate more than good vibes. His impact has been to gather like-minded music fans to consistently try to make the world a better place.

Here's Looking At You Kid was released in August 2018 as the second half of a two-part EP collaboration with Dan Wilson (Semisonic, Adele, Dixie Chicks) on Downtown Records. The first EP, entitled Let’s… was released Feb. 2018 and included “Already Gone,” which rose to #3 on BDS AAA and #4 on MB AAA.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190110T171856Z X-ACCESS:1 X-HITS:369 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190206T200000 DTEND;TZID=America/Denver:20190206T233000 UID:29EB29DF-68B7-4F2F-8B2B-7A47CE94582B SUMMARY:Joe Hertler & The Rainbow Seekers DTSTAMP:20181221T191659Z DESCRIPTION:Joe Hertler & The Rainbow Seekers will make a sprightly young groove doctor out of anyone. With spectacular energy pulsating from every member of the band, the Rainbow Seekers could illuminate the very chambers of Heaven. Lead singer Joe Hertler splashes through lyrical puddles of golden rain, leaving his audience wearing flowery headdresses and bubbling smiles. A ride on the Rainbow will take you across the mountains of Motown, through the fjords of folk, over the archipelagos of Americana, and—at last—into a funky firth, where only the fiercest of friendships can be found.\NThe Rainbow Seekers began their quest beneath the fingertips of songwriter Joe Hertler. Bassist and producer Kevin Pritchard, recently thawed from an extremely rare prehistoric groove glacier, discovered the forlorn Hertler in a twinkling, mysteriously fortuitous place called The Quilted Attic. Alongside legendary glacier-hunter Rick Hale—who would later spend decades forging a drumset from pure, white-hot, ancient stardust to mark the occasion—Pritchard changed the world: He wrangled Hertler into musical collaboration. And the lonely little songsmith, it turned out, was not quite as alone as he seemed: With him came the irresistibly sexy blues guitar prodigy who is now known to the world as Ryan Hoger. X-ALT-DESC;FMTTYPE=text/html:

Joe Hertler & The Rainbow Seekers will make a sprightly young groove doctor out of anyone. With spectacular energy pulsating from every member of the band, the Rainbow Seekers could illuminate the very chambers of Heaven. Lead singer Joe Hertler splashes through lyrical puddles of golden rain, leaving his audience wearing flowery headdresses and bubbling smiles. A ride on the Rainbow will take you across the mountains of Motown, through the fjords of folk, over the archipelagos of Americana, and—at last—into a funky firth, where only the fiercest of friendships can be found.

The Rainbow Seekers began their quest beneath the fingertips of songwriter Joe Hertler. Bassist and producer Kevin Pritchard, recently thawed from an extremely rare prehistoric groove glacier, discovered the forlorn Hertler in a twinkling, mysteriously fortuitous place called The Quilted Attic. Alongside legendary glacier-hunter Rick Hale—who would later spend decades forging a drumset from pure, white-hot, ancient stardust to mark the occasion—Pritchard changed the world: He wrangled Hertler into musical collaboration. And the lonely little songsmith, it turned out, was not quite as alone as he seemed: With him came the irresistibly sexy blues guitar prodigy who is now known to the world as Ryan Hoger.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190206T000316Z X-ACCESS:1 X-HITS:66 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190208T210000 DTEND;TZID=America/Denver:20190208T233000 UID:F0E02453-745F-4B6A-B21E-F9179793FF62 SUMMARY:The Mother Hips DTSTAMP:20181221T170717Z DESCRIPTION:Twenty-five years into a celebrated career is an unlikely time to switch things up, but the “divinely inspired” (Rolling Stone) Mother Hips have never been ones to follow convention. For their brilliant and exhilarating tenth album, ‘Chorus,’ the California stalwarts turned their recording process on its head in order to make their most fully realized and essential collection yet.\NOriginally signed by Rick Rubin while still just students at Chico State, The Mother Hips have spent two-and-a-half decades at the forefront of a new breed of California rock and roll—one equally informed by the breezy harmonies of the Beach Boys, the funky roots of The Band, and the psychedelic Americana of Buffalo Springfield—and established themselves as “one of the Bay Area’s most beloved live outfits” (San Francisco Guardian) through countless headline shows, massive festival appearances, and dates with everyone from Johnny Cash and Wilco to Lucinda Williams and The Black Crowes. X-ALT-DESC;FMTTYPE=text/html:

Twenty-five years into a celebrated career is an unlikely time to switch things up, but the “divinely inspired” (Rolling Stone) Mother Hips have never been ones to follow convention. For their brilliant and exhilarating tenth album, ‘Chorus,’ the California stalwarts turned their recording process on its head in order to make their most fully realized and essential collection yet.

Originally signed by Rick Rubin while still just students at Chico State, The Mother Hips have spent two-and-a-half decades at the forefront of a new breed of California rock and roll—one equally informed by the breezy harmonies of the Beach Boys, the funky roots of The Band, and the psychedelic Americana of Buffalo Springfield—and established themselves as “one of the Bay Area’s most beloved live outfits” (San Francisco Guardian) through countless headline shows, massive festival appearances, and dates with everyone from Johnny Cash and Wilco to Lucinda Williams and The Black Crowes.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190208T223013Z X-ACCESS:1 X-HITS:397 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190211T200000 DTEND;TZID=America/Denver:20190211T233000 UID:51B72CED-05E9-4C0C-94E3-A4D6051BF605 SUMMARY:The Nels Cline 4 DTSTAMP:20181221T161442Z DESCRIPTION:Of all the rich and varied projects guitarist Nels Cline has pursued since his emergence as a leader in the late 1980s, his two-guitar duo with JULIAN LAGE, documented on the 2014 album Room, ranks among the most special. “When Julian and I started playing together it kicked my ass hard,” Cline told JazzTimes around the time of Room’s release. “At the same time it inspired me and refreshed my soul.” Lage, for his part, declared he had “found his people” playing with Cline: “At last I found a scenario where … you could be free and adventurous, you could utilize sound and be extremely melodic and evocative.”\NThe duo is still ongoing, but it is morphing and expanding. With Currents, Constellations, Cline’s second Blue Note release, we hear the debut of The Nels Cline 4, made up of Cline and Lage plus the fierce and versatile rhythm section of bassist Scott Colley and drummer Tom Rainey. All of the music is Cline’s, save for a haunting and rare Carla Bley gem from the Jimmy Giuffre 3 songbook. X-ALT-DESC;FMTTYPE=text/html:

Of all the rich and varied projects guitarist Nels Cline has pursued since his emergence as a leader in the late 1980s, his two-guitar duo with JULIAN LAGE, documented on the 2014 album Room, ranks among the most special. “When Julian and I started playing together it kicked my ass hard,” Cline told JazzTimes around the time of Room’s release. “At the same time it inspired me and refreshed my soul.” Lage, for his part, declared he had “found his people” playing with Cline: “At last I found a scenario where … you could be free and adventurous, you could utilize sound and be extremely melodic and evocative.”

The duo is still ongoing, but it is morphing and expanding. With Currents, Constellations, Cline’s second Blue Note release, we hear the debut of The Nels Cline 4, made up of Cline and Lage plus the fierce and versatile rhythm section of bassist Scott Colley and drummer Tom Rainey. All of the music is Cline’s, save for a haunting and rare Carla Bley gem from the Jimmy Giuffre 3 songbook.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190208T184421Z X-ACCESS:1 X-HITS:692 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190213T200000 DTEND;TZID=America/Denver:20190213T233000 UID:4208CCDB-7A3D-4FA6-B75C-2C22A8947F2B SUMMARY:Groundation DTSTAMP:20181220T180523Z DESCRIPTION:First formed in 1998 GROUNDATION returns in 2018 after a 3 year hiatus; debuting accomplished new members, brand new music and that true to form improvisational Reggae/Jazz experience. A unique sound fans have enjoyed for two decades on the biggest stages all over the world.\NHarrison Stafford, founding member, lead singer and guitarist for the group is eager to get back to creating this unique and dynamic sound which allows musical freedom, exploration and creativitiy like no other form. Having embarked on several musical projects over the years GROUNDATION remains his first love. X-ALT-DESC;FMTTYPE=text/html:

First formed in 1998 GROUNDATION returns in 2018 after a 3 year hiatus; debuting accomplished new members, brand new music and that true to form improvisational Reggae/Jazz experience. A unique sound fans have enjoyed for two decades on the biggest stages all over the world.

Harrison Stafford, founding member, lead singer and guitarist for the group is eager to get back to creating this unique and dynamic sound which allows musical freedom, exploration and creativitiy like no other form. Having embarked on several musical projects over the years GROUNDATION remains his first love.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190212T201216Z X-ACCESS:1 X-HITS:820 X-URL:https://groundation-salt-lake-tickets-2019.eventbrite.com X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190214T200000 DTEND;TZID=America/Denver:20190214T233000 UID:7560017F-EA23-4130-8154-08D319497F5E SUMMARY:Amy Winehouse Tribute DTSTAMP:20190131T215740Z DESCRIPTION:Amy Jade's Beehive Society pays homage to one of the greatest musical artists of all time: multi-GRAMMY-winning singer/songwriter Amy Winehouse. This 11-piece Salt Lake City-based juggernaut performs Amy's music with relentless energy and features some of Utah’s finest musicians. Founded and managed by local bass princess Kya Karine and musically directed by Utah saxophone legend David Halliday, the Beehive Society features 3 singers, 4 horns, and a full rhythm section.\NAs a Valentine's Day treat this powerhouse is excited to present a full night of Amy Winehouse's greatest love songs at the State Room. X-ALT-DESC;FMTTYPE=text/html:

Amy Jade's Beehive Society pays homage to one of the greatest musical artists of all time: multi-GRAMMY-winning singer/songwriter Amy Winehouse. This 11-piece Salt Lake City-based juggernaut performs Amy's music with relentless energy and features some of Utah’s finest musicians. Founded and managed by local bass princess Kya Karine and musically directed by Utah saxophone legend David Halliday, the Beehive Society features 3 singers, 4 horns, and a full rhythm section.

As a Valentine's Day treat this powerhouse is excited to present a full night of Amy Winehouse's greatest love songs at the State Room.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190212T035006Z X-ACCESS:1 X-HITS:1849 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190215T200000 DTEND;TZID=America/Denver:20190215T233000 UID:3E828193-D0CE-4009-8FBD-A9CA0787D906 SUMMARY:Dead Floyd DTSTAMP:20190130T043155Z DESCRIPTION:Dancing Bears?\NFlying Pigs?\NWho is Dead Floyd and why do they keep following me around?\NDead Floyd is a celebration of the music of two of rock and roll’s greatest bands, The Grateful Dead and Pink Floyd, mashed together into one high-energy, unpredictable show. Drawing from both extensive catalogs of music, the Dead Floyd performances include early rarities to modern classics and everything in between. The love of the music of both bands inspires Dead Floyd to uniquely interpret the songs in a way that allows the timeless music and the legacy of these cornerstone artists to live on for the next generation of fans. The excitement, creativity, and improvisation that went into both bands live shows of so many years is brought back for old and new fans to enjoy today.\NBecause the number of songs available from both bands is so large, the question that is heard at every Dead Floyd show is “What will they play next?” The unpredictability of the set list and the modern translation of classic, beloved songs bring an element of surprise to every Dead Floyd show. That is what has kept fans captivated and why their legacy as a tribute band continues to grow.\NDead Floyd is based out of Fort Collins, Colorado and, since forming in summer 2009, they have performed at renowned venues such as The Fox Theatre, The Aggie Theatre, Mishawaka Amphitheatre, Owsleys, Quixotes, Ullr’s Tavern, and more.\NThe members of the band draw on their roots in jazz, funk, and rock to bring a high level of musicianship to the music and close attention to detail. The band is made up of Charlie Humphreys (guitar, vocals), Josh Miller (bass, vocals), Stu Crair (drums, vocals), and Matt Goldberg (keys, synth). Between them, this group of seasoned players has performed over 1000 shows across the country in various original projects including The Grippe, Hot Gazpacho, The Maji, Wooleye, Holy Moses and the High Rollers, Orooni, and many more.\NThe audience response to Dead Floyd has been overwhelming for everyone involved and the fans’ love of the music pushes this project to new heights. Come to the next show and find out why… X-ALT-DESC;FMTTYPE=text/html:

Dancing Bears?

Flying Pigs?

Who is Dead Floyd and why do they keep following me around?

Dead Floyd is a celebration of the music of two of rock and roll’s greatest bands, The Grateful Dead and Pink Floyd, mashed together into one high-energy, unpredictable show. Drawing from both extensive catalogs of music, the Dead Floyd performances include early rarities to modern classics and everything in between. The love of the music of both bands inspires Dead Floyd to uniquely interpret the songs in a way that allows the timeless music and the legacy of these cornerstone artists to live on for the next generation of fans. The excitement, creativity, and improvisation that went into both bands live shows of so many years is brought back for old and new fans to enjoy today.

Because the number of songs available from both bands is so large, the question that is heard at every Dead Floyd show is “What will they play next?” The unpredictability of the set list and the modern translation of classic, beloved songs bring an element of surprise to every Dead Floyd show. That is what has kept fans captivated and why their legacy as a tribute band continues to grow.

Dead Floyd is based out of Fort Collins, Colorado and, since forming in summer 2009, they have performed at renowned venues such as The Fox Theatre, The Aggie Theatre, Mishawaka Amphitheatre, Owsleys, Quixotes, Ullr’s Tavern, and more.

The members of the band draw on their roots in jazz, funk, and rock to bring a high level of musicianship to the music and close attention to detail. The band is made up of Charlie Humphreys (guitar, vocals), Josh Miller (bass, vocals), Stu Crair (drums, vocals), and Matt Goldberg (keys, synth). Between them, this group of seasoned players has performed over 1000 shows across the country in various original projects including The Grippe, Hot Gazpacho, The Maji, Wooleye, Holy Moses and the High Rollers, Orooni, and many more.

The audience response to Dead Floyd has been overwhelming for everyone involved and the fans’ love of the music pushes this project to new heights. Come to the next show and find out why…

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190212T034959Z X-ACCESS:1 X-HITS:887 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190225T200000 DTEND;TZID=America/Denver:20190225T233000 UID:A1237040-B443-475C-BDCA-2C8876043E65 SUMMARY:Amy Ray Band DTSTAMP:20190103T172021Z DESCRIPTION:At a time when hope and forgiveness seem in short supply, roots singer-songwriter Amy Ray gives us all a shot in the arm with her ninth solo album, Holler, due this fall from Daemon Records.\NStill thriving as one half of GRAMMY-winning folk duo Indigo Girls, Ray has also produced a vital body of solo work over five studio albums and three live records (beginning with 2001’s Stag) that explores more deeply her roots in punk and classic country music.\NLast time, on 2014’s Goodnight Tender, she gathered a band of mostly Southern players and immersed into the rich sonic tradition of old-style country music-making that had long-captured her imagination, but never fully made it into work. The result was equal-parts Appalachian gospel and late-night honky tonk. X-ALT-DESC;FMTTYPE=text/html:

At a time when hope and forgiveness seem in short supply, roots singer-songwriter Amy Ray gives us all a shot in the arm with her ninth solo album, Holler, due this fall from Daemon Records.

Still thriving as one half of GRAMMY-winning folk duo Indigo Girls, Ray has also produced a vital body of solo work over five studio albums and three live records (beginning with 2001’s Stag) that explores more deeply her roots in punk and classic country music.

Last time, on 2014’s Goodnight Tender, she gathered a band of mostly Southern players and immersed into the rich sonic tradition of old-style country music-making that had long-captured her imagination, but never fully made it into work. The result was equal-parts Appalachian gospel and late-night honky tonk.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190212T035014Z X-ACCESS:1 X-HITS:2587 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190301T210000 DTEND;TZID=America/Denver:20190301T233000 UID:06DD89EA-C95C-4069-B4EA-456C0B92A89A SUMMARY:Kitchen Dwellers DTSTAMP:20190103T172338Z DESCRIPTION:Bozeman, MT-based bluegrass quartet Kitchen Dwellers are riding the wave of their sophomore release, Ghost in the Bottle, an album produced by Leftover Salmon’s Andy Thorn.\NThe album also features Twiddle’s Mihali Savoulidis, who joined the band in the studio to record the album’s first single “Vision of More.”\NThe band continues to relentlessly tour the country, captivating audiences with their own unique style, dubbed “Galaxy Grass.” X-ALT-DESC;FMTTYPE=text/html:

Bozeman, MT-based bluegrass quartet Kitchen Dwellers are riding the wave of their sophomore release, Ghost in the Bottle, an album produced by Leftover Salmon’s Andy Thorn.

The album also features Twiddle’s Mihali Savoulidis, who joined the band in the studio to record the album’s first single “Vision of More.”

The band continues to relentlessly tour the country, captivating audiences with their own unique style, dubbed “Galaxy Grass.”

LAST-MODIFIED:20190226T171336Z X-ACCESS:1 X-HITS:1353 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190302T210000 DTEND;TZID=America/Denver:20190302T233000 UID:A374F813-C771-455C-B842-51A32C124E6C SUMMARY:Moon Hooch DTSTAMP:20190103T173102Z DESCRIPTION:I‘m realizing more and more every day that you can make anything happen for yourself if you really want to,” says Moon Hooch horn player Mike Wilbur. “You can change your existence by just going out and doing it, by taking simple actions every day.”\NIf any band is a poster child for turning the power of positive thoughts and intention into reality, it’s the explosive horn-and-percussion trio Moon Hooch. In just a few short years, the group—Wilbur, fellow horn player Wenzl McGowen, and drummer James Muschler—has gone from playing on New York City subway platforms to touring with the likes of Beats Antique, They Might Be Giants, and Lotus, as well as selling out their own headline shows in major venues around the country. On ‘Red Sky,’ their third and most adventurous album to date, the band uses everything they’ve learned from their whirlwind journey to push their sound to new heights, bringing together the raw, transcendent energy of their live performances and the sleek sophistication of their studio work into a singular, intoxicating brew that blends elements of virtuosic jazz, groovy funk, and pulse-pounding electronic dance music. X-ALT-DESC;FMTTYPE=text/html:

I‘m realizing more and more every day that you can make anything happen for yourself if you really want to,” says Moon Hooch horn player Mike Wilbur. “You can change your existence by just going out and doing it, by taking simple actions every day.”

If any band is a poster child for turning the power of positive thoughts and intention into reality, it’s the explosive horn-and-percussion trio Moon Hooch. In just a few short years, the group—Wilbur, fellow horn player Wenzl McGowen, and drummer James Muschler—has gone from playing on New York City subway platforms to touring with the likes of Beats Antique, They Might Be Giants, and Lotus, as well as selling out their own headline shows in major venues around the country. On ‘Red Sky,’ their third and most adventurous album to date, the band uses everything they’ve learned from their whirlwind journey to push their sound to new heights, bringing together the raw, transcendent energy of their live performances and the sleek sophistication of their studio work into a singular, intoxicating brew that blends elements of virtuosic jazz, groovy funk, and pulse-pounding electronic dance music.

LOCATION:195 W 2100 S\, South Salt Lake\, Utah 84190\, USA GEO:40.72535200;-111.89425067 LAST-MODIFIED:20190226T192458Z X-ACCESS:1 X-HITS:2911 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190305T200000 DTEND;TZID=America/Denver:20190305T233000 UID:0DD4A590-9C25-43CC-B3AB-92B5A2B7211A SUMMARY:North Mississippi Allstars DTSTAMP:20190103T173609Z DESCRIPTION:North Mississippi Allstars are back with PRAYER FOR PEACE and couldn't we all use one of those right about now? Founded in 1996 by brothers Luther (guitar and vocals) and Cody Dickinson (drums, piano, synth bass, programming and vocals), the now venerable band are entering their third decade with perhaps the most vital album of their career.\NRecorded in studios across America during North Mississippi Allstars' 2016 tour, PRAYER FOR PEACE sees the Dickinsons weaving their bred-to-the-bone musical sensibility with unstoppable energy, rhythmic reinvention, and a potent message of positivity, family, and hope.\NAs ever, songs like R.L. Burnside's "Long Haired Doney" and the impassioned title track pay homage to the country blues legacy while simultaneously pushing it into contemporary relevance with fatback funk, electronic innovation, slippery soul, and pure unadulterated rock 'n' roll. X-ALT-DESC;FMTTYPE=text/html:

North Mississippi Allstars are back with PRAYER FOR PEACE and couldn't we all use one of those right about now? Founded in 1996 by brothers Luther (guitar and vocals) and Cody Dickinson (drums, piano, synth bass, programming and vocals), the now venerable band are entering their third decade with perhaps the most vital album of their career.

Recorded in studios across America during North Mississippi Allstars' 2016 tour, PRAYER FOR PEACE sees the Dickinsons weaving their bred-to-the-bone musical sensibility with unstoppable energy, rhythmic reinvention, and a potent message of positivity, family, and hope.

As ever, songs like R.L. Burnside's "Long Haired Doney" and the impassioned title track pay homage to the country blues legacy while simultaneously pushing it into contemporary relevance with fatback funk, electronic innovation, slippery soul, and pure unadulterated rock 'n' roll.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190305T180215Z X-ACCESS:1 X-HITS:1473 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190306T200000 DTEND;TZID=America/Denver:20190306T233000 UID:3CDFD565-2B5B-4CCC-B553-2436A2BA45E0 SUMMARY:Black Uhuru - Canceled DTSTAMP:20190306T140722Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190306T140932Z X-ACCESS:1 X-HITS:513 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190307T200000 DTEND;TZID=America/Denver:20190307T233000 UID:93143503-1CFA-4A7E-BCFA-48C708793168 SUMMARY:Max Frost DTSTAMP:20190103T174737Z DESCRIPTION:Last year, Max Frost had a creative awakening. Since becoming a professional musician and scoring genre-mashing hits including “White Lies” and “Adderall,” the forward-thinking pop maestro felt he hadn’t shown his true colors. “I realized I needed to completely change what I was doing and what I was trying to create into something a little bolder, a little bit more honest and less controlled,” he says.\N“I needed to take the veil off and let myself be a little more naked and a little more direct.” He’d spent nearly his entire life in Austin, Texas, so moving to Los Angeles in 2017 “was about having a fresh start -- reinventing myself as much as a person as an artist.” Once he touched down in LA, he immediately got to work creating what turned out to be some of the most inventive songs of his young career. X-ALT-DESC;FMTTYPE=text/html:

Last year, Max Frost had a creative awakening. Since becoming a professional musician and scoring genre-mashing hits including “White Lies” and “Adderall,” the forward-thinking pop maestro felt he hadn’t shown his true colors. “I realized I needed to completely change what I was doing and what I was trying to create into something a little bolder, a little bit more honest and less controlled,” he says.

“I needed to take the veil off and let myself be a little more naked and a little more direct.” He’d spent nearly his entire life in Austin, Texas, so moving to Los Angeles in 2017 “was about having a fresh start -- reinventing myself as much as a person as an artist.” Once he touched down in LA, he immediately got to work creating what turned out to be some of the most inventive songs of his young career.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190308T034249Z X-ACCESS:1 X-HITS:1675 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190308T210000 DTEND;TZID=America/Denver:20190308T233000 UID:CF7B587A-D010-448D-A1BB-60F5B5EB7E45 SUMMARY:Polyrhythmics DTSTAMP:20190205T212905Z DESCRIPTION:Rich with bold brass and hypnotic percussion, Polyrhythmics' latest album, Caldera, showcases the instrumental eight-piece's impossibly tight grooves and virtuosic musicianship as they tear through a singular blend of funk, soul, psychedelic rock, R&B, progressive jazz, and Afrobeat. Calling to mind everything from Antibalas and the Dap-Kings to The Meters and Fela Kuti, it's without a doubt their strongest work to date, merging the infectious power of their live show with a sleek and nuanced studio sophistication.\NNamed for the smoldering crater left after a volcanic eruption, Caldera was written during a band retreat to rural Oregon, where Polyrhythmics embraced truly collaborative songwriting for the first time during a marathon session in the shadow of Mt. Hood (itself an active volcano). The resulting album is a blistering declaration from a band that's progressed beyond the sum of its influences to come fully into its own. From the downtempo, Afrobeat trance of "Stargazer" to the triumphantly anthemic, high-octane pump-up funk of "Marshmallow Man," Caldera is instrumental music at its best: emotional, evocative, mesmerizing. On "Cactus Blossoms," Polyrhythmics craft an eerie, retro gem straight out of a 70's film score, while the trippy effects and wah-wah guitar of "Goldie's Road" suggest a psychedelic journey (or perhaps a bad trip), and the shuffling "Vodka For My Goat" draws on Stax soul while hinting at BB King's merger of the blues and jazz. It's an eclectic collection, tied together by the melding of eight distinct musical voices coming together as a cohesive whole.\NThe record follows the Seattle band's stellar third album, Octagon, which earned them tour dates around the country along with plenty of critical acclaim. The Stranger dubbed Polyrhythmics a group to watch, hailing their "sophisticated slinkiness and expressive brassiness," while WNCW praised their "modern afro-psycho-beat blend," and the Seattle Timesdubbed them "funk maestros." The band was invited to perform live on influential Seattle NPR station KEXP, shared bills with everyone from Snarky Puppy to Booker T, and played massive festival stages including Bumbershoot, High Sierra, and Vancouver International Jazz Fest. X-ALT-DESC;FMTTYPE=text/html:

Rich with bold brass and hypnotic percussion, Polyrhythmics' latest album, Caldera, showcases the instrumental eight-piece's impossibly tight grooves and virtuosic musicianship as they tear through a singular blend of funk, soul, psychedelic rock, R&B, progressive jazz, and Afrobeat. Calling to mind everything from Antibalas and the Dap-Kings to The Meters and Fela Kuti, it's without a doubt their strongest work to date, merging the infectious power of their live show with a sleek and nuanced studio sophistication.

Named for the smoldering crater left after a volcanic eruption, Caldera was written during a band retreat to rural Oregon, where Polyrhythmics embraced truly collaborative songwriting for the first time during a marathon session in the shadow of Mt. Hood (itself an active volcano). The resulting album is a blistering declaration from a band that's progressed beyond the sum of its influences to come fully into its own. From the downtempo, Afrobeat trance of "Stargazer" to the triumphantly anthemic, high-octane pump-up funk of "Marshmallow Man," Caldera is instrumental music at its best: emotional, evocative, mesmerizing. On "Cactus Blossoms," Polyrhythmics craft an eerie, retro gem straight out of a 70's film score, while the trippy effects and wah-wah guitar of "Goldie's Road" suggest a psychedelic journey (or perhaps a bad trip), and the shuffling "Vodka For My Goat" draws on Stax soul while hinting at BB King's merger of the blues and jazz. It's an eclectic collection, tied together by the melding of eight distinct musical voices coming together as a cohesive whole.

The record follows the Seattle band's stellar third album, Octagon, which earned them tour dates around the country along with plenty of critical acclaim. The Stranger dubbed Polyrhythmics a group to watch, hailing their "sophisticated slinkiness and expressive brassiness," while WNCW praised their "modern afro-psycho-beat blend," and the Seattle Timesdubbed them "funk maestros." The band was invited to perform live on influential Seattle NPR station KEXP, shared bills with everyone from Snarky Puppy to Booker T, and played massive festival stages including Bumbershoot, High Sierra, and Vancouver International Jazz Fest.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190302T214737Z X-ACCESS:1 X-HITS:2337 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190309T200000 DTEND;TZID=America/Denver:20190309T233000 UID:00E5EF77-0AED-47CF-82F8-4E23B9B7894B SUMMARY:Joy Williams - Cancelled DTSTAMP:20190205T080912Z DESCRIPTION:REASON FOR CANCELLATION -\NFrom Joy Williams: \N“I am so sorry to have to say this, and shocked along with the rest of you. But, due to a difficult and blindsiding personal matter, I am unable to travel and tour with my children at this time. I feel a lot of sadness over having to cancel these shows. Right now, though, I need to circle the wagons, be there for my babies, and regroup as I make steps to adjust to a new reality I didn’t foresee.\NThank you for your support, your patience, your love, prayers and for respecting my family’s privacy during this difficult time. I look forward to going back out on the road and seeing you all when the time is right.\NPlease stay close. I am keeping to my release schedule and will have new songs coming your way in the Spring. This music holds important truths for me that continue to evolve, even as life takes different turns. I hope it does the same for you.” X-ALT-DESC;FMTTYPE=text/html:

REASON FOR CANCELLATION -

From Joy Williams: 

“I am so sorry to have to say this, and shocked along with the rest of you. But, due to a difficult and blindsiding personal matter, I am unable to travel and tour with my children at this time. I feel a lot of sadness over having to cancel these shows. Right now, though, I need to circle the wagons, be there for my babies, and regroup as I make steps to adjust to a new reality I didn’t foresee.

Thank you for your support, your patience, your love, prayers and for respecting my family’s privacy during this difficult time. I look forward to going back out on the road and seeing you all when the time is right.

Please stay close. I am keeping to my release schedule and will have new songs coming your way in the Spring. This music holds important truths for me that continue to evolve, even as life takes different turns. I hope it does the same for you.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190221T215810Z X-ACCESS:1 X-HITS:2205 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190312T190000 DTEND;TZID=America/Denver:20190312T233000 UID:D9EFD2FE-1033-42B4-A16C-6F642DE59EB1 SUMMARY:Cody Canada & The Departed | Micky & The Motorcars DTSTAMP:20190205T221551Z DESCRIPTION:{slider title="Cody Canada & the Departed" open="false"}\NFacebook | Twitter | Instagram | YouTube | Spotify\NThree bandmates. Fourteen songs that blur the lines between hard-edged country, rock & roll, and all the gritty sounds in between. 3, the newest album from Cody Canada the Departed, is proof that there's strength in numbers.\NThe band's first record as a lean power trio, 3 shines a light on the core ingredients of Canada's sound. There's plenty of amplified crunch, Red Dirt twang, roadhouse-worthy guitar riffs, story-based songwriting, and the familiar rasp of Canada's voice — an instrument that's been sharpened by years of raw, redemptive shows. Working with producer Mike McClure, the band tracked their new material during breaks in an otherwise busy touring schedule, approaching the recording sessions the same way they'd approach a live show.\N"The idea was to get into the studio and simplify things, remaining as true to a three-piece as possible," says Canada, who pulls triple-duty as the lineup's frontman, songwriter, and lead guitarist. "If you really want to leave your mark, it's all about the songs, not how many people you can cram into the studio."\N{/sliders}\N{slider title="Micky & The Motorcars" open="false"}\NFacebook | Twitter | Instagram | Songkick\NThree bandmates. Fourteen songs that blur the lines between hard-edged country, rock & roll, and all the gritty sounds in between. 3, the newest album from Cody Canada the Departed, is proof that there's strength in numbers.\NThe band's first record as a lean power trio, 3 shines a light on the core ingredients of Canada's sound. There's plenty of amplified crunch, Red Dirt twang, roadhouse-worthy guitar riffs, story-based songwriting, and the familiar rasp of Canada's voice — an instrument that's been sharpened by years of raw, redemptive shows. Working with producer Mike McClure, the band tracked their new material during breaks in an otherwise busy touring schedule, approaching the recording sessions the same way they'd approach a live show.\N"The idea was to get into the studio and simplify things, remaining as true to a three-piece as possible," says Canada, who pulls triple-duty as the lineup's frontman, songwriter, and lead guitarist. "If you really want to leave your mark, it's all about the songs, not how many people you can cram into the studio."\NThirteen years can put a hell of a lot of wear and tear on even the hardiest of rock ’n’ roll bands. But don’t be fooled by all those hundreds of thousands of miles on Micky & the Motorcars’ odometer: pop the hood of Hearts From Above, the long-running Austin band’s seventh album, and you’ll find a brand-new engine, fine-tuned and good to run for at least as many more miles still ahead. And behind the wheel? Two brothers — Micky and Gary Braun — who by their own admission haven’t been this fired up about playing together since they first rode south from the Whitecloud Mountains of Idaho to stake their claim to the Texas and wider Americana music scenes.\NOf course, that’s not to say that the years between then and now have been fallow for Micky & the Motorcars, who have spent the last decade and change establishing themselves as one of the exciting young roots-rock bands in the “Live Music Capital of the World”and growing their fanbase through constant touring and a fistful of increasingly confident releases. But Hearts From Above finds founding members Micky (lead vocals and guitar) and Gary (guitar, mandolin, harmonica, and vocals) invigorated and supercharged by a transfusion of new blood from fresh recruits Josh Owen (lead guitar, pedal steel guitar), Joe Fladger (bass), and Bobby Paugh (drums).“I think that with the last record we were struggling a little bit just trying to keep the band afloat,”says Micky of 2011’s mature but rather ironically titled Raise My Glass, a compelling document of the band at its most ruminative and brooding. “We loved the songs and we loved that record, but everyone was in kind of a tough spot with the same-old/same-old, and I had just gone through a breakup, so it was definitely the harder, darker side of the Micky & the Motorcars. Hearts From Above is more about all of us being in a much better place now. Having the new guys with us now has just brought a lot higher energy level, both onstage and in the studio. It’s kind of like when we first got started 13 years ago. All of us are just having a blast.”\NYou can hear that born-again “blast” right from the start of Hearts From Above with the soaring title track, a song Micky started working on in the afterglow of a particularly inspiring show he caught by one of his biggest Austin heroes, Alejandro Escovedo. “Alejandro’s one of those guys who makes me want to be better,” Micky enthuses, “and all I wanted to do was go right home and write.”\NHe ended up co-writing “Hearts From Above” with Willy Braun, who, along with another older brother, Cody, actually moved to Austin a few years ahead of Micky and Gary with their own wildly popular Americana rock band, Reckless Kelly. But from the moment the Motorcars hit town and released their 2003 debut, Which Way From Here— followed by subsequent releases like 2004’s Ain’t In It For the Money,2007’s Careless, 2008’s Naïve, 2009’s Live at Billy Bob’s Texas,andRaise My Glass— Micky and Gary have proven time and again that while they may not have been the first band of Brauns to take Texas by storm, they can more than hold their own. They’ve made quite a name for themselves out on the road, too, touring on average 12 months out of the year across the United States and beyond. (Micky & the Motorcars have toured Europe three times and even recorded a live album over there, set for release when they return overseas early next year.)\NFriendly competition aside, though, the four Braun brothers remain as supportive of each other today as they were as kids, when they all played together in their father Muzzie Braun’s country band throughout the Western United States and in front of millions of TV viewers on the Tonight Show (twice!) To wit: In addition to co-writing half of the songs on the album, Willy also produced Hearts From Above. And of course Cody (who’s produced Motorcars albums in the past) is a VIP guest on the record, too. As Gary proudly points out, all four Braun brothers can be heard singing on the song “Hearts From Above”— something that he says “hasn’t happened in the studio since we were teenagers.”\N“Cody came into the studio when we were tracking and coached us pretty hard,” Gary continues. “He has a great ear for harmony and really helped us pick the right parts for the songs. And of course I have always liked working with Willy, and I don’t care if we are writing a song or building a doghouse. He’s a fun guy to be around, but he also knows when to be serious. He was really good at talking to the band getting the best takes we could.”\NRecorded in early 2014 at Austin’s 12th Street Sound and funded by the Motorcars’ first-ever Kickstarter campaign, Hearts From Above is packed with assertive songs destined to become crowd favorites; indeed, some of the songs already are road-tested keepers — most notably the epic album closer, “Tonight We Ride,” which Micky describes as an “anthem for soldiers and cowboys and cowgirls and bikers — really, anybody that sticks together as a team.”\N“We’ve been doing that song live for probably almost a year now, and it’s starting to get to the point where the crowd is shouting out for it,” says Micky, who co-wrote the tune with Willy and Brian Keane. “That’s a really great sign when you haven’t even recorded a song yet and people are already requesting it!”\NOne of Micky’s other personal favorites on Hearts From Above is the swaggering “Hurt Again,”which he co-wrote with Jason Eady. “That one’s the wild card,” he says with a laugh, “because Jason is best known for his country stuff, but that’s probably the most rocking song on the whole record. I really love the opening line, ‘The taxi’s running waiting right outside/There’s a look of shame girl that you can’t hide,’ because I feel like it just reaches out and grabs people right out of the gate, and then it’s just rock ’n’ roll from then on out and it never lets up.\N“We actually started out a lot more country,” he continues. “Before the Motorcars, I came straight out of a country band and then playing in a bluegrass band after that for a couple of summers on and off. But as we all got older, we started playing more and more rock ’n’ roll, and for me, ‘Hurt Again’ really expresses our ability to do that.\N“Although Micky fronts the band, Gary’s brotherly harmonies and back-up vocals (not to mention his myriad instrumental chops) have been a key element of the Motorcars’ sound from day one. He also steps forward to sing a song or two of his own on every album, and his two tracks on Hearts From Above are among the album’s highlights: the hooky, up-tempo “Led Me the Wrong Way” and the haunting “Sun Now Stands,” a powerful account of Chief Joseph and the Nez Perce Indians of the Pacific Northwest.\N“I had the idea to write about the Nez Perce and how they were kicked off their land and instead of staying on the reservation that the government had put them on, they decided to make a break for it and try to escape to Canada,” says Gary. “After awhile I realized it was going to be pretty hard to cram that whole story into a four-minute song, so that’s when I called Willy and as luck would have it, he had just finished a book on the topic and was also planning on writing a song about it. We got together the next day and got to work, and I think it took us about four hours to write the whole thing from start to finish.”\NThe poignancy of “Sun Now Stands” is matched elsewhere on Hearts From Above by the album’s one cover, “Sister Lost Soul”— a song that the aforementioned Alejandro Escovedo wrote for his acclaimed 2008 album Real Animal as a tribute to fallen brothers in musical arms.\N“That song is very sentimental to me, and the whole band, really,” Micky explains. “We kind of do that one as a tribute to our good friend Mark McCoy, who was with us forever. We lost him last year in a boating accident.” McCoy, the Motorcars’ original bassist, died a year after leaving the band to move back home to Idaho. Micky also sings “Sister Lost Soul” in memory of another late friend who helped teach him guitar and introduced him to the music of Van Morrison and a lot of other great songwriters and rock acts.\N“As we get older, we all start to lose friends, and whether they’re really close friends or even acquaintances you just kind of knew, it’s always a sad thing to see people have to go through things like that,”Micky explains. “And that song is just kind of a tip of the hat to all those guys. It’s an anthem for them and for the people that miss them.”\NBittersweet though it may be, the song fits Hearts From Above‘s spirit like a glove. For Micky and Gary Braun, who’ve driven the Motorcars together now for more than a dozen years, as well as for the newer members helping them steer the band further on down the highway, it’s a celebration of where they’ve been, where they’re headed, and most of all, where they are right now.\N“Apart from how we’re all much happier now in regards to our relationships and personal lives, I think I was really able to just write about how grateful we are to get to do what we do,” says Micky. “I think all of us in general are in a pretty good spot right now. We’re happy to be on the road and to be putting out music, and we’re grateful to our fans for helping out on the Kickstarter project and for showing up at shows. We just seem to be in a very positive place, and I feel like this record really represents that.”\N{/sliders} X-ALT-DESC;FMTTYPE=text/html:

{slider title="Cody Canada & the Departed" open="false"}

Facebook | Twitter | Instagram | YouTube | Spotify

Three bandmates. Fourteen songs that blur the lines between hard-edged country, rock & roll, and all the gritty sounds in between. 3, the newest album from Cody Canada the Departed, is proof that there's strength in numbers.

The band's first record as a lean power trio, 3 shines a light on the core ingredients of Canada's sound. There's plenty of amplified crunch, Red Dirt twang, roadhouse-worthy guitar riffs, story-based songwriting, and the familiar rasp of Canada's voice — an instrument that's been sharpened by years of raw, redemptive shows. Working with producer Mike McClure, the band tracked their new material during breaks in an otherwise busy touring schedule, approaching the recording sessions the same way they'd approach a live show.

"The idea was to get into the studio and simplify things, remaining as true to a three-piece as possible," says Canada, who pulls triple-duty as the lineup's frontman, songwriter, and lead guitarist. "If you really want to leave your mark, it's all about the songs, not how many people you can cram into the studio."

{/sliders}

{slider title="Micky & The Motorcars" open="false"}

Facebook | Twitter | Instagram | Songkick

Three bandmates. Fourteen songs that blur the lines between hard-edged country, rock & roll, and all the gritty sounds in between. 3, the newest album from Cody Canada the Departed, is proof that there's strength in numbers.

The band's first record as a lean power trio, 3 shines a light on the core ingredients of Canada's sound. There's plenty of amplified crunch, Red Dirt twang, roadhouse-worthy guitar riffs, story-based songwriting, and the familiar rasp of Canada's voice — an instrument that's been sharpened by years of raw, redemptive shows. Working with producer Mike McClure, the band tracked their new material during breaks in an otherwise busy touring schedule, approaching the recording sessions the same way they'd approach a live show.

"The idea was to get into the studio and simplify things, remaining as true to a three-piece as possible," says Canada, who pulls triple-duty as the lineup's frontman, songwriter, and lead guitarist. "If you really want to leave your mark, it's all about the songs, not how many people you can cram into the studio."

Thirteen years can put a hell of a lot of wear and tear on even the hardiest of rock ’n’ roll bands. But don’t be fooled by all those hundreds of thousands of miles on Micky & the Motorcars’ odometer: pop the hood of Hearts From Above, the long-running Austin band’s seventh album, and you’ll find a brand-new engine, fine-tuned and good to run for at least as many more miles still ahead. And behind the wheel? Two brothers — Micky and Gary Braun — who by their own admission haven’t been this fired up about playing together since they first rode south from the Whitecloud Mountains of Idaho to stake their claim to the Texas and wider Americana music scenes.

Of course, that’s not to say that the years between then and now have been fallow for Micky & the Motorcars, who have spent the last decade and change establishing themselves as one of the exciting young roots-rock bands in the “Live Music Capital of the World”and growing their fanbase through constant touring and a fistful of increasingly confident releases. But Hearts From Above finds founding members Micky (lead vocals and guitar) and Gary (guitar, mandolin, harmonica, and vocals) invigorated and supercharged by a transfusion of new blood from fresh recruits Josh Owen (lead guitar, pedal steel guitar), Joe Fladger (bass), and Bobby Paugh (drums).“I think that with the last record we were struggling a little bit just trying to keep the band afloat,”says Micky of 2011’s mature but rather ironically titled Raise My Glass, a compelling document of the band at its most ruminative and brooding. “We loved the songs and we loved that record, but everyone was in kind of a tough spot with the same-old/same-old, and I had just gone through a breakup, so it was definitely the harder, darker side of the Micky & the Motorcars. Hearts From Above is more about all of us being in a much better place now. Having the new guys with us now has just brought a lot higher energy level, both onstage and in the studio. It’s kind of like when we first got started 13 years ago. All of us are just having a blast.”

You can hear that born-again “blast” right from the start of Hearts From Above with the soaring title track, a song Micky started working on in the afterglow of a particularly inspiring show he caught by one of his biggest Austin heroes, Alejandro Escovedo. “Alejandro’s one of those guys who makes me want to be better,” Micky enthuses, “and all I wanted to do was go right home and write.”

He ended up co-writing “Hearts From Above” with Willy Braun, who, along with another older brother, Cody, actually moved to Austin a few years ahead of Micky and Gary with their own wildly popular Americana rock band, Reckless Kelly. But from the moment the Motorcars hit town and released their 2003 debut, Which Way From Here— followed by subsequent releases like 2004’s Ain’t In It For the Money,2007’s Careless, 2008’s Naïve, 2009’s Live at Billy Bob’s Texas,andRaise My Glass— Micky and Gary have proven time and again that while they may not have been the first band of Brauns to take Texas by storm, they can more than hold their own. They’ve made quite a name for themselves out on the road, too, touring on average 12 months out of the year across the United States and beyond. (Micky & the Motorcars have toured Europe three times and even recorded a live album over there, set for release when they return overseas early next year.)

Friendly competition aside, though, the four Braun brothers remain as supportive of each other today as they were as kids, when they all played together in their father Muzzie Braun’s country band throughout the Western United States and in front of millions of TV viewers on the Tonight Show (twice!) To wit: In addition to co-writing half of the songs on the album, Willy also produced Hearts From Above. And of course Cody (who’s produced Motorcars albums in the past) is a VIP guest on the record, too. As Gary proudly points out, all four Braun brothers can be heard singing on the song “Hearts From Above”— something that he says “hasn’t happened in the studio since we were teenagers.”

“Cody came into the studio when we were tracking and coached us pretty hard,” Gary continues. “He has a great ear for harmony and really helped us pick the right parts for the songs. And of course I have always liked working with Willy, and I don’t care if we are writing a song or building a doghouse. He’s a fun guy to be around, but he also knows when to be serious. He was really good at talking to the band getting the best takes we could.”

Recorded in early 2014 at Austin’s 12th Street Sound and funded by the Motorcars’ first-ever Kickstarter campaign, Hearts From Above is packed with assertive songs destined to become crowd favorites; indeed, some of the songs already are road-tested keepers — most notably the epic album closer, “Tonight We Ride,” which Micky describes as an “anthem for soldiers and cowboys and cowgirls and bikers — really, anybody that sticks together as a team.”

“We’ve been doing that song live for probably almost a year now, and it’s starting to get to the point where the crowd is shouting out for it,” says Micky, who co-wrote the tune with Willy and Brian Keane. “That’s a really great sign when you haven’t even recorded a song yet and people are already requesting it!”

One of Micky’s other personal favorites on Hearts From Above is the swaggering “Hurt Again,”which he co-wrote with Jason Eady. “That one’s the wild card,” he says with a laugh, “because Jason is best known for his country stuff, but that’s probably the most rocking song on the whole record. I really love the opening line, ‘The taxi’s running waiting right outside/There’s a look of shame girl that you can’t hide,’ because I feel like it just reaches out and grabs people right out of the gate, and then it’s just rock ’n’ roll from then on out and it never lets up.

“We actually started out a lot more country,” he continues. “Before the Motorcars, I came straight out of a country band and then playing in a bluegrass band after that for a couple of summers on and off. But as we all got older, we started playing more and more rock ’n’ roll, and for me, ‘Hurt Again’ really expresses our ability to do that.

“Although Micky fronts the band, Gary’s brotherly harmonies and back-up vocals (not to mention his myriad instrumental chops) have been a key element of the Motorcars’ sound from day one. He also steps forward to sing a song or two of his own on every album, and his two tracks on Hearts From Above are among the album’s highlights: the hooky, up-tempo “Led Me the Wrong Way” and the haunting “Sun Now Stands,” a powerful account of Chief Joseph and the Nez Perce Indians of the Pacific Northwest.

“I had the idea to write about the Nez Perce and how they were kicked off their land and instead of staying on the reservation that the government had put them on, they decided to make a break for it and try to escape to Canada,” says Gary. “After awhile I realized it was going to be pretty hard to cram that whole story into a four-minute song, so that’s when I called Willy and as luck would have it, he had just finished a book on the topic and was also planning on writing a song about it. We got together the next day and got to work, and I think it took us about four hours to write the whole thing from start to finish.”

The poignancy of “Sun Now Stands” is matched elsewhere on Hearts From Above by the album’s one cover, “Sister Lost Soul”— a song that the aforementioned Alejandro Escovedo wrote for his acclaimed 2008 album Real Animal as a tribute to fallen brothers in musical arms.

“That song is very sentimental to me, and the whole band, really,” Micky explains. “We kind of do that one as a tribute to our good friend Mark McCoy, who was with us forever. We lost him last year in a boating accident.” McCoy, the Motorcars’ original bassist, died a year after leaving the band to move back home to Idaho. Micky also sings “Sister Lost Soul” in memory of another late friend who helped teach him guitar and introduced him to the music of Van Morrison and a lot of other great songwriters and rock acts.

“As we get older, we all start to lose friends, and whether they’re really close friends or even acquaintances you just kind of knew, it’s always a sad thing to see people have to go through things like that,”Micky explains. “And that song is just kind of a tip of the hat to all those guys. It’s an anthem for them and for the people that miss them.”

Bittersweet though it may be, the song fits Hearts From Above‘s spirit like a glove. For Micky and Gary Braun, who’ve driven the Motorcars together now for more than a dozen years, as well as for the newer members helping them steer the band further on down the highway, it’s a celebration of where they’ve been, where they’re headed, and most of all, where they are right now.

“Apart from how we’re all much happier now in regards to our relationships and personal lives, I think I was really able to just write about how grateful we are to get to do what we do,” says Micky. “I think all of us in general are in a pretty good spot right now. We’re happy to be on the road and to be putting out music, and we’re grateful to our fans for helping out on the Kickstarter project and for showing up at shows. We just seem to be in a very positive place, and I feel like this record really represents that.”

{/sliders}

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190212T234816Z X-ACCESS:1 X-HITS:1721 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190313T200000 DTEND;TZID=America/Denver:20190313T233000 UID:7C514301-A94B-4D42-858A-B95383967009 SUMMARY:Mike Doughty - Cancelled due to weather DTSTAMP:20190103T175443Z DESCRIPTION: FROM DOUGHTY HQ:\NMike Doughty’s show at The State Room tonight, March 13th, has been cancelled due to the intense blizzard effecting the western part of the country. We sincerely apologize and thank you for your understanding in keeping everyone safe out on the road.\NThe venue will automatically implement full refunds. For additional questions, please contact box@TheStateRoom.com\NSorry for any inconvenience this may have caused,\NThe State Room X-ALT-DESC;FMTTYPE=text/html:

 FROM DOUGHTY HQ:

Mike Doughty’s show at The State Room tonight, March 13th, has been cancelled due to the intense blizzard effecting the western part of the country. We sincerely apologize and thank you for your understanding in keeping everyone safe out on the road.

The venue will automatically implement full refunds. For additional questions, please contact box@TheStateRoom.com

Sorry for any inconvenience this may have caused,

The State Room

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190313T164813Z X-ACCESS:1 X-HITS:2001 X-URL:https://www.ticketfly.com/purchase/event/1797338/tfly X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190314T200000 DTEND;TZID=America/Denver:20190314T233000 UID:7EACB219-9FF5-433D-93C2-5DAB8F2CD858 SUMMARY:Adia Victoria DTSTAMP:20190103T180031Z DESCRIPTION:At a recent performance, the host made the mistake of introducing Adia Victoria as an Americana artist. Victoria leaned into the microphone with a correction, "Adia Victoria does not sing Americana, Adia Victoria sings the blues." From there, the artist let her guitar and powerful lyrics speak for her. After a self-released single that drew the attention of Rolling Stone and others, Victoria continued to dazzle and confound with her first studio album, Beyond the Bloodhounds. The album takes its title from a line in Incidents in the Life of a Slave Girl by Harriet Jacobs. Just as Jacobs sought to get beyond the reach of her master's bloodhounds, Victoria is always reaching beyond the facile notions of what a Black woman artist should look like and sound like. X-ALT-DESC;FMTTYPE=text/html:

At a recent performance, the host made the mistake of introducing Adia Victoria as an Americana artist. Victoria leaned into the microphone with a correction, "Adia Victoria does not sing Americana, Adia Victoria sings the blues." From there, the artist let her guitar and powerful lyrics speak for her. After a self-released single that drew the attention of Rolling Stone and others, Victoria continued to dazzle and confound with her first studio album, Beyond the Bloodhounds. The album takes its title from a line in Incidents in the Life of a Slave Girl by Harriet Jacobs. Just as Jacobs sought to get beyond the reach of her master's bloodhounds, Victoria is always reaching beyond the facile notions of what a Black woman artist should look like and sound like.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190212T042353Z X-ACCESS:1 X-HITS:1605 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190315T210000 DTEND;TZID=America/Denver:20190315T233000 UID:C5A533EA-A702-446C-A147-1DAE9FAC444E SUMMARY:Head for the Hills DTSTAMP:20190103T180329Z DESCRIPTION:Head for the Hills prides itself on defying expectation, turning neophytes into converts and genre purists exploratory listeners. Remaining true to the roots of bluegrass while simultaneously looking to its future prospects, the band makes music that reaches into jazz, indie rock, hip hop, soul, world and folk to stitch together cutting edge songs that bridge the divide between past and future acoustic music.\NHead for the Hills have been bringing their music to audiences from the Telluride Bluegrass Festival to South by Southwest and a multitude of stages in between--including Summer Camp Music Festival, High Sierra Music Festival, RockyGrass, DelFest, Northwest String Summit, Blue Ox Music Festival, FloydFest, Strawberry Music Festival and many more. The band has been featured on NPR Ideastream and eTown, co-released beers with Odell Brewing Company and Sanitas Brewing, and charted on the CMJ Top 200.\N  X-ALT-DESC;FMTTYPE=text/html:

Head for the Hills prides itself on defying expectation, turning neophytes into converts and genre purists exploratory listeners. Remaining true to the roots of bluegrass while simultaneously looking to its future prospects, the band makes music that reaches into jazz, indie rock, hip hop, soul, world and folk to stitch together cutting edge songs that bridge the divide between past and future acoustic music.

Head for the Hills have been bringing their music to audiences from the Telluride Bluegrass Festival to South by Southwest and a multitude of stages in between--including Summer Camp Music Festival, High Sierra Music Festival, RockyGrass, DelFest, Northwest String Summit, Blue Ox Music Festival, FloydFest, Strawberry Music Festival and many more. The band has been featured on NPR Ideastream and eTown, co-released beers with Odell Brewing Company and Sanitas Brewing, and charted on the CMJ Top 200.

 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190227T214053Z X-ACCESS:1 X-HITS:1826 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190316T193000 DTEND;TZID=America/Denver:20190316T233000 UID:331AFFA0-6E2D-481A-9580-A0330BB6558C SUMMARY:Villa Theatre Co. DTSTAMP:20190305T230853Z DESCRIPTION:Villa Theatre Co is more than just a band, more than entertainment, it is story telling at its finest. Villa Theatre Co combines creators alike to create a world of music and cinema for the ultimate sensory experience. Orchestrated by Ted Echo, Villa Theatre Co hopes to put story telling back at the forefront of music. X-ALT-DESC;FMTTYPE=text/html:

Villa Theatre Co is more than just a band, more than entertainment, it is story telling at its finest. Villa Theatre Co combines creators alike to create a world of music and cinema for the ultimate sensory experience. Orchestrated by Ted Echo, Villa Theatre Co hopes to put story telling back at the forefront of music.

LAST-MODIFIED:20190305T231230Z X-ACCESS:1 X-HITS:1894 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190320T200000 DTEND;TZID=America/Denver:20190320T233000 UID:7A265842-76D7-401F-9838-8DB54FFFC6CB SUMMARY:Bronze Radio Return DTSTAMP:20190103T180812Z DESCRIPTION:For nearly a decade, Hartford, Connecticut’s Bronze Radio Return has traveled the world, urging their listeners to dance and sing along. Their rousing, anthemic sound creates an undeniable upbeat atmosphere that’s one part dance party and another part roots-rock. If their name doesn’t ring a bell, odds are you know one of their acclaimed singles, leaving them affectionately dubbed “the band you’ve probably heard, but haven’t heard of.”\NRacking up more than 60 million streams on Spotify, and with songs such as “Light Me Up,” “Further On,” and “Shake, Shake, Shake,” they have impressively notched nearly 100 high-profile placements ranging from the 2014 film St. Vincent, to commercials for Nissan and Starbucks, to numerous television shows. Along the way, their hyper-charged and hypnotic stage presence has turned bystanders into believers at festivals including Bonnaroo, Lollapalooza, Hangout, and Firefly, and gained international recognition with tours throughout Europe and China. X-ALT-DESC;FMTTYPE=text/html:

For nearly a decade, Hartford, Connecticut’s Bronze Radio Return has traveled the world, urging their listeners to dance and sing along. Their rousing, anthemic sound creates an undeniable upbeat atmosphere that’s one part dance party and another part roots-rock. If their name doesn’t ring a bell, odds are you know one of their acclaimed singles, leaving them affectionately dubbed “the band you’ve probably heard, but haven’t heard of.”

Racking up more than 60 million streams on Spotify, and with songs such as “Light Me Up,” “Further On,” and “Shake, Shake, Shake,” they have impressively notched nearly 100 high-profile placements ranging from the 2014 film St. Vincent, to commercials for Nissan and Starbucks, to numerous television shows. Along the way, their hyper-charged and hypnotic stage presence has turned bystanders into believers at festivals including Bonnaroo, Lollapalooza, Hangout, and Firefly, and gained international recognition with tours throughout Europe and China.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190212T042516Z X-ACCESS:1 X-HITS:1330 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190321T200000 DTEND;TZID=America/Denver:20190321T233000 UID:A352EFB7-DE9E-41D6-823B-9B9D92856AE0 SUMMARY:Walter Trout - Moved to The Commonwealth Room DTSTAMP:20190103T182039Z DESCRIPTION:THIS EVENT HAS BEEN MOVED TO THE COMMONWEALTH ROOM.\NCLICK HERE FOR MORE INFORMATION. X-ALT-DESC;FMTTYPE=text/html:

THIS EVENT HAS BEEN MOVED TO THE COMMONWEALTH ROOM.

CLICK HERE FOR MORE INFORMATION.

LOCATION:195 W 2100 S\, South Salt Lake\, Utah 84190\, USA GEO:40.72535200;-111.89425067 LAST-MODIFIED:20190320T164030Z X-ACCESS:1 X-HITS:587 X-URL:https://www.ticketfly.com/purchase/event/1788301/tfly X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190322T210000 DTEND;TZID=America/Denver:20190322T230000 UID:12E386C5-4B3B-42EF-AB72-0CACE7E977DD SUMMARY:The Suffers DTSTAMP:20190124T203810Z DESCRIPTION:"They're the sort of neo-retro group you never knew music was so badly missing."- Spin Magazine\NThere is a contagious and combustible energy every time the eight-piece wonder-band The Suffers steps on the scene. NPR's Bob Boilen attributes the band's allure to their "Soul, straight from horn to heart."\NHe adds, "This band is on fire when it's in front of an audience...but the intensity of their shows are also captured in the studio." Following The Suffers' electrifying late night TV debut on Letterman in 2015, David Letterman exclaimed, "If you can't do this, get out of the business!" There is something undeniable about The Suffers (whose name is a reference to the 1978 Jamaican film Rockers starring Leroy "Horsemouth" Wallace, Jacob Miller and Burning Spear, among others), that instantly hits home with their audiences. "We make music for all people," says lead vocalist Kam Franklin.\N"At this point, we've played all over the world and one thing is certain - if the music is good, the people will enjoy it." Since 2011, the H-Town heroes have been on a steady grind and have no plans of stopping. It seems the secret to their success is simple. Keyboardist Patrick Kelly confides, "There is a universal groove in the music that we play," while bass guitarist Adam Castaneda adds, "I don't think any of us are trying to impress anyone with our technical abilities, we just want to make them dance." X-ALT-DESC;FMTTYPE=text/html:

"They're the sort of neo-retro group you never knew music was so badly missing."- Spin Magazine

There is a contagious and combustible energy every time the eight-piece wonder-band The Suffers steps on the scene. NPR's Bob Boilen attributes the band's allure to their "Soul, straight from horn to heart."

He adds, "This band is on fire when it's in front of an audience...but the intensity of their shows are also captured in the studio." Following The Suffers' electrifying late night TV debut on Letterman in 2015, David Letterman exclaimed, "If you can't do this, get out of the business!" There is something undeniable about The Suffers (whose name is a reference to the 1978 Jamaican film Rockers starring Leroy "Horsemouth" Wallace, Jacob Miller and Burning Spear, among others), that instantly hits home with their audiences. "We make music for all people," says lead vocalist Kam Franklin.

"At this point, we've played all over the world and one thing is certain - if the music is good, the people will enjoy it." Since 2011, the H-Town heroes have been on a steady grind and have no plans of stopping. It seems the secret to their success is simple. Keyboardist Patrick Kelly confides, "There is a universal groove in the music that we play," while bass guitarist Adam Castaneda adds, "I don't think any of us are trying to impress anyone with our technical abilities, we just want to make them dance."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190226T210114Z X-ACCESS:1 X-HITS:1581 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190323T210000 DTEND;TZID=America/Denver:20190323T233000 UID:9D476DC6-62A4-4D4A-A15B-C2AC21C9EC1E SUMMARY:Cass McCombs DTSTAMP:20190103T182351Z DESCRIPTION:Cass McCombs is a transient storyteller interested in words, music and dreams. His ninth full-length album, Tip of the Sphere, is due February 8, 2019 on ANTI- Records. In conjunction with today’s album announcement, McCombs shares the album’s lead single, “Sleeping Volcanoes,” and announces a North American tour.\NTip of the Sphere follows 2016’s Mangy Love. For that record, McCombs made his television debut on The Ellen DeGeneres Show and was featured in the New York Times’ Sunday Arts & Leisure section. It was named a “Best Rock Album of the Year” by Pitchfork, featured in the Washington Post’s “Best Music of 2016,” plus many other best of 2016 lists, and was his overall most critically praised album. X-ALT-DESC;FMTTYPE=text/html:

Cass McCombs is a transient storyteller interested in words, music and dreams. His ninth full-length album, Tip of the Sphere, is due February 8, 2019 on ANTI- Records. In conjunction with today’s album announcement, McCombs shares the album’s lead single, “Sleeping Volcanoes,” and announces a North American tour.

Tip of the Sphere follows 2016’s Mangy Love. For that record, McCombs made his television debut on The Ellen DeGeneres Show and was featured in the New York Times’ Sunday Arts & Leisure section. It was named a “Best Rock Album of the Year” by Pitchfork, featured in the Washington Post’s “Best Music of 2016,” plus many other best of 2016 lists, and was his overall most critically praised album.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190304T180114Z X-ACCESS:1 X-HITS:1651 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190324T200000 DTEND;TZID=America/Denver:20190324T233000 UID:F66AF47D-D8FF-4662-B4EA-A035F375A21E SUMMARY:Con Brio DTSTAMP:20190205T222908Z DESCRIPTION:There’s a moment before each Con Brio show — before the backflips, the guitar solos, the buoyant horn lines over bass, drum and synth — when all seven band members come in for a huddle. It’s a way to say grace; an acknowledgment of live music as a team sport; a moment of stillness before they explode.\N“Let’s work,” they say, their heads bowed together. And then they do.\NNamed for an Italian musical direction meaning ‘with spirit,’ Con Brio is a San Francisco Bay Area band that plays soul, psych-rock and R&B as fresh and freethinking as the place they call home. With charismatic singer Ziek McCarter bringing “the dance moves, splits and all, of James Brown” (KQED) and a band that “comes across like a party punk version of Sly and the Family Stone” (Consequence of Sound), Con Brio is known to convert anyone who sees their electric live show. X-ALT-DESC;FMTTYPE=text/html:

There’s a moment before each Con Brio show — before the backflips, the guitar solos, the buoyant horn lines over bass, drum and synth — when all seven band members come in for a huddle. It’s a way to say grace; an acknowledgment of live music as a team sport; a moment of stillness before they explode.

“Let’s work,” they say, their heads bowed together. And then they do.

Named for an Italian musical direction meaning ‘with spirit,’ Con Brio is a San Francisco Bay Area band that plays soul, psych-rock and R&B as fresh and freethinking as the place they call home. With charismatic singer Ziek McCarter bringing “the dance moves, splits and all, of James Brown” (KQED) and a band that “comes across like a party punk version of Sly and the Family Stone” (Consequence of Sound), Con Brio is known to convert anyone who sees their electric live show.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190212T042629Z X-ACCESS:1 X-HITS:1910 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190327T190000 DTEND;TZID=America/Denver:20190327T233000 UID:C64B3BD8-9B82-4223-B397-9D2E02CCCDC6 SUMMARY:PechaKucha Night - Volume 27 DTSTAMP:20190218T221852Z DESCRIPTION:Join us for our annual Women In Architecture Curated PechaKucha Night Volume 27\NWomen in Architecture SLC operates toward a singular goal: gender parity in the field of architecture. We work to obtain this goal through three core strategies: Building Community, Mentoring, and Advocating.\NLineup:\NBrooke Smart | IllustratorAnn Marie Vivienne | WriterNora Abudan | Social AdvocateTessa Arneson | Maven DistrictLiz Adeola | KUED Producer / HostJulia Oderda | Architect * LGBTQ ActivistTaylor Carpenter | Architectural StudentCory Gardiner | Executive Vice President * Zions BankRobyn Scribner | Utah Women and Leadership ProjectBisera Hjabibija | Lieutenant * Department of Corrections X-ALT-DESC;FMTTYPE=text/html:

Join us for our annual Women In Architecture Curated PechaKucha Night Volume 27

Women in Architecture SLC operates toward a singular goal: gender parity in the field of architecture. We work to obtain this goal through three core strategies: Building Community, Mentoring, and Advocating.

Lineup:

Brooke Smart | Illustrator
Ann Marie Vivienne | Writer
Nora Abudan | Social Advocate
Tessa Arneson | Maven District
Liz Adeola | KUED Producer / Host
Julia Oderda | Architect * LGBTQ Activist
Taylor Carpenter | Architectural Student
Cory Gardiner | Executive Vice President * Zions Bank
Robyn Scribner | Utah Women and Leadership Project
Bisera Hjabibija | Lieutenant * Department of Corrections

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190326T161830Z X-ACCESS:1 X-HITS:1474 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190329T200000 DTEND;TZID=America/Denver:20190329T233000 UID:199702E3-CA88-4B44-9BA2-DA196E7BFBA5 SUMMARY:Robyn Hitchcock DTSTAMP:20190205T223354Z DESCRIPTION:Robyn Hitchcock is one of England’s most enduring contemporary singer/songwriters and live performers. A surrealist poet, talented guitarist, cult artist and musician’s musician, Hitchcock is among alternative rock’s father figures and is the closest thing the genre has to a Bob Dylan (not coincidentally his biggest musical inspiration).\NSince founding the art-rock band The Soft Boys in 1976, Robyn has recorded more than 20 albums as well as starred in ‘Storefront Hitchcock’ an in concert film recorded in New York and directed by Jonathan Demme.\NBlending folk and psychedelia with a wry British nihilism, Robyn describes his songs as ‘paintings you can listen to’. His most recent album is self-titled and marks his 21st release as a solo artist. Out on April 21 2017, the album is produced by Brendan Benson (The Raconteurs). Hitchcock describes it as a “ecstatic work of negativity with nary a dreary groove.”\NIt has received rave reviews from UNCUT, Rolling Stone, Paste, Tidal and more.\N“A gifted melodist, Hitchcock nests engaging lyrics in some of the most bracing, rainbow-hued pop this side of Revolver. He wrests inspiration not from ordinary life but from extraordinary imaginings…” – Rolling Stone\N“These 10 gems slither, rock, roll, glide and shapeshift, coalescing around Hitchcock’s typically anxious, strained but striking and immediately identifiable vocals.” – American Songwriter\N“Beloved of everyone from Led Zeppelin to REM, Hitchcock has only enhanced his status with this wonderful outing.” – Hot Press\N“Witty, moving and seriously catchy, Robyn Hitchcock is a glorious return for a man who wasn’t really gone in the first place.” – Paste Magazine X-ALT-DESC;FMTTYPE=text/html:

Robyn Hitchcock is one of England’s most enduring contemporary singer/songwriters and live performers. A surrealist poet, talented guitarist, cult artist and musician’s musician, Hitchcock is among alternative rock’s father figures and is the closest thing the genre has to a Bob Dylan (not coincidentally his biggest musical inspiration).

Since founding the art-rock band The Soft Boys in 1976, Robyn has recorded more than 20 albums as well as starred in ‘Storefront Hitchcock’ an in concert film recorded in New York and directed by Jonathan Demme.

Blending folk and psychedelia with a wry British nihilism, Robyn describes his songs as ‘paintings you can listen to’. His most recent album is self-titled and marks his 21st release as a solo artist. Out on April 21 2017, the album is produced by Brendan Benson (The Raconteurs). Hitchcock describes it as a “ecstatic work of negativity with nary a dreary groove.”

It has received rave reviews from UNCUT, Rolling Stone, Paste, Tidal and more.

“A gifted melodist, Hitchcock nests engaging lyrics in some of the most bracing, rainbow-hued pop this side of Revolver. He wrests inspiration not from ordinary life but from extraordinary imaginings…” – Rolling Stone

“These 10 gems slither, rock, roll, glide and shapeshift, coalescing around Hitchcock’s typically anxious, strained but striking and immediately identifiable vocals.” – American Songwriter

“Beloved of everyone from Led Zeppelin to REM, Hitchcock has only enhanced his status with this wonderful outing.” – Hot Press

“Witty, moving and seriously catchy, Robyn Hitchcock is a glorious return for a man who wasn’t really gone in the first place.” – Paste Magazine

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190308T035048Z X-ACCESS:1 X-HITS:1813 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190330T210000 DTEND;TZID=America/Denver:20190330T233000 UID:9817B04A-A123-4B81-BF47-6A91976889A0 SUMMARY:The Lil Smokies - Canceled DTSTAMP:20190103T182723Z DESCRIPTION:When people see The Lil Smokies setting up their acoustic instruments, they’re often unprepared for the electric energy they generate. The band captures that same dynamic presence on their most recent album, Changing Shades, delivering their exceptional songwriting and bluegrass roots with the punch of a rock band.\NThe first incarnation of The Lil Smokies got together in Missoula, Montana, during the winter of 2009. Through the years, the band transformed and settled into the current lineup – Scott Parker on bass; Jake Simpson on fiddle; Matt Rieger on guitar; Matt Cornette on banjo and Dunnigan on dobro. Previously, the band has won the 2015 Telluride Bluegrass Band competition and took home the 2016 IBMA Momentum Band of the Year award. They’ve also wowed fans at the High Sierra, FreshGrass, Telluride Bluegrass, Grey Fox, Del Fest, Floyd Fest and String Summit festivals, to name a few. X-ALT-DESC;FMTTYPE=text/html:

When people see The Lil Smokies setting up their acoustic instruments, they’re often unprepared for the electric energy they generate. The band captures that same dynamic presence on their most recent album, Changing Shades, delivering their exceptional songwriting and bluegrass roots with the punch of a rock band.

The first incarnation of The Lil Smokies got together in Missoula, Montana, during the winter of 2009. Through the years, the band transformed and settled into the current lineup – Scott Parker on bass; Jake Simpson on fiddle; Matt Rieger on guitar; Matt Cornette on banjo and Dunnigan on dobro. Previously, the band has won the 2015 Telluride Bluegrass Band competition and took home the 2016 IBMA Momentum Band of the Year award. They’ve also wowed fans at the High Sierra, FreshGrass, Telluride Bluegrass, Grey Fox, Del Fest, Floyd Fest and String Summit festivals, to name a few.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190302T215052Z X-ACCESS:1 X-HITS:1493 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190401T200000 DTEND;TZID=America/Denver:20190401T233000 UID:C5DA550B-F6EE-46A3-8DB8-9E554D7DFE21 SUMMARY:JD McPherson - Our 10th Anniversary Celebration DTSTAMP:20190205T223911Z DESCRIPTION:On April 1, 2009, The State Room opened its doors for the first time and the legenday Stanley Clarke delivered a show that we will never forget. We are estacitc to welcome back JD McPhearson to help celebrate the 10th Anniversary of The State Room.\N“I was having nightmares every night, thinking, ‘Wow, they’re going to hate this,” says JD McPherson.\NWhen he talks about his new album, Undivided Heart & Soul, there’s no glimmer ofself-adulation, or even the confidence one might expect of a veteran artist. Instead, there’s a snapshot of McPherson’s creative process bringing the record to life, a journey filled with fear and change, then boldness, and, eventually, catharsis.\NThe best rock music has a story to tell. This record chronicles a series of upheavals, frustrations, roadblocks, and kismet—a cross-country move, failed creative relationships, a once-in-a-lifetime career opportunity, and learning to love making music again by letting go.\NMcPherson calls moving his family from Broken Arrow, Oklahoma, to East Nashville a decision based “on opportunity” and one he was reluctant to make but notes the profound influence the city has had on his new crop of songs.\N“Up to this point, I thought I knew what I was doing with songwriting, that I don’t do this or that,” McPherson says. “Writing with people who co-write for a living...maybe I saw myself as John Henry, and them as the steel-driving machine.”\NAlong with collaborations with fellow Oklahoman Parker Millsap, Butch Walker, and Aaron lee Tasjan, McPherson’s selections for Undivided Heart & Soul include many deeply personal themes: “Let’s Get Out of Here While We’re Young” shares writing credits with longtime bandmate Ray Jacildo and McPherson’s wife Mandy. He also delved into character profiles, both fictional and based on real-life experiences, stories McPherson has held onto but never thought of as fodder for songwriting, such as the Las Vegas bus station interlude detailed in “Style (Is a Losing Game).”\N“That seems like a pretty normal thing for a singer-songwriter to do, to write about personal experience, but I really have never done that,” McPherson says. “It felt great but it also was tough at the same time. The thing is, John Henry is trying to beat the machine because he’s in awe of it. It was a lot of me saying, ‘You’re really good at this, and I have a hard time doing it.’”\NWith a group of soul-baring tracks taking shape, McPherson and crew scheduled studio time to help force the issue. It quickly became apparent that these sessions were not going to work, bringing McPherson’s momentum to a halt.\NTo clear his head, he flew to Los Angeles at the invitation of friend and longtime supporter Josh Homme of Queens of the Stone Age, who was also recording at the time. McPherson, Homme, and his Queens bandmate Dean Fertita played around with some songs, with Homme pushing McPherson outside of his comfort zone in a no-stakes environment.“His thing was, ‘I’m going to throw all kinds of crap onto your songs that you’re not going to want to hear, and you’re going to play ridiculous stuff you wouldn’t normally do,’ and Dean was kind of the calming presence,” McPherson says.\NMcPherson calls the getaway “the most fun I’ve had since I was 15 years old” and returned to Nashville with a clear head, internal filters successfully stifled, ready to move forward.\NThat fresh perspective in tow, McPherson learned that the long-shot “backup” studio, the legendary RCA Studio B in Nashville, was willing to host his band for the making of the record. RCA Studio B was fundamental to the creation of the “Nashville Sound,” and the ghosts of some of the greatest songs in history live within its walls: Dolly Parton’s “I Will Always Love You,” and Elvis Presley’s “Are You Lonesome Tonight?” among them.\NArtists who choose to record at Studio B are met with a rigorous list of requirements, including using a recording method appropriate during the studio’s heyday. Since the studio is a working museum by day, the entirety of McPherson’s workspace had to be reset at night: Load in all equipment in the late afternoon, work until 3:00 or 4:00 a.m., and leave no trace nightly.Repeat. Repeat. Repeat.\N“Those rules would probably turn a lot of bands off, but they turned us on, 100 percent,” McPherson says. “I really love walking into a classic studio as much as I love getting my hands on a really old guitar. I like knowing that something was used for a long time and has good things in it.”\NBut this isn’t an old Nashville record, by any measurement, nor is it the record McPherson set out to make, with credit due to co-producer Dan Molad (also the drummer for Lucius).\N“There’s a pretty broad gap in our tastes, what we do and what we’re into,” McPherson says.Where he’s as likely to lean on The Cramps as he is Irma Thomas for inspiration, Molad’s left-field production suggestions included a Casio synthesizer and running a Fender Rhodesthrough a tape delay. (McPherson nixed the former; the latter became the signature sound of one of the record’s tracks.) “We ended up learning a lot from each other, and he did a lot of stuff I’d have never thought to do.”\NDuring the song “Let’s Get Out of Here While We’re Young,” JD sputters the line “We’ve worn out all the songs we’ve sung.” This is not a statement McPherson takes lightly.\N“This record was difficult for me to make, difficult to write, difficult to record. It took a lot for me to say that I can’t force these songs to be the way people are expecting,” McPherson says.\NUndivided Heart & Soul is a statement record, one that asserts McPherson as he is now, battle-weary but stronger than ever. X-ALT-DESC;FMTTYPE=text/html:

On April 1, 2009, The State Room opened its doors for the first time and the legenday Stanley Clarke delivered a show that we will never forget. We are estacitc to welcome back JD McPhearson to help celebrate the 10th Anniversary of The State Room.

“I was having nightmares every night, thinking, ‘Wow, they’re going to hate this,” says JD McPherson.

When he talks about his new album, Undivided Heart & Soul, there’s no glimmer ofself-adulation, or even the confidence one might expect of a veteran artist. Instead, there’s a snapshot of McPherson’s creative process bringing the record to life, a journey filled with fear and change, then boldness, and, eventually, catharsis.

The best rock music has a story to tell. This record chronicles a series of upheavals, frustrations, roadblocks, and kismet—a cross-country move, failed creative relationships, a once-in-a-lifetime career opportunity, and learning to love making music again by letting go.

McPherson calls moving his family from Broken Arrow, Oklahoma, to East Nashville a decision based “on opportunity” and one he was reluctant to make but notes the profound influence the city has had on his new crop of songs.

“Up to this point, I thought I knew what I was doing with songwriting, that I don’t do this or that,” McPherson says. “Writing with people who co-write for a living...maybe I saw myself as John Henry, and them as the steel-driving machine.”

Along with collaborations with fellow Oklahoman Parker Millsap, Butch Walker, and Aaron lee Tasjan, McPherson’s selections for Undivided Heart & Soul include many deeply personal themes: “Let’s Get Out of Here While We’re Young” shares writing credits with longtime bandmate Ray Jacildo and McPherson’s wife Mandy. He also delved into character profiles, both fictional and based on real-life experiences, stories McPherson has held onto but never thought of as fodder for songwriting, such as the Las Vegas bus station interlude detailed in “Style (Is a Losing Game).”

“That seems like a pretty normal thing for a singer-songwriter to do, to write about personal experience, but I really have never done that,” McPherson says. “It felt great but it also was tough at the same time. The thing is, John Henry is trying to beat the machine because he’s in awe of it. It was a lot of me saying, ‘You’re really good at this, and I have a hard time doing it.’”

With a group of soul-baring tracks taking shape, McPherson and crew scheduled studio time to help force the issue. It quickly became apparent that these sessions were not going to work, bringing McPherson’s momentum to a halt.

To clear his head, he flew to Los Angeles at the invitation of friend and longtime supporter Josh Homme of Queens of the Stone Age, who was also recording at the time. McPherson, Homme, and his Queens bandmate Dean Fertita played around with some songs, with Homme pushing McPherson outside of his comfort zone in a no-stakes environment.“His thing was, ‘I’m going to throw all kinds of crap onto your songs that you’re not going to want to hear, and you’re going to play ridiculous stuff you wouldn’t normally do,’ and Dean was kind of the calming presence,” McPherson says.

McPherson calls the getaway “the most fun I’ve had since I was 15 years old” and returned to Nashville with a clear head, internal filters successfully stifled, ready to move forward.

That fresh perspective in tow, McPherson learned that the long-shot “backup” studio, the legendary RCA Studio B in Nashville, was willing to host his band for the making of the record. RCA Studio B was fundamental to the creation of the “Nashville Sound,” and the ghosts of some of the greatest songs in history live within its walls: Dolly Parton’s “I Will Always Love You,” and Elvis Presley’s “Are You Lonesome Tonight?” among them.

Artists who choose to record at Studio B are met with a rigorous list of requirements, including using a recording method appropriate during the studio’s heyday. Since the studio is a working museum by day, the entirety of McPherson’s workspace had to be reset at night: Load in all equipment in the late afternoon, work until 3:00 or 4:00 a.m., and leave no trace nightly.Repeat. Repeat. Repeat.

“Those rules would probably turn a lot of bands off, but they turned us on, 100 percent,” McPherson says. “I really love walking into a classic studio as much as I love getting my hands on a really old guitar. I like knowing that something was used for a long time and has good things in it.”

But this isn’t an old Nashville record, by any measurement, nor is it the record McPherson set out to make, with credit due to co-producer Dan Molad (also the drummer for Lucius).

“There’s a pretty broad gap in our tastes, what we do and what we’re into,” McPherson says.Where he’s as likely to lean on The Cramps as he is Irma Thomas for inspiration, Molad’s left-field production suggestions included a Casio synthesizer and running a Fender Rhodesthrough a tape delay. (McPherson nixed the former; the latter became the signature sound of one of the record’s tracks.) “We ended up learning a lot from each other, and he did a lot of stuff I’d have never thought to do.”

During the song “Let’s Get Out of Here While We’re Young,” JD sputters the line “We’ve worn out all the songs we’ve sung.” This is not a statement McPherson takes lightly.

“This record was difficult for me to make, difficult to write, difficult to record. It took a lot for me to say that I can’t force these songs to be the way people are expecting,” McPherson says.

Undivided Heart & Soul is a statement record, one that asserts McPherson as he is now, battle-weary but stronger than ever.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190401T162304Z X-ACCESS:1 X-HITS:2241 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190403T200000 DTEND;TZID=America/Denver:20190403T233000 UID:D3CF6C0E-6569-41F0-A54A-5BD14F3F04F5 SUMMARY:J.S. Ondara DTSTAMP:20190103T183135Z DESCRIPTION:J.S. Ondara offers a unique take on the American dream on Tales of America, his debut album. Ondara grew up in Nairobi, Kenya, listening to American alt- rock and making up his own songs for as long as he can remember. After discovering the music of Bob Dylan, he moved to Minneapolis in 2013 to pursue a career in music. There he began making his way in the local music scene, continually writing songs about what he saw, felt and experienced in a place far different from home.\NFrom a stockpile he says is hundreds of songs deep, Ondara chose 11 for Tales of America. They’re captivating tunes built around acoustic guitars and adorned with subtle full-band accompaniment for an openhearted folk-rock feel. He sings in a strong, tuneful voice well-suited to the gorgeous melancholy he expresses on the wistfully lovelorn “Torch Song,” or his steadfast infatuation on “Television Girl.” Ondara sings rueful lyrics in an anguished tone on “Saying Goodbye,” and leaves plenty of room for interpretation on “American Dream,” the first single. “I knew I wanted a song called ‘American Dream’ on the record, but I didn’t have that song,” Ondara says with a laugh. “I couldn’t find it." X-ALT-DESC;FMTTYPE=text/html:

J.S. Ondara offers a unique take on the American dream on Tales of America, his debut album. Ondara grew up in Nairobi, Kenya, listening to American alt- rock and making up his own songs for as long as he can remember. After discovering the music of Bob Dylan, he moved to Minneapolis in 2013 to pursue a career in music. There he began making his way in the local music scene, continually writing songs about what he saw, felt and experienced in a place far different from home.

From a stockpile he says is hundreds of songs deep, Ondara chose 11 for Tales of America. They’re captivating tunes built around acoustic guitars and adorned with subtle full-band accompaniment for an openhearted folk-rock feel. He sings in a strong, tuneful voice well-suited to the gorgeous melancholy he expresses on the wistfully lovelorn “Torch Song,” or his steadfast infatuation on “Television Girl.” Ondara sings rueful lyrics in an anguished tone on “Saying Goodbye,” and leaves plenty of room for interpretation on “American Dream,” the first single. “I knew I wanted a song called ‘American Dream’ on the record, but I didn’t have that song,” Ondara says with a laugh. “I couldn’t find it."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190403T193228Z X-ACCESS:1 X-HITS:3043 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190404T200000 DTEND;TZID=America/Denver:20190404T233000 UID:DDEC4CF7-DE62-444A-8683-2952281CF01B SUMMARY:Durand Jones & The Indications DTSTAMP:20190103T183527Z DESCRIPTION:Think of the USA’s great soul music cities and Bloomington, Indiana may not spring straight to mind. Yet this thriving Midwestern college town has a rich history with the music. It saw America’s first collegiate pop ensemble, the Indiana University Soul Revue, founded back in 1971 – and now claims birthplace to Durand Jones & The Indications. A young quintet carrying the torch left behind by the likes of Charles Bradley and Sharon Jones, combine their love for the soul genre with a DIY punk ethos and an emphatically persuasive live show, all of which is evident on the act’s eponymous debut album, Durand Jones & The Indication, released early 2018 by Dead Oceans/Colemine.\NThe Indications’ story starts earlier this decade with, ironically, a “loud rock 'n' roll band,” Charlie Patton’s War, formed by four under-grads attending IU’s Jacobs School of Music. Guitarist Blake Rhein (from Michigan) and drummer Aaron Frazer (from Maryland) soon bonded over their additional love of hip-hop, and a quest for the source of the genre’s more intriguing samples found them digging out obscure soul records. Understandably, when offered a chance to work sound for IU’s famed Soul Revue, Rhein seized it.\NPresented by KRCL 90.9 FM.  X-ALT-DESC;FMTTYPE=text/html:

Think of the USA’s great soul music cities and Bloomington, Indiana may not spring straight to mind. Yet this thriving Midwestern college town has a rich history with the music. It saw America’s first collegiate pop ensemble, the Indiana University Soul Revue, founded back in 1971 – and now claims birthplace to Durand Jones & The Indications. A young quintet carrying the torch left behind by the likes of Charles Bradley and Sharon Jones, combine their love for the soul genre with a DIY punk ethos and an emphatically persuasive live show, all of which is evident on the act’s eponymous debut album, Durand Jones & The Indication, released early 2018 by Dead Oceans/Colemine.

The Indications’ story starts earlier this decade with, ironically, a “loud rock 'n' roll band,” Charlie Patton’s War, formed by four under-grads attending IU’s Jacobs School of Music. Guitarist Blake Rhein (from Michigan) and drummer Aaron Frazer (from Maryland) soon bonded over their additional love of hip-hop, and a quest for the source of the genre’s more intriguing samples found them digging out obscure soul records. Understandably, when offered a chance to work sound for IU’s famed Soul Revue, Rhein seized it.

Presented by KRCL 90.9 FM. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190401T162342Z X-ACCESS:1 X-HITS:2435 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190405T210000 DTEND;TZID=America/Denver:20190405T233000 UID:09CB714C-CFB0-4877-AD14-6FD7C788D93A SUMMARY:Roger Clyne & The Peacemakers DTSTAMP:20190103T184015Z DESCRIPTION:Bridging the gap between rock & roll, roadhouse Americana, and the music sound of the southwestern United States, Roger Clyne & The Peacemakers have carved their own path over the last 25 years. They’ve traveled the world, sent eight albums to the top of the Billboard Internet Sales Chart, launched an annual music festival in Mexico, started their own line of ultra-premium tequila and built a global community of music-lovers and peacemakers – all while remaining 100% independent.\NThe band just released their 10th studio album in 20 years - "Native Heart". Produced by Grammy winning legend Steve Berlin and mixed by Michael Brauer at the iconic Electric Ladyland, they shine new light on a band that’s built a career on trekking their own path with their own sound style of twang and taller-than-life characters of the Southwest to a rock & roll soundtrack. X-ALT-DESC;FMTTYPE=text/html:

Bridging the gap between rock & roll, roadhouse Americana, and the music sound of the southwestern United States, Roger Clyne & The Peacemakers have carved their own path over the last 25 years. They’ve traveled the world, sent eight albums to the top of the Billboard Internet Sales Chart, launched an annual music festival in Mexico, started their own line of ultra-premium tequila and built a global community of music-lovers and peacemakers – all while remaining 100% independent.

The band just released their 10th studio album in 20 years - "Native Heart". Produced by Grammy winning legend Steve Berlin and mixed by Michael Brauer at the iconic Electric Ladyland, they shine new light on a band that’s built a career on trekking their own path with their own sound style of twang and taller-than-life characters of the Southwest to a rock & roll soundtrack.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190401T162402Z X-ACCESS:1 X-HITS:1817 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190406T210000 DTEND;TZID=America/Denver:20190406T233000 UID:7B3CF524-92C8-43C1-AE1B-E17581AEC16D SUMMARY:Petty Theft DTSTAMP:20190103T184403Z DESCRIPTION:At the forefront of classic and contemporary American Rock and Roll you are sure to find Tom Petty and the Heartbreakers. If you’re a fan of Tom Petty’s amazing song catalog then you’re sure to like Petty Theft.\NPetty Theft is comprised of six professional Bay Area musicians that have come together to pay tribute to Tom Petty and the Heartbreakers. Petty Theft delivers Tom Petty’s songs true to the originals and in the spirit of his legendary band's live shows, performing everything from his revered classics to his most current hits.\NSince the bands inception in 2003, Petty Theft has been entertaining fans with their electrifying live show. Audiences everywhere know these classic radio hits and when performed by Petty Theft, it sounds like you are hearing the real deal! X-ALT-DESC;FMTTYPE=text/html:

At the forefront of classic and contemporary American Rock and Roll you are sure to find Tom Petty and the Heartbreakers. If you’re a fan of Tom Petty’s amazing song catalog then you’re sure to like Petty Theft.

Petty Theft is comprised of six professional Bay Area musicians that have come together to pay tribute to Tom Petty and the Heartbreakers. Petty Theft delivers Tom Petty’s songs true to the originals and in the spirit of his legendary band's live shows, performing everything from his revered classics to his most current hits.

Since the bands inception in 2003, Petty Theft has been entertaining fans with their electrifying live show. Audiences everywhere know these classic radio hits and when performed by Petty Theft, it sounds like you are hearing the real deal!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190403T200457Z X-ACCESS:1 X-HITS:1549 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190412T210000 DTEND;TZID=America/Denver:20190412T233000 UID:2704FA7F-812A-45D1-8A8E-718536A4088C SUMMARY:William Clark Green DTSTAMP:20190205T225156Z DESCRIPTION:I first met William Clark Green in about 2010, at that time just emerging among Texas' musical cast of characters as a young hopeful. Most clear in my memory, even amid the party that a live music backstage scene can tend to be, Will was the happiest guy in the place – clearly exactly where he wanted to be, and loving every second. This was a contagious vibe from the outset, one that Will had no trouble channeling into music that rings in the heart of the listener, and a live show as inspiring as it is entertaining. Between two acclaimed and successful albums, 2012’s Rose Queen and 2015’s Ringling Road, and what now clocks in at a near-decade's worth of dogged road work, William Clark Green has established himself as one of the most important voices of his genre - a voice that now pipes up again on his anticipated new album, Hebert Island.\NTexas is a big place, complete with fully distinct sub-territories - we reserve the right to bust into several states, should that become strategically expedient - and our traveling musical artists tend to become experts on the rich mosaic that makes up Texas' cultural geography. Will has found himself onstage in a growing portion of her 254 counties, and has called several his home; as he puts it, "I kinda spend six years everywhere". Childhood northeast in Tyler, high school years in College Station, college years at Texas Tech in Lubbock, early music career years in the north-central hamlet of Eastland, and lately his most urban digs so far, in Fort Worth - but deep down, Will's Cajun roots call to him incessantly, and thus southeast Texas is never far from his mind. The new album is named for Will's retreat at Hebert Island (say "AY-Bear", though you'll occasionally hear "HEE-Bert") near Beaumont, and refers to the hilltop upon which his camphouse sits - not an actual island, but a potential one, should the occasional flood come to pass; high ground is valuable in this landscape. Will considers himself a "half-ass coon-ass" - a distantly-descended Cajun, but one who holds a deep appreciation for that history and that way of life. "It's a real place", Will insists, with the feeling that only such a beloved space can foster - his family has owned it since 1869, in the early years of Reconstruction, and is where they established one of the state's first rice farming operations. It's a place that echoes through time for William Clark Green, connecting his family's past and tradition to who he is as an artist, and as a man, today.\NIt's been over three years since Ringling Road. "I'm not gonna force songs," Will sighs. "We could have finished the record a long time ago, but we didn't like the mixes - we're the bosses, and we don't have to listen to ourselves." The pressures and deadlines of the professional recording artist are nothing new, and while he certainly notices that pressure, Will recognizes it to be a good problem to have. "I remember when no one gave a shit, so yeah, it's incredible to have that want-to. So far, every record I've come out with has been my best record - I wrote my ass off for this one. I wanted to make sure it beat Ringling Road, and I'm not bragging on myself - I just knew it was going to take effort."\NThat effort has paid off; Hebert Island is a stellar new batch of songs from a guy who has gone to great lengths to keep his energy focused, through all distraction, on quality songcraft. "My favorite songwriter is Guy Clark - the songwriter's songwriter. It's what I've always cared about the most...the craft of songs is really where it's at for me. I think good songs are undeniable." Mostly recorded at Nashville’s Sound Emporium with Benjy Davis at the board, the new album also features players who have been backing Will for near the full ride, including guitarist Steven Marcus and bassist Cameron Moreland. “Goner” stands as a shimmering, no-hard-feelings take on the moment of breakup, the protagonist of the quasi-travelogue “Stay” understands that it doesn’t matter where you are, as long as you’re close to love, and the ballad “She Loves Horses” exemplifies both the warmth and strength that’s developed in Will’s songwriting and the performance power of his players.\NWill's desired contribution to the world is songs that change lives for the better, and he realizes that he's conduit as much as creator for that change. And in spite of - or, perhaps, because of - the demands and pressures of the life he's chosen, and the position of leadership he's earned through a decade of determination, William Clark Green is a guy who takes none of this for granted. "Our path is guided by something that's greater than me, I believe that. We can be very proud of what we've accomplished; we've done it the right way...I feel very proud of what we've done, and I'm thankful every day for where we're at."\NChris MosserAustin, TexasJuly 9, 2018 X-ALT-DESC;FMTTYPE=text/html:

I first met William Clark Green in about 2010, at that time just emerging among Texas' musical cast of characters as a young hopeful. Most clear in my memory, even amid the party that a live music backstage scene can tend to be, Will was the happiest guy in the place – clearly exactly where he wanted to be, and loving every second. This was a contagious vibe from the outset, one that Will had no trouble channeling into music that rings in the heart of the listener, and a live show as inspiring as it is entertaining. Between two acclaimed and successful albums, 2012’s Rose Queen and 2015’s Ringling Road, and what now clocks in at a near-decade's worth of dogged road work, William Clark Green has established himself as one of the most important voices of his genre - a voice that now pipes up again on his anticipated new album, Hebert Island.

Texas is a big place, complete with fully distinct sub-territories - we reserve the right to bust into several states, should that become strategically expedient - and our traveling musical artists tend to become experts on the rich mosaic that makes up Texas' cultural geography. Will has found himself onstage in a growing portion of her 254 counties, and has called several his home; as he puts it, "I kinda spend six years everywhere". Childhood northeast in Tyler, high school years in College Station, college years at Texas Tech in Lubbock, early music career years in the north-central hamlet of Eastland, and lately his most urban digs so far, in Fort Worth - but deep down, Will's Cajun roots call to him incessantly, and thus southeast Texas is never far from his mind. The new album is named for Will's retreat at Hebert Island (say "AY-Bear", though you'll occasionally hear "HEE-Bert") near Beaumont, and refers to the hilltop upon which his camphouse sits - not an actual island, but a potential one, should the occasional flood come to pass; high ground is valuable in this landscape. Will considers himself a "half-ass coon-ass" - a distantly-descended Cajun, but one who holds a deep appreciation for that history and that way of life. "It's a real place", Will insists, with the feeling that only such a beloved space can foster - his family has owned it since 1869, in the early years of Reconstruction, and is where they established one of the state's first rice farming operations. It's a place that echoes through time for William Clark Green, connecting his family's past and tradition to who he is as an artist, and as a man, today.

It's been over three years since Ringling Road. "I'm not gonna force songs," Will sighs. "We could have finished the record a long time ago, but we didn't like the mixes - we're the bosses, and we don't have to listen to ourselves." The pressures and deadlines of the professional recording artist are nothing new, and while he certainly notices that pressure, Will recognizes it to be a good problem to have. "I remember when no one gave a shit, so yeah, it's incredible to have that want-to. So far, every record I've come out with has been my best record - I wrote my ass off for this one. I wanted to make sure it beat Ringling Road, and I'm not bragging on myself - I just knew it was going to take effort."

That effort has paid off; Hebert Island is a stellar new batch of songs from a guy who has gone to great lengths to keep his energy focused, through all distraction, on quality songcraft. "My favorite songwriter is Guy Clark - the songwriter's songwriter. It's what I've always cared about the most...the craft of songs is really where it's at for me. I think good songs are undeniable." Mostly recorded at Nashville’s Sound Emporium with Benjy Davis at the board, the new album also features players who have been backing Will for near the full ride, including guitarist Steven Marcus and bassist Cameron Moreland. “Goner” stands as a shimmering, no-hard-feelings take on the moment of breakup, the protagonist of the quasi-travelogue “Stay” understands that it doesn’t matter where you are, as long as you’re close to love, and the ballad “She Loves Horses” exemplifies both the warmth and strength that’s developed in Will’s songwriting and the performance power of his players.

Will's desired contribution to the world is songs that change lives for the better, and he realizes that he's conduit as much as creator for that change. And in spite of - or, perhaps, because of - the demands and pressures of the life he's chosen, and the position of leadership he's earned through a decade of determination, William Clark Green is a guy who takes none of this for granted. "Our path is guided by something that's greater than me, I believe that. We can be very proud of what we've accomplished; we've done it the right way...I feel very proud of what we've done, and I'm thankful every day for where we're at."

Chris MosserAustin, TexasJuly 9, 2018

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190405T224034Z X-ACCESS:1 X-HITS:1509 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190413T210000 DTEND;TZID=America/Denver:20190413T233000 UID:D5FA8BF9-63F1-4099-83FA-43AECF610111 SUMMARY:The Pour DTSTAMP:20190305T175915Z DESCRIPTION:Salt Lake City based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead. With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge.Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation.\NMembers of The Pour have had the privilege of opening for and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, members of Train and Counting Crowes, and DJ Logic. X-ALT-DESC;FMTTYPE=text/html:

Salt Lake City based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead. With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge.Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation.

Members of The Pour have had the privilege of opening for and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, members of Train and Counting Crowes, and DJ Logic.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190305T180242Z X-ACCESS:1 X-HITS:2734 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190415T200000 DTEND;TZID=America/Denver:20190415T233000 UID:9D3CA34F-8A37-4234-A87E-6F8DCF042255 SUMMARY:Low Cut Connie DTSTAMP:20190205T230757Z DESCRIPTION:Since Low Cut Connie's debut record Get Out the Lotion (NPR’s Fresh Air Top 10 albums of 2011), they’ve firmly established their reputation as one of the most exciting live shows in the US, with Greg Kot (Sound Opinions / Chicago Tribune) exclaiming they are “the essence of what rock n roll should be” and The New York Times stating, “Low Cut Connie’s word-of-mouth legend is built on live shows like this one.” Sweat-drenched, piano-pounding songwriter and frontman Adam Weiner’s writing has been described as “Seventies Stones (but dirtier), the New York Dolls (but tighter) and Jerry Lee Lewis (but Westerberg-ier)” (Rolling Stone).\NLow Cut Connie made unprecedented strides in 2018 as they released their 5th studio album Dirty Pictures (Part 2) via Contender Records. In August 2018, Low Cut Connie made their network television debut on Late Night with Seth Meyers where they performed the rollicking album opener “All These Kids Are Way Too High.” That following month, the band, who can already count Barack Obama, Bruce Springsteen, and Nick Hornby as fans, received a shoutout from Sir Elton John took the stage at Philadelphia’s Wells Fargo Center. Sir Elton John dedicated “Don’t Let The Sun Go Down On Me” to the sold out crowd and said, “There’s a band that I love at the moment so much called Low Cut Connie, who are from Philadelphia. And I’d like to dedicate this song to them right now, because I love them very much, and you should check them out. Buy their records, go see them. They’re amazing.”\NTo kick off 2019, the band was featured in the print edition of Rolling Stone Magazine’s “Year In Music” issue with a photo essay chronicling their recent sold out national tour. The publication also named Dirty Pictures (Part 2)’s single “Beverly” one of the 50 Best Songs of 2018, calling it “...the catchiest chorus of a career that’s produced more than a few and a song that could’ve been on the radio in the era it honors.”\NAs part of their famed First Listen series, NPR Music said, "Across five albums of piano-driven rock and soul, Low Cut Connie has proven masterfully fluent in the foundational languages of Western pop, living at the crossroads where the church house meets the roadhouse, or where the Dew Drop Inn meets CBGB... The blood that pumps through the Philadelphia band's work comes from a place that's fresh, original, and truly pledged to rock and roll."\NWith more than 120 shows per year, including stops at festivals like Bonnaroo, Bottle Rock, Rock The Garden, Pickathon, Newport Folk Festival and more, Adam Weiner and his punky little band from South Philadelphia continue to dig in their corner of the sandbox. Low Cut Connie light a fire at every show and with every record. Dirty Pictures (part 2) reminds all of us, all the little people, to keep our fires lit at any cost. X-ALT-DESC;FMTTYPE=text/html:

Since Low Cut Connie's debut record Get Out the Lotion (NPR’s Fresh Air Top 10 albums of 2011), they’ve firmly established their reputation as one of the most exciting live shows in the US, with Greg Kot (Sound Opinions / Chicago Tribune) exclaiming they are “the essence of what rock n roll should be” and The New York Times stating, “Low Cut Connie’s word-of-mouth legend is built on live shows like this one.” Sweat-drenched, piano-pounding songwriter and frontman Adam Weiner’s writing has been described as “Seventies Stones (but dirtier), the New York Dolls (but tighter) and Jerry Lee Lewis (but Westerberg-ier)” (Rolling Stone).

Low Cut Connie made unprecedented strides in 2018 as they released their 5th studio album Dirty Pictures (Part 2) via Contender Records. In August 2018, Low Cut Connie made their network television debut on Late Night with Seth Meyers where they performed the rollicking album opener “All These Kids Are Way Too High.” That following month, the band, who can already count Barack Obama, Bruce Springsteen, and Nick Hornby as fans, received a shoutout from Sir Elton John took the stage at Philadelphia’s Wells Fargo Center. Sir Elton John dedicated “Don’t Let The Sun Go Down On Me” to the sold out crowd and said, “There’s a band that I love at the moment so much called Low Cut Connie, who are from Philadelphia. And I’d like to dedicate this song to them right now, because I love them very much, and you should check them out. Buy their records, go see them. They’re amazing.”

To kick off 2019, the band was featured in the print edition of Rolling Stone Magazine’s “Year In Music” issue with a photo essay chronicling their recent sold out national tour. The publication also named Dirty Pictures (Part 2)’s single “Beverly” one of the 50 Best Songs of 2018, calling it “...the catchiest chorus of a career that’s produced more than a few and a song that could’ve been on the radio in the era it honors.”

As part of their famed First Listen series, NPR Music said, "Across five albums of piano-driven rock and soul, Low Cut Connie has proven masterfully fluent in the foundational languages of Western pop, living at the crossroads where the church house meets the roadhouse, or where the Dew Drop Inn meets CBGB... The blood that pumps through the Philadelphia band's work comes from a place that's fresh, original, and truly pledged to rock and roll."

With more than 120 shows per year, including stops at festivals like Bonnaroo, Bottle Rock, Rock The Garden, Pickathon, Newport Folk Festival and more, Adam Weiner and his punky little band from South Philadelphia continue to dig in their corner of the sandbox. Low Cut Connie light a fire at every show and with every record. Dirty Pictures (part 2) reminds all of us, all the little people, to keep our fires lit at any cost.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190219T222809Z X-ACCESS:1 X-HITS:1613 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190418T200000 DTEND;TZID=America/Denver:20190418T233000 UID:47D85C8A-FDC1-4F9C-8C68-659D67B6D644 SUMMARY:Portland Cello Project DTSTAMP:20190311T231519Z DESCRIPTION:After a year of performing Radiohead’s OK Computer in its entirety with a large orchestral ensemble in symphony halls and grand theaters all over the country, Portland Cello Project goes back to its roots this April, warming up a uniquely intimate show in clubs and small venues. \NThe program is a diverse mixture of music they’re calling Radiohead, Coltrane and Bach, for which the usually-sheet-music-reading, classically trained cellists spent a few months memorizing their set and adopting some of the improvisational skills of non-cellist collaborators who have become a mainstay of the group. Joining forces with vocalist Patti King (The Shins), drummer Tyrone Hendrix (Prince, Stevie Wonder), and trumpeter Farnell Newton (Bootsie Collins, Jill Scott), expect a program of the unexpected, as unpredictable as the Oregon weather in the springtime, performed with a new sound and soul. \N“A core philosophy of the group has been to break down traditional barriers that you tend to find between classical musicians and their audience,” says Cello Project Artistic Director, Douglas Jenkins. “This next evolution of the group – to remove the sheet music from the stage, even for classical pieces like the Elgar Cello Concerto – has proven to not only remove the music stand as a visual barrier between the performers and the audience, but also to build a new connection between the performers. We now know this repertoire so intimately, our eyes are free to look at each other and feel more connected musically than we ever have before.” X-ALT-DESC;FMTTYPE=text/html:

After a year of performing Radiohead’s OK Computer in its entirety with a large orchestral ensemble in symphony halls and grand theaters all over the country, Portland Cello Project goes back to its roots this April, warming up a uniquely intimate show in clubs and small venues. 

The program is a diverse mixture of music they’re calling Radiohead, Coltrane and Bach, for which the usually-sheet-music-reading, classically trained cellists spent a few months memorizing their set and adopting some of the improvisational skills of non-cellist collaborators who have become a mainstay of the group. Joining forces with vocalist Patti King (The Shins), drummer Tyrone Hendrix (Prince, Stevie Wonder), and trumpeter Farnell Newton (Bootsie Collins, Jill Scott), expect a program of the unexpected, as unpredictable as the Oregon weather in the springtime, performed with a new sound and soul. 

“A core philosophy of the group has been to break down traditional barriers that you tend to find between classical musicians and their audience,” says Cello Project Artistic Director, Douglas Jenkins. “This next evolution of the group – to remove the sheet music from the stage, even for classical pieces like the Elgar Cello Concerto – has proven to not only remove the music stand as a visual barrier between the performers and the audience, but also to build a new connection between the performers. We now know this repertoire so intimately, our eyes are free to look at each other and feel more connected musically than we ever have before.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190416T163033Z X-ACCESS:1 X-HITS:2296 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190419T200000 DTEND;TZID=America/Denver:20190419T233000 UID:BE521120-D3C3-41F1-AC11-41417D92B76C SUMMARY:We Three DTSTAMP:20190205T231154Z DESCRIPTION:WE THREE – AN UNFINISHED SONGBOOK\NIf there is such a thing as a “Musical Gene”then there are three siblings in a quiet corner of Oregon that are living proof that it exists.\NJoshua, Bethany and Manny make up the HUMLIE trio, who have aptly named themselves ”WE THREE.”\NWith parents that were immersed in song they spent their earliest moments being fed, bred, and bathed in a lush musical backdrop of melody and verse that came as easily as talking and walking.\NThey have a bond that could only be forged in the fires of strong love.\NMom taught them to breathe; Dad taught them to play instruments.\NTheir self-written songs cover all the strands of emotion, from melancholic to the motivated, and the mountains of love that beg to be celebrated that lie in between.\NSadly their Mother passed away just over two years ago,but what might normally devastate and distract had the opposite effect in unifying the already intensely strong bond that makes We Three a musical rarity.\NJoshua uniquely plays the Piano and Drums – sometimes simultaneously, Manny the Guitar, and Bethany the Bass. But there are no rules as each can adeptly swap instruments and often sound like a much larger ensemble. A strong lead vocal is complemented by lush harmonies that glide with superlative ease over complex arrangements that appear deliciously simple.\NTheir music is positive, purposeful, yet subtle, with lyrics that can belie a wry twist and melodies that are incurably infectious.\NTeaching music by day, playing venues at night, it is only a short matter of time before we all will know We Three and we will all be the wiser…as the songbook begins to unfold.\NWE THREE – AN UNFINISHED SONGBOOK X-ALT-DESC;FMTTYPE=text/html:

WE THREE – AN UNFINISHED SONGBOOK

If there is such a thing as a “Musical Gene”then there are three siblings in a quiet corner of Oregon that are living proof that it exists.

Joshua, Bethany and Manny make up the HUMLIE trio, who have aptly named themselves ”WE THREE.”

With parents that were immersed in song they spent their earliest moments being fed, bred, and bathed in a lush musical backdrop of melody and verse that came as easily as talking and walking.

They have a bond that could only be forged in the fires of strong love.

Mom taught them to breathe; Dad taught them to play instruments.

Their self-written songs cover all the strands of emotion, from melancholic to the motivated, and the mountains of love that beg to be celebrated that lie in between.

Sadly their Mother passed away just over two years ago,but what might normally devastate and distract had the opposite effect in unifying the already intensely strong bond that makes We Three a musical rarity.

Joshua uniquely plays the Piano and Drums – sometimes simultaneously, Manny the Guitar, and Bethany the Bass. But there are no rules as each can adeptly swap instruments and often sound like a much larger ensemble. A strong lead vocal is complemented by lush harmonies that glide with superlative ease over complex arrangements that appear deliciously simple.

Their music is positive, purposeful, yet subtle, with lyrics that can belie a wry twist and melodies that are incurably infectious.

Teaching music by day, playing venues at night, it is only a short matter of time before we all will know We Three and we will all be the wiser…as the songbook begins to unfold.

WE THREE – AN UNFINISHED SONGBOOK

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190402T165401Z X-ACCESS:1 X-HITS:2224 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190420T210000 DTEND;TZID=America/Denver:20190420T233000 UID:A0AF6A08-A047-46EF-8175-2E955834E473 SUMMARY:Moorea Masa & The Mood | Joshy Soul DTSTAMP:20190205T221551Z DESCRIPTION:{slider title="Moorea Masa & The Mood" open="false"}\NFacebook | Twitter | Instagram\NSongs have always been there for Moorea Masa (pronounced More-ray-uh Mah-sa), being raised in the musical mecca of Portland, Oregon. The daughter of an Italian immigrant father and an African-American mother born abroad, this singer/songwriter/guitarist has been making music for as long as she can remember. At fifteen, she was already looking for chances to perform by sneaking into local clubs, where she was lovingly adopted into the vibrant community of Portland musicians. Moorea then left to study at the Liverpool Institute for Performing Arts in England, and spent time living in a cave and soaking in flamenco music in Granada, Spain.\NReturning home to the Pacific NW, Moorea began her music career in earnest. Not just writing and performing her own original material, she recorded with El Vy and The Decemberists, sang with soul legend Ural Thomas (who appears on her new album), The Motet, Bernhoft, & Allen Stone. As a solo artist, she's garnered major praise from Emily King, Corinne Bailey Rae, Nick Waterhouse, and many more. Now 25 years old, Moorea has been touring with crooner KD Lang as part of her band, as well as recently touring as support for Allen Stone, Bernhoft, & Lawrence She just released her debut LP "Shine A Light" and has racked up more 275,000 organic streams in the process.\N{/sliders}\N{slider title="Joshy Soul" open="false"}\NFacebook | Twitter | Instagram\NJoshua Strauther aka Joshy Soul, is a pianist and Soul singer from Long Beach, California. He started playing piano at 18 years old in church and after a few years of playing began playing behind other artists on tour. At 25, along with this six piece band, “The Cool” recorded the first album called, “Vintage Dreamin’.” With influences of Sam Cooke, Otis Redding, Donny Hathaway, and John legend, Joshy Soul and the Cool delivers smooth yet a big soulful sound that gets you off your feet and want to dance! Since then, they have played with The Roots, Haley Reinhart, Nick Waterhouse, and many other artists. Also, they are the backing band for Alex Boye, with Joshy Soul being the music director for Boye. Joshy Soul is currently working on a new record that is dated be released in spring 2019!\N{/sliders} X-ALT-DESC;FMTTYPE=text/html:

{slider title="Moorea Masa & The Mood" open="false"}

Facebook | Twitter | Instagram

Songs have always been there for Moorea Masa (pronounced More-ray-uh Mah-sa), being raised in the musical mecca of Portland, Oregon. The daughter of an Italian immigrant father and an African-American mother born abroad, this singer/songwriter/guitarist has been making music for as long as she can remember. At fifteen, she was already looking for chances to perform by sneaking into local clubs, where she was lovingly adopted into the vibrant community of Portland musicians. Moorea then left to study at the Liverpool Institute for Performing Arts in England, and spent time living in a cave and soaking in flamenco music in Granada, Spain.

Returning home to the Pacific NW, Moorea began her music career in earnest. Not just writing and performing her own original material, she recorded with El Vy and The Decemberists, sang with soul legend Ural Thomas (who appears on her new album), The Motet, Bernhoft, & Allen Stone. As a solo artist, she's garnered major praise from Emily King, Corinne Bailey Rae, Nick Waterhouse, and many more. Now 25 years old, Moorea has been touring with crooner KD Lang as part of her band, as well as recently touring as support for Allen Stone, Bernhoft, & Lawrence She just released her debut LP "Shine A Light" and has racked up more 275,000 organic streams in the process.

{/sliders}

{slider title="Joshy Soul" open="false"}

Facebook | Twitter | Instagram

Joshua Strauther aka Joshy Soul, is a pianist and Soul singer from Long Beach, California. He started playing piano at 18 years old in church and after a few years of playing began playing behind other artists on tour. At 25, along with this six piece band, “The Cool” recorded the first album called, “Vintage Dreamin’.” With influences of Sam Cooke, Otis Redding, Donny Hathaway, and John legend, Joshy Soul and the Cool delivers smooth yet a big soulful sound that gets you off your feet and want to dance! Since then, they have played with The Roots, Haley Reinhart, Nick Waterhouse, and many other artists. Also, they are the backing band for Alex Boye, with Joshy Soul being the music director for Boye. Joshy Soul is currently working on a new record that is dated be released in spring 2019!

{/sliders}

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190418T174222Z X-ACCESS:1 X-HITS:2072 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190422T200000 DTEND;TZID=America/Denver:20190422T233000 UID:FA0E4634-BCAA-4BDC-B173-83D565EC0187 SUMMARY:Ella Vos DTSTAMP:20190205T231647Z DESCRIPTION:Ella Vos has quickly become one of the most exciting new acts in pop music. Beginning with her viral hit “White Noise”, Ella Vos has hit number 1 on both Spotify and HypeMachine’s Viral Charts.\NAcclaimed for her dreamy soundscape, and praised by the likes of Rolling Stone and Neon Gold, her debut album “Words I Never Said” received over 200 million streams independently. She has consistently sold out shows across North America, and is currently preparing her next EP entitled "Watch & Wait". X-ALT-DESC;FMTTYPE=text/html:

Ella Vos has quickly become one of the most exciting new acts in pop music. Beginning with her viral hit “White Noise”, Ella Vos has hit number 1 on both Spotify and HypeMachine’s Viral Charts.

Acclaimed for her dreamy soundscape, and praised by the likes of Rolling Stone and Neon Gold, her debut album “Words I Never Said” received over 200 million streams independently. She has consistently sold out shows across North America, and is currently preparing her next EP entitled "Watch & Wait".

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190418T195117Z X-ACCESS:1 X-HITS:1793 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190426T210000 DTEND;TZID=America/Denver:20190426T233000 UID:0C48F252-B43F-49DE-BAF6-29B00F4082BE SUMMARY:40oz. to Freedom (Sublime Tribute Band) DTSTAMP:20190319T175731Z DESCRIPTION:Catch 40 oz. to Freedom live & in concert during their Current Tour. Enjoy a professional tribute to Sublime with the greatest hits from now & then.\N40 Oz to Freedom won the 2010 San Diego Music Award for Best Tribute and has toured the entire US and Canada for over six years, developing one of the largest tribute band followings in the world. 40 oz. to Freedom is true to the So-Cal vibe with thumping bass lines, rad beats, and shredding guitar riffs topped off with soul quenching vocals. X-ALT-DESC;FMTTYPE=text/html:

Catch 40 oz. to Freedom live & in concert during their Current Tour. Enjoy a professional tribute to Sublime with the greatest hits from now & then.

40 Oz to Freedom won the 2010 San Diego Music Award for Best Tribute and has toured the entire US and Canada for over six years, developing one of the largest tribute band followings in the world. 40 oz. to Freedom is true to the So-Cal vibe with thumping bass lines, rad beats, and shredding guitar riffs topped off with soul quenching vocals.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190401T170718Z X-ACCESS:1 X-HITS:3743 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190427T200000 DTEND;TZID=America/Denver:20190427T233000 UID:02EE06ED-B071-4CA8-B330-1856E74872E5 SUMMARY:The Cactus Blossoms DTSTAMP:20190208T223650Z DESCRIPTION:Blood Harmony. Whether it’s The Beach Boys, Bee Gees or First Aid Kit, that sibling vocal blend is the secret sauce in some of the most spine-tingling moments in popular music. The Cactus Blossoms – Minneapolis-based brothers Page Burkum and Jack Torrey – offer compelling evidence that this tradition is alive and well, with a deceptively unadorned musical approach that offers “creative turns of phrase, gorgeous harmonies, and an ageless sound” (NPR All Things Considered), not to mention spine tingles aplenty. Their 2016 debut You’re Dreaming, a stunning and transporting collection of original songs, earned high praise from Rolling Stone and Vice Noisey, tour stints with Kacey Musgraves and Lucius, and a perfectly cast performance on the third season of David Lynch’s Twin Peaks. Now their unlikely rise continues with new album Easy Way, to be released on their own label Walkie Talkie Records.\NWhile many bands would have been content to stick with the winning formula of their debut, the Blossoms refused to repeat themselves. If You’re Dreaming celebrated their vintage country and rock influences, Easy Way reveals a songwriting style that has changed, evolved, and gotten more modern. Dan Auerbach, another artist who knows from bedrock influences, co-wrote two songs on the album. “Dan’s love for songwriting was inspiring, just the kick in the pants we needed to start writing again after being on the road,” says Page.\NThe brothers’ decision to produce the new album themselves no doubt led to the new sound. “We wanted the freedom to experiment with our own weird ideas,” says Jack, “We used to joke that the working title album should be Expensive Demos.” As they crisscrossed the nation on tour, the brothers would stop through Alex Hall’s Reliable Recorders studio in Chicago to chase the new sound they were after. The result joins together what would otherwise be distant corners of the American songbook. Both the traditional twang of Chicago pedal steel guitarist Joel Paterson (Devil in a Woodpile, The Western Elstons) and the primal wail of free jazz saxophonist Michael Lewis (Bon Iver, Andrew Bird) are at home on the album. Just as they did with their debut, the brothers found a voice all their own. X-ALT-DESC;FMTTYPE=text/html:

Blood Harmony. Whether it’s The Beach Boys, Bee Gees or First Aid Kit, that sibling vocal blend is the secret sauce in some of the most spine-tingling moments in popular music. The Cactus Blossoms – Minneapolis-based brothers Page Burkum and Jack Torrey – offer compelling evidence that this tradition is alive and well, with a deceptively unadorned musical approach that offers “creative turns of phrase, gorgeous harmonies, and an ageless sound” (NPR All Things Considered), not to mention spine tingles aplenty. Their 2016 debut You’re Dreaming, a stunning and transporting collection of original songs, earned high praise from Rolling Stone and Vice Noisey, tour stints with Kacey Musgraves and Lucius, and a perfectly cast performance on the third season of David Lynch’s Twin Peaks. Now their unlikely rise continues with new album Easy Way, to be released on their own label Walkie Talkie Records.

While many bands would have been content to stick with the winning formula of their debut, the Blossoms refused to repeat themselves. If You’re Dreaming celebrated their vintage country and rock influences, Easy Way reveals a songwriting style that has changed, evolved, and gotten more modern. Dan Auerbach, another artist who knows from bedrock influences, co-wrote two songs on the album. “Dan’s love for songwriting was inspiring, just the kick in the pants we needed to start writing again after being on the road,” says Page.

The brothers’ decision to produce the new album themselves no doubt led to the new sound. “We wanted the freedom to experiment with our own weird ideas,” says Jack, “We used to joke that the working title album should be Expensive Demos.” As they crisscrossed the nation on tour, the brothers would stop through Alex Hall’s Reliable Recorders studio in Chicago to chase the new sound they were after. The result joins together what would otherwise be distant corners of the American songbook. Both the traditional twang of Chicago pedal steel guitarist Joel Paterson (Devil in a Woodpile, The Western Elstons) and the primal wail of free jazz saxophonist Michael Lewis (Bon Iver, Andrew Bird) are at home on the album. Just as they did with their debut, the brothers found a voice all their own.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190227T164824Z X-ACCESS:1 X-HITS:2196 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190501T200000 DTEND;TZID=America/Denver:20190501T233000 UID:58135DBB-AA4A-401F-B85C-FAA98CF7765F SUMMARY:The Dip DTSTAMP:20190326T021631Z DESCRIPTION:"Hailing from Seattle, The Dip is an electrifying seven-piece ensemble that melds vintage rhythm and blues and modern pop with 60s soul, tapped by KEXP as “one of the most exciting and joyous acts to emerge in recent years”.\NThe group quickly gained notoriety throughout the Pacific Northwest for their eminently danceable live shows that feature vocals from frontman Tom Eddy (Beat Connection), an effortlessly deep pocket, and the melodies of the “The Honeynut Horns”. Hard-hitting but sensitive, The Dip harkens back to the deep soul roots of decades past while sounding undeniably relevant.\NThe band's 2015 self-titled debut, recorded to tape at Avast! Studios, propelled them to notable appearances at Sasquatch! Music Festival, High Sierra Music Fest, Summer Meltdown, and Capitol Hill Block Party and built anticipation for their 2016 release, Won’t Be Coming Back (EP). Now, the band prepares to arrive on the national stage with their second LP, The Dip Delivers. There’s a certain alchemy to The Dip that unites music fans of all ages and backgrounds and leaves everyone smiling ear to ear." X-ALT-DESC;FMTTYPE=text/html:

"Hailing from Seattle, The Dip is an electrifying seven-piece ensemble that melds vintage rhythm and blues and modern pop with 60s soul, tapped by KEXP as “one of the most exciting and joyous acts to emerge in recent years”.

The group quickly gained notoriety throughout the Pacific Northwest for their eminently danceable live shows that feature vocals from frontman Tom Eddy (Beat Connection), an effortlessly deep pocket, and the melodies of the “The Honeynut Horns”. Hard-hitting but sensitive, The Dip harkens back to the deep soul roots of decades past while sounding undeniably relevant.

The band's 2015 self-titled debut, recorded to tape at Avast! Studios, propelled them to notable appearances at Sasquatch! Music Festival, High Sierra Music Fest, Summer Meltdown, and Capitol Hill Block Party and built anticipation for their 2016 release, Won’t Be Coming Back (EP). Now, the band prepares to arrive on the national stage with their second LP, The Dip Delivers. There’s a certain alchemy to The Dip that unites music fans of all ages and backgrounds and leaves everyone smiling ear to ear."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190423T163629Z X-ACCESS:1 X-HITS:2114 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190504T210000 DTEND;TZID=America/Denver:20190504T233000 UID:E4D50CA7-3907-4BD6-B7FE-C6544E025184 SUMMARY:Mindy Gledhill DTSTAMP:20190205T232107Z DESCRIPTION:Born and raised in Eureka, California, Utah-based singer/songwriter Mindy Gledhill spent some of her formative years in Spain (where she learned to speak the language fluently) before studying at Brigham Young University.\NHer albums include Feather in the Wind (2007), Anchor (2010), the Christmas-themed Winter Moon (2011), Pocketful of Poetry (2013), and Rabbit Hole (2019). X-ALT-DESC;FMTTYPE=text/html:

Born and raised in Eureka, California, Utah-based singer/songwriter Mindy Gledhill spent some of her formative years in Spain (where she learned to speak the language fluently) before studying at Brigham Young University.

Her albums include Feather in the Wind (2007), Anchor (2010), the Christmas-themed Winter Moon (2011), Pocketful of Poetry (2013), and Rabbit Hole (2019).

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190502T212220Z X-ACCESS:1 X-HITS:2624 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190505T200000 DTEND;TZID=America/Denver:20190505T233000 UID:EAC25F66-4EA7-4A11-B34D-1BE1D7B22055 SUMMARY:Not So Cinco de Mayo Show DTSTAMP:20190418T164721Z DESCRIPTION:Not So Cinco de Mayo Show hosted by Hot Mess Creative Normally May 5th is reserved for drinking too much tequila, or staying home to avoid everyone who suddenly loves Enrique Iglesias. This year, let's do something different. We'll still have tequila, but this May 5th we're celebrating the launch of Brooklyn-and-SLC-based Hot Mess Creative, a creative agency who has as much fun as their name suggests, and who wants you to join. And instead of Enrique, we're hosting some of the best independent talent in the nation: Brooklyn-based pop songwriter-artist =Afika=, SLC comedian Brandon Henderson, and SLC-based RnB artist Jay Warren. Expect cool people, amazing entertainment, and a great time. X-ALT-DESC;FMTTYPE=text/html:

Not So Cinco de Mayo Show hosted by Hot Mess Creative Normally May 5th is reserved for drinking too much tequila, or staying home to avoid everyone who suddenly loves Enrique Iglesias. This year, let's do something different. We'll still have tequila, but this May 5th we're celebrating the launch of Brooklyn-and-SLC-based Hot Mess Creative, a creative agency who has as much fun as their name suggests, and who wants you to join. And instead of Enrique, we're hosting some of the best independent talent in the nation: Brooklyn-based pop songwriter-artist =Afika=, SLC comedian Brandon Henderson, and SLC-based RnB artist Jay Warren. Expect cool people, amazing entertainment, and a great time.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190430T203234Z X-ACCESS:1 X-HITS:1839 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190511T210000 DTEND;TZID=America/Denver:20190511T233000 UID:6EDFF3DE-B9D7-419F-B51B-E190685E4991 SUMMARY:Stonefed 20th Anniversary DTSTAMP:20190408T223828Z DESCRIPTION:Hello friends, family, and fans, come celebrate as Stonefed turns 20 this Year. Saturday May 11 at the The State Room we will be performing a special concert with featured guests throughout. X-ALT-DESC;FMTTYPE=text/html:

Hello friends, family, and fans, come celebrate as Stonefed turns 20 this Year. Saturday May 11 at the The State Room we will be performing a special concert with featured guests throughout.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190501T210653Z X-ACCESS:1 X-HITS:1579 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190514T200000 DTEND;TZID=America/Denver:20190514T233000 UID:3A7C16F2-F94A-469A-A2B6-AF131375D199 SUMMARY:Kill Tony Summer Tour DTSTAMP:20190401T033857Z DESCRIPTION:The #1 Live Weekly Podcast in the World! Tony Hinchcliffe hosts his wildly popular podcast with his co- host Brian Redban and the Kill Tony Band (Jeremiah Watkins and Joel Jimenez). Local performers and YOU THE LISTENER have the chance to get 60 uninterrupted seconds live on stage to the Kill Tony listenership. Then hold on tight, as you seamlessly go from performing to being interviewed as a guest on the podcast, where no question is off limits. Kill Tony has been around the world and is now coming to you. Kill Tony episodes can be found at deathsquad.tv and on iTunes, and viewable on YouTube. THESE SHOWS WILL SELL OUT.\NIf you’re interested in potentially performing on the Kill Tony Podcast, sign ups begin roughly an hour before the show until shortly before show time for ticket holders only. You’ll need to write down your name, and if possible a twitter account, and performers will be called up during the show after being randomly drawn from the bucket.\NTony Hinchcliffe BioOriginally from Youngstown, Ohio, Tony Hinchcliffe is one of the top young rising comedians, touring internationally, as well as a lively career as an actor, podcaster, and writer. Tony’s first one hour special “One Shot” premiered on Netflix in 2016, and he has appeared on shows including HBO’s “Crashing”, Fusion’s “All Def Roast: Snoop Dog Smokeout” and Comedy Central’s “Unsend” and “@Midnight”. In addition to “Kill Tony”, Hinchcliffe has his podcasts “The Store Horsemen” and “The Pony Hour” and regularly appears on “The Joe Rogan Experience”.\NBrian Redban BioComedy Podcast Aficionado Brian Redban is a Columbus, Ohio native and founder of the Deathsquad Podcast Network. A nationally touring comedian, he performs at comedy clubs across the US and appears weekly on the "Kill Tony" podcast, The Ice House Chronicles and is notably known for his role as producer, co-creator and co-host of the “Joe Rogan Experience,” broadcasting to millions of loyal fans each week. Called "the future of funny" by Culture Magazine, Brian is one of the fastest rising comedians today. X-ALT-DESC;FMTTYPE=text/html:

The #1 Live Weekly Podcast in the World! Tony Hinchcliffe hosts his wildly popular podcast with his co- host Brian Redban and the Kill Tony Band (Jeremiah Watkins and Joel Jimenez). Local performers and YOU THE LISTENER have the chance to get 60 uninterrupted seconds live on stage to the Kill Tony listenership. Then hold on tight, as you seamlessly go from performing to being interviewed as a guest on the podcast, where no question is off limits. Kill Tony has been around the world and is now coming to you. Kill Tony episodes can be found at deathsquad.tv and on iTunes, and viewable on YouTube. THESE SHOWS WILL SELL OUT.

If you’re interested in potentially performing on the Kill Tony Podcast, sign ups begin roughly an hour before the show until shortly before show time for ticket holders only. You’ll need to write down your name, and if possible a twitter account, and performers will be called up during the show after being randomly drawn from the bucket.

Tony Hinchcliffe Bio
Originally from Youngstown, Ohio, Tony Hinchcliffe is one of the top young rising comedians, touring internationally, as well as a lively career as an actor, podcaster, and writer. Tony’s first one hour special “One Shot” premiered on Netflix in 2016, and he has appeared on shows including HBO’s “Crashing”, Fusion’s “All Def Roast: Snoop Dog Smokeout” and Comedy Central’s “Unsend” and “@Midnight”. In addition to “Kill Tony”, Hinchcliffe has his podcasts “The Store Horsemen” and “The Pony Hour” and regularly appears on “The Joe Rogan Experience”.

Brian Redban Bio
Comedy Podcast Aficionado Brian Redban is a Columbus, Ohio native and founder of the Deathsquad Podcast Network. A nationally touring comedian, he performs at comedy clubs across the US and appears weekly on the "Kill Tony" podcast, The Ice House Chronicles and is notably known for his role as producer, co-creator and co-host of the “Joe Rogan Experience,” broadcasting to millions of loyal fans each week. Called "the future of funny" by Culture Magazine, Brian is one of the fastest rising comedians today.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190508T165058Z X-ACCESS:1 X-HITS:4022 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190517T200000 DTEND;TZID=America/Denver:20190517T223000 UID:B5B144C5-5B36-475D-9300-10E43C9CF5FA SUMMARY:Kevin Morby DTSTAMP:20190103T184834Z DESCRIPTION:With his four acclaimed solo albums and myriad records of various collaboration, Kevin Morby has become a true musical auteur. His singular vision, evocative lyrics, and aptitude for catchy, dense songwriting has placed him firmly among the ranks of modern icons like Bill Callahan, Kurt Vile, Sharon Van Etten, Will Oldham, and Jeff Tweedy. Each Morby record possesses its own unique persona and explores intriguing themes and fertile terrain through shifting, focused textures and dexterous, dedicated skill. And now, with the lavish, resplendent, career-best double LP Oh My God, Morby delivers a grandiose director’s cut of his biggest statement to date, epic in scope as well as sound.\NThroughout his past work, Morby has noticed the ubiquity of an apparent religious theme. Though not identifying as “religious”, Morby—the globetrotting son of Kansas City who has made music while living on both coasts before recently returning to his Midwestern stomping grounds—recognizes in himself a somewhat spiritual being with a secular attitude towards the soulful. And so, in an effort to tackle that notion head-on and once-and-for-all, he sat down in his form of church—on planes and in beds—and wrote what would become his first true concept album. “This one feels full circle, my most realized record yet,” says Morby. “It’s a cohesive piece; all the songs fit under the umbrella of this weird religious theme. I was able to write and record the album I wanted to make. It’s one of those marks of a life: this is why I slept on floors for seven years. I’ve now gotten the keys to my own little kingdom, and I’m devoting so much of my life to music that I just want to keep it interesting.”\NMorby admits he has viewed the world through a skewed spiritual lens his entire life. As a kid he was told by his working-class parents that he was a Methodist, though the family rarely if ever made good on that claim come Sunday, and he saw fire-and-brimstone billboards on Kansas roadways with the aim of scaring heathens straight. Despite his ignorance and indifference, religion seemed to be everywhere, and as Morby grew as a musician—playing bass for Woods, fronting The Babies, and with his solo career—he embraced its influence with his work. In 2016, on the heels of a trio of critically-acclaimed albums, he wrote the protest song “Beautiful Strangers” about the devastating world events of that year, and in it he inserted multiple “oh my god”s as pleas of desperation. The song became his most celebrated work to date and the phrase became a mantra for Morby, inspiring him to weave the exclamation conceptually into the fabric of an entire album. In effect, he sought to highlight how that immortal turn of phrase embodies so much of our relationship with the sacred and profane—how religion is all around us, always, and that by simply uttering an OMG we enforce its ubiquity and ability to endure while humanizing its reach.\N“Religion is around all of us,” Morby says. “It’s a universal language and there is profound beauty in it. I’ve found it a useful tool within songwriting, as it’s something everyone can relate to on some level. There are religious themes or imagery in a lot of what I’ve done, so I wanted to get all of that out and speak only that language for a whole record. It’s not a born-again thing; it’s more that ‘oh my god’ is such a profound statement we all use multiple times a day and means so many different things. It’s not about an actual god but a perceived one, and it’s an outsider’s view of the human experience in terms of religion.”\NIn January 2017, preceding the release of his fourth solo record City Music, Morby went into producer Sam Cohen’s Brooklyn studio for four days to record a handful of material written with his usual folk-meets-lo-fi-electric-guitar sound in mind. Cohen, with whom Morby made his 2016 breakthrough Singing Saw, had started recording the new songs with a business-as-usual mentality when on the third day he was struck with an idea: Rather than create what was becoming Singing Saw: Part 2, what if they stripped everything back and instead of the entire Morby rock palette used only a few colors at a time, focusing on Morby as hyper-literate singer instead of guitar-slinging troubadour?\N“Sam suggested that we make songs that sound like sonic pop-art that only have a few colors, like a Keith Haring piece,” Morby says. “My other records had tons of colors, so we decided to keep this stark, like a painting that’s black-and-white with one vibrant blue. We went back to the drawing board and thought about what we wanted to do conceptually across an entire piece. And for the first time I could do exactly what I wanted, as I had time and the ability to get everything precise. Sam encouraged me to let my lyrics sit on top of everything else, and that discovery and the confidence that came with making my fifth record helped me realize the new direction was exactly where we needed to be. We opened it up completely and set out to make something in its own universe.”\NOver the remaining day-and-a-half, Morby and Cohen recorded new versions of four songs—“Oh My God,” “No Halo,” “Savannah,” and “Nothing Sacred/All Things Wild,” the latter becoming a mission statement for the new sound and featuring Morby singing, Cohen playing a subtle organ part, and Morby’s drummer Nick Kinsey on congas. Breaking the songs down into their separate parts served Morby’s religious theme perfectly, as did the blueprint of “Beautiful Strangers,” a song that would serve as a skeleton key of sorts for everything that was to come. Over the course of 2017, he wrote an album’s worth of songs modeled after “Strangers” while on tour.\NAs Morby jetted around the world playing shows, he came to realize that all that air travel was making its way into his music, too. He had always used his time in the sky to work on songs and listen to demos he had recorded, but he began noticing an aero-dynamic emerging in his lyrics as well. “Flying can be something of a religious experience for many people, myself included,” he says. “It’s unnatural, and it can be so scary being that high up—a few big bumps can even make an atheist pray. You’re anxious as you take off and thinking about death, then you level off and suddenly you’re in this kingdom above the clouds. There’s a holy feeling, and a big part of the record’s theme is being above the weather. The first song, ‘Oh My God,’ starts with chaotic hammering on a piano and then smooths out with a choir singing; it’s meant to mimic how I feel on an airplane.”\NAll that flying also meant Morby was sleeping in a new place each night, a situation he also learned to embrace creatively—most of Oh My God’s songs were written from beds. Morby typically starts and ends each day by playing guitar or writing songs while under the covers, a practice that mimics prayer in myriad ways. “There’s something sacred about working from bed,” he says. “It’s where you make love and where you dream. I always write just before I go to sleep and right when I wake up. It’s where I can access that feeling of dreams. Any bed is always a sanctuary, but my bed at home is the Holy Grail.”\NMorby sought to represent these sentiments visually for the release of Oh My God. In addition to using a portrait of him reclining in his own fluffy-white bed at home in Kansas City on the album cover, he also worked with the filmmaker Chris Good on a short film to accompany the release. The film stars Morby as he wanders through a dream-like series of encounters—on planes, in cars, in a diner, at home in his back yard—and presents a Gondry-esque vision of the album and its holy mood.\NMeanwhile, in January of 2018, a full year after their initial session, Morby and Cohen returned to the studio together to complete the album’s recording. They fine-tuned the rollicking opening trio—starting with the title track, then first single “No Halo,” and “Nothing Sacred/All is Wild”— and played with various styles and techniques throughout. The ethereal “Congratulations” was written in a dream, a first for Morby. (“Someone had been singing the chorus to me over and over, and I woke up in the morning and walked to my piano and wrote it then and there.”) “Seven Devils” features a ripping guitar solo by Morby’s bandmate Meg Duffy that evokes a distorted hellfire, and “Piss River” is a stream-of-consciousness, poetic and profound tune featuring harp played by Morby’s friend Mary Lattimore while the singer has a call-and-response conversation with himself. Saxophone duties throughout the record were handled largely by Cochemea Gastelum, and a seven-member choir appears as well. Morby directed Cohen in the creation of a track called “Storm (Beneath the Weather),” a 90-second ambient instrumental piece made with synthesizers to mimic what it can feel like under the clouds. “Above the weather, you’re safe and nothing can get to you; it’s heavenly, like you achieved peace,” Morby says. “Below that you’re subject to the insanity of humanity, or Mother Nature. I wanted a weird, atonal sound on the record to represent a storm, which feels in-line with the pop-art idea.”\N“Hail Mary” may be the album’s grandest moment and is recognizable as one of the few guitar-driven songs that hearkens back to his previous work. Its heavy scope is still apparent despite the fact that Morby and Cohen edited it down from its original 15-minute-long, multiple-verse version into a concise five minutes and three verses. And as the final song, “O Behold,” makes a familiar, just-in-case farewell from an airplane seat (“If the plane’s on fire/know I love you”), the listener can sense the credits rolling as the clouds begin to break, grips loosen, and the kingdom comes into view. At 14 tracks and four sides, Oh My God is an actualized concept album with a contemporary feel that is sure to find itself on the shelf next to classic double-LPs like Blonde on Blonde, Exile on Main St, London Calling, and Zen Arcade with its maker planted firmly in a window seat at the front of the plane. Morby has graduated from the DIY beginnings and warehouse shows of his early days to become an admired, impassioned auteur who retains firm control of his vision as his stages only continue to grow. “At the end of the day,” says Morby, “the only thing I don’t want is to be bored. If someone wants to get in my face about writing a non-religious religious record? Thank god. That’s all I gotta say.” X-ALT-DESC;FMTTYPE=text/html:

With his four acclaimed solo albums and myriad records of various collaboration, Kevin Morby has become a true musical auteur. His singular vision, evocative lyrics, and aptitude for catchy, dense songwriting has placed him firmly among the ranks of modern icons like Bill Callahan, Kurt Vile, Sharon Van Etten, Will Oldham, and Jeff Tweedy. Each Morby record possesses its own unique persona and explores intriguing themes and fertile terrain through shifting, focused textures and dexterous, dedicated skill. And now, with the lavish, resplendent, career-best double LP Oh My God, Morby delivers a grandiose director’s cut of his biggest statement to date, epic in scope as well as sound.

Throughout his past work, Morby has noticed the ubiquity of an apparent religious theme. Though not identifying as “religious”, Morby—the globetrotting son of Kansas City who has made music while living on both coasts before recently returning to his Midwestern stomping grounds—recognizes in himself a somewhat spiritual being with a secular attitude towards the soulful. And so, in an effort to tackle that notion head-on and once-and-for-all, he sat down in his form of church—on planes and in beds—and wrote what would become his first true concept album. “This one feels full circle, my most realized record yet,” says Morby. “It’s a cohesive piece; all the songs fit under the umbrella of this weird religious theme. I was able to write and record the album I wanted to make. It’s one of those marks of a life: this is why I slept on floors for seven years. I’ve now gotten the keys to my own little kingdom, and I’m devoting so much of my life to music that I just want to keep it interesting.”

Morby admits he has viewed the world through a skewed spiritual lens his entire life. As a kid he was told by his working-class parents that he was a Methodist, though the family rarely if ever made good on that claim come Sunday, and he saw fire-and-brimstone billboards on Kansas roadways with the aim of scaring heathens straight. Despite his ignorance and indifference, religion seemed to be everywhere, and as Morby grew as a musician—playing bass for Woods, fronting The Babies, and with his solo career—he embraced its influence with his work. In 2016, on the heels of a trio of critically-acclaimed albums, he wrote the protest song “Beautiful Strangers” about the devastating world events of that year, and in it he inserted multiple “oh my god”s as pleas of desperation. The song became his most celebrated work to date and the phrase became a mantra for Morby, inspiring him to weave the exclamation conceptually into the fabric of an entire album. In effect, he sought to highlight how that immortal turn of phrase embodies so much of our relationship with the sacred and profane—how religion is all around us, always, and that by simply uttering an OMG we enforce its ubiquity and ability to endure while humanizing its reach.

“Religion is around all of us,” Morby says. “It’s a universal language and there is profound beauty in it. I’ve found it a useful tool within songwriting, as it’s something everyone can relate to on some level. There are religious themes or imagery in a lot of what I’ve done, so I wanted to get all of that out and speak only that language for a whole record. It’s not a born-again thing; it’s more that ‘oh my god’ is such a profound statement we all use multiple times a day and means so many different things. It’s not about an actual god but a perceived one, and it’s an outsider’s view of the human experience in terms of religion.”

In January 2017, preceding the release of his fourth solo record City Music, Morby went into producer Sam Cohen’s Brooklyn studio for four days to record a handful of material written with his usual folk-meets-lo-fi-electric-guitar sound in mind. Cohen, with whom Morby made his 2016 breakthrough Singing Saw, had started recording the new songs with a business-as-usual mentality when on the third day he was struck with an idea: Rather than create what was becoming Singing Saw: Part 2, what if they stripped everything back and instead of the entire Morby rock palette used only a few colors at a time, focusing on Morby as hyper-literate singer instead of guitar-slinging troubadour?

“Sam suggested that we make songs that sound like sonic pop-art that only have a few colors, like a Keith Haring piece,” Morby says. “My other records had tons of colors, so we decided to keep this stark, like a painting that’s black-and-white with one vibrant blue. We went back to the drawing board and thought about what we wanted to do conceptually across an entire piece. And for the first time I could do exactly what I wanted, as I had time and the ability to get everything precise. Sam encouraged me to let my lyrics sit on top of everything else, and that discovery and the confidence that came with making my fifth record helped me realize the new direction was exactly where we needed to be. We opened it up completely and set out to make something in its own universe.”

Over the remaining day-and-a-half, Morby and Cohen recorded new versions of four songs—“Oh My God,” “No Halo,” “Savannah,” and “Nothing Sacred/All Things Wild,” the latter becoming a mission statement for the new sound and featuring Morby singing, Cohen playing a subtle organ part, and Morby’s drummer Nick Kinsey on congas. Breaking the songs down into their separate parts served Morby’s religious theme perfectly, as did the blueprint of “Beautiful Strangers,” a song that would serve as a skeleton key of sorts for everything that was to come. Over the course of 2017, he wrote an album’s worth of songs modeled after “Strangers” while on tour.

As Morby jetted around the world playing shows, he came to realize that all that air travel was making its way into his music, too. He had always used his time in the sky to work on songs and listen to demos he had recorded, but he began noticing an aero-dynamic emerging in his lyrics as well. “Flying can be something of a religious experience for many people, myself included,” he says. “It’s unnatural, and it can be so scary being that high up—a few big bumps can even make an atheist pray. You’re anxious as you take off and thinking about death, then you level off and suddenly you’re in this kingdom above the clouds. There’s a holy feeling, and a big part of the record’s theme is being above the weather. The first song, ‘Oh My God,’ starts with chaotic hammering on a piano and then smooths out with a choir singing; it’s meant to mimic how I feel on an airplane.”

All that flying also meant Morby was sleeping in a new place each night, a situation he also learned to embrace creatively—most of Oh My God’s songs were written from beds. Morby typically starts and ends each day by playing guitar or writing songs while under the covers, a practice that mimics prayer in myriad ways. “There’s something sacred about working from bed,” he says. “It’s where you make love and where you dream. I always write just before I go to sleep and right when I wake up. It’s where I can access that feeling of dreams. Any bed is always a sanctuary, but my bed at home is the Holy Grail.”

Morby sought to represent these sentiments visually for the release of Oh My God. In addition to using a portrait of him reclining in his own fluffy-white bed at home in Kansas City on the album cover, he also worked with the filmmaker Chris Good on a short film to accompany the release. The film stars Morby as he wanders through a dream-like series of encounters—on planes, in cars, in a diner, at home in his back yard—and presents a Gondry-esque vision of the album and its holy mood.

Meanwhile, in January of 2018, a full year after their initial session, Morby and Cohen returned to the studio together to complete the album’s recording. They fine-tuned the rollicking opening trio—starting with the title track, then first single “No Halo,” and “Nothing Sacred/All is Wild”— and played with various styles and techniques throughout. The ethereal “Congratulations” was written in a dream, a first for Morby. (“Someone had been singing the chorus to me over and over, and I woke up in the morning and walked to my piano and wrote it then and there.”) “Seven Devils” features a ripping guitar solo by Morby’s bandmate Meg Duffy that evokes a distorted hellfire, and “Piss River” is a stream-of-consciousness, poetic and profound tune featuring harp played by Morby’s friend Mary Lattimore while the singer has a call-and-response conversation with himself. Saxophone duties throughout the record were handled largely by Cochemea Gastelum, and a seven-member choir appears as well. Morby directed Cohen in the creation of a track called “Storm (Beneath the Weather),” a 90-second ambient instrumental piece made with synthesizers to mimic what it can feel like under the clouds. “Above the weather, you’re safe and nothing can get to you; it’s heavenly, like you achieved peace,” Morby says. “Below that you’re subject to the insanity of humanity, or Mother Nature. I wanted a weird, atonal sound on the record to represent a storm, which feels in-line with the pop-art idea.”

“Hail Mary” may be the album’s grandest moment and is recognizable as one of the few guitar-driven songs that hearkens back to his previous work. Its heavy scope is still apparent despite the fact that Morby and Cohen edited it down from its original 15-minute-long, multiple-verse version into a concise five minutes and three verses. And as the final song, “O Behold,” makes a familiar, just-in-case farewell from an airplane seat (“If the plane’s on fire/know I love you”), the listener can sense the credits rolling as the clouds begin to break, grips loosen, and the kingdom comes into view. At 14 tracks and four sides, Oh My God is an actualized concept album with a contemporary feel that is sure to find itself on the shelf next to classic double-LPs like Blonde on Blonde, Exile on Main St, London Calling, and Zen Arcade with its maker planted firmly in a window seat at the front of the plane. Morby has graduated from the DIY beginnings and warehouse shows of his early days to become an admired, impassioned auteur who retains firm control of his vision as his stages only continue to grow. “At the end of the day,” says Morby, “the only thing I don’t want is to be bored. If someone wants to get in my face about writing a non-religious religious record? Thank god. That’s all I gotta say.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190515T200934Z X-ACCESS:1 X-HITS:1930 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190518T200000 DTEND;TZID=America/Denver:20190518T233000 UID:65F121C1-7C5E-42FC-B886-92C85FE90FA5 SUMMARY:Triggers & Slips DTSTAMP:20190311T222107Z DESCRIPTION:“Triggers & Slips Presents a Tribute to Alice in Chains"\NMost people when they hear the music of Triggers & Slips, it’s obvious that classic country, honky-tonk, and the heavy hitting songwriters who spent the 60’s, 70’s and 80’s in and out of places like Nashville, Austin, and San Francisco are their main influences. But as you continue to listen, and especially when you get to hear them in a live music venue, other elements appear. Different influences that veer from what you’d expect. Soon you’ll hear that they are not just a country band, and that they also incorporate elements from 90’s Rock bands like Blind Melon, Nirvana, Stone Temple Pilots, Sound Garden, but especially -Alice in Chains. The strong songwriting, un-rivaled vocal harmonies, and heavy hitting lyrics have been a monumental influence on the sound and style of Triggers & Slips.\NJoin us May 18th to hear Salt Lake City’s own Triggers & Slips pay homage to the music and songs of Alice In Chains while raising awareness and money to help fight the Opioid Epidemic plaguing our community. Triggers & Slips has been a staple in the Salt Lake music scene for almost 10 years, and have been developing their unique take on Soulful Country, Honky Tonk, and Rock.\NAlthough this is a homage to the "MTV Unplugged: Alice in Chains (Live)" released in 1996, don’t expect this to be a note for note recreation. Triggers & Slips have been hard at work adapting the songs to their own unique style and putting together a 6 piece band who will perform these songs with stripped down acoustic instruments like the mandolin, acoustic guitar, piano, and upright bass. Also, included will be a special second set that will feature songs from other artists of the same era as Alice In Chains, who have had members impacted by mental illness, addiction, and suicide. X-ALT-DESC;FMTTYPE=text/html:

“Triggers & Slips Presents a Tribute to Alice in Chains"

Most people when they hear the music of Triggers & Slips, it’s obvious that classic country, honky-tonk, and the heavy hitting songwriters who spent the 60’s, 70’s and 80’s in and out of places like Nashville, Austin, and San Francisco are their main influences. But as you continue to listen, and especially when you get to hear them in a live music venue, other elements appear. Different influences that veer from what you’d expect. Soon you’ll hear that they are not just a country band, and that they also incorporate elements from 90’s Rock bands like Blind Melon, Nirvana, Stone Temple Pilots, Sound Garden, but especially -Alice in Chains. The strong songwriting, un-rivaled vocal harmonies, and heavy hitting lyrics have been a monumental influence on the sound and style of Triggers & Slips.

Join us May 18th to hear Salt Lake City’s own Triggers & Slips pay homage to the music and songs of Alice In Chains while raising awareness and money to help fight the Opioid Epidemic plaguing our community. Triggers & Slips has been a staple in the Salt Lake music scene for almost 10 years, and have been developing their unique take on Soulful Country, Honky Tonk, and Rock.

Although this is a homage to the "MTV Unplugged: Alice in Chains (Live)" released in 1996, don’t expect this to be a note for note recreation. Triggers & Slips have been hard at work adapting the songs to their own unique style and putting together a 6 piece band who will perform these songs with stripped down acoustic instruments like the mandolin, acoustic guitar, piano, and upright bass. Also, included will be a special second set that will feature songs from other artists of the same era as Alice In Chains, who have had members impacted by mental illness, addiction, and suicide.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190501T214954Z X-ACCESS:1 X-HITS:3627 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190531T210000 DTEND;TZID=America/Denver:20190531T233000 UID:D673218C-C1AD-4526-A6B0-C6EFD0725E4F SUMMARY:Jared & The Mill DTSTAMP:20190103T185149Z DESCRIPTION:We’re 5 best friends from AZ. We love the desert, we love our city, its people, and we love each other. We love long drives, early mornings, late nights, dive bars, carne asada Tacos at 3 am, dirty jokes, and asking each other what we think about things.\NWe’re just as likely to get down on Simon & Garfunkel and Bob Dylan as we are Van Halen, and Kendrick Lamar. We love dogs, we love our van, we love playing together, and we love you – it’s true.\NFor the past few years, we’ve pretty much always been on tour, hitting the road on our own, with fellow bands, and have been lucky enough to open for a few heroes. From living rooms and basement clubs, to theaters and arenas, we just love playing shows, and being on the road. X-ALT-DESC;FMTTYPE=text/html:

We’re 5 best friends from AZ. We love the desert, we love our city, its people, and we love each other. We love long drives, early mornings, late nights, dive bars, carne asada Tacos at 3 am, dirty jokes, and asking each other what we think about things.

We’re just as likely to get down on Simon & Garfunkel and Bob Dylan as we are Van Halen, and Kendrick Lamar. We love dogs, we love our van, we love playing together, and we love you – it’s true.

For the past few years, we’ve pretty much always been on tour, hitting the road on our own, with fellow bands, and have been lucky enough to open for a few heroes. From living rooms and basement clubs, to theaters and arenas, we just love playing shows, and being on the road.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190515T164310Z X-ACCESS:1 X-HITS:2008 X-URL:https://www.ticketfly.com/purchase/event/1788346/tfly X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190601T210000 DTEND;TZID=America/Denver:20190601T233000 UID:D6210353-F165-44B9-8A86-72C720966158 SUMMARY:Bear's Den - Moved to The Commonwealth Room DTSTAMP:20190205T232427Z DESCRIPTION:This show has been moved to The Commonwealth Room.\N\N***\NHello friends, Davie and Kev here.\NWe wanted to write you a note to tell you about what we’ve been up to over the year or so - we’ve been working on a new album, written mainly in an old church in North London and recorded in the wonderful city of Seattle; it’s called 'So that you might hear me'and it comes out on April 26th.\NWe’re also going on tour again from April, in the UK, Europe, Canada and the USA, something we’ve been missing terribly - we can’t wait to get out on the road and play music again!\NIf you want to pre-order the album now on CD or 12” vinyl you can do so from us on bearsdenmusic.co.uk - we’ll sign it and you’ll also get access to the pre-sale for our upcoming tour dates - these will go on sale on Wednesday, February 6th at 10am, 2 days before they go on general sale.\NWe’ve also created an individual piece of artwork for every track on the record, each vinyl pre-ordered via the store will come with one of these special mystery 12” bonus prints.\NThis album means a lot to us personally, we are super proud of it and SO excited for you to hear it, so much so that we’re sharing two tracks from the album NOW - they’re called 'Fuel on the Fire'and ‘Blankets of Sorrow’ and you can listen to them here.\NWe’ve launched a new facebook group if you want to share your thoughts about the songs, tour, or anything else - we’ll be on there too from time to time to say hi, we want to hear from you, we wanna see you all at shows - it’s all just been too long!\NWe couldn’t do what we do without you all, thanks so much for your ongoing love and support, hope you like the new songs and see you at a show soon!\NLove, The Den xxx X-ALT-DESC;FMTTYPE=text/html:This show has been moved to The Commonwealth Room.***

Hello friends, Davie and Kev here.

We wanted to write you a note to tell you about what we’ve been up to over the year or so - we’ve been working on a new album, written mainly in an old church in North London and recorded in the wonderful city of Seattle; it’s called 'So that you might hear me'and it comes out on April 26th.

We’re also going on tour again from April, in the UK, Europe, Canada and the USA, something we’ve been missing terribly - we can’t wait to get out on the road and play music again!

If you want to pre-order the album now on CD or 12” vinyl you can do so from us on bearsdenmusic.co.uk - we’ll sign it and you’ll also get access to the pre-sale for our upcoming tour dates - these will go on sale on Wednesday, February 6th at 10am, 2 days before they go on general sale.

We’ve also created an individual piece of artwork for every track on the record, each vinyl pre-ordered via the store will come with one of these special mystery 12” bonus prints.

This album means a lot to us personally, we are super proud of it and SO excited for you to hear it, so much so that we’re sharing two tracks from the album NOW - they’re called 'Fuel on the Fire'and ‘Blankets of Sorrow’ and you can listen to them here.

We’ve launched a new facebook group if you want to share your thoughts about the songs, tour, or anything else - we’ll be on there too from time to time to say hi, we want to hear from you, we wanna see you all at shows - it’s all just been too long!

We couldn’t do what we do without you all, thanks so much for your ongoing love and support, hope you like the new songs and see you at a show soon!

Love, The Den xxx

LOCATION:195 W 2100 S\, South Salt Lake\, Utah 84190\, USA GEO:40.72535200;-111.89425067 LAST-MODIFIED:20190416T161711Z X-ACCESS:1 X-HITS:1737 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190601T210000 DTEND;TZID=America/Denver:20190601T233000 UID:316FD07C-47FA-4100-92DC-B3683B2A6334 SUMMARY:The Garcia Project DTSTAMP:20190417T182044Z DESCRIPTION:The Garcia Project is the only nationally touring Jerry Garcia Band tribute that performs full, classic Jerry Band set lists from 1976-1995.\NWe have been called by many, "the DSO of JGB”. With proper, era-specific equipment and arrangements, The Garcia Project brings the fans back in time to relive the classic Jerry Garcia Band concerts in their entirety.\NGuitarist Mik Bondy has ben gifted with two Jerry Garcia replica guitars and has spent years building a replica guitar rig. The band started in 2010 and has been touring the east and west coasts for the last five years with great success. X-ALT-DESC;FMTTYPE=text/html:

The Garcia Project is the only nationally touring Jerry Garcia Band tribute that performs full, classic Jerry Band set lists from 1976-1995.

We have been called by many, "the DSO of JGB”. With proper, era-specific equipment and arrangements, The Garcia Project brings the fans back in time to relive the classic Jerry Garcia Band concerts in their entirety.

Guitarist Mik Bondy has ben gifted with two Jerry Garcia replica guitars and has spent years building a replica guitar rig. The band started in 2010 and has been touring the east and west coasts for the last five years with great success.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190422T165127Z X-ACCESS:1 X-HITS:3273 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190608T210000 DTEND;TZID=America/Denver:20190608T233000 UID:0F78C782-C717-4DFA-B2B2-41B076A04B8D SUMMARY:Poor Man's Whiskey DTSTAMP:20190318T224600Z DESCRIPTION:This show will feature a set of original Nor Cal hoe downs and an extended second set of PMW's favorite Allman Brothers tunes!\NNorthern California’s outlaw music bards bring a reputation for high-energy live shows and an incomparable fusion of bluegrass/old time, southern rock, and old school jam to stages and festivals worldwide. Poor Man’s Whiskey has been growing exponentially in the past 5 years selling out venues across the country such as the legendary Fillmore in SF.This “High-Octane Hootenanny” will certainly delight those interested in a foot-stompin good time. Poor Man’s Whiskey has evolved into a ragged, spontaneous beast pulling from equally deep wells of story-telling originals, expertly crafted covers and zany on-stage shenanigans. PMW has released 6 studio albums and have a stunning repertoire to choose songs from creating a new show every night. In addition to their upbeat original sets Poor Man’s Whiskey have developed special late night “tribute sets” with their original bluegrass/americana twists which include “Dark Side of the Moonshine” (bluegrass interpretation of the classic Pink Floyd album) , “Graceland” (tribute to the classic Paul Simon album),  “Old and In the Way”,  “Tribute to Allman Brothers Band”, and “Tribute to Kate Wolf”.  Crowds of all ages will sing, dance and have a good time!\NNotable festivals and shows: Hardly Strictly Bluegrass Festival, Byron Bay Blues and Roots Music Festival (Australia), High Sierra Music Festival, Wakarusa Music Festival, Yonder Mountain Harvest Festival, Kate Wolf Music Festival, Phases of the Moon, Hillside Music Festival (Canada), Evolve Festival, (Canada) Harmony Festival, Strawberry Music Festival, Dead on the Creek, 4 Peaks Music Festival, Joshua Tree Music Festival, The Summer Meltdown, Las Tortugas, Lohi Music Festival, Telluride Bluegrass Festival (band competition finalists), Salmonstock Music Festival, String Cheese’s Horning’s Hideout, Multiple sell out shows at the Fillmore San Francisco, and many many more. X-ALT-DESC;FMTTYPE=text/html:

This show will feature a set of original Nor Cal hoe downs and an extended second set of PMW's favorite Allman Brothers tunes!

Northern California’s outlaw music bards bring a reputation for high-energy live shows and an incomparable fusion of bluegrass/old time, southern rock, and old school jam to stages and festivals worldwide. Poor Man’s Whiskey has been growing exponentially in the past 5 years selling out venues across the country such as the legendary Fillmore in SF.This “High-Octane Hootenanny” will certainly delight those interested in a foot-stompin good time. Poor Man’s Whiskey has evolved into a ragged, spontaneous beast pulling from equally deep wells of story-telling originals, expertly crafted covers and zany on-stage shenanigans. PMW has released 6 studio albums and have a stunning repertoire to choose songs from creating a new show every night. In addition to their upbeat original sets Poor Man’s Whiskey have developed special late night “tribute sets” with their original bluegrass/americana twists which include “Dark Side of the Moonshine” (bluegrass interpretation of the classic Pink Floyd album) , “Graceland” (tribute to the classic Paul Simon album),  “Old and In the Way”,  “Tribute to Allman Brothers Band”, and “Tribute to Kate Wolf”.  Crowds of all ages will sing, dance and have a good time!

Notable festivals and shows: Hardly Strictly Bluegrass Festival, Byron Bay Blues and Roots Music Festival (Australia), High Sierra Music Festival, Wakarusa Music Festival, Yonder Mountain Harvest Festival, Kate Wolf Music Festival, Phases of the Moon, Hillside Music Festival (Canada), Evolve Festival, (Canada) Harmony Festival, Strawberry Music Festival, Dead on the Creek, 4 Peaks Music Festival, Joshua Tree Music Festival, The Summer Meltdown, Las Tortugas, Lohi Music Festival, Telluride Bluegrass Festival (band competition finalists), Salmonstock Music Festival, String Cheese’s Horning’s Hideout, Multiple sell out shows at the Fillmore San Francisco, and many many more.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190513T194412Z X-ACCESS:1 X-HITS:2195 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190614T210000 DTEND;TZID=America/Denver:20190614T233000 UID:0773BFEC-6D43-4A10-A593-58D8F0020F50 SUMMARY:Hectic Hobo 10 Year Anniversary + Album Release DTSTAMP:20190513T175326Z DESCRIPTION:On June 14, Hectic Hobo, along with several special guests will recount 10 amazing years of making music together, as well as releasing their 5th full-length album, Master & Slave.\NCome listen to an anthology of old songs and new, and hear the band tell stories from 10 wild years of playing and touring together. X-ALT-DESC;FMTTYPE=text/html:

On June 14, Hectic Hobo, along with several special guests will recount 10 amazing years of making music together, as well as releasing their 5th full-length album, Master & Slave.

Come listen to an anthology of old songs and new, and hear the band tell stories from 10 wild years of playing and touring together.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190514T190816Z X-ACCESS:1 X-HITS:2789 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190615T210000 DTEND;TZID=America/Denver:20190615T233000 UID:DF3229EC-49B1-45CF-9719-0D6CBA9181AA SUMMARY:Futurebirds DTSTAMP:20190425T214542Z DESCRIPTION:The music is a patchwork amalgam of influences, including: twangy Southern rock (they've opened for the Drive-By Truckers), reverb-soaked psychedelia reminiscent of early My Morning Jacket or fellow Athens residents Phosphorescent, soaring guitar solos à la Neil Young and Crazy Horse, rhythmic jangle from that other Athens band, REM, multi-part vocal harmonies (which every band ought to have, dammit), and, weaving through it all, lyrical slide guitar. X-ALT-DESC;FMTTYPE=text/html:

The music is a patchwork amalgam of influences, including: twangy Southern rock (they've opened for the Drive-By Truckers), reverb-soaked psychedelia reminiscent of early My Morning Jacket or fellow Athens residents Phosphorescent, soaring guitar solos à la Neil Young and Crazy Horse, rhythmic jangle from that other Athens band, REM, multi-part vocal harmonies (which every band ought to have, dammit), and, weaving through it all, lyrical slide guitar.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190612T160858Z X-ACCESS:1 X-HITS:3210 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190626T200000 DTEND;TZID=America/Denver:20190626T233000 UID:E8F1C80A-51E6-47F8-9908-A182616D00D5 SUMMARY:Turkuaz DTSTAMP:20190318T171349Z DESCRIPTION:Drip painting entails actively splashing myriad colors on canvas. Popularized by Jackson Pollock, Janet Sobel, Max Ernst, and other 20th century luminaries, the artform itself relies on action and motion. In similar fashion, energetic splashes of funk, alternative, rock, R&B, and psychedelia color the music of Turkuaz. Balancing male-female harmonies, strutting guitars, wild horn arrangements, and interminable grooves, this spirit takes shape in the color donned by each respective member on stage nightly via larger-than-life performances. The Brooklyn-based nonet—Dave Brandwein [guitar, vocals], Taylor Shell [bass], Craig Brodhead [guitar, keys], Michelangelo Carubba [drums], Chris Brouwers [trumpet, keys], Greg Sanderson [tenor sax], Josh Schwartz [baritone sax, vocals], Sammi Garett [vocals], and Shira Elias [vocals]—ignite an explosion of energy punctuated by neon hues, deft musicality, and show-stopping singalongs on their fifth full-length album, Life In The City.“Turkuaz is made up of individuals, each their own shade of the color spectrum,” explains Dave. “Each person brings a signature style and embodies his or her own color. The respective auras come together to create our sound. The name itself implies that vibrancy, but it’s a different spin on turquoise. In the same way, we put a different spin on groove-oriented music by telling stories that you wouldn’t normally associate with funk.” Since emerging in 2011 with their self-titled debut, the group have quietly animated a movement. Touring incessantly in support of four full-length studio albums and three official live releases, they’ve lit up stages everywhere from Bonnaroo, Hulaween, Okeechobee, Electric Forest, and Mountain Jam to Telluride Jazz, High Sierra, and Lock’n, in between gracing stages at legendary spots such as Red Rocks, Terminal 5, and The Fillmore, to name a few. Among numerous critical plaudits, The New Yorker claimed, “This Brooklyn-based nine-piece delivers horn-filled funk incorporating elements of R&B, psychedelic pop, gospel, Afro-pop, New Wave, classic rock, and just about any genre that gets people dancing.” Most recently, 2015’s Digitonium yielded fan favorites such as “Nightswimming” and “European Festivity Nightmare” and generated over 1 million-plus cumulative streams. When it came time to commence work on Life In The City, the musicians switched up the flow and took a different approach.“We did Digitonium in a short period of time and created a concept based on The Sword in the Stone,” says Dave. “We sifted through a lot more material for Life In The City. We threw all of the paint on the canvas. There was more collaboration in the writing. Some members who hadn’t participated before brought ideas to the table. We didn’t have anything road-mapped. In that respect, it was exploratory as far as who we are sonically. The same goes for the lyrics. Beyond the turmoil in current events and the world, I was going through some difficult challenges in my personal life. So, Life In The City is more based in reality and the experience I’ve lived in the past few years than a fantasy like the last record. The city is representative of modern life and all of these distractions we face day to day.”In order to capture that vision, they first recorded at More Sound in Upstate New York before moving to Dave’s own newly relocated Galaxy Smith Studios in Brooklyn. Avowed fans of the Stop Making Sense film, they tapped Jerry Harrison of Talking Heads to produce standalone single “On The Run” and album track “If I Ever Fall Asleep” at The Bunker Studios.“I’m extremely hands-on, so it was a growth experience to see someone else’s take on the band,” adds Dave. “Overall, Jerry made us as a band think about things we wouldn’t have otherwise. It was really beneficial.”"The group officially introduce the album with the first single and title track “Life In The City.” Funkified guitars wrap around otherworldly synths and rapturous horns as the words “Blind in the spotlight” glare.“That line stands out to me,” Dave continues. “There’s so much stimulus in the city and in modern life in general. So much is going on. Light is constantly shined on what we do, how we act, social media, and the urban hustle and bustle that we’re blind to what’s really going on underneath. That line sums up what the song is about. We’re not able to take a breath and experience the simplicity of reality anymore. We forget to be who we really are.”A collaborative effort with several band members, the swaggering cry of “Lady Lovely” tells an intergalactic horror story disguised as cross-species romance, complete with “creature” giggles from the song’s vocalist Josh Schwartz. Schwartz also co-wrote “If I ever Fall Asleep,” portraying the “paranoid ramblings of an insomniac holed up in his apartment.”Punctuated by robust horns, “Superstatic” illuminates another side of Turkuaz as it touts lyrics “about letting go and having fun for a minute.” Meanwhile, on the more personal side, upbeat delivery and synth squeals underscore a poignant admission for Dave on “The One and Lonely.”“It’s about kicking a lot of habits and stepping away from vices,” he admits. “The song highlights the struggle I had with substances and alcohol as well as the process I went through trying to shed the struggle. Drinking and drug use is a huge part of the road for most bands. It got to a point where it was too much for me though. This album documents me taking a step back and saying, ‘I want to live for a long time. I want to stop and take in what’s actually happening to me—not just party all the time.’”It’s that honesty that has reinvigorated how far down the line the band has its sights set. And even in the midst of serious subject matter creeping in on this album, the musicianship of all nine band members and the group’s upbeat, fun-loving sensibility still shines through to give Turkuaz fans the joyous sound they’ve come to know over the last several years.“I would love for our music to be a bright spot in an otherwise dark world,” he leaves off. “You can come to our shows, let go, exist, and have a good time in spite of what may be going on outside. That’s what music does for us. We want to share that.” X-ALT-DESC;FMTTYPE=text/html:

Drip painting entails actively splashing myriad colors on canvas.

Popularized by Jackson Pollock, Janet Sobel, Max Ernst, and other 20th century luminaries, the artform itself relies on action and motion. In similar fashion, energetic splashes of funk, alternative, rock, R&B, and psychedelia color the music of Turkuaz. Balancing male-female harmonies, strutting guitars, wild horn arrangements, and interminable grooves, this spirit takes shape in the color donned by each respective member on stage nightly via larger-than-life performances.

The Brooklyn-based nonet—Dave Brandwein [guitar, vocals], Taylor Shell [bass], Craig Brodhead [guitar, keys], Michelangelo Carubba [drums], Chris Brouwers [trumpet, keys], Greg Sanderson [tenor sax], Josh Schwartz [baritone sax, vocals], Sammi Garett [vocals], and Shira Elias [vocals]—ignite an explosion of energy punctuated by neon hues, deft musicality, and show-stopping singalongs on their fifth full-length album, Life In The City.
“Turkuaz is made up of individuals, each their own shade of the color spectrum,” explains Dave. “Each person brings a signature style and embodies his or her own color. The respective auras come together to create our sound. The name itself implies that vibrancy, but it’s a different spin on turquoise. In the same way, we put a different spin on groove-oriented music by telling stories that you wouldn’t normally associate with funk.”
Since emerging in 2011 with their self-titled debut, the group have quietly animated a movement.

Touring incessantly in support of four full-length studio albums and three official live releases, they’ve lit up stages everywhere from Bonnaroo, Hulaween, Okeechobee, Electric Forest, and Mountain Jam to Telluride Jazz, High Sierra, and Lock’n, in between gracing stages at legendary spots such as Red Rocks, Terminal 5, and The Fillmore, to name a few. Among numerous critical plaudits, The New Yorker claimed, “This Brooklyn-based nine-piece delivers horn-filled funk incorporating elements of R&B, psychedelic pop, gospel, Afro-pop, New Wave, classic rock, and just about any genre that gets people dancing.”

Most recently, 2015’s Digitonium yielded fan favorites such as “Nightswimming” and “European Festivity Nightmare” and generated over 1 million-plus cumulative streams. When it came time to commence work on Life In The City, the musicians switched up the flow and took a different approach.
“We did Digitonium in a short period of time and created a concept based on The Sword in the Stone,” says Dave. “We sifted through a lot more material for Life In The City. We threw all of the paint on the canvas. There was more collaboration in the writing. Some members who hadn’t participated before brought ideas to the table. We didn’t have anything road-mapped. In that respect, it was exploratory as far as who we are sonically. The same goes for the lyrics. Beyond the turmoil in current events and the world, I was going through some difficult challenges in my personal life. So, Life In The City is more based in reality and the experience I’ve lived in the past few years than a fantasy like the last record. The city is representative of modern life and all of these distractions we face day to day.”

In order to capture that vision, they first recorded at More Sound in Upstate New York before moving to Dave’s own newly relocated Galaxy Smith Studios in Brooklyn. Avowed fans of the Stop Making Sense film, they tapped Jerry Harrison of Talking Heads to produce standalone single “On The Run” and album track “If I Ever Fall Asleep” at The Bunker Studios.

“I’m extremely hands-on, so it was a growth experience to see someone else’s take on the band,” adds Dave. “Overall, Jerry made us as a band think about things we wouldn’t have otherwise. It was really beneficial.”
"
The group officially introduce the album with the first single and title track “Life In The City.” Funkified guitars wrap around otherworldly synths and rapturous horns as the words “Blind in the spotlight” glare.

“That line stands out to me,” Dave continues. “There’s so much stimulus in the city and in modern life in general. So much is going on. Light is constantly shined on what we do, how we act, social media, and the urban hustle and bustle that we’re blind to what’s really going on underneath. That line sums up what the song is about. We’re not able to take a breath and experience the simplicity of reality anymore. We forget to be who we really are.”
A collaborative effort with several band members, the swaggering cry of “Lady Lovely” tells an intergalactic horror story disguised as cross-species romance, complete with “creature” giggles from the song’s vocalist Josh Schwartz. Schwartz also co-wrote “If I ever Fall Asleep,” portraying the “paranoid ramblings of an insomniac holed up in his apartment.”
Punctuated by robust horns, “Superstatic” illuminates another side of Turkuaz as it touts lyrics “about letting go and having fun for a minute.” Meanwhile, on the more personal side, upbeat delivery and synth squeals underscore a poignant admission for Dave on “The One and Lonely.”
“It’s about kicking a lot of habits and stepping away from vices,” he admits. “The song highlights the struggle I had with substances and alcohol as well as the process I went through trying to shed the struggle. Drinking and drug use is a huge part of the road for most bands. It got to a point where it was too much for me though. This album documents me taking a step back and saying, ‘I want to live for a long time. I want to stop and take in what’s actually happening to me—not just party all the time.’”
It’s that honesty that has reinvigorated how far down the line the band has its sights set. And even in the midst of serious subject matter creeping in on this album, the musicianship of all nine band members and the group’s upbeat, fun-loving sensibility still shines through to give Turkuaz fans the joyous sound they’ve come to know over the last several years.
“I would love for our music to be a bright spot in an otherwise dark world,” he leaves off. “You can come to our shows, let go, exist, and have a good time in spite of what may be going on outside. That’s what music does for us. We want to share that.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190624T154835Z X-ACCESS:1 X-HITS:2648 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190716T183000 DTEND;TZID=America/Denver:20190716T223000 UID:FFAF5665-1D37-411B-BE40-7FC24214222B SUMMARY:The River Speaks Plainly DTSTAMP:20190627T182328Z DESCRIPTION:Municipal Ballet Co. and Pixie and the Partygrass Boys will be back on stage together again with their production of "The River Speaks Plainly," a ballet inspired by stories of the Colorado River, narrated by Colby Frazier. This collaboration premiered in August of 2018, selling out every performance, and so they are presenting it again this year. Our July 16th performance at The State Room, will be followed by a set of music by Pixie and the Partygrass Boys!\NTuesday, July 16th at The State Room. Ages 21+. Doors at 6:30pm, show at 7:30pm. X-ALT-DESC;FMTTYPE=text/html:

Municipal Ballet Co. and Pixie and the Partygrass Boys will be back on stage together again with their production of "The River Speaks Plainly," a ballet inspired by stories of the Colorado River, narrated by Colby Frazier. This collaboration premiered in August of 2018, selling out every performance, and so they are presenting it again this year. Our July 16th performance at The State Room, will be followed by a set of music by Pixie and the Partygrass Boys!

Tuesday, July 16th at The State Room. Ages 21+. Doors at 6:30pm, show at 7:30pm.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190702T163903Z X-ACCESS:1 X-HITS:1711 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190719T210000 DTEND;TZID=America/Denver:20190719T233000 UID:708516B1-67BF-4F6E-9113-6A2A2A1618B0 SUMMARY:Bob Schneider DTSTAMP:20190325T162917Z DESCRIPTION:One of Austin’s most celebrated musicians, Bob Schneider, is set to release his new album, Blood and Bones - his 7th studio album since his 2001 solo debut Lonelyland - on June 8th via his Shockorama Records imprint. Blood and Bones captures Schneider at a unique, and distinct, place. “Most of the songs are about this phase of my life,” he admits. “I’m re-married, I have a 2-year-old baby daughter who was born over two months premature because my wife had life threatening preeclampsia. So dealing with that traumatic event while getting older and looking at death in a realistic, matter of fact way, experiencing the most joy I’ve ever experienced along with feelings of utter despondency in a way that would have been impossible to experience earlier in my life, all comes out in the songs. My relationship with my wife is the longest committed relationship I’ve ever been in, so there was a lot of unchartered territory there to write about.”\NThe songs on Blood and Bones reflect this. Recorded quickly with producer Dwight Baker, who has worked with Schneider on 6 of his previous releases, the album highlights the chemistry that Schneider and his backing band of Austin’s very best musicians have developed while relentlessly playing live, most notably at the monthly residency Schneider has held at Austin’s Saxon Pub for the last 19 years. “I didn't want to overthink the songs,” Schneider says. “I really respect Dwight’s ability to make great calls when it comes to what works and isn't working when we are recording the songs. I felt pretty good about the quality of the songwriting, so I figured that would come through in the end if we just went in and played them the way I do live.”\NWhile the performance and production are stellar, the songwriting finds Schneider in a particularly reflective mode. Sure, there are live favorites like “Make Drugs Get Money” and “Texaco” that will get even the most reserved crowds dancing. But more often the album finds Schneider reflecting on marriage, parenthood, and mortality. “I wish I could make you see how wonderful everything is most of the time, but I’m only blood and bones,” he sings on the title track, a meditation on the beauty and the limits of marriage. Later, on “Easy,” he tells his daughter “it’s always been a scary thing to do, to let my heart fall down into the endless blue, but it’s easy with you.” Through it all, there is a clear sense of mortality, of just how fleeting all of this is. “The hours and days stack up in the mirror,” he sings on “Hours and Days”. “We’re just snowmen waiting for the summer” he sings on “Snowmen”, before adding “we can’t bring them back, can’t bring nothing back.”\NOne thing Schneider has excelled at in his career is bringing audiences back. Though he has received little national press or major label support, he has managed to become one of the biggest acts in Austin, if not in Texas. His fans, who often discover him from being brought to his shows by their friends, are fiercely loyal. Many have attended dozens or even hundreds of shows. Thanks to these fans, Schneider has won more Austin Music Awards than any other musician, including Best Songwriter, Best Musician, and Best Male Vocals, rounding in at 54 total awards to date.\NIn retrospect, it appears inevitable that Bob Schneider would become an artist. He was born in Michigan and raised in Germany, where his father pursued a career as a professional opera singer. As a boy, Schneider studied piano and guitar, often performing at family parties and backing his father on drums at nightclubs throughout his youth in Germany and Texas. He went on to study art - his other primary passion and avocation - at the University of Texas El Paso, before moving to Austin and establishing himself as a musician. He performs relentlessly, creates new music compulsively, writes poetry, and regularly shows his visual art in galleries around Austin. With Blood and Bones, Schneider further cements his reputation as one of the most versatile, inventive, and engaging songwriters working today X-ALT-DESC;FMTTYPE=text/html:

One of Austin’s most celebrated musicians, Bob Schneider, is set to release his new album, Blood and Bones - his 7th studio album since his 2001 solo debut Lonelyland - on June 8th via his Shockorama Records imprint. Blood and Bones captures Schneider at a unique, and distinct, place. “Most of the songs are about this phase of my life,” he admits. “I’m re-married, I have a 2-year-old baby daughter who was born over two months premature because my wife had life threatening preeclampsia. So dealing with that traumatic event while getting older and looking at death in a realistic, matter of fact way, experiencing the most joy I’ve ever experienced along with feelings of utter despondency in a way that would have been impossible to experience earlier in my life, all comes out in the songs. My relationship with my wife is the longest committed relationship I’ve ever been in, so there was a lot of unchartered territory there to write about.”

The songs on Blood and Bones reflect this. Recorded quickly with producer Dwight Baker, who has worked with Schneider on 6 of his previous releases, the album highlights the chemistry that Schneider and his backing band of Austin’s very best musicians have developed while relentlessly playing live, most notably at the monthly residency Schneider has held at Austin’s Saxon Pub for the last 19 years. “I didn't want to overthink the songs,” Schneider says. “I really respect Dwight’s ability to make great calls when it comes to what works and isn't working when we are recording the songs. I felt pretty good about the quality of the songwriting, so I figured that would come through in the end if we just went in and played them the way I do live.”

While the performance and production are stellar, the songwriting finds Schneider in a particularly reflective mode. Sure, there are live favorites like “Make Drugs Get Money” and “Texaco” that will get even the most reserved crowds dancing. But more often the album finds Schneider reflecting on marriage, parenthood, and mortality. “I wish I could make you see how wonderful everything is most of the time, but I’m only blood and bones,” he sings on the title track, a meditation on the beauty and the limits of marriage. Later, on “Easy,” he tells his daughter “it’s always been a scary thing to do, to let my heart fall down into the endless blue, but it’s easy with you.” Through it all, there is a clear sense of mortality, of just how fleeting all of this is. “The hours and days stack up in the mirror,” he sings on “Hours and Days”. “We’re just snowmen waiting for the summer” he sings on “Snowmen”, before adding “we can’t bring them back, can’t bring nothing back.”

One thing Schneider has excelled at in his career is bringing audiences back. Though he has received little national press or major label support, he has managed to become one of the biggest acts in Austin, if not in Texas. His fans, who often discover him from being brought to his shows by their friends, are fiercely loyal. Many have attended dozens or even hundreds of shows. Thanks to these fans, Schneider has won more Austin Music Awards than any other musician, including Best Songwriter, Best Musician, and Best Male Vocals, rounding in at 54 total awards to date.

In retrospect, it appears inevitable that Bob Schneider would become an artist. He was born in Michigan and raised in Germany, where his father pursued a career as a professional opera singer. As a boy, Schneider studied piano and guitar, often performing at family parties and backing his father on drums at nightclubs throughout his youth in Germany and Texas. He went on to study art - his other primary passion and avocation - at the University of Texas El Paso, before moving to Austin and establishing himself as a musician. He performs relentlessly, creates new music compulsively, writes poetry, and regularly shows his visual art in galleries around Austin. With Blood and Bones, Schneider further cements his reputation as one of the most versatile, inventive, and engaging songwriters working today

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190617T165518Z X-ACCESS:1 X-HITS:4168 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190720T210000 DTEND;TZID=America/Denver:20190720T233000 UID:F8313FDE-CE4D-4336-B8BD-F1A04BE54EE6 SUMMARY:Pete Sands & The Drifters DTSTAMP:20190521T225630Z DESCRIPTION:Pete Sands was born and raised on the Navajo-Indian reservation in southern Utah. He began his music career in late 2009. After years of playing in coffee houses, corner stores, bars, and open mics.\NIn the fall of 2014 he released his debut EP "Dirt Dance Floor" under the name BLACKKISS. The music caught the ears of filmmakers and soon enough BLACKKISS was on the radar. His big break came when fellow musician and soon to be become friend, Whitey Morgan asked him to open his Salt Lake City show in 2016. \NSands soon entered the film industry in 2017 when he was cast as an actor in the season premiere of the hit television show “Yellowstone” produced by Paramount Studios. The show also ended up including music from Sands as well. Catching the eye and ear of the show’s creator, Taylor Sheridan (writer of Sicario, Hell or High Water, Wind River), soon he began mentoring Sands.\NIn 2018, Sands was requested to write his first screenplay by a major movie streaming service. He is currently in the process of writing an animated television show centered around a Native American world and he also continued his work on the hit tv show “Yellowstone”, with its second season set to premiere June 19, 2019.  \NAfter years of playing under the name "BLACKKISS, Sands decided to start a new chapter in his life and renamed his band "Pete Sands & the Drifters". The Drifters  are Steven Tabarez on Drums, Chris Aguilar on Lead Guitar, Nate Meredith on Bass, and on/off again steel pedal guitarist Ryan Hawthorne. Armed with a band and a new direction Sands embarked upon recording a new album titled "Thunder Roads" with a slew of new songs, some of which have already been included in some upcoming Hollywood films. An album with songs that range from Honky Tonk to Rock, Bluegrass to Rap, and ends with a huge Rock n Roll banger. The album also features guest spots from Oscar nominated writer/director Taylor Sheridan, world renowned actress Kelsey Asbillie, worldwide model/actress Kahara Hodges and one more special guest that you'll have to wait until the albums release to find out. \N"Pete Sands & the Drifters" will returning to perform at the legendary Salt Lake City, UT live music hot spot "The State Room" on July 20, 2019. This venue has played a huge vital role in helping many musicians showcase their talents as they grow beyond their expectations and Pete Sands is no exception. The State Room helped expose Sands to a wider and broader audience so we are proud to be returning to where it all began. Its gonna a rocking good night of music. So come on out and join in on the revolution. \NSome notable lives shows are opening for John Moreland, Two Car Garage, Matt Woods, Randy Rogers Band, The White Buffalo, HoneyHoney, and their all time favorite Whitey Morgan & the 78's. Pete Sands also works closely with Yelawolf, Shooter Jennings, and Joey Stylez. X-ALT-DESC;FMTTYPE=text/html:

Pete Sands was born and raised on the Navajo-Indian reservation in southern Utah. He began his music career in late 2009. After years of playing in coffee houses, corner stores, bars, and open mics.

In the fall of 2014 he released his debut EP "Dirt Dance Floor" under the name BLACKKISS. The music caught the ears of filmmakers and soon enough BLACKKISS was on the radar. His big break came when fellow musician and soon to be become friend, Whitey Morgan asked him to open his Salt Lake City show in 2016. 

Sands soon entered the film industry in 2017 when he was cast as an actor in the season premiere of the hit television show “Yellowstone” produced by Paramount Studios. The show also ended up including music from Sands as well. Catching the eye and ear of the show’s creator, Taylor Sheridan (writer of Sicario, Hell or High Water, Wind River), soon he began mentoring Sands.

In 2018, Sands was requested to write his first screenplay by a major movie streaming service. He is currently in the process of writing an animated television show centered around a Native American world and he also continued his work on the hit tv show “Yellowstone”, with its second season set to premiere June 19, 2019.  

After years of playing under the name "BLACKKISS, Sands decided to start a new chapter in his life and renamed his band "Pete Sands & the Drifters". The Drifters  are Steven Tabarez on Drums, Chris Aguilar on Lead Guitar, Nate Meredith on Bass, and on/off again steel pedal guitarist Ryan Hawthorne. Armed with a band and a new direction Sands embarked upon recording a new album titled "Thunder Roads" with a slew of new songs, some of which have already been included in some upcoming Hollywood films. An album with songs that range from Honky Tonk to Rock, Bluegrass to Rap, and ends with a huge Rock n Roll banger. The album also features guest spots from Oscar nominated writer/director Taylor Sheridan, world renowned actress Kelsey Asbillie, worldwide model/actress Kahara Hodges and one more special guest that you'll have to wait until the albums release to find out. 

"Pete Sands & the Drifters" will returning to perform at the legendary Salt Lake City, UT live music hot spot "The State Room" on July 20, 2019. This venue has played a huge vital role in helping many musicians showcase their talents as they grow beyond their expectations and Pete Sands is no exception. The State Room helped expose Sands to a wider and broader audience so we are proud to be returning to where it all began. Its gonna a rocking good night of music. So come on out and join in on the revolution. 

Some notable lives shows are opening for John Moreland, Two Car Garage, Matt Woods, Randy Rogers Band, The White Buffalo, HoneyHoney, and their all time favorite Whitey Morgan & the 78's. Pete Sands also works closely with Yelawolf, Shooter Jennings, and Joey Stylez.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190718T164848Z X-ACCESS:1 X-HITS:4797 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190802T200000 DTEND;TZID=America/Denver:20190802T233000 UID:A3CB777C-4DF5-46BD-9970-D046DD59076C SUMMARY:Asleep at the Wheel DTSTAMP:20190612T173954Z DESCRIPTION:“New Routes” the brand-new album by Asleep At the Wheel, marks both a new path forward and a nod to the freewheeling roots (get it?) of one of Texas’ most beloved bands. After a decade of collaborating on record with friends, including Willie Nelson on 2009’s Grammy Nominated “Willie and the Wheel” and in 2015 their critically acclaimed and Grammy winning tribute to the groundbreaking music of Western Swing pioneer Bob Wills, titled “Still the King”. With “New Routes” the Wheel has released their first album of new material in over a decade!\NWith a fresh new lineup, a bracing blend of original songs and vibrant cover material and some unanticipated new musical tangents, Asleep At the Wheel demonstrates convincingly it’s more relevant, enjoyable and musically nimble than any time in its 49 year history!\NThe 6’7” Benson has been the one constant in Asleep At the Wheel since the band’s founding in 1970 in Paw Paw, West Virginia. Since that time, more than 100 musicians have passed through the Wheel, but Benson remains the front man and the keeper of the vision, in the process racking up more than 25 albums, ten Grammy awards and literally millions of miles on the road.\N“It took me 60 years, but I’m doing what I’m meant to do—singing and playing and writing better than I ever have. A bandleader is just someone who gathers people around them to play the best music they can play. I just try and make the best decisions possible and kick some ass every night onstage.”\NKatie Shore follows in the long tradition of strong and talented female performers who have been an integral part of the band’s identity for decades. Shore says. “I always wanted to be in Asleep At the Wheel,” she said. “If you grew up in Fort Worth and played the fiddle, it was impossible not to know who the Wheel was. I feel part of a legacy, for sure.”\N“This was a chance to re-invent the Wheel,” said Benson. “These are creative folks who can add stuff. I’m just the bandleader, so if I don’t have contributions from everybody, then the Wheel doesn’t roll.”\NNew Routes, he said, “is a pure distillation of where the band is right now,” Benson declared. “It gives me the palette that I’ve always wanted,” he added. “To be in Asleep at the Wheel you gotta be able to play Bob Wills, Country music, Louis Jordan, Count Basie etc... Every night I’m excited to play music with this lineup” X-ALT-DESC;FMTTYPE=text/html:

“New Routes” the brand-new album by Asleep At the Wheel, marks both a new path forward and a nod to the freewheeling roots (get it?) of one of Texas’ most beloved bands. After a decade of collaborating on record with friends, including Willie Nelson on 2009’s Grammy Nominated “Willie and the Wheel” and in 2015 their critically acclaimed and Grammy winning tribute to the groundbreaking music of Western Swing pioneer Bob Wills, titled “Still the King”. With “New Routes” the Wheel has released their first album of new material in over a decade!

With a fresh new lineup, a bracing blend of original songs and vibrant cover material and some unanticipated new musical tangents, Asleep At the Wheel demonstrates convincingly it’s more relevant, enjoyable and musically nimble than any time in its 49 year history!

The 6’7” Benson has been the one constant in Asleep At the Wheel since the band’s founding in 1970 in Paw Paw, West Virginia. Since that time, more than 100 musicians have passed through the Wheel, but Benson remains the front man and the keeper of the vision, in the process racking up more than 25 albums, ten Grammy awards and literally millions of miles on the road.

“It took me 60 years, but I’m doing what I’m meant to do—singing and playing and writing better than I ever have. A bandleader is just someone who gathers people around them to play the best music they can play. I just try and make the best decisions possible and kick some ass every night onstage.”

Katie Shore follows in the long tradition of strong and talented female performers who have been an integral part of the band’s identity for decades. Shore says. “I always wanted to be in Asleep At the Wheel,” she said. “If you grew up in Fort Worth and played the fiddle, it was impossible not to know who the Wheel was. I feel part of a legacy, for sure.”

“This was a chance to re-invent the Wheel,” said Benson. “These are creative folks who can add stuff. I’m just the bandleader, so if I don’t have contributions from everybody, then the Wheel doesn’t roll.”

New Routes, he said, “is a pure distillation of where the band is right now,” Benson declared. “It gives me the palette that I’ve always wanted,” he added. “To be in Asleep at the Wheel you gotta be able to play Bob Wills, Country music, Louis Jordan, Count Basie etc... Every night I’m excited to play music with this lineup”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190802T151141Z X-ACCESS:1 X-HITS:2953 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190803T200000 DTEND;TZID=America/Denver:20190803T233000 UID:FEFAFCCE-61C2-47CF-BA4F-31E0A6CCE058 SUMMARY:Sister Sparrow & The Dirty Birds DTSTAMP:20190425T212526Z DESCRIPTION:Known far and wide as the impossibly big voiced leader of acclaimed soul collective Sister Sparrow & The Dirty Birds, singer Arleigh Kincheloe has made an astonishing leap forward with Sister Sparrow’s new LP, GOLD. Produced by Carter Matschullat (Chef’Special, Secret Weapons), the album sees Sister Sparrow taking the classic brass-fueled Dirty Birds sound and turning it into something altogether new: a\Nsoul-blasted contemporary pop sound both timeless yet utterly now. Recorded mere months after Kincheloe became a new mother, songs like the evocative first single, “Ghost,” and the ebullient title track highlight Sister Sparrow’s strikingly strong vocals while also showcasing her growing muscle as an individualistic, communicative songwriter.\N“It was uncharted waters for me in a lot of ways,” she says. “It’s a bit of a departure from what I’ve done before, it’s me really seeking my own personal sound. Like motherhood, making an album is a really personal thing.”\NFor nearly a decade, Sister Sparrow & The Dirty Birds have been hailed for their explosive brand of modern soul, equally celebrated for their three studio albums and electrifying live performances.\NKincheloe grew up amongst an intensely musical family in upstate New York’s Catskill Mountains,\Nco-founding Sister Sparrow and the Dirty Birds with her brother Jackson at just 18. The band based itself in Brooklyn and soon earned a rep as one of the hardest working outfits anywhere in the world, playing upwards of 150 shows each year including headline dates, sold out residencies, and top festivals. “Sister Sparrow, Arleigh Kincheloe’s nom de disque, is a soul queen,” raved The Washington Post, while The Baltimore Sun simply noted, “Arleigh Kincheloe has one of the biggest voices in the business. Prepare to be blown away.”\NGOLD – which features backing by members of The Dirty Birds, along with Matschullat and some of NYC’s leading session players – feels a remarkably natural progression from Sister Sparrow’s previous body of work, with flavors of folk, rock, and pop now fully fused with her traditional soul approach to create what is certainly the most sensual and emotionally diverse music of her career. Songs like “Gold” and “Bad Habit” reveal a striking new freedom as a songwriter, their heart-hitting melodies more than a match for her candid lyricism and vocal prowess. With GOLD in her pocket, Sister Sparrow is now excited to return to the road, eager to introduce fans old and new to her expanded musical vision. The Dirty Birds will of course continue as her touring band, augmented by additional instruments to approximate the more diverse sounds on GOLD. X-ALT-DESC;FMTTYPE=text/html:

Known far and wide as the impossibly big voiced leader of acclaimed soul collective Sister Sparrow & The Dirty Birds, singer Arleigh Kincheloe has made an astonishing leap forward with Sister Sparrow’s new LP, GOLD. Produced by Carter Matschullat (Chef’Special, Secret Weapons), the album sees Sister Sparrow taking the classic brass-fueled Dirty Birds sound and turning it into something altogether new: a

soul-blasted contemporary pop sound both timeless yet utterly now. Recorded mere months after Kincheloe became a new mother, songs like the evocative first single, “Ghost,” and the ebullient title track highlight Sister Sparrow’s strikingly strong vocals while also showcasing her growing muscle as an individualistic, communicative songwriter.

“It was uncharted waters for me in a lot of ways,” she says. “It’s a bit of a departure from what I’ve done before, it’s me really seeking my own personal sound. Like motherhood, making an album is a really personal thing.”

For nearly a decade, Sister Sparrow & The Dirty Birds have been hailed for their explosive brand of modern soul, equally celebrated for their three studio albums and electrifying live performances.

Kincheloe grew up amongst an intensely musical family in upstate New York’s Catskill Mountains,

co-founding Sister Sparrow and the Dirty Birds with her brother Jackson at just 18. The band based itself in Brooklyn and soon earned a rep as one of the hardest working outfits anywhere in the world, playing upwards of 150 shows each year including headline dates, sold out residencies, and top festivals. “Sister Sparrow, Arleigh Kincheloe’s nom de disque, is a soul queen,” raved The Washington Post, while The Baltimore Sun simply noted, “Arleigh Kincheloe has one of the biggest voices in the business. Prepare to be blown away.”

GOLD – which features backing by members of The Dirty Birds, along with Matschullat and some of NYC’s leading session players – feels a remarkably natural progression from Sister Sparrow’s previous body of work, with flavors of folk, rock, and pop now fully fused with her traditional soul approach to create what is certainly the most sensual and emotionally diverse music of her career. Songs like “Gold” and “Bad Habit” reveal a striking new freedom as a songwriter, their heart-hitting melodies more than a match for her candid lyricism and vocal prowess. With GOLD in her pocket, Sister Sparrow is now excited to return to the road, eager to introduce fans old and new to her expanded musical vision. The Dirty Birds will of course continue as her touring band, augmented by additional instruments to approximate the more diverse sounds on GOLD.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190719T172053Z X-ACCESS:1 X-HITS:4149 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190809T210000 DTEND;TZID=America/Denver:20190809T233000 UID:F3556538-D8E4-4DA3-85C4-569756F9A0F9 SUMMARY:Big Fat Nasty Round III DTSTAMP:20190702T180721Z DESCRIPTION:Join us on August 9th as we host the biggest, fattest and nastiest jam session with local jammers Big Blue Ox, SuperBubble and Dumb Luck.\N\NDoors 8\NDumb Luck 9-945\NSuperBubble 10-11\NBig Blue Ox 11:15-12:30\NALLSTAR JAM 1230-1\N X-ALT-DESC;FMTTYPE=text/html:

Join us on August 9th as we host the biggest, fattest and nastiest jam session with local jammers Big Blue Ox, SuperBubble and Dumb Luck.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190715T174124Z X-ACCESS:1 X-HITS:2610 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190810T210000 DTEND;TZID=America/Denver:20190810T233000 UID:A0105B1F-E9E4-4D2D-9535-3F16902552B9 SUMMARY:Roger Clyne & The Peacemakers DTSTAMP:20190103T184015Z DESCRIPTION:Bridging the gap between rock & roll, roadhouse Americana, and the music sound of the southwestern United States, Roger Clyne & The Peacemakers have carved their own path over the last 25 years. They’ve traveled the world, sent eight albums to the top of the Billboard Internet Sales Chart, launched an annual music festival in Mexico, started their own line of ultra-premium tequila and built a global community of music-lovers and peacemakers – all while remaining 100% independent.\NThe band just released their 10th studio album in 20 years - "Native Heart". Produced by Grammy winning legend Steve Berlin and mixed by Michael Brauer at the iconic Electric Ladyland, they shine new light on a band that’s built a career on trekking their own path with their own sound style of twang and taller-than-life characters of the Southwest to a rock & roll soundtrack. X-ALT-DESC;FMTTYPE=text/html:

Bridging the gap between rock & roll, roadhouse Americana, and the music sound of the southwestern United States, Roger Clyne & The Peacemakers have carved their own path over the last 25 years. They’ve traveled the world, sent eight albums to the top of the Billboard Internet Sales Chart, launched an annual music festival in Mexico, started their own line of ultra-premium tequila and built a global community of music-lovers and peacemakers – all while remaining 100% independent.

The band just released their 10th studio album in 20 years - "Native Heart". Produced by Grammy winning legend Steve Berlin and mixed by Michael Brauer at the iconic Electric Ladyland, they shine new light on a band that’s built a career on trekking their own path with their own sound style of twang and taller-than-life characters of the Southwest to a rock & roll soundtrack.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190405T165511Z X-ACCESS:1 X-HITS:2514 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190814T200000 DTEND;TZID=America/Denver:20190814T233000 UID:9498F709-58D7-4F79-9E15-F18D6D2083C0 SUMMARY:The Brothers Comatose DTSTAMP:20190520T221315Z DESCRIPTION:Whether traveling to gigs on horseback or by tour bus, Americana mavens The Brothers Comatose forge their own path with raucous West Coast renderings of traditional bluegrass, country and rock ‘n’ roll music. The five-piece string band is anything but a traditional acoustic outfit with their fierce musicianship and rowdy live shows reminiscent of stadium rock concerts. In fall 2017, “Campfire Caravan” featuring The Brothers Comatose, Mipso, and The Lil Smokies hosts three of today’s foremost emerging indie Americana bands as they trek across the United States to more than 30 cities. “Campfire Caravan” honors the musicians’ early days playing music, when they’d perform for friends and family in basements, living rooms, and around campfires. “Campfire Caravan” celebrates the American tradition of gathering communities around music.\NFollowing three critically acclaimed full-length studio albums (Songs From The Stoop, Respect The Van, City Painted Gold), the five-piece string band disrupts the traditional album cycle and focuses their 2017/2018 release schedule on a series of strategically released songs. Produced by indie-rock legend John Vanderslice, the first four new songs to be released in 2017 include the sun-soaked new single “Don’t Make Me Get Up And Go” that channels harmony vanguards The Beach Boys.\N“Cedarwood Pines” is an early-‘70s-esque alt-country number reminiscent of a George Harrison, post-Beatles sensibility. A new music video for “Cedarwood Pines” captures the band’s recent horseback tour across California’s gold country in the Sierra Nevada Foothills featuring beautiful California vistas, saloon and events center gigs, and the band of brothers loving life out on the range with their characteristic whimsical charm.\N“Get Me Home” reflects the struggle for commitment and fidelity in a relationship that has to survive the rigors of artists hitting the road while their partners are at home. Life as a nationally touring act has its extreme highs and lows. As the days go on with show after show, relationships must bear increasing distance, temptations, and loneliness. Despite crazy schedules and differing experiences between two lovers, “Get Me Home” keeps the gravity of being faithful and remembering the promises made at the center of one’s life while touring the world.\NBeautiful acoustic guitar work and crooning baritone vocals from lead singer Ben Morrison opens up “Joshua Tree.” An escapist tale for a couple weighed down by the burdens of big city life, “Joshua Tree” hones in on how simple pleasures become amplified when experienced in a magical desert world such as Joshua Tree, CA. Running through the sand, drinking cold wine, dreaming about the sun, there isn’t a worry in the world. Even with city life weighing you down, “Joshua Tree” celebrates a destination where you can leave your concerns at the door and focus on what’s important.\NThe Brothers Comatose is comprised of brothers Ben Morrison (guitar, vocals) and Alex Morrison (banjo, vocals), Gio Benedetti (bass, vocals), Philip Brezina (violin), and Ryan Avellone (mandolin). When they’re not headlining The Fillmore for a sold-out show or appearing at Hardly Strictly Bluegrass Festival, the band is out on the road performing across America, Canada, Australia, and hosting their very own music festival, Comatopia. In 2018, The Brothers Comatose traveled Asia for a month of cultural music exchange and education with American Music Abroad, a program directed by the State Department. X-ALT-DESC;FMTTYPE=text/html:

Whether traveling to gigs on horseback or by tour bus, Americana mavens The Brothers Comatose forge their own path with raucous West Coast renderings of traditional bluegrass, country and rock ‘n’ roll music. The five-piece string band is anything but a traditional acoustic outfit with their fierce musicianship and rowdy live shows reminiscent of stadium rock concerts. In fall 2017, “Campfire Caravan” featuring The Brothers Comatose, Mipso, and The Lil Smokies hosts three of today’s foremost emerging indie Americana bands as they trek across the United States to more than 30 cities. “Campfire Caravan” honors the musicians’ early days playing music, when they’d perform for friends and family in basements, living rooms, and around campfires. “Campfire Caravan” celebrates the American tradition of gathering communities around music.

Following three critically acclaimed full-length studio albums (Songs From The Stoop, Respect The Van, City Painted Gold), the five-piece string band disrupts the traditional album cycle and focuses their 2017/2018 release schedule on a series of strategically released songs. Produced by indie-rock legend John Vanderslice, the first four new songs to be released in 2017 include the sun-soaked new single “Don’t Make Me Get Up And Go” that channels harmony vanguards The Beach Boys.

“Cedarwood Pines” is an early-‘70s-esque alt-country number reminiscent of a George Harrison, post-Beatles sensibility. A new music video for “Cedarwood Pines” captures the band’s recent horseback tour across California’s gold country in the Sierra Nevada Foothills featuring beautiful California vistas, saloon and events center gigs, and the band of brothers loving life out on the range with their characteristic whimsical charm.

“Get Me Home” reflects the struggle for commitment and fidelity in a relationship that has to survive the rigors of artists hitting the road while their partners are at home. Life as a nationally touring act has its extreme highs and lows. As the days go on with show after show, relationships must bear increasing distance, temptations, and loneliness. Despite crazy schedules and differing experiences between two lovers, “Get Me Home” keeps the gravity of being faithful and remembering the promises made at the center of one’s life while touring the world.

Beautiful acoustic guitar work and crooning baritone vocals from lead singer Ben Morrison opens up “Joshua Tree.” An escapist tale for a couple weighed down by the burdens of big city life, “Joshua Tree” hones in on how simple pleasures become amplified when experienced in a magical desert world such as Joshua Tree, CA. Running through the sand, drinking cold wine, dreaming about the sun, there isn’t a worry in the world. Even with city life weighing you down, “Joshua Tree” celebrates a destination where you can leave your concerns at the door and focus on what’s important.

The Brothers Comatose is comprised of brothers Ben Morrison (guitar, vocals) and Alex Morrison (banjo, vocals), Gio Benedetti (bass, vocals), Philip Brezina (violin), and Ryan Avellone (mandolin). When they’re not headlining The Fillmore for a sold-out show or appearing at Hardly Strictly Bluegrass Festival, the band is out on the road performing across America, Canada, Australia, and hosting their very own music festival, Comatopia. In 2018, The Brothers Comatose traveled Asia for a month of cultural music exchange and education with American Music Abroad, a program directed by the State Department.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190812T023222Z X-ACCESS:1 X-HITS:2579 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190816T200000 DTEND;TZID=America/Denver:20190816T233000 UID:427B4FEE-EEAB-4F6C-B073-B59274D4D7FE SUMMARY:Andrew Goldring and Bronco DTSTAMP:20190715T155614Z DESCRIPTION:Andrew Goldring is a singer-songwriter based in Nashville TN. The Huffington Post regarded Andrew’s music as “invoking the whimsical melancholy of Elliott Smith and Sparklehorse, grappling with our existence with humility and skepticism” . \NGoldring's debut album, Fluorescent Memories fuses together the many influences of his musical life, recalling through lyrical expression the experiences that shaped his young adult years. Collaborating in the studio with producer Jon O’Brien, Goldring worked diligently to push sonic boundaries, transcending his influences to create a unique soundscape to tell his story. As each track moves to the next moods effortlessly shift, creating different scenes that play out like a film.\NThe album’s single Coal Harbour (Brand New Life), was featured on Spotify’s Fresh Finds editorial playlist in January 2019, exposing Andrew’s work to an enthusiastic base of new fans around the world. Spring of 2019 saw Andrew relocate from his hometown of Salt Lake City, UT to Nashville, TN to build foundations for more live performances & studio work. Embarking on a national tour this summer he’s looking forward to playing in new markets, before he heads back into the studio to work on his next release. X-ALT-DESC;FMTTYPE=text/html:

Andrew Goldring is a singer-songwriter based in Nashville TN. The Huffington Post regarded Andrew’s music as “invoking the whimsical melancholy of Elliott Smith and Sparklehorse, grappling with our existence with humility and skepticism” . 

Goldring's debut album, Fluorescent Memories fuses together the many influences of his musical life, recalling through lyrical expression the experiences that shaped his young adult years. Collaborating in the studio with producer Jon O’Brien, Goldring worked diligently to push sonic boundaries, transcending his influences to create a unique soundscape to tell his story. As each track moves to the next moods effortlessly shift, creating different scenes that play out like a film.

The album’s single Coal Harbour (Brand New Life), was featured on Spotify’s Fresh Finds editorial playlist in January 2019, exposing Andrew’s work to an enthusiastic base of new fans around the world. Spring of 2019 saw Andrew relocate from his hometown of Salt Lake City, UT to Nashville, TN to build foundations for more live performances & studio work. Embarking on a national tour this summer he’s looking forward to playing in new markets, before he heads back into the studio to work on his next release.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190722T181007Z X-ACCESS:1 X-HITS:2245 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190905T200000 DTEND;TZID=America/Denver:20190905T233000 UID:1F10F189-1295-4B28-B81B-5D35BDA45E2C SUMMARY:Bastard Sons of Johnny Cash DTSTAMP:20190617T204735Z DESCRIPTION:Described by Rolling Stone as "pure Americana heart and soul", The Bastard Sons of Johnny Cash are the voice and vision of songwriter Mark Stuart. Since forming the band in 1995, he's performed with most every major artist in the Country and Americana music community. Stuart was personally given permission to use the band's name by Johnny Cash himself.\NHe was also honored by the Man in Black with an invitation to record songs at Cash's own home in Hendersonville, Tennessee. Two other iconic music legends, Willie Nelson and Merle Haggard, were also early believers who were instrumental in helping Stuart get his start.\NWith the release of their critically acclaimed debut CD "Walk Alone" in 1999, the Bastard Sons quickly proved they were no novelty act. With strong songwriting and great musicianship, the Sons' quickly jumped to the forefront of the growing Alternative Country scene. No stranger to the road, their constant touring and hard work have built the band a loyal grass roots following both in the States and abroad.\NWhether performing in front of thousands at a festival in the US or Europe, or playing all night in a Texas dance hall, for Stuart it’s all about respect. "The Bastard Sons never were, and never will be, a Johnny Cash tribute band." It's always been about honoring the musical ideals of our heroes, and paying respect to the originality, integrity, and independence that made those artists who they are. Our goal was always to find our own road, and to continue to keep the sounds and traditions of American Roots Music alive."\NStuart and the Bastard Sons have released five outstanding CDs: "Walk Alone", "Distance Between", "Mile Markers", "Bend in the Road", and their latest "New Old Story". Their music has been featured in Film, Television, and compilation CDs around the world.\NTheir new full length record, "New Old Story" was recorded at the Lost Ark Studio and is available from Randm Records via iTunes, Amazon, Bandcamp, and Spotify. X-ALT-DESC;FMTTYPE=text/html:

Described by Rolling Stone as "pure Americana heart and soul", The Bastard Sons of Johnny Cash are the voice and vision of songwriter Mark Stuart. Since forming the band in 1995, he's performed with most every major artist in the Country and Americana music community. Stuart was personally given permission to use the band's name by Johnny Cash himself.

He was also honored by the Man in Black with an invitation to record songs at Cash's own home in Hendersonville, Tennessee. Two other iconic music legends, Willie Nelson and Merle Haggard, were also early believers who were instrumental in helping Stuart get his start.

With the release of their critically acclaimed debut CD "Walk Alone" in 1999, the Bastard Sons quickly proved they were no novelty act. With strong songwriting and great musicianship, the Sons' quickly jumped to the forefront of the growing Alternative Country scene. No stranger to the road, their constant touring and hard work have built the band a loyal grass roots following both in the States and abroad.

Whether performing in front of thousands at a festival in the US or Europe, or playing all night in a Texas dance hall, for Stuart it’s all about respect. "The Bastard Sons never were, and never will be, a Johnny Cash tribute band." It's always been about honoring the musical ideals of our heroes, and paying respect to the originality, integrity, and independence that made those artists who they are. Our goal was always to find our own road, and to continue to keep the sounds and traditions of American Roots Music alive."

Stuart and the Bastard Sons have released five outstanding CDs: "Walk Alone", "Distance Between", "Mile Markers", "Bend in the Road", and their latest "New Old Story". Their music has been featured in Film, Television, and compilation CDs around the world.

Their new full length record, "New Old Story" was recorded at the Lost Ark Studio and is available from Randm Records via iTunes, Amazon, Bandcamp, and Spotify.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190823T040618Z X-ACCESS:1 X-HITS:2603 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190909T200000 DTEND;TZID=America/Denver:20190909T233000 UID:A66E9C9E-252D-4091-AC89-4A12A7E9C46A SUMMARY:David Bromberg Quintet DTSTAMP:20190410T224828Z DESCRIPTION:“We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.” – T.S. Eliot\N“There’s only two kinds of music – ‘the Star Spangled Banner’ and the blues.” – Willie Nelson, quoting renowned fiddler Johnny Gimble\NFor Americana godfather David Bromberg, it all began with the blues.\NHis incredible journey spans five-and-a-half decades, and includes – but is not limited to – adventures with Bob Dylan, George Harrison, Jerry Garcia, and music and life lessons from seminal blues guitarist Reverend Gary Davis, who claimed the young Bromberg as a son. A musician’s musician, Bromberg’s mastery of several stringed instruments (guitar, fiddle, Dobro, mandolin), and multiple styles is legendary, leading Dr. John to declare him an American icon. In producing John Hartford’s hugely influential Aereo-Plain LP, Bromberg even co-invented a genre: Newgrass. \NAdd in a period of self-imposed exile from his passion (1980-2002), during which he became a renowned violin expert, and Wilmington, Delaware’s cultural ambassador; top that off with a triumphant return to music-making, and you have an amazing tale leading back to one place: the blues.\NNow, with The Blues, the Whole Blues, and Nothing But the Blues, his first release for Red House Records, Bromberg and multi-Grammy-winning producer/accompanist Larry Campbell (Dylan, Levon Helm, Paul Simon) focus on the music David discovered in high school, when, circa late 50s, he was introduced to a friend’s dad’s collection of blues 78s. He’d only just taken up guitar as a means to pass the time while in bed with the measles.\N“I loved those 78s so much,” says David, “I taped them on a portable reel-to-reel, so I could listen at home and learn.”\NThat love is evident in The Blues, the Whole Blues and Nothing But the Blues. The album is both blues primer and an opportunity to witness a master embracing this distinctly American music with passion and grace.  \N“There’s a lot of different types of blues on there,” Bromberg notes. “We decided to start it off with a dyed-in-the-wool blues [Robert Johnson’s “Walkin’ Blues”], but there’s also country blues [“Kentucky Blues”], and gospel-influenced blues [“Yield Not”].”\NBromberg, a onetime sideman himself, is quick to give props to his long-running road-and-studio cohorts: Butch Amiot (bass), Josh Kanusky (drums), Mark Cosgrove (guitar), Nate Grower (fiddle), and Peter Ecklund (cornet). Of producer, arranger, multi-instrumentalist, fellow Reverend Gary Davis acolyte, and old friend Larry Campbell, he says, “To use a baseball analogy, Larry is like a star at any position in the infield, because he can play them all.”\NSince meeting in the early 80’s, Campbell and Bromberg had crossed paths many times. They finally worked together in Levon Helm’s studio for David’s 2013 return-to-form Only Slightly Mad. “He wanted to do a Chicago blues album then,” Larry says. “But we decided to remind folks of what he does better than anyone: the whole gamut of Americana, the full Brombergian. And we got some new fans. For this one, we went back to the blues, and made use of David’s great vocabulary in all veins of the genre.”\NBromberg’s guitar work remains a marvel; amped electric lead – both slide and fretted – and delicately powerful acoustic fingerpicking propel these songs with the same force that made him the go-to guy for acts ranging from the Eagles to Link Wray to Phoebe Snow. This is a man who can go full-on Chicago gutbucket with “You Don’t Have to Go” (a Bromberg original), then slay with the jazz inflections of Ray Charles’ “A Fool for You,” rendered here intimately solo. Although Bromberg points out he’s not the same guitarist he was before his two decades away from performing and recording. “I play differently,” he says. “I can’t play as fast, but playing slower gives me more time to think about what I’m doing.”\N“He’s always able to plug into the emotion of a song,” Campbell says. “He’s incredibly inventive as a player. Sometimes restrictions can be good.”\NListeners can actually hear what the years have given Bromberg in the spartan, acoustic “Delia.” Bromberg originally covered this traditional nugget on his 1972 self-titled debut – a live, solo rendition with a spoken-word break. The new version features Campbell and Bromberg in the studio, revisiting Bromberg’s live arrangement from their occasional duo tours. It is mesmerizing, with gravitas only experience can bring. “Larry and I have played ‘Delia’ a lot,” Bromberg says. “I love what he does on it.”\NLongtime fans will notice another difference: Bromberg’s voice; he’s really singing. The vocals cover a broad range: impassioned, vibrato-laden testifying; pew-jumping soul shouts; soft, confident, crooning; and, of course, his peerless raconteur chops (particularly in “You Been A Good Old Wagon”).\N“When I first started,” Bromberg says, “singing was something I did between guitar solos. But during the period I did so little performing, I took some voice lessons, and now, I know more what I’m doing. I love singing now. Love it.”\NLarry Campbell was impressed at the newfound vocal chops, too. “He is a better vocalist than ever,” he says. “He’s strong, and present. None of the songs took more than three takes. And he was able to take the old folk song ‘900 Miles’ [a “railroad song” made famous by Odetta and Woody Guthrie], and turn it into an electric blues that’s a real high point of the album for me.”\NAlthough he remains the proprietor of the beloved David Bromberg Fine Violins in Wilmington, Delaware – “I love my shop,” he says – Bromberg makes time to tour with his quintet, and he’s already included every song in his live repertoire (save “Yield Not,” which requires a choir), from The Blues, the Whole Blues and Nothing But the Blues. As ever, he brings his characteristic devotional intensity to the music, invigorating his surprise third act with the same passion he felt as a teen, spinning those blues 78s, just before the road called.   X-ALT-DESC;FMTTYPE=text/html:

“We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.” – T.S. Eliot

“There’s only two kinds of music – ‘the Star Spangled Banner’ and the blues.” – Willie Nelson, quoting renowned fiddler Johnny Gimble

For Americana godfather David Bromberg, it all began with the blues.

His incredible journey spans five-and-a-half decades, and includes – but is not limited to – adventures with Bob Dylan, George Harrison, Jerry Garcia, and music and life lessons from seminal blues guitarist Reverend Gary Davis, who claimed the young Bromberg as a son. A musician’s musician, Bromberg’s mastery of several stringed instruments (guitar, fiddle, Dobro, mandolin), and multiple styles is legendary, leading Dr. John to declare him an American icon. In producing John Hartford’s hugely influential Aereo-Plain LP, Bromberg even co-invented a genre: Newgrass. 

Add in a period of self-imposed exile from his passion (1980-2002), during which he became a renowned violin expert, and Wilmington, Delaware’s cultural ambassador; top that off with a triumphant return to music-making, and you have an amazing tale leading back to one place: the blues.

Now, with The Blues, the Whole Blues, and Nothing But the Blues, his first release for Red House Records, Bromberg and multi-Grammy-winning producer/accompanist Larry Campbell (Dylan, Levon Helm, Paul Simon) focus on the music David discovered in high school, when, circa late 50s, he was introduced to a friend’s dad’s collection of blues 78s. He’d only just taken up guitar as a means to pass the time while in bed with the measles.

“I loved those 78s so much,” says David, “I taped them on a portable reel-to-reel, so I could listen at home and learn.”

That love is evident in The Blues, the Whole Blues and Nothing But the Blues. The album is both blues primer and an opportunity to witness a master embracing this distinctly American music with passion and grace.  

“There’s a lot of different types of blues on there,” Bromberg notes. “We decided to start it off with a dyed-in-the-wool blues [Robert Johnson’s “Walkin’ Blues”], but there’s also country blues [“Kentucky Blues”], and gospel-influenced blues [“Yield Not”].”

Bromberg, a onetime sideman himself, is quick to give props to his long-running road-and-studio cohorts: Butch Amiot (bass), Josh Kanusky (drums), Mark Cosgrove (guitar), Nate Grower (fiddle), and Peter Ecklund (cornet). Of producer, arranger, multi-instrumentalist, fellow Reverend Gary Davis acolyte, and old friend Larry Campbell, he says, “To use a baseball analogy, Larry is like a star at any position in the infield, because he can play them all.”

Since meeting in the early 80’s, Campbell and Bromberg had crossed paths many times. They finally worked together in Levon Helm’s studio for David’s 2013 return-to-form Only Slightly Mad. “He wanted to do a Chicago blues album then,” Larry says. “But we decided to remind folks of what he does better than anyone: the whole gamut of Americana, the full Brombergian. And we got some new fans. For this one, we went back to the blues, and made use of David’s great vocabulary in all veins of the genre.”

Bromberg’s guitar work remains a marvel; amped electric lead – both slide and fretted – and delicately powerful acoustic fingerpicking propel these songs with the same force that made him the go-to guy for acts ranging from the Eagles to Link Wray to Phoebe Snow. This is a man who can go full-on Chicago gutbucket with “You Don’t Have to Go” (a Bromberg original), then slay with the jazz inflections of Ray Charles’ “A Fool for You,” rendered here intimately solo. Although Bromberg points out he’s not the same guitarist he was before his two decades away from performing and recording. “I play differently,” he says. “I can’t play as fast, but playing slower gives me more time to think about what I’m doing.”

“He’s always able to plug into the emotion of a song,” Campbell says. “He’s incredibly inventive as a player. Sometimes restrictions can be good.”

Listeners can actually hear what the years have given Bromberg in the spartan, acoustic “Delia.” Bromberg originally covered this traditional nugget on his 1972 self-titled debut – a live, solo rendition with a spoken-word break. The new version features Campbell and Bromberg in the studio, revisiting Bromberg’s live arrangement from their occasional duo tours. It is mesmerizing, with gravitas only experience can bring. “Larry and I have played ‘Delia’ a lot,” Bromberg says. “I love what he does on it.”

Longtime fans will notice another difference: Bromberg’s voice; he’s really singing. The vocals cover a broad range: impassioned, vibrato-laden testifying; pew-jumping soul shouts; soft, confident, crooning; and, of course, his peerless raconteur chops (particularly in “You Been A Good Old Wagon”).

“When I first started,” Bromberg says, “singing was something I did between guitar solos. But during the period I did so little performing, I took some voice lessons, and now, I know more what I’m doing. I love singing now. Love it.”

Larry Campbell was impressed at the newfound vocal chops, too. “He is a better vocalist than ever,” he says. “He’s strong, and present. None of the songs took more than three takes. And he was able to take the old folk song ‘900 Miles’ [a “railroad song” made famous by Odetta and Woody Guthrie], and turn it into an electric blues that’s a real high point of the album for me.”

Although he remains the proprietor of the beloved David Bromberg Fine Violins in Wilmington, Delaware – “I love my shop,” he says – Bromberg makes time to tour with his quintet, and he’s already included every song in his live repertoire (save “Yield Not,” which requires a choir), from The Blues, the Whole Blues and Nothing But the Blues. As ever, he brings his characteristic devotional intensity to the music, invigorating his surprise third act with the same passion he felt as a teen, spinning those blues 78s, just before the road called.  

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190907T014247Z X-ACCESS:1 X-HITS:3302 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190913T210000 DTEND;TZID=America/Denver:20190913T233000 UID:14EB5F1A-2E19-4F79-9700-A6B6071178FB SUMMARY:Rachael Yamagata DTSTAMP:20190722T165355Z DESCRIPTION: Since Rachael Yamagata first broke onto the music scene with her critically acclaimed debut album Happenstance (2004), she has shed her skin as the “troubadour of heartbreak”, emerging with an edge-laden sound characterized by universal themes of perseverance, compassion, and owning your own power.\NYamagata has been touring worldwide with her latest album Tightrope Walker (2016), released via Frankenfish Records/ Thirty Tigers to her audiences in the U.S., Europe and Asia. Inspired by a mystical vision and focused on human condition struggles, the album has received great praise including 4 star reviews from Mojo, The Independent, The Arts Desk, Daily Mirror and Reader’s Digest. Yamagata co-produced the album with 3x-Grammy nominee John Alagia and it features a wealth of new sounds like saxophones, mandolins, French spoken word, metallic ironing board and ladder drums, loops and layered harmonies. Grammy winner Shawn Everett (Alabama Shakes) mixed much of the record.\NAllison Janney stars in the video for the single ‘Let Me Be Your Girl’ directed by Josh Radnor (How I Met Your Mother). Tightrope Walker is Yamagata’s second independent release after eight years on the majors – RCA (Happenstance) and Warner Brothers Records (Elephants) and is her fifth full-length album to date.\NShe recently returned from a seventeen-city tour of Asia selling out eleven of the shows and premiering her latest EP Porch Songs.\NShe has had extensive song placements in film and TV and has made guest appearances in The O.C., 30 Rock, One Life to Live and the film To Write Love on Her Arms. She has also released 5 EPs and collaborated with the likes of Ryan Adams, Bat for Lashes, Ray LaMontagne, Conor Oberst, Jason Mraz and many others. She’s been touted by a diverse fan base that includes Deepak Chopra, Howard Stern and Gregory Colbert (Ashes and Snow) and has performed at two Obama presidential events. X-ALT-DESC;FMTTYPE=text/html:

 Since Rachael Yamagata first broke onto the music scene with her critically acclaimed debut album Happenstance (2004), she has shed her skin as the “troubadour of heartbreak”, emerging with an edge-laden sound characterized by universal themes of perseverance, compassion, and owning your own power.

Yamagata has been touring worldwide with her latest album Tightrope Walker (2016), released via Frankenfish Records/ Thirty Tigers to her audiences in the U.S., Europe and Asia. Inspired by a mystical vision and focused on human condition struggles, the album has received great praise including 4 star reviews from Mojo, The Independent, The Arts Desk, Daily Mirror and Reader’s Digest. Yamagata co-produced the album with 3x-Grammy nominee John Alagia and it features a wealth of new sounds like saxophones, mandolins, French spoken word, metallic ironing board and ladder drums, loops and layered harmonies. Grammy winner Shawn Everett (Alabama Shakes) mixed much of the record.

Allison Janney stars in the video for the single ‘Let Me Be Your Girl’ directed by Josh Radnor (How I Met Your Mother). Tightrope Walker is Yamagata’s second independent release after eight years on the majors – RCA (Happenstance) and Warner Brothers Records (Elephants) and is her fifth full-length album to date.

She recently returned from a seventeen-city tour of Asia selling out eleven of the shows and premiering her latest EP Porch Songs.

She has had extensive song placements in film and TV and has made guest appearances in The O.C., 30 Rock, One Life to Live and the film To Write Love on Her Arms. She has also released 5 EPs and collaborated with the likes of Ryan Adams, Bat for Lashes, Ray LaMontagne, Conor Oberst, Jason Mraz and many others. She’s been touted by a diverse fan base that includes Deepak Chopra, Howard Stern and Gregory Colbert (Ashes and Snow) and has performed at two Obama presidential events.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190913T214917Z X-ACCESS:1 X-HITS:2698 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190914T210000 DTEND;TZID=America/Denver:20190914T233000 UID:B08276FB-EC17-4781-AEE0-491A8968CCD8 SUMMARY:Blanco White DTSTAMP:20190516T235746Z DESCRIPTION:Blanco White started as the solo project of Londoner Josh Edwards in 2014. After studying guitar in Cádiz (Spain), and later the Andean instrument the charango in Sucre (Bolivia), Edwards’ aim was to begin bringing together elements of Andalusian and Latin American music alongside influences closer to home.  \NIn early 2016 Blanco White released 'The Wind Rose' via Yucatan Records, a self-produced debut EP. A second EP 'Colder Heavens' was later recorded in the Autumn, this time with producer Ian Grimble (Bear's Den, Matt Corby, Daughter). X-ALT-DESC;FMTTYPE=text/html:

Blanco White started as the solo project of Londoner Josh Edwards in 2014. After studying guitar in Cádiz (Spain), and later the Andean instrument the charango in Sucre (Bolivia), Edwards’ aim was to begin bringing together elements of Andalusian and Latin American music alongside influences closer to home.  

In early 2016 Blanco White released 'The Wind Rose' via Yucatan Records, a self-produced debut EP. A second EP 'Colder Heavens' was later recorded in the Autumn, this time with producer Ian Grimble (Bear's Den, Matt Corby, Daughter).

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190913T024825Z X-ACCESS:1 X-HITS:2235 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190917T200000 DTEND;TZID=America/Denver:20190917T233000 UID:F22B6D51-B720-48E9-876D-6240D1DAC4B0 SUMMARY:Yo La Tengo DTSTAMP:20190624T221341Z DESCRIPTION:YO LA TENGO ANNOUNCES NEW ALBUM THERE’S A RIOT GOING ON\NFIRST PROPER FULL-LENGTH SINCE 2013 OUT MARCH 16 ON MATADOR RECORDS\NFOUR NEW SONGS OUT NOW – “YOU ARE HERE,” “SHADES OF BLUE,” “SHE MAY, SHE MIGHT,” AND “OUT OF THE POOL”\NYo La Tengo’s new album There’s a Riot Going On will be released on March 16th on Matador Records and can be pre-ordered HERE. This is a warm, ambitious record, a striking self-produced creation from one of the most celebrated and adventurous bands in rock history, whose dynamic range touches on pure noise and serene beauty and everything in between.\NTo showcase the full depth of this fearless fifteen-track album, Yo La Tengo have released four new songs today (“You Are Here,” “Shades of Blue,” “She May, She Might,” and “Out of the Pool”), which can be heard HERE.\N“Following their sold-out eight night run of Hanukkah shows in NYC this past December, Yo La Tengo commence their world tour on March 28th in Minneapolis, hitting major Midwest, East Coast, and West Coast markets.\N###\NThere’s a riot going on. You don’t need me, or Yo La Tengo, to tell you that. These are dark times, in our heads as much as in the streets. It’s easy to lose contact with the ground, flying through endless banks of storm clouds day after day. Confusion and anxiety intrude into daily life and cause you to lose your compass. There are times that call for anthems, something to lift you out of your slump and put fire in your feet. And then there are times when what is indicated is a balm, a sound that will wrap around you and work out the knots in your neck.\NWhile there’s a riot going on, Yo La Tengo will remind you what it’s like to dream. The sound burbles and washes and flows and billows. If records were dedicated to the cardinal elements, this one would be water. There are shimmery hazes, spectral rumbles, a flash of backward masking, ghostly flamingos calling “shoo-bop shoo-bop.” You are there. And even if your mind is not unclouded–shaken, misdirected, out of words and out of time–you can still float, ride the waves of an ocean deeper than your worries, above the sound and above the Sound.\NFor Yo La Tengo this is a slow-motion action painting, and Georgia Hubley, Ira Kaplan and James McNew did it all themselves, in their rehearsal studio, with no outside engineer (John McEntire later did the mix). They did not rehearse or jam together beforehand; they turned on the recorder and let things coalesce. Songs came together over long stretches, sometimes as much as a year going by between parts. You’d never guess this, since the layers are finessed with such a liquid brush. You’d imagine most of the songs had sprung forth whole, since they will enter your head that way. Within two listens you will be powerless to resist the magnetic draw of “Shades of Blue,” will involuntarily hear “She May, She Might” on your internal jukebox first thing in the morning and “Let’s Do It Wrong” late at night. While there’s a riot going on you will feel capable of bobbing through like a cork.\NIn 1971, when the nation appeared to be on the brink of violently coming apart, Sly and the Family Stone released There’s a Riot Goin’ On, an album of dark, brooding energy. Now, under similar circumstances, Yo La Tengo have issued a record with the same name but with a different force, an album that proposes an alternative to anger and despair. Their first proper full-length since 2013’s Fade, There’s a Riot Going On is an expression of freedom and sanity and emotional expansion, a declaration of common humanity as liberating as it is soft-spoken. X-ALT-DESC;FMTTYPE=text/html:

YO LA TENGO ANNOUNCES NEW ALBUM THERE’S A RIOT GOING ON

FIRST PROPER FULL-LENGTH SINCE 2013 OUT MARCH 16 ON MATADOR RECORDS

FOUR NEW SONGS OUT NOW – “YOU ARE HERE,” “SHADES OF BLUE,” “SHE MAY, SHE MIGHT,” AND “OUT OF THE POOL”

Yo La Tengo’s new album There’s a Riot Going On will be released on March 16th on Matador Records and can be pre-ordered HERE. This is a warm, ambitious record, a striking self-produced creation from one of the most celebrated and adventurous bands in rock history, whose dynamic range touches on pure noise and serene beauty and everything in between.

To showcase the full depth of this fearless fifteen-track album, Yo La Tengo have released four new songs today (“You Are Here,” “Shades of Blue,” “She May, She Might,” and “Out of the Pool”), which can be heard HERE.

“Following their sold-out eight night run of Hanukkah shows in NYC this past December, Yo La Tengo commence their world tour on March 28th in Minneapolis, hitting major Midwest, East Coast, and West Coast markets.

###

There’s a riot going on. You don’t need me, or Yo La Tengo, to tell you that. These are dark times, in our heads as much as in the streets. It’s easy to lose contact with the ground, flying through endless banks of storm clouds day after day. Confusion and anxiety intrude into daily life and cause you to lose your compass. There are times that call for anthems, something to lift you out of your slump and put fire in your feet. And then there are times when what is indicated is a balm, a sound that will wrap around you and work out the knots in your neck.

While there’s a riot going on, Yo La Tengo will remind you what it’s like to dream. The sound burbles and washes and flows and billows. If records were dedicated to the cardinal elements, this one would be water. There are shimmery hazes, spectral rumbles, a flash of backward masking, ghostly flamingos calling “shoo-bop shoo-bop.” You are there. And even if your mind is not unclouded–shaken, misdirected, out of words and out of time–you can still float, ride the waves of an ocean deeper than your worries, above the sound and above the Sound.

For Yo La Tengo this is a slow-motion action painting, and Georgia Hubley, Ira Kaplan and James McNew did it all themselves, in their rehearsal studio, with no outside engineer (John McEntire later did the mix). They did not rehearse or jam together beforehand; they turned on the recorder and let things coalesce. Songs came together over long stretches, sometimes as much as a year going by between parts. You’d never guess this, since the layers are finessed with such a liquid brush. You’d imagine most of the songs had sprung forth whole, since they will enter your head that way. Within two listens you will be powerless to resist the magnetic draw of “Shades of Blue,” will involuntarily hear “She May, She Might” on your internal jukebox first thing in the morning and “Let’s Do It Wrong” late at night. While there’s a riot going on you will feel capable of bobbing through like a cork.

In 1971, when the nation appeared to be on the brink of violently coming apart, Sly and the Family Stone released There’s a Riot Goin’ On, an album of dark, brooding energy. Now, under similar circumstances, Yo La Tengo have issued a record with the same name but with a different force, an album that proposes an alternative to anger and despair. Their first proper full-length since 2013’s Fade, There’s a Riot Going On is an expression of freedom and sanity and emotional expansion, a declaration of common humanity as liberating as it is soft-spoken.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190917T213558Z X-ACCESS:1 X-HITS:8433 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190918T200000 DTEND;TZID=America/Denver:20190918T233000 UID:3102ADA5-4781-480B-ACC3-398BA2658BDC SUMMARY:John Craigie DTSTAMP:20190708T214134Z DESCRIPTION:Renowned for his eloquent Americana style, engaging live shows, and off-the-cuff clever observations, John Craigie carries on the legacy of classic singer-songwriters, while blazing a trail of his own.\NRecently, that trail twisted and turned into new territory for the Portland, OR performer who The Stranger appropriately dubbed, “the lovechild of John Prine and Mitch Hedberg.” His music speaks loud to both audiences and fellow artists. Todd Snider notably hand-delivered a gift on-stage, and Chuck Norris has sent fan mail. His fifth full-length album, No Rain, No Rose boasted two collaborations with Gregory Alan Isakov, namely “Highway Blood” and “I Am California.” Both quickly cracked 1 million Spotify streams and counting, as his knack for a captivating narrative and rustic aural palettes powered the 13-track offering together.\N“It’s about transparency,” he explains. “The storytelling enables listeners to relate. Really good music doesn’t make you feel good; it makes you feel like you’re not alone.”\NAs No Rain, No Rose landed, he caught the attention of none other than Jack Johnson. Through a serendipitous series of events, Craigie’s 2016 live effort Capricorn in Retrograde… Just Kidding… Live in Portland landed in Johnson’s car stereo during a California coastal road trip.\NShortly after, Jack reached out and Craigie soon found himself onstage for 12 shows during Johnson’s 2017 summer tour including performances at The Greek Theatre in Berkeley, California and The Gorge in Washington state. Along the way, he earned acclaim from SF Weekly, Seattle Times, AXS, and more. Festival appearances also include Oregon Country Fair, Kate Wolf Music Festival, High Sierra Music Festival, Burning Man, and many others.\NWhen Craigie plays, it’s one of those special shows that can make you laugh and cry in the same song. It’s a musical journey that can’t be denied. X-ALT-DESC;FMTTYPE=text/html:

Renowned for his eloquent Americana style, engaging live shows, and off-the-cuff clever observations, John Craigie carries on the legacy of classic singer-songwriters, while blazing a trail of his own.

Recently, that trail twisted and turned into new territory for the Portland, OR performer who The Stranger appropriately dubbed, “the lovechild of John Prine and Mitch Hedberg.” His music speaks loud to both audiences and fellow artists. Todd Snider notably hand-delivered a gift on-stage, and Chuck Norris has sent fan mail. His fifth full-length album, No Rain, No Rose boasted two collaborations with Gregory Alan Isakov, namely “Highway Blood” and “I Am California.” Both quickly cracked 1 million Spotify streams and counting, as his knack for a captivating narrative and rustic aural palettes powered the 13-track offering together.

“It’s about transparency,” he explains. “The storytelling enables listeners to relate. Really good music doesn’t make you feel good; it makes you feel like you’re not alone.”

As No Rain, No Rose landed, he caught the attention of none other than Jack Johnson. Through a serendipitous series of events, Craigie’s 2016 live effort Capricorn in Retrograde… Just Kidding… Live in Portland landed in Johnson’s car stereo during a California coastal road trip.

Shortly after, Jack reached out and Craigie soon found himself onstage for 12 shows during Johnson’s 2017 summer tour including performances at The Greek Theatre in Berkeley, California and The Gorge in Washington state. Along the way, he earned acclaim from SF Weekly, Seattle Times, AXS, and more. Festival appearances also include Oregon Country Fair, Kate Wolf Music Festival, High Sierra Music Festival, Burning Man, and many others.

When Craigie plays, it’s one of those special shows that can make you laugh and cry in the same song. It’s a musical journey that can’t be denied.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190903T193528Z X-ACCESS:1 X-HITS:2079 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190919T200000 DTEND;TZID=America/Denver:20190919T233000 UID:16A56A05-53FB-4E9B-8BED-4E3CFB6A5A1F SUMMARY:Greg Laswell DTSTAMP:20190415T224059Z DESCRIPTION:If you look for specific meaning in album titles, Greg Laswell’s Everyone Thinks I Dodged a Bullet (2016) wasn’t hard to figure out. But with such a monumental emotional catharsis behind him, 2018 finds him sending decidedly more mixed signals, even with the title of his newest LP, Next Time. And as it opens with the genuinely exuberant “Royal Empress,” you’d be safe to assume he’s intending to convey that this is indeed the “next time,” and that this time, he was intent on casting a wider emotional net…and letting go of the past. “I wanted a song bigger than life, or at least bigger than mine,” Laswell reveals of the opening track. The Southern California troubadour has garnered considerable critical acclaim with his uncompromising songwriting and raw, visceral delivery – rightly drawing comparisons to the likes of Leonard Cohen and Nick Cave – but also exhibiting an honesty that consistently unlocks a door to a very personal place, defined only by a singular collective of experiences. The Big Takeover described him as “a masterful, distinctive, and vital artist” - “distinctive” being the operative word. His songs have appeared in marquee network television shows, from True Blood to Grey’s Anatomy, The Vampire Diaries to Arrow – whenever a particularly poignant scene needs to be rawly soundtracked, obviously. But this is something he explores to a particularly august effect on new cinematic tracks like “Super Moon,” “For You,” and “Never Want to See You Again.” “The end of ‘Super Moon’ right after the break is an important moment for me,” he explains. “I wanted a record that sonically made me feel small listening to it.” Next Time also once again fearlessly spills all that honesty onto the lyrical page, most especially on such bare confessionals as “Choice in the Matter” - where he professes, “I swear I was doing fine / With that part of me that died.” “I feel more in control than I did on my last record,” he says. “Life is the most difficult it has ever been circumstantially, but I'm also kind of okay, even if just for moments, which is all life is anyway. My hope is that’s what came across with these songs.” To be sure, Next Time is both more revealing and more visionary, a move from emotional crisis to biographical examination. On the title track, he starkly opens up: “Like to think I’ve figured it all out / My God, how I love to inflate.” But it’s clear he’s also striving for a universality of experience and connection. “I like allowing the listeners to make my songs their own,” he explains, “so I hesitate speaking to the details of what specific songs are about. But I will say that a handful of them deal quite head-on with some heavy stuff that I’ve never addressed in music before.” In a career of dramatic arcs, Next Time - perhaps a result of the real difficulties of seeing it through - would seem to represent a musical and emotional pinnacle for Greg Laswell. Indeed, it’s the album he has surely always meant to make, while life’s little (and sometimes very big) vagaries were getting in the way. “I've found over the years that it often takes one song, or one moment in a song for me to see clearly where the record will head.” And this is surely a case of instincts, well trusted. X-ALT-DESC;FMTTYPE=text/html:

If you look for specific meaning in album titles, Greg Laswell’s Everyone Thinks I Dodged a Bullet (2016) wasn’t hard to figure out. But with such a monumental emotional catharsis behind him, 2018 finds him sending decidedly more mixed signals, even with the title of his newest LP, Next Time. And as it opens with the genuinely exuberant “Royal Empress,” you’d be safe to assume he’s intending to convey that this is indeed the “next time,” and that this time, he was intent on casting a wider emotional net…and letting go of the past. “I wanted a song bigger than life, or at least bigger than mine,” Laswell reveals of the opening track. The Southern California troubadour has garnered considerable critical acclaim with his uncompromising songwriting and raw, visceral delivery – rightly drawing comparisons to the likes of Leonard Cohen and Nick Cave – but also exhibiting an honesty that consistently unlocks a door to a very personal place, defined only by a singular collective of experiences. The Big Takeover described him as “a masterful, distinctive, and vital artist” - “distinctive” being the operative word. His songs have appeared in marquee network television shows, from True Blood to Grey’s Anatomy, The Vampire Diaries to Arrow – whenever a particularly poignant scene needs to be rawly soundtracked, obviously. But this is something he explores to a particularly august effect on new cinematic tracks like “Super Moon,” “For You,” and “Never Want to See You Again.” “The end of ‘Super Moon’ right after the break is an important moment for me,” he explains. “I wanted a record that sonically made me feel small listening to it.” Next Time also once again fearlessly spills all that honesty onto the lyrical page, most especially on such bare confessionals as “Choice in the Matter” - where he professes, “I swear I was doing fine / With that part of me that died.” “I feel more in control than I did on my last record,” he says. “Life is the most difficult it has ever been circumstantially, but I'm also kind of okay, even if just for moments, which is all life is anyway. My hope is that’s what came across with these songs.” To be sure, Next Time is both more revealing and more visionary, a move from emotional crisis to biographical examination. On the title track, he starkly opens up: “Like to think I’ve figured it all out / My God, how I love to inflate.” But it’s clear he’s also striving for a universality of experience and connection. “I like allowing the listeners to make my songs their own,” he explains, “so I hesitate speaking to the details of what specific songs are about. But I will say that a handful of them deal quite head-on with some heavy stuff that I’ve never addressed in music before.” In a career of dramatic arcs, Next Time - perhaps a result of the real difficulties of seeing it through - would seem to represent a musical and emotional pinnacle for Greg Laswell. Indeed, it’s the album he has surely always meant to make, while life’s little (and sometimes very big) vagaries were getting in the way. “I've found over the years that it often takes one song, or one moment in a song for me to see clearly where the record will head.” And this is surely a case of instincts, well trusted.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190917T020317Z X-ACCESS:1 X-HITS:4496 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190920T200000 DTEND;TZID=America/Denver:20190920T233000 UID:5EC422EB-2B60-4FC3-AB86-1506C60DD07A SUMMARY:Fruit Bats DTSTAMP:20190603T181145Z DESCRIPTION:When Fruit Bats announced its new album and signing to Merge Records late last year, singer/songwriter Eric D. Johnson did so by “Getting in a Van Again.” The 15-minute mockumentary presented a surrealist view of the music industry, while teasing the very real themes explored on Gold Past Life—due out June 21, 2019.\N“I know I said I’d be around this year, but here I am getting in a van again.”\NGold Past Life marks both an end and a beginning. It’s the end of an unintentional thematic trilogy of records that began with 2014’s EDJ (a solo record by name, but a Fruit Bats release in spirit) and hit an emotional peak with 2016’s Absolute Loser. They encompassed years of loss, displacement, and the persistent, low-level anxiety of the current political climate. They were written in the wake of friends who left these earthly confines and families that could have been.\N“I wrote music to comfort myself,” says Eric D. Johnson of those times. “It was a soothing balm.”\NBut these salves, these songs on Gold Past Life, also represent new beginnings—the journeys that await after making it through troubled times.\NIn fact, the notion of getting in a van to move on—literally and metaphorically—is exactly what Gold Past Life is all about. It’s about rejecting notions of idealized nostalgia (“Gold Past Life”) and the process of grounding oneself in the present, both geographically (“A Lingering Love,” “Ocean”) and spiritually (“Drawn Away”).\NThat spiritual sense of place is particularly important to Johnson, who has always been fascinated by dreams and the subconscious stories they can tell. “Some of these songs are directed at specific people, some at amalgams of people, and lots at myself, or the subconscious version of myself—that version like how they say you’re every single character in your dreams,” he says. “Even the artwork represents the notion that we’re all the characters in our dreams. Here’s me looking at you: I’m a deer on a beach looking you dead in the eye and licking my lips.”\NEven as he works through these journeys, Johnson’s falsetto still shines atop the bopping folk-rock of Gold Past Life. The new record also features more keyboard influences and a range of guests including Greta Morgan (Springtime Carnivore, Vampire Weekend), Neal Casal (Circles Around the Sun), Trevor Beld Jimenez and Tim Ramsey (Parting Lines), Meg Duffy (Hand Habits), and more. It also sees his working relationship with producer and engineer Thom Monahan (Neko Case, Peter Bjorn & John, Devendra Banhart) hit its stride.\NAccording to Johnson, “Fruit Bats has been a cult band for a long time.” With Gold Past Life, he hopes to bring more immediacy to the music and share positivity, hope, and motivation to keep on keepin’ on with a wider audience.\N“Fruit Bats makes existential make-out music,” he describes with a chuckle. “But you’re also welcome to dive into it deeper if you want. Good pop music should be sublime like that.” X-ALT-DESC;FMTTYPE=text/html:

When Fruit Bats announced its new album and signing to Merge Records late last year, singer/songwriter Eric D. Johnson did so by “Getting in a Van Again.” The 15-minute mockumentary presented a surrealist view of the music industry, while teasing the very real themes explored on Gold Past Life—due out June 21, 2019.

“I know I said I’d be around this year, but here I am getting in a van again.”

Gold Past Life marks both an end and a beginning. It’s the end of an unintentional thematic trilogy of records that began with 2014’s EDJ (a solo record by name, but a Fruit Bats release in spirit) and hit an emotional peak with 2016’s Absolute Loser. They encompassed years of loss, displacement, and the persistent, low-level anxiety of the current political climate. They were written in the wake of friends who left these earthly confines and families that could have been.

“I wrote music to comfort myself,” says Eric D. Johnson of those times. “It was a soothing balm.”

But these salves, these songs on Gold Past Life, also represent new beginnings—the journeys that await after making it through troubled times.

In fact, the notion of getting in a van to move on—literally and metaphorically—is exactly what Gold Past Life is all about. It’s about rejecting notions of idealized nostalgia (“Gold Past Life”) and the process of grounding oneself in the present, both geographically (“A Lingering Love,” “Ocean”) and spiritually (“Drawn Away”).

That spiritual sense of place is particularly important to Johnson, who has always been fascinated by dreams and the subconscious stories they can tell. “Some of these songs are directed at specific people, some at amalgams of people, and lots at myself, or the subconscious version of myself—that version like how they say you’re every single character in your dreams,” he says. “Even the artwork represents the notion that we’re all the characters in our dreams. Here’s me looking at you: I’m a deer on a beach looking you dead in the eye and licking my lips.”

Even as he works through these journeys, Johnson’s falsetto still shines atop the bopping folk-rock of Gold Past Life. The new record also features more keyboard influences and a range of guests including Greta Morgan (Springtime Carnivore, Vampire Weekend), Neal Casal (Circles Around the Sun), Trevor Beld Jimenez and Tim Ramsey (Parting Lines), Meg Duffy (Hand Habits), and more. It also sees his working relationship with producer and engineer Thom Monahan (Neko Case, Peter Bjorn & John, Devendra Banhart) hit its stride.

According to Johnson, “Fruit Bats has been a cult band for a long time.” With Gold Past Life, he hopes to bring more immediacy to the music and share positivity, hope, and motivation to keep on keepin’ on with a wider audience.

“Fruit Bats makes existential make-out music,” he describes with a chuckle. “But you’re also welcome to dive into it deeper if you want. Good pop music should be sublime like that.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190917T020352Z X-ACCESS:1 X-HITS:2733 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190922T200000 DTEND;TZID=America/Denver:20190922T233000 UID:88FB36A2-3CA1-43AA-9589-B5C9C55B7813 SUMMARY:The California Honeydrops DTSTAMP:20190517T184427Z DESCRIPTION:The California Honeydrops celebrate their 11th year together with the release of their latest live album, Honeydrops Live 2019 and an international tour to Australia, New Zealand and Europe. This follows the release of their 7th studio album and first ever double album, Call It Home: Vol. 1 & 2 in 2018. Led by dynamic vocalist and multi-instrumentalist Lech Wierzynski, and drawing on diverse musical influences from Bay Area R&B, funk, Southern soul, Delta blues, and New Orleans second-line, the Honeydrops bring vibrant energy and infectious dance-party vibes to their shows. They’ve taken the party all over the world, playing festivals of all kinds and touring widely across North America, Europe and Australia. In 2016 & 2017 the Honeydrops were honored to support Bonnie Raitt on her North America release tour -- and in the past have been privileged to support the likes of B.B. King, Allen Toussaint, Buddy Guy, and Dr. John. Whether in those high-profile performances or in more intimate venues where the band itself can leave the stage and get down on the dance floor, the California Honeydrops’ shared vision and purpose remain: to make the audience dance and sing.\NThe Honeydrops have come a long way since guitarist and trumpeter Lech Wierzynkski and drummer Ben Malament started busking in an Oakland subway station, but the band has stayed true to that organic, street-level feel. Listening to Lech sing, it can be a surprise that he was born in Warsaw, Poland, and raised by Polish political refugees. He learned his vocal stylings from contraband American recordings of Sam Cooke, Ray Charles, and Louis Armstrong, and later at Oberlin College and on the club circuit in Oakland, California. With the additions of Johnny Bones on tenor sax and clarinet, Lorenzo Loera on keyboards, and Beau Bradbury on bass, they’ve built a powerful full-band sound to support Wierzynski’s vocals. More like parties than traditional concerts, their shows feature extensive off-stage jamming and crowd interaction. “The whole point is to erase the boundaries between the crowd and us,” Wierzynski says. X-ALT-DESC;FMTTYPE=text/html:

The California Honeydrops celebrate their 11th year together with the release of their latest live album, Honeydrops Live 2019 and an international tour to Australia, New Zealand and Europe. This follows the release of their 7th studio album and first ever double album, Call It Home: Vol. 1 & 2 in 2018. Led by dynamic vocalist and multi-instrumentalist Lech Wierzynski, and drawing on diverse musical influences from Bay Area R&B, funk, Southern soul, Delta blues, and New Orleans second-line, the Honeydrops bring vibrant energy and infectious dance-party vibes to their shows. They’ve taken the party all over the world, playing festivals of all kinds and touring widely across North America, Europe and Australia. In 2016 & 2017 the Honeydrops were honored to support Bonnie Raitt on her North America release tour -- and in the past have been privileged to support the likes of B.B. King, Allen Toussaint, Buddy Guy, and Dr. John. Whether in those high-profile performances or in more intimate venues where the band itself can leave the stage and get down on the dance floor, the California Honeydrops’ shared vision and purpose remain: to make the audience dance and sing.

The Honeydrops have come a long way since guitarist and trumpeter Lech Wierzynkski and drummer Ben Malament started busking in an Oakland subway station, but the band has stayed true to that organic, street-level feel. Listening to Lech sing, it can be a surprise that he was born in Warsaw, Poland, and raised by Polish political refugees. He learned his vocal stylings from contraband American recordings of Sam Cooke, Ray Charles, and Louis Armstrong, and later at Oberlin College and on the club circuit in Oakland, California. With the additions of Johnny Bones on tenor sax and clarinet, Lorenzo Loera on keyboards, and Beau Bradbury on bass, they’ve built a powerful full-band sound to support Wierzynski’s vocals. More like parties than traditional concerts, their shows feature extensive off-stage jamming and crowd interaction. “The whole point is to erase the boundaries between the crowd and us,” Wierzynski says.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190920T000852Z X-ACCESS:1 X-HITS:3050 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190924T200000 DTEND;TZID=America/Denver:20190924T233000 UID:FF87E5B5-CBEE-4397-9F56-5E1C11EE0295 SUMMARY:Peter Bradley Adams DTSTAMP:20190419T220010Z DESCRIPTION:No matter the form, when it comes to art, there are a number of different tacks to take. Some artists continually push their work across new horizons. Others stand a bit more still in order to continually refine the capturing of their vision. Singer/songwriter Peter Bradley Adams falls into the latter category of perfectionists chasing their own perfection. With A Face Like Mine, he may well have caught it.\NThere's a confidence, a completeness in the song cycle that listeners have gleaned throughout Adams' illustrious career, but A Face Like Mine, his sixth solo effort, brings it all into sharp focus. Adams' brand of Americana nestles his often delicate, always heartfelt voice in the warm embrace of gentle guitar, tasteful dobro, subtle banjo, supportive bass, and unhurried percussion. The result is a sonic scape that, in turn, wraps itself around the listener like a soft blanket on a cold day. With A Face Like Mine, Adams further refines the simple musical sophistication that has become his trademark.\NThroughout the self-produced set, Adams tells tales of love and loss, homes and hearts. The territory he mines is a deliberate mix of fact and fantasy. “I feel like I'm, firstly, a storyteller,” he offers, “but it's inevitable that my own stuff gets in there deep. And it's funny how, sometimes, I don't realize it until the song is done.”\NRegardless of the details, there's always a philosophical bent that is often more under than on the surface, firmly grounding Adams' songs even as they stretch outward. By his own admission, Adams is a seeker who spends considerable time wrestling with matters of faith, though he's the first to admit he doesn't have any real answers. “I honestly don't know what the hell I'm doing... nor do I have the language for any of this stuff,” he says with a laugh.\NThat seeker's heart is the tie that so often binds these songs together. Whether the search for place and purpose is of a spiritual or geographical nature, few writers capture the journey as thoughtfully as Adams. An Alabama native, Adams says he feels most comfortable in motion and doesn't have a strong sense of being Southern, even though his music is rooted in that world in so many ways. And though he sets various scenes with his lyrical imagery, Adams always leaves room for the listener to crawl inside his stories and make them their own.\NA Face Like Mine's songs were composed all over the world, from Alabama to India, and they dig into topics are disparate as the desperation of addiction (“Lorraine”), the grappling of self-image (“Who Else Could I Be”), the vitriol of politics (“We Are”), and the genetics of suffering (“A Face Like Mine”). “We Are” and “Who Else Could I Be” were originally written for a dance piece that Gina Patterson choreographed for the San Angelo Civic Ballet. Even so, Adams made sure the songs could stand alone in their own world no matter what else was swirling around them — confidence and completeness in action.\NAs a work of musical art, A Face Like Mine fulfills the promise of Peter Bradley Adams. And rarely has an artist's standing still sounded so divine. X-ALT-DESC;FMTTYPE=text/html:

No matter the form, when it comes to art, there are a number of different tacks to take. Some artists continually push their work across new horizons. Others stand a bit more still in order to continually refine the capturing of their vision. Singer/songwriter Peter Bradley Adams falls into the latter category of perfectionists chasing their own perfection. With A Face Like Mine, he may well have caught it.

There's a confidence, a completeness in the song cycle that listeners have gleaned throughout Adams' illustrious career, but A Face Like Mine, his sixth solo effort, brings it all into sharp focus. Adams' brand of Americana nestles his often delicate, always heartfelt voice in the warm embrace of gentle guitar, tasteful dobro, subtle banjo, supportive bass, and unhurried percussion. The result is a sonic scape that, in turn, wraps itself around the listener like a soft blanket on a cold day. With A Face Like Mine, Adams further refines the simple musical sophistication that has become his trademark.

Throughout the self-produced set, Adams tells tales of love and loss, homes and hearts. The territory he mines is a deliberate mix of fact and fantasy. “I feel like I'm, firstly, a storyteller,” he offers, “but it's inevitable that my own stuff gets in there deep. And it's funny how, sometimes, I don't realize it until the song is done.”

Regardless of the details, there's always a philosophical bent that is often more under than on the surface, firmly grounding Adams' songs even as they stretch outward. By his own admission, Adams is a seeker who spends considerable time wrestling with matters of faith, though he's the first to admit he doesn't have any real answers. “I honestly don't know what the hell I'm doing... nor do I have the language for any of this stuff,” he says with a laugh.

That seeker's heart is the tie that so often binds these songs together. Whether the search for place and purpose is of a spiritual or geographical nature, few writers capture the journey as thoughtfully as Adams. An Alabama native, Adams says he feels most comfortable in motion and doesn't have a strong sense of being Southern, even though his music is rooted in that world in so many ways. And though he sets various scenes with his lyrical imagery, Adams always leaves room for the listener to crawl inside his stories and make them their own.

A Face Like Mine's songs were composed all over the world, from Alabama to India, and they dig into topics are disparate as the desperation of addiction (“Lorraine”), the grappling of self-image (“Who Else Could I Be”), the vitriol of politics (“We Are”), and the genetics of suffering (“A Face Like Mine”). “We Are” and “Who Else Could I Be” were originally written for a dance piece that Gina Patterson choreographed for the San Angelo Civic Ballet. Even so, Adams made sure the songs could stand alone in their own world no matter what else was swirling around them — confidence and completeness in action.

As a work of musical art, A Face Like Mine fulfills the promise of Peter Bradley Adams. And rarely has an artist's standing still sounded so divine.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190905T195951Z X-ACCESS:1 X-HITS:3504 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190925T190000 DTEND;TZID=America/Denver:20190925T233000 UID:6ACF7AE8-6BF4-467E-AB69-D7251507B216 SUMMARY:Adrian Belew DTSTAMP:20190215T221846Z DESCRIPTION:Adrian Belew is a multi-instrumentalist, singer, songwriter, producer and guitar guru. Belew has released 20 critically acclaimed solo records and was the frontman, singer, co-writer and guitarist for progressive rock powerhouse King Crimson for 30 years. He also played alongside musicians such as David Bowie, Frank Zappa, Paul Simon, Nine Inch Nails, Tom Tom Club and Talking Heads. Known for his inventive guitar sounds, Belew has begun mixing his unique sound, complex time signatures, witty lyrics, wild sound and technical mastery into his newest app creations, FLUX:FX and FLUX by belew. X-ALT-DESC;FMTTYPE=text/html:

Adrian Belew is a multi-instrumentalist, singer, songwriter, producer and guitar guru. Belew has released 20 critically acclaimed solo records and was the frontman, singer, co-writer and guitarist for progressive rock powerhouse King Crimson for 30 years. He also played alongside musicians such as David Bowie, Frank Zappa, Paul Simon, Nine Inch Nails, Tom Tom Club and Talking Heads. Known for his inventive guitar sounds, Belew has begun mixing his unique sound, complex time signatures, witty lyrics, wild sound and technical mastery into his newest app creations, FLUX:FX and FLUX by belew.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190830T025444Z X-ACCESS:1 X-HITS:4538 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190926T200000 DTEND;TZID=America/Denver:20190926T233000 UID:8BB93460-948F-463F-B588-C64E47DD6861 SUMMARY:Noah Gundersen DTSTAMP:20190620T203014Z DESCRIPTION:On valentines day, 2019, i was in bed with my girlfriend, in a hotel room in Seattle, tripping on mushrooms. i was showing her bits and pieces of the album in its then unfinished form. at the time it was going to be called “i hope you meet everything you fear.” i guess it still could be. but as i was hearing the songs outside of my own ego, i began to see a pattern. or more so a person. a boy. a boy who had tried really hard for a long time to fill a space in his heart. a boy who didn’t know how to be alone, but regardless spent most of his time floating in his own head. a boy who really, really wanted to experience love — a majestic love, an epic love. and in the end, a boy who didn’t have anything to prove anymore.\Nit’s been a challenging couple years for me. i’ve had expectations shattered, relationships fail. i’ve felt the mortality of my own body. i’ve been hurt and caused hurt. i’ve spiraled into periods of substance abuse. but along the way i’ve sidled up to myself. i’ve been able to look in the mirror with more grace and be ok with who i see there, with all his flaws and imperfections. \Nsome of these songs are very old. someone told me once that songwriters are like prophets (though he said you should never say that in an interview. sorry john). we’re meant to see things that others can’t. sometimes those “others” are ourselves. there are songs on this record that I wrote years ago, without really grasping their meaning until now. my therapist says art is the self talking to the self. i guess i was trying to get a message across, cast out into the sea of songs like a message in a shipwrecked bottle.\Ni imagine this album as a sci-fi movie, where a man travels through the infinite darkness of space, alone in his ship. he eventually goes mad, is visited by some interstellar being of light who bestows on him a revelation. he falls into a dream state and makes love with an angel and is made whole for a moment. later he wakes up, alone in his cockpit, with that sort of sad but beautiful certainty that comes from accepting one’s aloneness.\Nthis record is deeply personal. it’s about love, it’s about failure, it’s about drugs, it’s about sex, it’s about age, it's about regret, it’s about itself (very meta, i know) and it’s about finding peace. i think it’s the most i’ve ever put of myself into something. it’s been cathartic. i’ve cried a lot. \Nmy close friend and producer andy park also poured his soul into this record. we spent 2 years, mostly in his apartment, carving away at it. sometimes it felt like we had poured a slab of concrete, with the blind faith that somewhere inside was a beautiful sculpture. this is just as much his record as it is mine. also shoutout to his lovely girlfriend tess for letting me invade their space constantly and making them miss game of thrones because of last minute mix recalls. \Nto all the people in these songs, i love you. i’m sorry for the hurt i’ve caused. \Nand to you, the listener, i hope you find a space for this record. i hope it moves you. i hope above all that it can remind you to be kind to yourself, to find patience and grace.\N“I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the seashore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me.”\N- Isaac Newton X-ALT-DESC;FMTTYPE=text/html:

On valentines day, 2019, i was in bed with my girlfriend, in a hotel room in Seattle, tripping on mushrooms. i was showing her bits and pieces of the album in its then unfinished form. at the time it was going to be called “i hope you meet everything you fear.” i guess it still could be. but as i was hearing the songs outside of my own ego, i began to see a pattern. or more so a person. a boy. a boy who had tried really hard for a long time to fill a space in his heart. a boy who didn’t know how to be alone, but regardless spent most of his time floating in his own head. a boy who really, really wanted to experience love — a majestic love, an epic love. and in the end, a boy who didn’t have anything to prove anymore.

it’s been a challenging couple years for me. i’ve had expectations shattered, relationships fail. i’ve felt the mortality of my own body. i’ve been hurt and caused hurt. i’ve spiraled into periods of substance abuse. but along the way i’ve sidled up to myself. i’ve been able to look in the mirror with more grace and be ok with who i see there, with all his flaws and imperfections. 

some of these songs are very old. someone told me once that songwriters are like prophets (though he said you should never say that in an interview. sorry john). we’re meant to see things that others can’t. sometimes those “others” are ourselves. there are songs on this record that I wrote years ago, without really grasping their meaning until now. my therapist says art is the self talking to the self. i guess i was trying to get a message across, cast out into the sea of songs like a message in a shipwrecked bottle.

i imagine this album as a sci-fi movie, where a man travels through the infinite darkness of space, alone in his ship. he eventually goes mad, is visited by some interstellar being of light who bestows on him a revelation. he falls into a dream state and makes love with an angel and is made whole for a moment. later he wakes up, alone in his cockpit, with that sort of sad but beautiful certainty that comes from accepting one’s aloneness.

this record is deeply personal. it’s about love, it’s about failure, it’s about drugs, it’s about sex, it’s about age, it's about regret, it’s about itself (very meta, i know) and it’s about finding peace. i think it’s the most i’ve ever put of myself into something. it’s been cathartic. i’ve cried a lot. 

my close friend and producer andy park also poured his soul into this record. we spent 2 years, mostly in his apartment, carving away at it. sometimes it felt like we had poured a slab of concrete, with the blind faith that somewhere inside was a beautiful sculpture. this is just as much his record as it is mine. also shoutout to his lovely girlfriend tess for letting me invade their space constantly and making them miss game of thrones because of last minute mix recalls. 

to all the people in these songs, i love you. i’m sorry for the hurt i’ve caused. 

and to you, the listener, i hope you find a space for this record. i hope it moves you. i hope above all that it can remind you to be kind to yourself, to find patience and grace.

“I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the seashore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me.”

- Isaac Newton

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190625T170711Z X-ACCESS:1 X-HITS:2891 X-URL:https://noah-gundersen-salt-lake-2019.eventbrite.com X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190927T203000 DTEND;TZID=America/Denver:20190927T233000 UID:D5C14DB0-2E4A-4702-88A7-DD27ED42CB42 SUMMARY:Andy Farnsworth DTSTAMP:20190826T192138Z DESCRIPTION:Comedian Andy Farnsworth returns to The State Room with special guests Brian Higgins, Rachel Rothenberg, and Isi Folau to celebrate the release of his debut album “Between Haircuts.” \N"For a decade, Andy Farnsworth has been a touring standup. His signature-brand of autobiographical “fun meltdown” was born in Chicago, styled in Los Angeles, toughened in New York City, and tested in a casino five miles outside of Butte, Montana. Andy’s emotionally-rigorous style has earned him opening spots for Doug Stanhope, Michelle Wolf, Mark Normand, and others.\NAlong with his standup, Andy has published comic fiction, produced radio essays and stories, and a critically-acclaimed podcast. His work has been featured on NPR’s On Point, WBUR and WMFO in Boston, and WESN.\NIn 2014, Andy launched Wandering the Aisles w/ Andy Farnsworth, an out-in-the-world podcast that explored New York City. Unique guests and spontaneous conversations guided his journeys to the Staten Island Ferry, Central Park, a Brooklyn Barber Shop, Prospect Park, Alpha Donuts in Queens, and the Union Square subway station.\NFilmmaker Sheena Matheiken writes, “Andy achieves a delicate/casual balance of intimacy and refreshing intellectual honesty in these meandering conversations.”\NThe podcast’s fourth season found Andy relocated to Salt Lake City and adjusting to the climate and culture of this strange western theocracy. Find it on iTunes and Stitcher." X-ALT-DESC;FMTTYPE=text/html:

Comedian Andy Farnsworth returns to The State Room with special guests Brian Higgins, Rachel Rothenberg, and Isi Folau to celebrate the release of his debut album “Between Haircuts.” 

"For a decade, Andy Farnsworth has been a touring standup. His signature-brand of autobiographical “fun meltdown” was born in Chicago, styled in Los Angeles, toughened in New York City, and tested in a casino five miles outside of Butte, Montana. Andy’s emotionally-rigorous style has earned him opening spots for Doug Stanhope, Michelle Wolf, Mark Normand, and others.

Along with his standup, Andy has published comic fiction, produced radio essays and stories, and a critically-acclaimed podcast. His work has been featured on NPR’s On Point, WBUR and WMFO in Boston, and WESN.

In 2014, Andy launched Wandering the Aisles w/ Andy Farnsworth, an out-in-the-world podcast that explored New York City. Unique guests and spontaneous conversations guided his journeys to the Staten Island Ferry, Central Park, a Brooklyn Barber Shop, Prospect Park, Alpha Donuts in Queens, and the Union Square subway station.

Filmmaker Sheena Matheiken writes, “Andy achieves a delicate/casual balance of intimacy and refreshing intellectual honesty in these meandering conversations.”

The podcast’s fourth season found Andy relocated to Salt Lake City and adjusting to the climate and culture of this strange western theocracy. Find it on iTunes and Stitcher."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190918T232723Z X-ACCESS:1 X-HITS:1838 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191002T200000 DTEND;TZID=America/Denver:20191002T233000 UID:171BC75A-18A4-4166-B63C-A1694D4C5CF9 SUMMARY:Sinkane DTSTAMP:20190501T182802Z DESCRIPTION:It’s easy to be angry in moments like now. And that’s OK. But it takes courage to turn that anger into productive energy. The previous Sinkane album, 2017's Life and Livin' It, was released at a very crazy time: things like the Muslim ban, police shooting unarmed people of color, massive corruption in my native Sudan, fake news, Donald Trump, Brexit and so many other calamities all really forced me to think about my place in the world as a musician. I began to think about how I could use my music in a constructive way — not only to help myself but to help others who feel frustrated and powerless.\NI’m not a newbie to hate: I’m black, Muslim and even though I'm an American I'm often made to feel like a foreigner in my own country. And sometimes I do feel like a foreigner — in fact, I once made a whole album, 2012's Mars, about that feeling. I’ve made a lot of music out of my life story but I’ve always kept things vague enough that anyone listening to my music could relate to it on their own terms. And yet I have to admit that I never truly felt satisfied with that. I eventually realized that, in order to truly connect with other people, I first needed to connect with myself on a deeper level than before.\NThroughout the making of my new album I kept asking myself the same question: “As an immigrant to America, where do I belong?” So, during the writing process, I worked mainly by myself so that I could ensure the most honest and personal answers to that question. I read books by Joseph Campbell, the late novelist/cultural theorist Daniel Quinn, Ta-Nehisi Coates, Pakistani novelist Mohsin Hamid, and the late African-American memoirist Philippe Wamba, hoping they’d guide me to some kind of answer. Then, one day when I was wandering around the fertile desert of the internet, I stumbled upon an amazing word: dépaysé.\NDépaysé is a French word that basically means “to be removed from one’s habitual surroundings.” By extension, it means to be disoriented, homeless. That's a feeling I relate to very much in these times — and I don’t think I’m the only one who feels this way. That word gave me clarity and made the journey inward that much more exciting.\NAfter I finished writing the album I brought the music to my band. Sinkane is an American band comprised of people from all over the world: I am Sudanese, guitarist Jonny Lam is Chinese, keyboardist Elenna Canlas is Filipina, drummer Chris St. Hilaire is Trinidadian, and bassist Michael “Ish” Montgomery is Black American. Our collective experience as children of the diaspora helped bring the music to life in the most honest way possible.\NSo here we are. Dépaysé is the story of an immigrant’s journey of self-discovery in the Trump era. The music is loud and raw, and it's bursting with energy unlike anything I’ve ever done before. It starts with a call to arms: “Everybody,” a rock & roll song in the spirit of Sly Stone and funky early-'70s Afro-rock bands like the Funkees and the Hygrades. Every day we wake up to another horror story about racism, and it’s left many of us angry, confused and frustrated. But we can change the news for the better. We can show people that a multicolored world is a beautiful one. Celebrating our differences yields beauty in life. And that takes... everybody.\NThe second song of the album, the desert blues/dancehall-tinged “Everyone,” continues that line of thought to its logical conclusion: love is the key to helping us understand one another.\NThe psychedelic, groovy East African-inspired title track came to me in a dream: I dreamed I was walking the streets of Omdurman at night, a city along the Nile in my native Sudan, when I heard someone playing guitar and singing in Arabic. It turned out to be my father! He was sitting cross-legged on the ground, under a streetlight in front of my childhood home. His voice sounded hypnotic, raw and powerful as he sang: “I am your life/And all of our lives/From within the city until our uprising/Our days have left us in the city and, with our imagination, we move forward.” He sang that over and over, and I sing those same words in my song. This, along with the rest of Dépaysé, has given me peace. I am no longer afraid of the unknown. I’m no longer confused about my duality of my Sudanese and American identities. Now I accept it. And it's made me feel new.\N“Ya Sudan” and “The Searching” explore that duality. In “Ya Sudan” I pay homage to my country of origin and in “The Searching” I discuss what it means to move forward from that. Truly understanding one's duality means seeing beyond where you came from: let go of any definition that others put on you and then you can truly see the beauty of your life experience. “Stranger” and “Be Here Now” address one of the most confusing aspects in the diaspora experience: religion. Lots of people have questions about their faith: What does this all mean? After all this work why do I still feel uncertain? What about all the bad people who are like me? And the good who are not? Those questions loom larger when you grow up with people different from you. I wanted to bring this up and let people like me know that they’re not alone in questioning their faith. I also thought it would be funny to spitefully ask God to take accountability for his actions. The Arabic lyrics translate to “Oh God, aren’t you our protector? Help me through these murky waters that seem part of your master plan.”\NAs always, I'm inspired by Sly Stone, Fela Kuti, George Clinton and Bob Marley, as well as the beautiful music of east Africa (especially the Dur Dur Band from Somalia, Mulatu Astatkefrom Ethiopia, and Mohammed Wardi from Sudan). These people all spoke their minds confidently in front of a beat that made you dance. They welcomed every kind of person into their worlds with open arms. We live in an often terrible time but that shouldn’t silence our desire to have a good time. To dance. To dream. To love. To be one with the world. To realize that we’re not alone.\NI want Sudanese kids to see a person like them as a positive role model in the arts. I want Sudanese people, all over the world, to know that the world accepts us even when our own leaders, such as Omar El-Bashir or Donald Trump, do not. And ultimately, I want to make it clear that the world is a better place because of our differences. We’re all strangers in this ever-stranger land of America. We are all the American Dream. Dépaysé is a place we can all know as home, with elements of all our homes. It's an act of imaginary cartography — on Mars, I called that place “Caparundi,” a place where Africa, North America, South America, Asia, and the Caribbean all meet in joyous harmony. The music is playing there all night long. Come in and dance and sing. And stay for the conversation. X-ALT-DESC;FMTTYPE=text/html:

It’s easy to be angry in moments like now. And that’s OK. But it takes courage to turn that anger into productive energy. The previous Sinkane album, 2017's Life and Livin' It, was released at a very crazy time: things like the Muslim ban, police shooting unarmed people of color, massive corruption in my native Sudan, fake news, Donald Trump, Brexit and so many other calamities all really forced me to think about my place in the world as a musician. I began to think about how I could use my music in a constructive way — not only to help myself but to help others who feel frustrated and powerless.

I’m not a newbie to hate: I’m black, Muslim and even though I'm an American I'm often made to feel like a foreigner in my own country. And sometimes I do feel like a foreigner — in fact, I once made a whole album, 2012's Mars, about that feeling. I’ve made a lot of music out of my life story but I’ve always kept things vague enough that anyone listening to my music could relate to it on their own terms. And yet I have to admit that I never truly felt satisfied with that. I eventually realized that, in order to truly connect with other people, I first needed to connect with myself on a deeper level than before.

Throughout the making of my new album I kept asking myself the same question: “As an immigrant to America, where do I belong?” So, during the writing process, I worked mainly by myself so that I could ensure the most honest and personal answers to that question. I read books by Joseph Campbell, the late novelist/cultural theorist Daniel Quinn, Ta-Nehisi Coates, Pakistani novelist Mohsin Hamid, and the late African-American memoirist Philippe Wamba, hoping they’d guide me to some kind of answer. Then, one day when I was wandering around the fertile desert of the internet, I stumbled upon an amazing word: dépaysé.

Dépaysé is a French word that basically means “to be removed from one’s habitual surroundings.” By extension, it means to be disoriented, homeless. That's a feeling I relate to very much in these times — and I don’t think I’m the only one who feels this way. That word gave me clarity and made the journey inward that much more exciting.

After I finished writing the album I brought the music to my band. Sinkane is an American band comprised of people from all over the world: I am Sudanese, guitarist Jonny Lam is Chinese, keyboardist Elenna Canlas is Filipina, drummer Chris St. Hilaire is Trinidadian, and bassist Michael “Ish” Montgomery is Black American. Our collective experience as children of the diaspora helped bring the music to life in the most honest way possible.

So here we are. Dépaysé is the story of an immigrant’s journey of self-discovery in the Trump era. The music is loud and raw, and it's bursting with energy unlike anything I’ve ever done before. It starts with a call to arms: “Everybody,” a rock & roll song in the spirit of Sly Stone and funky early-'70s Afro-rock bands like the Funkees and the Hygrades. Every day we wake up to another horror story about racism, and it’s left many of us angry, confused and frustrated. But we can change the news for the better. We can show people that a multicolored world is a beautiful one. Celebrating our differences yields beauty in life. And that takes... everybody.

The second song of the album, the desert blues/dancehall-tinged “Everyone,” continues that line of thought to its logical conclusion: love is the key to helping us understand one another.

The psychedelic, groovy East African-inspired title track came to me in a dream: I dreamed I was walking the streets of Omdurman at night, a city along the Nile in my native Sudan, when I heard someone playing guitar and singing in Arabic. It turned out to be my father! He was sitting cross-legged on the ground, under a streetlight in front of my childhood home. His voice sounded hypnotic, raw and powerful as he sang: “I am your life/And all of our lives/From within the city until our uprising/Our days have left us in the city and, with our imagination, we move forward.” He sang that over and over, and I sing those same words in my song. This, along with the rest of Dépaysé, has given me peace. I am no longer afraid of the unknown. I’m no longer confused about my duality of my Sudanese and American identities. Now I accept it. And it's made me feel new.

“Ya Sudan” and “The Searching” explore that duality. In “Ya Sudan” I pay homage to my country of origin and in “The Searching” I discuss what it means to move forward from that. Truly understanding one's duality means seeing beyond where you came from: let go of any definition that others put on you and then you can truly see the beauty of your life experience. “Stranger” and “Be Here Now” address one of the most confusing aspects in the diaspora experience: religion. Lots of people have questions about their faith: What does this all mean? After all this work why do I still feel uncertain? What about all the bad people who are like me? And the good who are not? Those questions loom larger when you grow up with people different from you. I wanted to bring this up and let people like me know that they’re not alone in questioning their faith. I also thought it would be funny to spitefully ask God to take accountability for his actions. The Arabic lyrics translate to “Oh God, aren’t you our protector? Help me through these murky waters that seem part of your master plan.”

As always, I'm inspired by Sly Stone, Fela Kuti, George Clinton and Bob Marley, as well as the beautiful music of east Africa (especially the Dur Dur Band from Somalia, Mulatu Astatkefrom Ethiopia, and Mohammed Wardi from Sudan). These people all spoke their minds confidently in front of a beat that made you dance. They welcomed every kind of person into their worlds with open arms. We live in an often terrible time but that shouldn’t silence our desire to have a good time. To dance. To dream. To love. To be one with the world. To realize that we’re not alone.

I want Sudanese kids to see a person like them as a positive role model in the arts. I want Sudanese people, all over the world, to know that the world accepts us even when our own leaders, such as Omar El-Bashir or Donald Trump, do not. And ultimately, I want to make it clear that the world is a better place because of our differences. We’re all strangers in this ever-stranger land of America. We are all the American Dream. Dépaysé is a place we can all know as home, with elements of all our homes. It's an act of imaginary cartography — on Mars, I called that place “Caparundi,” a place where Africa, North America, South America, Asia, and the Caribbean all meet in joyous harmony. The music is playing there all night long. Come in and dance and sing. And stay for the conversation.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191002T220658Z X-ACCESS:1 X-HITS:3305 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191004T210000 DTEND;TZID=America/Denver:20191004T233000 UID:B5ED781E-AB6B-4473-B885-26413E1AC004 SUMMARY:Bleached DTSTAMP:20190429T182206Z DESCRIPTION:“Don’t you think you’ve had enough?” is a sharp reprimand, a gentle chiding; it trails from a parental rebuke during childhood sweetness to coming from concerned friends during adolescent recklessness. Or, in Bleached’s case, it’s what Jennifer Clavin asked herself when she hit a turning point in her life.\NDon’t You Think You’ve Had Enough?, the new record from Bleached, is Jessie and Jennifer Clavin’s first LP written from a place of sobriety. That newfound and clear-eyed perspective serves as the guiding force in every corner of its sound, yielding a courageous, honest, and sonically ambitious album. Here, the Clavins radiate the power and bravery of facing addiction, of letting go of the past and becoming open to a radically different future of self-love, acceptance, and newfound honesty. It’s a record about fighting both literally and figuratively for your life -- and the clarity that’s born from that struggle.\N“Drinking was really the only way I knew how to get through fear in those moments before sobriety,” Jessie explains. “As I was writing, and learning these new tools, I realized sobriety is so much more than not having a drink. It really hit me during the creation of this record.”\N“Writing these songs while sober became somewhat of a spiritual experience,” Jennifer says. “Like I was connecting with a power greater than myself. I had to let go, trust the process, and allow an energy beyond my control to be present.”\NThe writing for Don’t You Think You’ve Had Enough? began in early 2018, as both a daily process in a Los Angeles practice space, and with friends and co-writers in Nashville. It marks the first time the Clavin sisters approached writing a record with a set, regimented schedule. It also marks the first record the Clavins wrote while fully harnessing the power of creating art from a place of authentic happiness.\N“Looking at it as more of a piece of art rather than a chunk of my diary made it a different experience,” Jennifer says. “I felt free to experiment, let go, and have less control over what was happening with the demos, which ended up being a blessing because I got to go places with the melodies I wouldn’t have normally gone.”\NProducer Shane Stoneback (Vampire Weekend, Sleigh Bells) also helped to open every door to experimentation while recording the record, wanting to be exploratory while keeping the sound singularly Bleached. The resulting LP is an explosive record grappling with the past; its twelve tracks mark some of the sisters’ most visceral, rawest songwriting to date -- and some of their best. Don’t You Think You’ve Had Enough? revisits the same lives led on 2016’s Welcome the Worms and debut Ride Your Heart, but with maturity. Bleached’s melodies have always been center-stage, but Don’t You Think You’ve Had Enough? glimmers with inspiration found in touring with the likes of The Damned and Paramore. That arena-ready pop, incisively catchy, was a palpable influence, helping to push Bleached’s sound in a new direction.\N“We were trying to stay away from expectations -- from premeditated disappointments -- and trying to make it come naturally,” Jessie says.\NDon’t You Think You’ve Had Enough? had the Clavins returning to a recording process similar to that of their first 7-inches - with Jessie handling the bulk of the instrumentation and Jennifer handling the lyrics and melodies. It was important to the Clavins that the entire record return to their dynamic as sisters.\NSometimes, Jessie would go into the practice space first to lay down guitars and instrumentals with Jennifer going in the next day to find a new GarageBand file waiting for her, opening it -sounds unheard- and writing her lyrics and melodies. A constant push-and-pull of surprises as well as a collision of musical liberation and inspiration, the process opened up a playfulness, yielding tracks like “Kiss You Goodbye” and the disco punk inspired first single “Hard To Kill” which, as Jennifer puts it, is about “staring down the road towards death, realizing I needed to wake up and get out of my selfish patterns of self destruction”. Sonically this process also helped shape new ideas for songs like “Daydream,” a track about finding it hard to let go of the past and feeling stuck in a fantasy life, and “Silly Girl,” a track about severing friendships because of the role drugs and alcohol played in them.\NAlbum closer “Shitty Ballet” is the first studio work from the Clavins relying so heavily on acoustic guitars, but the striking emotion of the demo stuck, and they stayed true to it. It was written in just a few hours in a deluge of heartbreak. Thematically, the track feels like bridging the gap between Welcome the Worms and Don’t You Think You’ve Had Enough?, a proper break-up with both a relationship and a past life.\N“With this album I feel like I finally have a relationship with myself, which I didn’t have during Welcome the Worms. I didn’t even know myself. And the person I was, I didn’t like,” Jennifer explains. “A lot of this record is coming from a place of self-love and realizing that this is part of my history, this doesn’t make me who I am, but I can talk about it and let it go and realize I don’t have to do that anymore. I don’t have to have these unhealthy relationships anymore, whether they’re romantic or otherwise. I don’t have to treat myself like shit anymore. I actually like myself now.” X-ALT-DESC;FMTTYPE=text/html:

“Don’t you think you’ve had enough?” is a sharp reprimand, a gentle chiding; it trails from a parental rebuke during childhood sweetness to coming from concerned friends during adolescent recklessness. Or, in Bleached’s case, it’s what Jennifer Clavin asked herself when she hit a turning point in her life.

Don’t You Think You’ve Had Enough?, the new record from Bleached, is Jessie and Jennifer Clavin’s first LP written from a place of sobriety. That newfound and clear-eyed perspective serves as the guiding force in every corner of its sound, yielding a courageous, honest, and sonically ambitious album. Here, the Clavins radiate the power and bravery of facing addiction, of letting go of the past and becoming open to a radically different future of self-love, acceptance, and newfound honesty. It’s a record about fighting both literally and figuratively for your life -- and the clarity that’s born from that struggle.

“Drinking was really the only way I knew how to get through fear in those moments before sobriety,” Jessie explains. “As I was writing, and learning these new tools, I realized sobriety is so much more than not having a drink. It really hit me during the creation of this record.”

“Writing these songs while sober became somewhat of a spiritual experience,” Jennifer says. “Like I was connecting with a power greater than myself. I had to let go, trust the process, and allow an energy beyond my control to be present.”

The writing for Don’t You Think You’ve Had Enough? began in early 2018, as both a daily process in a Los Angeles practice space, and with friends and co-writers in Nashville. It marks the first time the Clavin sisters approached writing a record with a set, regimented schedule. It also marks the first record the Clavins wrote while fully harnessing the power of creating art from a place of authentic happiness.

“Looking at it as more of a piece of art rather than a chunk of my diary made it a different experience,” Jennifer says. “I felt free to experiment, let go, and have less control over what was happening with the demos, which ended up being a blessing because I got to go places with the melodies I wouldn’t have normally gone.”

Producer Shane Stoneback (Vampire Weekend, Sleigh Bells) also helped to open every door to experimentation while recording the record, wanting to be exploratory while keeping the sound singularly Bleached. The resulting LP is an explosive record grappling with the past; its twelve tracks mark some of the sisters’ most visceral, rawest songwriting to date -- and some of their best. Don’t You Think You’ve Had Enough? revisits the same lives led on 2016’s Welcome the Worms and debut Ride Your Heart, but with maturity. Bleached’s melodies have always been center-stage, but Don’t You Think You’ve Had Enough? glimmers with inspiration found in touring with the likes of The Damned and Paramore. That arena-ready pop, incisively catchy, was a palpable influence, helping to push Bleached’s sound in a new direction.

“We were trying to stay away from expectations -- from premeditated disappointments -- and trying to make it come naturally,” Jessie says.

Don’t You Think You’ve Had Enough? had the Clavins returning to a recording process similar to that of their first 7-inches - with Jessie handling the bulk of the instrumentation and Jennifer handling the lyrics and melodies. It was important to the Clavins that the entire record return to their dynamic as sisters.

Sometimes, Jessie would go into the practice space first to lay down guitars and instrumentals with Jennifer going in the next day to find a new GarageBand file waiting for her, opening it -sounds unheard- and writing her lyrics and melodies. A constant push-and-pull of surprises as well as a collision of musical liberation and inspiration, the process opened up a playfulness, yielding tracks like “Kiss You Goodbye” and the disco punk inspired first single “Hard To Kill” which, as Jennifer puts it, is about “staring down the road towards death, realizing I needed to wake up and get out of my selfish patterns of self destruction”. Sonically this process also helped shape new ideas for songs like “Daydream,” a track about finding it hard to let go of the past and feeling stuck in a fantasy life, and “Silly Girl,” a track about severing friendships because of the role drugs and alcohol played in them.

Album closer “Shitty Ballet” is the first studio work from the Clavins relying so heavily on acoustic guitars, but the striking emotion of the demo stuck, and they stayed true to it. It was written in just a few hours in a deluge of heartbreak. Thematically, the track feels like bridging the gap between Welcome the Worms and Don’t You Think You’ve Had Enough?, a proper break-up with both a relationship and a past life.

“With this album I feel like I finally have a relationship with myself, which I didn’t have during Welcome the Worms. I didn’t even know myself. And the person I was, I didn’t like,” Jennifer explains. “A lot of this record is coming from a place of self-love and realizing that this is part of my history, this doesn’t make me who I am, but I can talk about it and let it go and realize I don’t have to do that anymore. I don’t have to have these unhealthy relationships anymore, whether they’re romantic or otherwise. I don’t have to treat myself like shit anymore. I actually like myself now.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191004T170234Z X-ACCESS:1 X-HITS:2052 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191007T200000 DTEND;TZID=America/Denver:20191007T233000 UID:7CE56B17-2766-41CE-A666-04B6D29DAC7F SUMMARY:Ruston Kelly DTSTAMP:20190430T202909Z DESCRIPTION:Ruston Kelly’s highly anticipated full-length debut, Dying Star, will be released September 7 on Rounder Records and is now available for pre-order. In advance of the release, the album’s lead track, “Jericho,” is premiering today. Watch/share the official music video HERE.\NDying Star was co-produced by Kelly and Jarrad K (Kate Nash, Weezer) and recorded at Sonic Ranch in El Paso, TX. It includes 14 songs written/co- written by Kelly and features Kelly (lead vocals, acoustic guitar, xylophone, harmonica), Jarrad K (12-string guitar, background vocals, electric guitar, Rhodes), Tim Kelly (pedal steel), Ian Fitchuk (piano, organ, drums, percussion), Eli Beaird (bass) and Kyle Ryan (banjo) as well as background vocals from Jon Green, Natalie Hemby, Kacey Musgraves, Kate York, Abby Sevigny and Joy Williams.\NOf the album, Kelly comments, “A lot of my music is focused on suffering, or trying to understand the human condition through the lens of suffering…which probably sounds totally depressing, but it’s actually the flipside of that. Sometimes you’ve gotta go into that darkness—you need to get lost and then figure out for yourself how to find your way back. That’s the only way we can find pure joy, and really be thankful for the life we’ve been given.”\NThe release of Dying Star follows a breakout year for the Nashville-based artist, whose debut EP, Halloween, was released last April to widespread acclaim. Of the music, Rolling Stone praised, “…shows a powerful grasp on storytelling gleaned from his love of the Carter Family and Townes Van Zandt, but also a more ragged rock & roll soul: it’s Americana, if your Americana is Bruce Springsteen with an acoustic guitar, sung by someone who spins a little heavy metal too,” while the HuffPost declared, “simultaneously current and effortlessly timeless.”\NBorn in South Carolina, Kelly started playing guitar under the guidance of his dad, Tim “TK” Kelly, a pedal steel guitarist who now performs in his band. Since his father worked for a paper mill and often changed job locations, Kelly grew up frequently moving, living everywhere from Alabama to Belgium, including time in Michigan— where the young one-time figure skater went to train with an Olympic coach in the hope of furthering his career, and where he first began writing songs. At 17, he moved to\NNashville to live with his sister and went on to land a publishing deal with BMG Nashville, placing songs with several high-profile artists. X-ALT-DESC;FMTTYPE=text/html:

Ruston Kelly’s highly anticipated full-length debut, Dying Star, will be released September 7 on Rounder Records and is now available for pre-order. In advance of the release, the album’s lead track, “Jericho,” is premiering today. Watch/share the official music video HERE.

Dying Star was co-produced by Kelly and Jarrad K (Kate Nash, Weezer) and recorded at Sonic Ranch in El Paso, TX. It includes 14 songs written/co- written by Kelly and features Kelly (lead vocals, acoustic guitar, xylophone, harmonica), Jarrad K (12-string guitar, background vocals, electric guitar, Rhodes), Tim Kelly (pedal steel), Ian Fitchuk (piano, organ, drums, percussion), Eli Beaird (bass) and Kyle Ryan (banjo) as well as background vocals from Jon Green, Natalie Hemby, Kacey Musgraves, Kate York, Abby Sevigny and Joy Williams.

Of the album, Kelly comments, “A lot of my music is focused on suffering, or trying to understand the human condition through the lens of suffering…which probably sounds totally depressing, but it’s actually the flipside of that. Sometimes you’ve gotta go into that darkness—you need to get lost and then figure out for yourself how to find your way back. That’s the only way we can find pure joy, and really be thankful for the life we’ve been given.”

The release of Dying Star follows a breakout year for the Nashville-based artist, whose debut EP, Halloween, was released last April to widespread acclaim. Of the music, Rolling Stone praised, “…shows a powerful grasp on storytelling gleaned from his love of the Carter Family and Townes Van Zandt, but also a more ragged rock & roll soul: it’s Americana, if your Americana is Bruce Springsteen with an acoustic guitar, sung by someone who spins a little heavy metal too,” while the HuffPost declared, “simultaneously current and effortlessly timeless.”

Born in South Carolina, Kelly started playing guitar under the guidance of his dad, Tim “TK” Kelly, a pedal steel guitarist who now performs in his band. Since his father worked for a paper mill and often changed job locations, Kelly grew up frequently moving, living everywhere from Alabama to Belgium, including time in Michigan— where the young one-time figure skater went to train with an Olympic coach in the hope of furthering his career, and where he first began writing songs. At 17, he moved to

Nashville to live with his sister and went on to land a publishing deal with BMG Nashville, placing songs with several high-profile artists.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191004T170251Z X-ACCESS:1 X-HITS:4045 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191008T200000 DTEND;TZID=America/Denver:20191008T233000 UID:19B59227-FD58-4ADE-9A18-6309DBA7E728 SUMMARY:Mike Doughty Plays Soul Coughing's "Ruby Vroom" DTSTAMP:-00011130T000000Z DESCRIPTION:Mike Doughty, the singer, songwriter, producer, author and founder of seminal 90’s band Soul Coughing will be playing their debut LP Ruby Vroom in full across at The State Room on October 8th, 2019.\NDoughty will be joined on these dates by a full band. While they will be performing Ruby Vroom in its entirety, in the original sequence, what the audience experiences will be different each night. “When I was looking for something to do between album cycles I decided to tour Irresistible Bliss in full” explains Doughty. “It was incredibly fun forcing myself to work within that structure. The decisions you make when putting together a set list are different from the ones you make when sequencing a record. This is like performing a single, hour-long piece of music.”\NRather than an exact replication of the studio recording, Doughty plans to use a variety of cues and hand signals to adjust the performance in real time. “Live we turn into a musical super-organism. We’re basically doing a real-time remix of the record at each show” tells Doughty. “It won’t not be a note-for-note performance. I’m very proud of the record we made; it’s the sonic embodiment of lower Manhattan in the early 1990’s. Yet there’s a whole other version of this record that lives in my head. I’m extremely excited to see how it evolves night after night.”\NDoughty has released 11 solo albums in the 21st Century, including Haughty Melodic and Stellar Motel, and a memoir, The Book of Drugs (he’s currently writing a second one). He makes electro tracks under the names UUL and Dubious Luxury; his opera Revelation was staged in conjunction with WNYC; he’s currently writing songs with Wayne Kramer from the MC5. He recently posted his 100th weekly new song for his Patreon subscribers. And, finally, he has three improvised-music bands in Memphis, where he lives: Moticos, Baby Men, and Spooky Party.  X-ALT-DESC;FMTTYPE=text/html:

Mike Doughty, the singer, songwriter, producer, author and founder of seminal 90’s band Soul Coughing will be playing their debut LP Ruby Vroom in full across at The State Room on October 8th, 2019.

Doughty will be joined on these dates by a full band. While they will be performing Ruby Vroom in its entirety, in the original sequence, what the audience experiences will be different each night. “When I was looking for something to do between album cycles I decided to tour Irresistible Bliss in full” explains Doughty. “It was incredibly fun forcing myself to work within that structure. The decisions you make when putting together a set list are different from the ones you make when sequencing a record. This is like performing a single, hour-long piece of music.”

Rather than an exact replication of the studio recording, Doughty plans to use a variety of cues and hand signals to adjust the performance in real time. “Live we turn into a musical super-organism. We’re basically doing a real-time remix of the record at each show” tells Doughty. “It won’t not be a note-for-note performance. I’m very proud of the record we made; it’s the sonic embodiment of lower Manhattan in the early 1990’s. Yet there’s a whole other version of this record that lives in my head. I’m extremely excited to see how it evolves night after night.”

Doughty has released 11 solo albums in the 21st Century, including Haughty Melodic and Stellar Motel, and a memoir, The Book of Drugs (he’s currently writing a second one). He makes electro tracks under the names UUL and Dubious Luxury; his opera Revelation was staged in conjunction with WNYC; he’s currently writing songs with Wayne Kramer from the MC5. He recently posted his 100th weekly new song for his Patreon subscribers. And, finally, he has three improvised-music bands in Memphis, where he lives: Moticos, Baby Men, and Spooky Party. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191004T171254Z X-ACCESS:1 X-HITS:2563 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191009T200000 DTEND;TZID=America/Denver:20191009T233000 UID:80B5E8C8-C433-499C-8A6E-4734F1EE89BF SUMMARY:Carbon Leaf DTSTAMP:20190103T185622Z DESCRIPTION:Blending rock, folk, Celtic, bluegrass and Americana traditions into a high-energy style the group calls ether-electrified porch music, the Virginia quintet’s poetic songs are brought to life with acoustic & electric guitars, mandolin, fiddle, bass, drums, cello, banjo, penny whistle, pedal steel, accordion and rich vocal harmony.\NCarbon Leaf writes, records and produces it’s music independently from their studio in Richmond, VA, and has performed over 2,400 lives shows across 17 albums in their long career.\NThe group’s independent music and spirit continue to resonate with its fans. X-ALT-DESC;FMTTYPE=text/html:

Blending rock, folk, Celtic, bluegrass and Americana traditions into a high-energy style the group calls ether-electrified porch music, the Virginia quintet’s poetic songs are brought to life with acoustic & electric guitars, mandolin, fiddle, bass, drums, cello, banjo, penny whistle, pedal steel, accordion and rich vocal harmony.

Carbon Leaf writes, records and produces it’s music independently from their studio in Richmond, VA, and has performed over 2,400 lives shows across 17 albums in their long career.

The group’s independent music and spirit continue to resonate with its fans.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191004T171213Z X-ACCESS:1 X-HITS:2520 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191010T200000 DTEND;TZID=America/Denver:20191010T233000 UID:6422804A-6F95-4292-BE62-6F832D61A6A9 SUMMARY:Jesse Malin DTSTAMP:20190729T193751Z DESCRIPTION:Jesse Malin — whom the London Times says “writes vivid songs with killer tunes and sings them with scary conviction” — and Lucinda Williams — the southern troubadour once named “America’s best songwriter” by Time magazine — first met in the early 2000s at a jazz club in NYC’s West Village. In a joint 2017 Rolling Stone interview, the two discussed their “shared love of miscreants, misfits, the misunderstood and the mysteries of everyday lives binds them across the Mason-Dixon line.”\N“From the early frontier days of hardcore in New York to all the punk rock and singer/songwriter touring,” says Malin, “it’s all been about survival and reinvention. I wanted to make an open-sounding record with the space to tell these stories. I like to write about characters and people I meet along the way. The dreamers, schemers, hustlers, romantics, lovers, leavers and believers.” Many of the dreamers, schemers and so on from Jesse’s own life contribute to Sunset Kids, his new album of highly personal songs being released August 30 on Wicked Cool Records.\NSunset Kids first took shape at The Hollywood Bowl, when Jesse accepted Lucinda’s invitation to see her open for what turned out to be Tom Petty and The Heartbreakers’ final concert. The bittersweet experience inspired one of the new album’s highlights, “Shining Down,” a rainy day jangle about “keeping alive the spirits of the ones we’ve lost.” During that same visit, the idea came about of three-time Grammy-winning Lucinda producing Jesse’s next record.\N“Lucinda has a great eye for finding the beauty in broken things and a knack for always picking the right take. Once she started dancing in the control room, we knew we had it.”\NIn addition to this rare turn in the producer’s chair for Williams, she co-wrote and sang on the evocative Country-flavored “Room 13,” which Malin calls “the heart of the record in a lot of ways, about those meditative moments far away from home, where you’re forced to reflect on the things that really matter.”\NThe album also features “Chemical Heart,” an upbeat pop basher located at a mythical point on Queens Boulevard where Paul Simon and The Ramones intersect, namechecking Bernie Taupin and Jake LaMotta among others. “Shane” is a gentle ballad about one of his heroes, the lovably shambolic Shane MacGowan of The Pogues.\N“My first album, The Fine Art Of Self-Destruction, was about finding glory in the wreckage,” says Malin of the album which was upon release Uncut’s “Album of the Month.” “Sunset Kids is about owning it. The failures, the victories, the moments. And moving up from there.”\NAfter reflecting on his life while walking the streets of London, jamming riffs in an East Village basement and writing songs in Florida hotel rooms while visiting his ailing father, the ambitious 14-song album was recorded on both coasts between the two artists’ touring schedules.\NIt opens with the pre-apocalyptic confession “Meet Me At The End Of The World Again,” which includes backing vocals by Malin confidante and collaborator Joseph Arthur. Another key guest contribution comes courtesy of Green Day’s Billie Joe Armstrong, who co-wrote and sang on “Strangers & Thieves.”\N“Billie Joe was in town and I showed him where we hung out when we were kids in the hardcore days,” Malin recalls. “A couple days later, I got a text and he had finished the song. He went into the details of his experience in the Bay Area with that scene, and also my experiences, which were very parallel in New York.”\NThose early days found a young Jesse “riding the subway trains from Queens to the record stores and nightclubs in dirty, pre-Disney New York City” and never looking back. His band Heart Attack put out the first New York hardcore single “God Is Dead” when Malin was 14 years old. He later went on to acclaim as the frontman for the fast and loud D Generation, whose albums were produced by Ric Ocasek, Tony Visconti and David Bianco.\NBianco is one of the Sunset Kids referenced in the album’s title. The engineer who won a Grammy for his pristine sonics on Tom Petty’s Wildflowers and produced the first major-label release of Jesse’s career passed away suddenly after overseeing the initial sessions for Sunset Kids in his L.A. studio.\N“Playing music is something I need to do. Singing under those hot lights every night is a great exorcism. We get to put together this pirate ship of characters and go around the world making trouble and singing our guts out.”\NAs the line in crucial cut “When You’re Young” says, “Don’t waste your life on things that don’t get better.” Malin concludes: “It’s about finding ways to survive and navigate through all this stuff. Being compassionate and loving in a world that will break your heart. But you’re still here. You wake up again and put one foot in front of the other and live every day like it could be your last.” X-ALT-DESC;FMTTYPE=text/html:

Jesse Malin — whom the London Times says “writes vivid songs with killer tunes and sings them with scary conviction” — and Lucinda Williams — the southern troubadour once named “America’s best songwriter” by Time magazine — first met in the early 2000s at a jazz club in NYC’s West Village. In a joint 2017 Rolling Stone interview, the two discussed their “shared love of miscreants, misfits, the misunderstood and the mysteries of everyday lives binds them across the Mason-Dixon line.”

“From the early frontier days of hardcore in New York to all the punk rock and singer/songwriter touring,” says Malin, “it’s all been about survival and reinvention. I wanted to make an open-sounding record with the space to tell these stories. I like to write about characters and people I meet along the way. The dreamers, schemers, hustlers, romantics, lovers, leavers and believers.” Many of the dreamers, schemers and so on from Jesse’s own life contribute to Sunset Kids, his new album of highly personal songs being released August 30 on Wicked Cool Records.

Sunset Kids first took shape at The Hollywood Bowl, when Jesse accepted Lucinda’s invitation to see her open for what turned out to be Tom Petty and The Heartbreakers’ final concert. The bittersweet experience inspired one of the new album’s highlights, “Shining Down,” a rainy day jangle about “keeping alive the spirits of the ones we’ve lost.” During that same visit, the idea came about of three-time Grammy-winning Lucinda producing Jesse’s next record.

“Lucinda has a great eye for finding the beauty in broken things and a knack for always picking the right take. Once she started dancing in the control room, we knew we had it.”

In addition to this rare turn in the producer’s chair for Williams, she co-wrote and sang on the evocative Country-flavored “Room 13,” which Malin calls “the heart of the record in a lot of ways, about those meditative moments far away from home, where you’re forced to reflect on the things that really matter.”

The album also features “Chemical Heart,” an upbeat pop basher located at a mythical point on Queens Boulevard where Paul Simon and The Ramones intersect, namechecking Bernie Taupin and Jake LaMotta among others. “Shane” is a gentle ballad about one of his heroes, the lovably shambolic Shane MacGowan of The Pogues.

“My first album, The Fine Art Of Self-Destruction, was about finding glory in the wreckage,” says Malin of the album which was upon release Uncut’s “Album of the Month.” “Sunset Kids is about owning it. The failures, the victories, the moments. And moving up from there.”

After reflecting on his life while walking the streets of London, jamming riffs in an East Village basement and writing songs in Florida hotel rooms while visiting his ailing father, the ambitious 14-song album was recorded on both coasts between the two artists’ touring schedules.

It opens with the pre-apocalyptic confession “Meet Me At The End Of The World Again,” which includes backing vocals by Malin confidante and collaborator Joseph Arthur. Another key guest contribution comes courtesy of Green Day’s Billie Joe Armstrong, who co-wrote and sang on “Strangers & Thieves.”

“Billie Joe was in town and I showed him where we hung out when we were kids in the hardcore days,” Malin recalls. “A couple days later, I got a text and he had finished the song. He went into the details of his experience in the Bay Area with that scene, and also my experiences, which were very parallel in New York.”

Those early days found a young Jesse “riding the subway trains from Queens to the record stores and nightclubs in dirty, pre-Disney New York City” and never looking back. His band Heart Attack put out the first New York hardcore single “God Is Dead” when Malin was 14 years old. He later went on to acclaim as the frontman for the fast and loud D Generation, whose albums were produced by Ric Ocasek, Tony Visconti and David Bianco.

Bianco is one of the Sunset Kids referenced in the album’s title. The engineer who won a Grammy for his pristine sonics on Tom Petty’s Wildflowers and produced the first major-label release of Jesse’s career passed away suddenly after overseeing the initial sessions for Sunset Kids in his L.A. studio.

“Playing music is something I need to do. Singing under those hot lights every night is a great exorcism. We get to put together this pirate ship of characters and go around the world making trouble and singing our guts out.”

As the line in crucial cut “When You’re Young” says, “Don’t waste your life on things that don’t get better.” Malin concludes: “It’s about finding ways to survive and navigate through all this stuff. Being compassionate and loving in a world that will break your heart. But you’re still here. You wake up again and put one foot in front of the other and live every day like it could be your last.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191009T155151Z X-ACCESS:1 X-HITS:1419 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191011T210000 DTEND;TZID=America/Denver:20191011T233000 UID:B77D5158-BF6A-47B9-A127-25D7006D6F6A SUMMARY:Jon McLaughlin DTSTAMP:20190508T195251Z DESCRIPTION:Everything in Jon McLaughlin’s life makes its way into his music, whether he’s conscious of it or not. The artist, raised in Indiana and based in Nashville, brings all of his experiences and beliefs into each song he creates, something that is especially true now that he’s the father of two young girls. \NJon released his debut album, Indiana, in 2007 on Island Def Jam, attracting fans with his heartfelt, hook-laden songwriting and impassioned delivery. He’s released five full-lengths in the twelve years since and revealed a true evolution in both his piano playing and singing. He’s played shows with Billy Joel, Kelly Clarkson and Adele, collaborated with longtime friend Sara Bareilles, co-written with Demi Lovato and even performed at the Academy Awards in 2008.  \NJon’s album, Like Us, dropped in October of 2015 via Razor & Tie, and he spent the past few years touring extensively before heading back into his Nashville studio to work on new music. In November of 2018 Jon released his album Angst & Grace which features “Still My Girl” written for his youngest daughter. \NAnother project started in 2018 is his Dueling Pianos video series. Every episode features a new guest artist and they perform mashups of never been heard arrangements\NAs with everything he does, Jon’s goal is to create connections. He wants to translate his experiences and ideas into music that reaches fans everywhere. His passion for music and playing is evident in each note he plays. X-ALT-DESC;FMTTYPE=text/html:

Everything in Jon McLaughlin’s life makes its way into his music, whether he’s conscious of it or not. The artist, raised in Indiana and based in Nashville, brings all of his experiences and beliefs into each song he creates, something that is especially true now that he’s the father of two young girls. 

Jon released his debut album, Indiana, in 2007 on Island Def Jam, attracting fans with his heartfelt, hook-laden songwriting and impassioned delivery. He’s released five full-lengths in the twelve years since and revealed a true evolution in both his piano playing and singing. He’s played shows with Billy Joel, Kelly Clarkson and Adele, collaborated with longtime friend Sara Bareilles, co-written with Demi Lovato and even performed at the Academy Awards in 2008.  

Jon’s album, Like Us, dropped in October of 2015 via Razor & Tie, and he spent the past few years touring extensively before heading back into his Nashville studio to work on new music. In November of 2018 Jon released his album Angst & Grace which features “Still My Girl” written for his youngest daughter. 

Another project started in 2018 is his Dueling Pianos video series. Every episode features a new guest artist and they perform mashups of never been heard arrangements

As with everything he does, Jon’s goal is to create connections. He wants to translate his experiences and ideas into music that reaches fans everywhere. His passion for music and playing is evident in each note he plays.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191004T170733Z X-ACCESS:1 X-HITS:3946 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191012T200000 DTEND;TZID=America/Denver:20191012T233000 UID:0F6AE990-FF2E-4B8B-A17B-288BC596321F SUMMARY:Paul Cauthen DTSTAMP:20190715T220930Z DESCRIPTION:Making Room 41 nearly killed Paul Cauthen. Ironically enough, it’s also the very thing that saved him. “Finishing this record was one of the craziest experiences I’ve ever been a part of,” reflects Cauthen, the\Nlarger-than-life Texas troubadour nicknamed Big Velvet for his impossibly smooth, baritone voice. “I’m\Nhonestly glad it’s done because I don’t think I’d survive if I had to do it all over again. No way.”\NWritten during a roughly two-year stint spent living out of a suitcase in Dallas’ Belmont Hotel, Room 41 chronicles Cauthen’s white-knuckle journey to the brink and back, a harrowing experience that landed him in and out of the hospital as he careened between ecstasy and misery more times than he could count. Cauthen has long been a pusher of boundaries (musical and otherwise), and Room 41 is no exception, with electrifying performances that blend old-school country and gritty soul with 70’s funk and stirring gospel. His lyrics take on biblical proportions as they tackle lust and envy, pride and despair, destruction and redemption, but these songs are no parables.\NCauthen lived every single line of this record, and he’s survived to tell the tale.\N“I’ve always been the kind of artist that can’t write something unless I feel it and I mean it.” says Cauthen, “This record is as real as it gets for me. I am these songs.”\NCauthen first earned his reputation as a fire-breathing truth-teller with the acclaimed roots rock band Sons of Fathers, but it wasn’t until the 2016 release of his solo debut, My Gospel, that he truly tapped into the full depth of his prodigious talents. Vice Noisey dubbed it “a somber reminder of how lucky we are to be alive,” while Texas Monthly raved that Cauthen “sound[s] like the Highwaymen all rolled into one: he’s got Willie’s phrasing, Johnny’s haggard quiver, Kristofferson’s knack for storytelling, and Waylon’s baritone.” The album landed on a slew of Best Of lists at the year’s end and earned festival appearances from Austin City Limits and Pickathon to Stagecoach and Tumbleweed along with dates opening for Elle King, Margo Price, Midland, Cody Jinks, Social Distortion and more. He followed it up two years later with Have Mercy, an album that prompted Rolling Stone to dub him “one of the most fascinating, and eccentric, new voices in country music” and NPR’s Ann Powers to proclaim 2019 as “the year of Paul Cauthen.”\NAs his professional life reached new heights, though, Cauthen’s personal life hit new lows, and he soon found himself drifting without a home. Checked in to room 41 at the Belmont, he began escalating his self- destructive tendencies, medicating heartbreak and anxiety with alcohol and drugs as he ground himself into oblivion.\N“I’d drink like a fish all night and stay up writing or recording from about 4am until noon,” Cauthen explains. “Then I’d sleep away the rest of the day until it was time to start over again. The only thing that kept me ticking was the songs.”\NCauthen’s routine may have left him with plenty to write about, but it was taking a heavy toll on both his physical and mental health.\N“The whole ‘ripping your heart of our chest and pouring it into your art’ thing might be good for songwriting for a little while,” says Cauthen, “but I wouldn’t wish it on anybody. I worked myself up into such a frenzy that I couldn’t keep going on without getting some real medical help.”\NCauthen credits his survival in no small part to his collaborators on the album, a wide range of writers, musicians, and producers who rallied around him and believed in his work enough to help him see it through. The production credits alone read like a who’s who of modern Texas music, including Niles City Sound (Leon Bridges, Nicole Atkins), Matt Pence (Jason Isbell, Nikki Lane), and Beau Bedford and Jason Burt, Cauthen’s longtime creative foils at Dallas’ Modern Electric studio.\N“Modern Electric is always going to be my home,” says Cauthen, “but after we started working on this album there, I felt like I hit a wall and needed a change of scenery, so I brought the band with me over to Fort Worth to work with Austin Jenkins and Josh Block and Chris Vivion at Niles City. Nobody had brought the Dallas sound to Fort Worth like that before, and it turned out to be a recipe for something really special.”\NThe mix of producers and recording environments helped Cauthen walk the line between retro and modern, with bold, adventurous arrangements informed by country tradition but completely untethered from its strictures. The introduction of album opener “Holy Ghost Fire” sounds more like Gnarls Barkley than Merle Haggard, and the ultra-funky “Cocaine Country Dancing” flirts with Prince, but the arrival of Cauthen’s unmistakable voice gives each song a singular life of its own. As with much of the album, tracks like “Holy Ghost Fire” and the “Cocaine Country Dancing” find themselves taking good hard looks in the mirror, and while they’re not exactly thrilled with what they see, the experiences are ultimately cathartic ones. The sweeping “Prayed For Rain,” for instance, serves as a reminder to be selfless in the face of our more egotistical instincts, while the heartrending “Slow Down” is a plea to treat ourselves with patience and kindness, and the R&B-influenced “Freak” recognizes that, deep down, we all want and deserve the same things out of life.\N“I wrote that song about my experience in the Smith County Jail,” says Cauthen. “I met a lot of crazy characters there, but everybody in this world deserves a chance. At the end of the day, we’re all freaks, and we all just want to love and be loved.”\NCauthen’s never had a problem when it comes to loving those around him, but learning to love himself has been a different story altogether. He comes to terms with the person behind the persona on “Big Velvet,” grapples with his faith on the rousing “Give ‘em Peace,” and channels Roy Orbison on the gorgeous “Can’t Be Alone.”\N“I started writing that song on the piano in the lobby of The Belmont at 4am,” says Cauthen. “I probably woke some guests up, but at the time, I didn’t really care. I just didn’t think I could take feeling alone like that any more.”\NIn the end, writing and recording Room 41 showed Cauthen that he wasn’t alone, and in that sense, maybe these songs are parables after all. As richly detailed and firmly rooted in Cauthen’s lived experiences as they are, the stories here are universal, with the kind of deeply layered meanings and insights that continue to reveal themselves slowly over time. These days, Cauthen is out of the hotel, but he still carries the lessons he learned in room 41 everywhere he goes, approaching life with a newfound gratefulness and living in the moment with an appreciation for the present that might have seemed impossible even just a year ago.\N“I’m making a living with my music and paying the bills,” says Cauthen. “I’ve already made it in my eyes. I’m here. I’ve arrived.” X-ALT-DESC;FMTTYPE=text/html:

Making Room 41 nearly killed Paul Cauthen. Ironically enough, it’s also the very thing that saved him. “Finishing this record was one of the craziest experiences I’ve ever been a part of,” reflects Cauthen, the

larger-than-life Texas troubadour nicknamed Big Velvet for his impossibly smooth, baritone voice. “I’m

honestly glad it’s done because I don’t think I’d survive if I had to do it all over again. No way.”

Written during a roughly two-year stint spent living out of a suitcase in Dallas’ Belmont Hotel, Room 41 chronicles Cauthen’s white-knuckle journey to the brink and back, a harrowing experience that landed him in and out of the hospital as he careened between ecstasy and misery more times than he could count. Cauthen has long been a pusher of boundaries (musical and otherwise), and Room 41 is no exception, with electrifying performances that blend old-school country and gritty soul with 70’s funk and stirring gospel. His lyrics take on biblical proportions as they tackle lust and envy, pride and despair, destruction and redemption, but these songs are no parables.

Cauthen lived every single line of this record, and he’s survived to tell the tale.

“I’ve always been the kind of artist that can’t write something unless I feel it and I mean it.” says Cauthen, “This record is as real as it gets for me. I am these songs.”

Cauthen first earned his reputation as a fire-breathing truth-teller with the acclaimed roots rock band Sons of Fathers, but it wasn’t until the 2016 release of his solo debut, My Gospel, that he truly tapped into the full depth of his prodigious talents. Vice Noisey dubbed it “a somber reminder of how lucky we are to be alive,” while Texas Monthly raved that Cauthen “sound[s] like the Highwaymen all rolled into one: he’s got Willie’s phrasing, Johnny’s haggard quiver, Kristofferson’s knack for storytelling, and Waylon’s baritone.” The album landed on a slew of Best Of lists at the year’s end and earned festival appearances from Austin City Limits and Pickathon to Stagecoach and Tumbleweed along with dates opening for Elle King, Margo Price, Midland, Cody Jinks, Social Distortion and more. He followed it up two years later with Have Mercy, an album that prompted Rolling Stone to dub him “one of the most fascinating, and eccentric, new voices in country music” and NPR’s Ann Powers to proclaim 2019 as “the year of Paul Cauthen.”

As his professional life reached new heights, though, Cauthen’s personal life hit new lows, and he soon found himself drifting without a home. Checked in to room 41 at the Belmont, he began escalating his self- destructive tendencies, medicating heartbreak and anxiety with alcohol and drugs as he ground himself into oblivion.

“I’d drink like a fish all night and stay up writing or recording from about 4am until noon,” Cauthen explains. “Then I’d sleep away the rest of the day until it was time to start over again. The only thing that kept me ticking was the songs.”

Cauthen’s routine may have left him with plenty to write about, but it was taking a heavy toll on both his physical and mental health.

“The whole ‘ripping your heart of our chest and pouring it into your art’ thing might be good for songwriting for a little while,” says Cauthen, “but I wouldn’t wish it on anybody. I worked myself up into such a frenzy that I couldn’t keep going on without getting some real medical help.”

Cauthen credits his survival in no small part to his collaborators on the album, a wide range of writers, musicians, and producers who rallied around him and believed in his work enough to help him see it through. The production credits alone read like a who’s who of modern Texas music, including Niles City Sound (Leon Bridges, Nicole Atkins), Matt Pence (Jason Isbell, Nikki Lane), and Beau Bedford and Jason Burt, Cauthen’s longtime creative foils at Dallas’ Modern Electric studio.

“Modern Electric is always going to be my home,” says Cauthen, “but after we started working on this album there, I felt like I hit a wall and needed a change of scenery, so I brought the band with me over to Fort Worth to work with Austin Jenkins and Josh Block and Chris Vivion at Niles City. Nobody had brought the Dallas sound to Fort Worth like that before, and it turned out to be a recipe for something really special.”

The mix of producers and recording environments helped Cauthen walk the line between retro and modern, with bold, adventurous arrangements informed by country tradition but completely untethered from its strictures. The introduction of album opener “Holy Ghost Fire” sounds more like Gnarls Barkley than Merle Haggard, and the ultra-funky “Cocaine Country Dancing” flirts with Prince, but the arrival of Cauthen’s unmistakable voice gives each song a singular life of its own. As with much of the album, tracks like “Holy Ghost Fire” and the “Cocaine Country Dancing” find themselves taking good hard looks in the mirror, and while they’re not exactly thrilled with what they see, the experiences are ultimately cathartic ones. The sweeping “Prayed For Rain,” for instance, serves as a reminder to be selfless in the face of our more egotistical instincts, while the heartrending “Slow Down” is a plea to treat ourselves with patience and kindness, and the R&B-influenced “Freak” recognizes that, deep down, we all want and deserve the same things out of life.

“I wrote that song about my experience in the Smith County Jail,” says Cauthen. “I met a lot of crazy characters there, but everybody in this world deserves a chance. At the end of the day, we’re all freaks, and we all just want to love and be loved.”

Cauthen’s never had a problem when it comes to loving those around him, but learning to love himself has been a different story altogether. He comes to terms with the person behind the persona on “Big Velvet,” grapples with his faith on the rousing “Give ‘em Peace,” and channels Roy Orbison on the gorgeous “Can’t Be Alone.”

“I started writing that song on the piano in the lobby of The Belmont at 4am,” says Cauthen. “I probably woke some guests up, but at the time, I didn’t really care. I just didn’t think I could take feeling alone like that any more.”

In the end, writing and recording Room 41 showed Cauthen that he wasn’t alone, and in that sense, maybe these songs are parables after all. As richly detailed and firmly rooted in Cauthen’s lived experiences as they are, the stories here are universal, with the kind of deeply layered meanings and insights that continue to reveal themselves slowly over time. These days, Cauthen is out of the hotel, but he still carries the lessons he learned in room 41 everywhere he goes, approaching life with a newfound gratefulness and living in the moment with an appreciation for the present that might have seemed impossible even just a year ago.

“I’m making a living with my music and paying the bills,” says Cauthen. “I’ve already made it in my eyes. I’m here. I’ve arrived.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191004T170712Z X-ACCESS:1 X-HITS:2241 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191014T200000 DTEND;TZID=America/Denver:20191014T233000 UID:A291B3A6-2E42-4D2C-983A-FABD4B934E86 SUMMARY:Black Pumas DTSTAMP:20190621T201922Z DESCRIPTION:Sometimes, a mystical, life-changing connection can be closer than you think.In 2017, Grammy Award-winning guitarist/producer Adrian Quesada had recorded some instrumentals in his Austin studio, and he started looking around for a vocalist -- he knew a lot of singers, but he wanted something different. He reached out to friends in Los Angeles, in London, but nothing seemed right. \NMeantime, Eric Burton had recently made his way to Texas. Born in the San Fernando Valley, he grew up in church and then got heavily involved in musical theater. He started busking at the Santa Monica pier, where he brought in a few hundred dollars a day and developed his performance skills. Burton traveled through the Western states before deciding to settle down in Austin -- setting up his busking spot on a downtown street corner, at 6th Street and Congress, for maximum exposure.\NA mutual friend mentioned Burton to Quesada, saying that he was the best singer he had ever heard. The two musicians connected, but Burton took a while to respond (“My friends were like ‘Dude, you’re a mad man, you need to hit that guy back!’“) Finally, he called Quesada, and started singing to one of the tracks over the phone. “I loved his energy, his vibe, and I knew it would be incredible on record,” he says. “From the moment I heard him on the phone, I was all about it.”\NThe results of that inauspicious beginning can now be heard on the self-titled debut album from Black Pumas, the group that Quesada and Burton assembled, which has become one of the year’s most anticipated projects. Described as “Wu-Tang Clan meets James Brown” by KCRW, Black Pumas were the winner of Best New Band at the 2019 Austin Music Awards.\NQuesada has a storied reputation from playing in bands like Grupo Fantasma and Brownout, accompanying artists from Prince to Daniel Johnston, and producing such acclaimed projects as 2018’s Look at My Soul: The Latin Shade Of Texas Soul. For the tracks that kicked off this project, though, he had a different direction in mind. “I was looking for somebody with their own identity,” says Quesada, “who liked Neil Young as much as Sam Cooke.”\NBurton’s taste, range, and experience proved to be exactly what Quesada was seeking. “We just take to the same kind of music,” he says. “I listen to East Coast hip-hop, old soul music, folk music. When Adrian sent me the songs, it was like I had already heard them before. We were on the same wavelength from the get-go.”\NThe first day they got together in the studio, they recorded the dusty funk that would become the Black Pumas’ first two singles, “Black Moon Rising” and “Fire.” Quesada had written the music for “Black Moon Rising” on the day of the 2017 solar eclipse, and Burton took that concept and ran with it. “Right away, the hair stood up on the back of my neck,” says Quesada. “I knew, ‘This is it -- this is the guy.’”\NBurton sensed the potential, as well. “When I saw that Adrian played with Prince and had a Grammy,” he says, “that he was a serious, respected artist, I knew that I would do my best not to squander that. If you can do it on the street, for a long time, without making yourself crazy, you can do it with a guy who’s won a Grammy.” \NThe duo also knew that they didn’t want their sound to be too retro or imitative. “We didn’t want to just do throwback soul and pretend that hip-hop never happened,” says Quesada, noting that it was listening to Ghostface Killah that initially triggered him to start writing this material. “It had to feel sincere coming from us. I have a certain aesthetic in the studio, Eric has a voice that evokes a certain era, but I don’t think we reference that too directly.”\N“Adrian has had the time and the interest to really dive into a specific sound, to recreate something he heard on a Motown record,” adds Burton. “And because of that specific knowledge, he provides an interesting sandbox for me, whose background is in theater, to do something super-unorthodox -- to be an art student and play with all the colors I have, but to put it on something that’s more familiar to listeners’ ears.”\NWith Black Pumas having evolved from an idea to a session to an album, they decided to put a band together and see how this music sounded live. They booked a residency at C Boys (a sister venue to Austin’s famed Continental Club), initially playing every Thursday for a month. “We only rehearsed twice, we had no idea what we were getting ourselves into,” says Quesada. “But with the first show, we knew it was unique, special -- the chemistry and fire were there immediately. And what Eric could do as a frontman was like nothing I’d ever seen.”\NAs word got out, the C Boys shows turned into a local phenomenon (“the hottest party in town,” according to the Austin American-Statesman), with lines around the block despite the fact that the band had only released one song. The reaction to the group’s recent South by Southwest appearance helps explain the mania -- the Chicago Tribune called Burton’s performance “a whirlwind of movement and gesture,” while Rolling Stone, in naming Black Pumas “One Of The 30 Best Bands We Saw In Austin,” wrote that “the hometown six-piece’s grooves were funky in a thick, viscous way, oozing out in ambitious jams that wandered into heady territory without meandering” and praising Burton’s “tireless, charismatic energy.”\NThe other, unexpected result of the C Boys residency was that Burton presented more of his own songs to help fill out the set, which led Black Pumas into new territory. “Eric had all these other songs based on other styles, going back into what he was doing when he was busking,” says Quesada. “It was a real spark that we could huddle around him and his songs, too, and get a real sense of what our sound was.”\NIn fact, the final song recorded for Black Pumas was “October 33,” a tense, pleading ballad by Burton. “I didn’t feel like we had the right last song,” says Quesada, “we needed something with more of Eric on guitar. I said ‘I want to put down one more, do you have anything?’ and he texted me back exactly what I was imagining -- it was almost unspoken.”\NQuesada and Burton both return, over and over, to this almost mystical connection they felt from the beginning. It’s this sense of common purpose, of shared vision, that gives Black Pumas its focus and power -- and that points to great things ahead.\N“It’s so seamless, it’s like we’re musical brothers to some degree,” says Burton. “It feels so easy to meld together that what’s most important for us now is to continue to look for new sounds -- to make sure we’re feeding ourselves the knowledge to continue to evolve. Every time we get together, it’s better than the last time.” X-ALT-DESC;FMTTYPE=text/html:

Sometimes, a mystical, life-changing connection can be closer than you think.In 2017, Grammy Award-winning guitarist/producer Adrian Quesada had recorded some instrumentals in his Austin studio, and he started looking around for a vocalist -- he knew a lot of singers, but he wanted something different. He reached out to friends in Los Angeles, in London, but nothing seemed right. 

Meantime, Eric Burton had recently made his way to Texas. Born in the San Fernando Valley, he grew up in church and then got heavily involved in musical theater. He started busking at the Santa Monica pier, where he brought in a few hundred dollars a day and developed his performance skills. Burton traveled through the Western states before deciding to settle down in Austin -- setting up his busking spot on a downtown street corner, at 6th Street and Congress, for maximum exposure.

A mutual friend mentioned Burton to Quesada, saying that he was the best singer he had ever heard. The two musicians connected, but Burton took a while to respond (“My friends were like ‘Dude, you’re a mad man, you need to hit that guy back!’“) Finally, he called Quesada, and started singing to one of the tracks over the phone. “I loved his energy, his vibe, and I knew it would be incredible on record,” he says. “From the moment I heard him on the phone, I was all about it.”

The results of that inauspicious beginning can now be heard on the self-titled debut album from Black Pumas, the group that Quesada and Burton assembled, which has become one of the year’s most anticipated projects. Described as “Wu-Tang Clan meets James Brown” by KCRW, Black Pumas were the winner of Best New Band at the 2019 Austin Music Awards.

Quesada has a storied reputation from playing in bands like Grupo Fantasma and Brownout, accompanying artists from Prince to Daniel Johnston, and producing such acclaimed projects as 2018’s Look at My Soul: The Latin Shade Of Texas Soul. For the tracks that kicked off this project, though, he had a different direction in mind. “I was looking for somebody with their own identity,” says Quesada, “who liked Neil Young as much as Sam Cooke.”

Burton’s taste, range, and experience proved to be exactly what Quesada was seeking. “We just take to the same kind of music,” he says. “I listen to East Coast hip-hop, old soul music, folk music. When Adrian sent me the songs, it was like I had already heard them before. We were on the same wavelength from the get-go.”

The first day they got together in the studio, they recorded the dusty funk that would become the Black Pumas’ first two singles, “Black Moon Rising” and “Fire.” Quesada had written the music for “Black Moon Rising” on the day of the 2017 solar eclipse, and Burton took that concept and ran with it. “Right away, the hair stood up on the back of my neck,” says Quesada. “I knew, ‘This is it -- this is the guy.’”

Burton sensed the potential, as well. “When I saw that Adrian played with Prince and had a Grammy,” he says, “that he was a serious, respected artist, I knew that I would do my best not to squander that. If you can do it on the street, for a long time, without making yourself crazy, you can do it with a guy who’s won a Grammy.” 

The duo also knew that they didn’t want their sound to be too retro or imitative. “We didn’t want to just do throwback soul and pretend that hip-hop never happened,” says Quesada, noting that it was listening to Ghostface Killah that initially triggered him to start writing this material. “It had to feel sincere coming from us. I have a certain aesthetic in the studio, Eric has a voice that evokes a certain era, but I don’t think we reference that too directly.”

“Adrian has had the time and the interest to really dive into a specific sound, to recreate something he heard on a Motown record,” adds Burton. “And because of that specific knowledge, he provides an interesting sandbox for me, whose background is in theater, to do something super-unorthodox -- to be an art student and play with all the colors I have, but to put it on something that’s more familiar to listeners’ ears.”

With Black Pumas having evolved from an idea to a session to an album, they decided to put a band together and see how this music sounded live. They booked a residency at C Boys (a sister venue to Austin’s famed Continental Club), initially playing every Thursday for a month. “We only rehearsed twice, we had no idea what we were getting ourselves into,” says Quesada. “But with the first show, we knew it was unique, special -- the chemistry and fire were there immediately. And what Eric could do as a frontman was like nothing I’d ever seen.”

As word got out, the C Boys shows turned into a local phenomenon (“the hottest party in town,” according to the Austin American-Statesman), with lines around the block despite the fact that the band had only released one song. The reaction to the group’s recent South by Southwest appearance helps explain the mania -- the Chicago Tribune called Burton’s performance “a whirlwind of movement and gesture,” while Rolling Stone, in naming Black Pumas “One Of The 30 Best Bands We Saw In Austin,” wrote that “the hometown six-piece’s grooves were funky in a thick, viscous way, oozing out in ambitious jams that wandered into heady territory without meandering” and praising Burton’s “tireless, charismatic energy.”

The other, unexpected result of the C Boys residency was that Burton presented more of his own songs to help fill out the set, which led Black Pumas into new territory. “Eric had all these other songs based on other styles, going back into what he was doing when he was busking,” says Quesada. “It was a real spark that we could huddle around him and his songs, too, and get a real sense of what our sound was.”

In fact, the final song recorded for Black Pumas was “October 33,” a tense, pleading ballad by Burton. “I didn’t feel like we had the right last song,” says Quesada, “we needed something with more of Eric on guitar. I said ‘I want to put down one more, do you have anything?’ and he texted me back exactly what I was imagining -- it was almost unspoken.”

Quesada and Burton both return, over and over, to this almost mystical connection they felt from the beginning. It’s this sense of common purpose, of shared vision, that gives Black Pumas its focus and power -- and that points to great things ahead.

“It’s so seamless, it’s like we’re musical brothers to some degree,” says Burton. “It feels so easy to meld together that what’s most important for us now is to continue to look for new sounds -- to make sure we’re feeding ourselves the knowledge to continue to evolve. Every time we get together, it’s better than the last time.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191004T170805Z X-ACCESS:1 X-HITS:2924 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191015T200000 DTEND;TZID=America/Denver:20191015T233000 UID:4782A413-9F87-4CD7-9F3A-CEFEDF2BE4F0 SUMMARY:Nashville Pussy DTSTAMP:20190730T165226Z DESCRIPTION:Lemmy personally blessed Nashville Pussy calling them “America’s last great Rock and Roll band”.\N…and Lemmy should know. Over the past couple of decades, Nashville Pussy preached its sleazy gospel alongside Motörhead in every rock outpost from Asia to Europe and back again.\NRaised on a diet of Marshall stacks, Gibson Guitars, Jack Daniels and weed, Nashville Pussy is the bastard offspring of foul mouthed demented hillbilly ice-cream man Blaine Cartwright and tractor driving, nude art school model guitar prodigy Ruyter Suys. Born deep in the Baptist Bible Belt of Kentucky – Blaine Cartwright used the Ramones and The New York Dolls to maintain\Nsanity – meanwhile in Vancouver Canada, 8 year old hippie kid Ruyter Suys picked up her father’s guitar playing along with Led Zeppelin and Jimi Hendrix.\N“We got married on a dare after dropping acid, Nashville Pussy is our baby,” says Suys.\NBlaine and Ruyter left their Nashville home when their house burned to the ground. “We were forced to tour incessantly or face the fact that we were homeless” Eventually choosing Atlanta as home, “Because the bars stayed open later.” Nashville Pussy quickly gained a reputation for being like “AC/DC with a female Angus” in Ruyter’s blues meets punk frenzied guitar solos and Blaine’s hilarious “jailhouse nursery rhyme” lyrics. Rowdy and unpretentious; Nashville Pussy got voted ‘best local band’ in opposite ends of the country their first year of touring.\NTheir debut album “Let Them Eat Pussy” was recorded and mixed in 5 days for $3,000, picked up by Mercury records for a million dollar contract during a signing freeze and Grammy nominated for “Fried Chicken And Coffee” for Best Metal Performance.\NThe band has also found fans with the Mob; The Sopranos featured “Drive” in one episode and their songs have also been in Entourage, SuperTroopers, Cartoon Network, Jackass The Game. They have performed at Wacken Open Air, HELLFEST, Dynamo Festival, Roskilde, Leeds and Redding, multiple appearances on Canal Plus Television and even done voices and cameos in movies.\NAfter the whiskey bottles emptied, Nashville Pussy rocked. Six studio albums later, the band has now played in front of hundreds of thousands of fans in nearly forty countries, sharing stages with some of the biggest bands on the planet, including ZZTOP, Marilyn Manson, SLAYER, Iron Maiden, Black Sabbath and LYNYRD SKYNYRD. “We’ve played everywhere from little shit kick joints in bum fuck towns to topping the bill at 20,000 seater festivals in Sweden,” adds Suys. It doesn’t matter to us how many people are in front of us. We always kick ass and rock like it’s the last show on earth.”\NWhere do Nashville Pussy find inspiration for their outrageous lyrics? “We farm our own adventures for fuel. Tragedy becomes comedy as soon as Blaine writes about it,” says Suys. “Our old bassist got carried out of New York’s exclusive Spy Bar kicking and screaming, so we just wrote a song about it, ‘You Give Drugs A Bad Name’. Most of our songs start with a big dose of truth.”\NThis badass lifestyle takes its toll. But instead of resorting to Keith Richards infamous blood transfusions to rejuvenate themselves\NNashville Pussy found themselves new blood. Spicy Colombian/Californian Bonnie ‘Bon’ Buitrago began as a teenage fan of the band sneaking into shows, determined to make the leap from audience member to member of the band by mastering her craft on Bass.\NAtlanta native and ex-landscaper Ben Thomas on drums has quickly become known for his showmanship, precision and all around sensuality behind the kit. “Everyone is always looking for the next John Bonham, we found him mowing our lawn!”\NMany now believe the band has assembled the classic Nashville Pussy lineup. This rhythm section is the foundation on which Blaine and Ruyter - who still regularly tops polls of ‘world’s best female guitarist’ - build their ferocious growling sound. “We are Rock n Roll’s dirty little secret, blissfully outliving musical trends we never knew existed,” says Suys. “More than ever, everyone needs to escape to a place where they can pretend they don’t give a shit, let their hair down and get loud, sweaty and dirty. Nashville Pussy provides that unpretentious refuge. Everyone is welcome – just don’t dress up ‘cause it’s gonna get messy.”\N“If there’s been a better band than Nashville Pussy to open for Motörhead, I’ve never heard them”\N– Lemmy\NNASHVILLE PUSSY:\NBlaine Cartwright; Rhythm Guitar, Vocals Ruyter Suys; Lead Guitar, Background Vocals\NBonnie ‘Bon’ Buitrago; Bass, Background Vocals Ben Thomas; Drums X-ALT-DESC;FMTTYPE=text/html:

Lemmy personally blessed Nashville Pussy calling them “America’s last great Rock and Roll band”.

…and Lemmy should know. Over the past couple of decades, Nashville Pussy preached its sleazy gospel alongside Motörhead in every rock outpost from Asia to Europe and back again.

Raised on a diet of Marshall stacks, Gibson Guitars, Jack Daniels and weed, Nashville Pussy is the bastard offspring of foul mouthed demented hillbilly ice-cream man Blaine Cartwright and tractor driving, nude art school model guitar prodigy Ruyter Suys. Born deep in the Baptist Bible Belt of Kentucky – Blaine Cartwright used the Ramones and The New York Dolls to maintain

sanity – meanwhile in Vancouver Canada, 8 year old hippie kid Ruyter Suys picked up her father’s guitar playing along with Led Zeppelin and Jimi Hendrix.

“We got married on a dare after dropping acid, Nashville Pussy is our baby,” says Suys.

Blaine and Ruyter left their Nashville home when their house burned to the ground. “We were forced to tour incessantly or face the fact that we were homeless” Eventually choosing Atlanta as home, “Because the bars stayed open later.” Nashville Pussy quickly gained a reputation for being like “AC/DC with a female Angus” in Ruyter’s blues meets punk frenzied guitar solos and Blaine’s hilarious “jailhouse nursery rhyme” lyrics. Rowdy and unpretentious; Nashville Pussy got voted ‘best local band’ in opposite ends of the country their first year of touring.

Their debut album “Let Them Eat Pussy” was recorded and mixed in 5 days for $3,000, picked up by Mercury records for a million dollar contract during a signing freeze and Grammy nominated for “Fried Chicken And Coffee” for Best Metal Performance.

The band has also found fans with the Mob; The Sopranos featured “Drive” in one episode and their songs have also been in Entourage, SuperTroopers, Cartoon Network, Jackass The Game. They have performed at Wacken Open Air, HELLFEST, Dynamo Festival, Roskilde, Leeds and Redding, multiple appearances on Canal Plus Television and even done voices and cameos in movies.

After the whiskey bottles emptied, Nashville Pussy rocked. Six studio albums later, the band has now played in front of hundreds of thousands of fans in nearly forty countries, sharing stages with some of the biggest bands on the planet, including ZZTOP, Marilyn Manson, SLAYER, Iron Maiden, Black Sabbath and LYNYRD SKYNYRD. “We’ve played everywhere from little shit kick joints in bum fuck towns to topping the bill at 20,000 seater festivals in Sweden,” adds Suys. It doesn’t matter to us how many people are in front of us. We always kick ass and rock like it’s the last show on earth.”

Where do Nashville Pussy find inspiration for their outrageous lyrics? “We farm our own adventures for fuel. Tragedy becomes comedy as soon as Blaine writes about it,” says Suys. “Our old bassist got carried out of New York’s exclusive Spy Bar kicking and screaming, so we just wrote a song about it, ‘You Give Drugs A Bad Name’. Most of our songs start with a big dose of truth.”

This badass lifestyle takes its toll. But instead of resorting to Keith Richards infamous blood transfusions to rejuvenate themselves

Nashville Pussy found themselves new blood. Spicy Colombian/Californian Bonnie ‘Bon’ Buitrago began as a teenage fan of the band sneaking into shows, determined to make the leap from audience member to member of the band by mastering her craft on Bass.

Atlanta native and ex-landscaper Ben Thomas on drums has quickly become known for his showmanship, precision and all around sensuality behind the kit. “Everyone is always looking for the next John Bonham, we found him mowing our lawn!”

Many now believe the band has assembled the classic Nashville Pussy lineup. This rhythm section is the foundation on which Blaine and Ruyter - who still regularly tops polls of ‘world’s best female guitarist’ - build their ferocious growling sound. “We are Rock n Roll’s dirty little secret, blissfully outliving musical trends we never knew existed,” says Suys. “More than ever, everyone needs to escape to a place where they can pretend they don’t give a shit, let their hair down and get loud, sweaty and dirty. Nashville Pussy provides that unpretentious refuge. Everyone is welcome – just don’t dress up ‘cause it’s gonna get messy.”

“If there’s been a better band than Nashville Pussy to open for Motörhead, I’ve never heard them”

– Lemmy

NASHVILLE PUSSY:

Blaine Cartwright; Rhythm Guitar, Vocals Ruyter Suys; Lead Guitar, Background Vocals

Bonnie ‘Bon’ Buitrago; Bass, Background Vocals Ben Thomas; Drums

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191004T171011Z X-ACCESS:1 X-HITS:4076 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191016T200000 DTEND;TZID=America/Denver:20191016T233000 UID:A739DB50-D53D-44A2-BB08-45CB29C267B5 SUMMARY:Hiss Golden Messenger DTSTAMP:20190425T221100Z DESCRIPTION:Hiss Golden Messenger of Durham, North Carolina, a vehicle for singer-songwriter M.C. Taylor, calls up a wide spectrum of American vernacular music — from Archie Brownlee to the Staple Singers, and from singer-songwriters Van Morrison to Townes Van Zandt.\NAfter relocating from California to North Carolina, Taylor began to record material under the name Hiss Golden Messenger. Though his initial recordings featured only his voice and guitar recorded to a cheap cassette recorder, recent Hiss albums have incorporated horns, strings and choirs. “(Taylor's) songs are smart and complex enough to betray a bigger and more insane question: What makes a person happy?” — The New Yorker \N$1 from every ticket goes to support the Durham Public Schools Foundation whose mission is to foster community support for public schools and invest in our students, educators and families to ensure success and equity for every student. X-ALT-DESC;FMTTYPE=text/html:

Hiss Golden Messenger of Durham, North Carolina, a vehicle for singer-songwriter M.C. Taylor, calls up a wide spectrum of American vernacular music — from Archie Brownlee to the Staple Singers, and from singer-songwriters Van Morrison to Townes Van Zandt.

After relocating from California to North Carolina, Taylor began to record material under the name Hiss Golden Messenger. Though his initial recordings featured only his voice and guitar recorded to a cheap cassette recorder, recent Hiss albums have incorporated horns, strings and choirs. “(Taylor's) songs are smart and complex enough to betray a bigger and more insane question: What makes a person happy?” — The New Yorker 

$1 from every ticket goes to support the Durham Public Schools Foundation whose mission is to foster community support for public schools and invest in our students, educators and families to ensure success and equity for every student.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191004T171037Z X-ACCESS:1 X-HITS:3929 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191018T210000 DTEND;TZID=America/Denver:20191018T233000 UID:935C6853-D3CB-4B3B-A0B9-4F03883CA008 SUMMARY:Random Rab DTSTAMP:20190710T175911Z DESCRIPTION:Rab was born. He began to experiment with sound. The back of his head fell on the ground. Sound was released from the THUMP. It was deafening and created around him the first note of Random Rab's music. X-ALT-DESC;FMTTYPE=text/html:

Rab was born. He began to experiment with sound. The back of his head fell on the ground. Sound was released from the THUMP. It was deafening and created around him the first note of Random Rab's music.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191010T164319Z X-ACCESS:1 X-HITS:1804 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191019T200000 DTEND;TZID=America/Denver:20191019T233000 UID:449F8E5B-3A1A-4B01-AC88-5B7740C57555 SUMMARY:Ronnie Baker Brooks DTSTAMP:20190515T220453Z DESCRIPTION:On the first day recording Times Have Changed – the eleven-track album from Chicago bluesman Ronnie Baker Brooks that brings a sound so big it could topple a Louisiana juke joint – industry-revered album producer and drummer Steve Jordan told Brooks to put his pedal board back in the van. For the first time in his professional life, Brooks, the son of Texas and Chicago blues legend Lonnie “Guitar Jr.” Brooks, would plug a Gibson into TKTK amp and rip it straight from there.\N“Back to the basics. The pedals get in the way of your tone – your natural tone. Any distortion I had came straight out of the amp,” Brooks remembers from the Times sessions. “It was almost like going to college, or grad school. It was definitely an education.”\NBrooks, 49, likes to treat each album he makes as a platform for him to grow, but the reality is that he’s been climbing the blues world’s latter all his life. He was born in Chicago, and started playing guitar around age six. At 19, he joined his father, who by then had influenced some of the most well-known bluesman of our history: Jimmy Reed, the Fabulous Thunderbirds, Johnny Winter, and Junior Wells. For 12 years the two would tour together, putting Ronnie out front with Eric Clapton, B.B. King, Buddy Guy, and Koko Taylor. In 1998, when he was 32, his father told him to go solo.\NBaker already had a band by then, one he’d been touring on the side with since 1992. But by 1998 he’d started a label; that year he made his first album, Golddigger, 16 songs tracked out in two weeks. “My dad always said to keep writing, even if you don’t think the song sounds great or you can’t finish it,” says Baker. “Write. Continue to write. The more you write, the better you get.” Take Me Witcha came three years later; his second album on Watchdog Records. Brooks broke out as his own champion on 2006’s The Torch. The Boston Herald called it “ferocious and unrelenting … the year’s best blues album.”\NIn the ten years since The Torch, Brooks has started a family, toured North America and Europe, and taken feature spots on the records of other bluesmen. He produced Eddy Clearwater’s West Side Strut and contributed guitar work to albums from Elvin Bishop, the Legendary Rhythm & Blues Review, Billy Branch, and Big Head Todd.\NTimes Have Changed, Brooks’ first album in ten years, carries with it the weight of grown perspective and time spent perfecting old material. Brooks worked it with Steve Jordan, whose work runs from Keith Richard to Stevie Wonder, John Mayer and Eric Clapton. With that comes a lesson in rhythm and blues history. Brooks refers to the director as “a walking encyclopedia of music detail and equipment,” a professor through which Brooks could take that next developmental step. “Once we got the ball rolling, my confidence went higher and higher,” he says. “I’m a better musician for this experience.”\NThe experience Brooks is talking about is that which came together over the course of a few weeks at Royal Studios in Memphis, the home of Al Green, Syl Johnson, Bobby “Blue” Bland, and O.V. Wright, whose 1974 hit “Blind, Crippled, and Crazy” gets a facelift on Times Have Changed. Jordan and Brooks brought in a mint press of Memphis music royalty: Stax Records staple Steve Cropper (Booker T. & the M.G.’s, Otis Redding, Sam & Dave), Archie Turner (Al Green, Syl Johnson, O.V. Wright), jazz saxophonist Lannie McMillan, and R&B icon Angie Stone.\N“We used the same mics that Al Green used on his record,” says Brooks. “Matter of fact, we were using much of the same band! It kind of took that vibe.” The first track recorded was a cover of Curtis Mayfield’s Superfly hit “Give Me Your Love.” The second, “Twine Time,” the instrumental jam from Alvin Cash.\N“To be honest with you, when Steve said ‘Man, we need an instrumental,’ the first person I thought of was Freddie King. Steve wanted something more appealing to all people, not just guitar players. He said ‘What about ‘Twine Time?’’ I said, ‘Is he serious?’ Yeah, ‘Twine Time.’ But that song was a key to this album.Man, that just lit the fire for this record. It became one of the funnest tracks we did.”\NTimes also comes laden with original hits. Five of the eleven tracks were penned by Brooks. Raised on others’ music, he’s always considered the songwriting process to be as sacred. “It’s like having a baby,” he says. “You see it come to live. Once you play it live, it grows even more. That was the most fun part of it, for me: the creative side. Coming up with a song people can relate to, and you relate to, it just snowballs. It’s almost like therapy for me. Like the song ‘Times Have Changed’: I wrote that song years ago. I sent Steve my songs and he picked that one. It’s kind of timeless. Every day something’s changing. Now, when I play it live, you can see the effect of it. Initially, it was just an idea: just a riff. Now, this song has influence on people. We were just in Europe this year, after the bombing in Brussels. And we’re playing Brussels. I played that song; people were in tears. It helped them heal.”\NIt’s on that title track that Brooks brandishes what may be his finest songwriting talent: the ability to humanize social issues and unite different voices into one cohesive thought. That’s no more evident than in the latter stages of the song, in which Brooks deploys his longtime friend, Memphis’ Al Kapone, to drop 32 bars on what the future holds for our people.\N“My whole intention, when I started with Golddigger and up through this one, was to be authentic enough for the older generation but have something that the younger generation could latch onto,” says Brooks. “I try to be that bridge. With Tame Me Witcha, I’ve got a rapper on that. On The Torch we went with Al. He’s a bridge. He’s a bridge from blues to hip-hop. With music, it all comes from the heart. It comes from the heart and from the soul. It blues, it doesn’t matter what you’re talking about, it definitely relates. X-ALT-DESC;FMTTYPE=text/html:

On the first day recording Times Have Changed – the eleven-track album from Chicago bluesman Ronnie Baker Brooks that brings a sound so big it could topple a Louisiana juke joint – industry-revered album producer and drummer Steve Jordan told Brooks to put his pedal board back in the van. For the first time in his professional life, Brooks, the son of Texas and Chicago blues legend Lonnie “Guitar Jr.” Brooks, would plug a Gibson into TKTK amp and rip it straight from there.

“Back to the basics. The pedals get in the way of your tone – your natural tone. Any distortion I had came straight out of the amp,” Brooks remembers from the Times sessions. “It was almost like going to college, or grad school. It was definitely an education.”

Brooks, 49, likes to treat each album he makes as a platform for him to grow, but the reality is that he’s been climbing the blues world’s latter all his life. He was born in Chicago, and started playing guitar around age six. At 19, he joined his father, who by then had influenced some of the most well-known bluesman of our history: Jimmy Reed, the Fabulous Thunderbirds, Johnny Winter, and Junior Wells. For 12 years the two would tour together, putting Ronnie out front with Eric Clapton, B.B. King, Buddy Guy, and Koko Taylor. In 1998, when he was 32, his father told him to go solo.

Baker already had a band by then, one he’d been touring on the side with since 1992. But by 1998 he’d started a label; that year he made his first album, Golddigger, 16 songs tracked out in two weeks. “My dad always said to keep writing, even if you don’t think the song sounds great or you can’t finish it,” says Baker. “Write. Continue to write. The more you write, the better you get.” Take Me Witcha came three years later; his second album on Watchdog Records. Brooks broke out as his own champion on 2006’s The Torch. The Boston Herald called it “ferocious and unrelenting … the year’s best blues album.”

In the ten years since The Torch, Brooks has started a family, toured North America and Europe, and taken feature spots on the records of other bluesmen. He produced Eddy Clearwater’s West Side Strut and contributed guitar work to albums from Elvin Bishop, the Legendary Rhythm & Blues Review, Billy Branch, and Big Head Todd.

Times Have Changed, Brooks’ first album in ten years, carries with it the weight of grown perspective and time spent perfecting old material. Brooks worked it with Steve Jordan, whose work runs from Keith Richard to Stevie Wonder, John Mayer and Eric Clapton. With that comes a lesson in rhythm and blues history. Brooks refers to the director as “a walking encyclopedia of music detail and equipment,” a professor through which Brooks could take that next developmental step. “Once we got the ball rolling, my confidence went higher and higher,” he says. “I’m a better musician for this experience.”

The experience Brooks is talking about is that which came together over the course of a few weeks at Royal Studios in Memphis, the home of Al Green, Syl Johnson, Bobby “Blue” Bland, and O.V. Wright, whose 1974 hit “Blind, Crippled, and Crazy” gets a facelift on Times Have Changed. Jordan and Brooks brought in a mint press of Memphis music royalty: Stax Records staple Steve Cropper (Booker T. & the M.G.’s, Otis Redding, Sam & Dave), Archie Turner (Al Green, Syl Johnson, O.V. Wright), jazz saxophonist Lannie McMillan, and R&B icon Angie Stone.

“We used the same mics that Al Green used on his record,” says Brooks. “Matter of fact, we were using much of the same band! It kind of took that vibe.” The first track recorded was a cover of Curtis Mayfield’s Superfly hit “Give Me Your Love.” The second, “Twine Time,” the instrumental jam from Alvin Cash.

“To be honest with you, when Steve said ‘Man, we need an instrumental,’ the first person I thought of was Freddie King. Steve wanted something more appealing to all people, not just guitar players. He said ‘What about ‘Twine Time?’’ I said, ‘Is he serious?’ Yeah, ‘Twine Time.’ But that song was a key to this album.Man, that just lit the fire for this record. It became one of the funnest tracks we did.”

Times also comes laden with original hits. Five of the eleven tracks were penned by Brooks. Raised on others’ music, he’s always considered the songwriting process to be as sacred. “It’s like having a baby,” he says. “You see it come to live. Once you play it live, it grows even more. That was the most fun part of it, for me: the creative side. Coming up with a song people can relate to, and you relate to, it just snowballs. It’s almost like therapy for me. Like the song ‘Times Have Changed’: I wrote that song years ago. I sent Steve my songs and he picked that one. It’s kind of timeless. Every day something’s changing. Now, when I play it live, you can see the effect of it. Initially, it was just an idea: just a riff. Now, this song has influence on people. We were just in Europe this year, after the bombing in Brussels. And we’re playing Brussels. I played that song; people were in tears. It helped them heal.”

It’s on that title track that Brooks brandishes what may be his finest songwriting talent: the ability to humanize social issues and unite different voices into one cohesive thought. That’s no more evident than in the latter stages of the song, in which Brooks deploys his longtime friend, Memphis’ Al Kapone, to drop 32 bars on what the future holds for our people.

“My whole intention, when I started with Golddigger and up through this one, was to be authentic enough for the older generation but have something that the younger generation could latch onto,” says Brooks. “I try to be that bridge. With Tame Me Witcha, I’ve got a rapper on that. On The Torch we went with Al. He’s a bridge. He’s a bridge from blues to hip-hop. With music, it all comes from the heart. It comes from the heart and from the soul. It blues, it doesn’t matter what you’re talking about, it definitely relates.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190927T181855Z X-ACCESS:1 X-HITS:1798 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191024T200000 DTEND;TZID=America/Denver:20191024T210000 UID:4466A63F-BA88-4353-B752-A5D9117EFAAF SUMMARY:Mason Jennings DTSTAMP:20190529T172051Z DESCRIPTION:When Mason Jennings started writing songs for his new record, Songs From When We Met, he was in a setting he had never written in before. "I was living out at a farm for a month and walking through some old woods on the property every day. There was a river. And each day an owl would come find me, and then perch above me, day or night. I saw lots of snakes. Songs just came to me there. They were coming in so fast they just about took my head off. It was unlike anything I’ve experienced before,” recalls Jennings. In Native American animal medicine snakes symbolize rebirth, owls symbolize seeing what others cannot and turning darkness into light. Both are themes throughout the album and the music has a clear hopeful feeling.\NSongs From When We Met pulls you in from the start, with Jennings telling the listener, "Get into my car now...let's leave the city". “Cursive Prayers is the first song I wrote for the album. I hadn’t written anything in a long time and any time I tried writing things I wrote were very dark. This song is so hopeful and full of love it surprised me. I think it was the beginning of things getting better in my life, like a message from another dimension." \N"The last record was made in a real dark time for me. I was battling a lot of dark energy. Since then I’ve healed a lot and a lot of changes have taken place. I got divorced. I’ve been healing from agoraphobia. It’s been a rough patch but thankfully this record is about healing and hope. I fell in love and got married so it is mostly about love." A great ambassador for the album is the slow grooving "I Know You". "The lyrics at the end of this song sum up the love tone of this album: “Most people don’t make sense to me, I don’t know much in this world you see, but I know you.”\NThe story of Songs From When We Met comes to an end with the track "Magic Is Real". "The rain on this track is real. We opened the doors of the studio and put mics up and that’s the sound of rain on the trees in Wisconsin. Rain is healing."\NAt the time in his career where a lot of musicians burn out, Mason has new energy and drive. "I’m just happy to have found true love and to be healing from that dark time. I was struggling to find hope and it found me. Music just burst out of me this year. It’s always been a life line but this is the most open I’ve felt."\NKey Players:\NThe album features Mason on guitar, piano, bass and drums. He is accompanied by one of his favorite bands The Pines. "They are magic. They got inside these songs and really brought them to life. I produced an EP for them last year and it reminded me how good we worked together. It is always a pleasure working with them. They are Great humans". \NThe album was recorded with Grammy winning engineer Brian Joseph (Paul Simon, Bon Iver). "His studio has tons of windows. It is an old renovated barn in Eau Claire Wisconsin. He’s got tons of amazing wasp nests, bones, books, hanging lights. The walls are covered in ropes. It’s so beautiful. He’s got bees out back. The studio sits on beautiful land and lots of natural light. Very helpful". Then the recordings went off to Los Angeles to be mixed by another Grammy winner, producer Shawn Everett (Alabama Shakes, The War On Drugs.) "He’s an amazing person and sound engineer who has mixed three of my albums. He’s another magic being. He brings out the essence of a recording and makes it hit so hard. He’s a rare guy. I’m happy for him that he’s winning Grammys now. He deserves it". \NThe Mason Jennings history:\NMason Jennings was born on the Island of Hawaii, but at an early age his family moved to the opposite of tropical, Pittsburgh, Pennsylvania. At 13, he started playing guitar and writing songs. Mason later dropped out of high school and decided to move to Minneapolis to pursue his musical career. Jennings made this decision after a friend of his father’s sent him cassette tapes of the Replacements, Jayhawks, and Prince. After non-stop listening he felt like it would be a great home for his music. \NJennings produced his self-titled debut album in 1997 on a Tascam analog four-track in the living room of a rented home, playing all instruments himself. In October 1998, he began a weekly gig at Minneapolis' 400 Bar. The two-week gig ended up lasting four months. \NBirds Flying Away, Mason's second record, revealed his penchant for singing first-person narratives of imaginary rustic characters. In 2002, Jennings released a studio album, Century Spring, and a "fans only" collection of acoustic songs, Simple Life. Mason released all three albums (and re-released his earlier albums) on his own record label, Architect Records.\NIn 2004, Mason released Use Your Voice, which included the songs "Keepin' It Real," ostensibly written at the request of Shrek 2 producers (but not used in the film), and "The Ballad of Paul and Sheila," an acoustic dirge for late Minnesota senator Paul Wellstone. Later that year came a DVD entitled Use Your Van, which chronicled the recording of Use Your Voice and the promotional tour that followed. Andy Grund filmed the DVD.\NIn June of 2005, Jennings signed with Glacial Pace, a subsidiary of Sony's Epic Records headed by Modest Mouse frontman Isaac Brock. Minnesota's Star Tribune credited Brock with convincing Mason to sign after he opened for several Modest Mouse shows in 2004. Jennings had long avoided the major labels, citing desires to maintain creative control and dodge big-label politics.\NMason recorded his sixth album, Boneclouds, at Pachyderm Studio in Cannon Falls, MN with producer Noah Georgeson. Jennings recorded two Bob Dylan songs "The Times They Are A-Changin'" and "The Lonesome Death of Hattie Carroll" which Christian Bale lip-synched in the film “I'm Not There”.\NIn early 2008, Mason signed with Jack Johnson's record label, Brushfire Records. Jennings released In the Ever in May 2008. The title was inspired by his son referring to where he was before he was born as, "In the ever". Blood of Man soon followed and received a coveted 4-Star review in Rolling Stone, who also cited, “What makes Mason Jennings one of the best singer songwriters you’ve never heard of is his ragged intimate voice and his simple ruminations on God, war, hope and gratitude.”\NIn 2010, Live at First Ave., his first live album, was released. Later that same year, Jennings released The Flood, an album made up of songs he had recorded in the 1990s on a cassette tape he had lost. A friend sent a copy of the tape to Mason and after rediscovering the songs, he decided to re-record them in a stripped down fashion to stay true to their intent. \NIn 2011, he released Minnesota, his first new album of original songs since 2009's Blood of Man. The single from the record "Raindrops on the Kitchen Floor” Jennings explains is "one of those songs that kind of wrote itself, I felt the only thing it needed was a secret weapon in the chorus. So I asked my friend, Jason Schwartzman from Coconut Records to help me out."\NOn November 12, 2013, he released Always Been. The first single from the album was "Lonely Street", was followed by "Wilderness". He released Wild Dark Metal in 2016. He got divorced and after taking some time off to focus on painting, to recover from depression and to heal from agoraphobia, he began touring again. He remarried in 2018 and released an album of love songs inspired by his new relationship, Songs From When We Met, available now. X-ALT-DESC;FMTTYPE=text/html:

When Mason Jennings started writing songs for his new record, Songs From When We Met, he was in a setting he had never written in before. "I was living out at a farm for a month and walking through some old woods on the property every day. There was a river. And each day an owl would come find me, and then perch above me, day or night. I saw lots of snakes. Songs just came to me there. They were coming in so fast they just about took my head off. It was unlike anything I’ve experienced before,” recalls Jennings. In Native American animal medicine snakes symbolize rebirth, owls symbolize seeing what others cannot and turning darkness into light. Both are themes throughout the album and the music has a clear hopeful feeling.

Songs From When We Met pulls you in from the start, with Jennings telling the listener, "Get into my car now...let's leave the city". “Cursive Prayers is the first song I wrote for the album. I hadn’t written anything in a long time and any time I tried writing things I wrote were very dark. This song is so hopeful and full of love it surprised me. I think it was the beginning of things getting better in my life, like a message from another dimension." 

"The last record was made in a real dark time for me. I was battling a lot of dark energy. Since then I’ve healed a lot and a lot of changes have taken place. I got divorced. I’ve been healing from agoraphobia. It’s been a rough patch but thankfully this record is about healing and hope. I fell in love and got married so it is mostly about love." A great ambassador for the album is the slow grooving "I Know You". "The lyrics at the end of this song sum up the love tone of this album: “Most people don’t make sense to me, I don’t know much in this world you see, but I know you.”

The story of Songs From When We Met comes to an end with the track "Magic Is Real". "The rain on this track is real. We opened the doors of the studio and put mics up and that’s the sound of rain on the trees in Wisconsin. Rain is healing."

At the time in his career where a lot of musicians burn out, Mason has new energy and drive. "I’m just happy to have found true love and to be healing from that dark time. I was struggling to find hope and it found me. Music just burst out of me this year. It’s always been a life line but this is the most open I’ve felt."

Key Players:

The album features Mason on guitar, piano, bass and drums. He is accompanied by one of his favorite bands The Pines. "They are magic. They got inside these songs and really brought them to life. I produced an EP for them last year and it reminded me how good we worked together. It is always a pleasure working with them. They are Great humans". 

The album was recorded with Grammy winning engineer Brian Joseph (Paul Simon, Bon Iver). "His studio has tons of windows. It is an old renovated barn in Eau Claire Wisconsin. He’s got tons of amazing wasp nests, bones, books, hanging lights. The walls are covered in ropes. It’s so beautiful. He’s got bees out back. The studio sits on beautiful land and lots of natural light. Very helpful". Then the recordings went off to Los Angeles to be mixed by another Grammy winner, producer Shawn Everett (Alabama Shakes, The War On Drugs.) "He’s an amazing person and sound engineer who has mixed three of my albums. He’s another magic being. He brings out the essence of a recording and makes it hit so hard. He’s a rare guy. I’m happy for him that he’s winning Grammys now. He deserves it". 

The Mason Jennings history:

Mason Jennings was born on the Island of Hawaii, but at an early age his family moved to the opposite of tropical, Pittsburgh, Pennsylvania. At 13, he started playing guitar and writing songs. Mason later dropped out of high school and decided to move to Minneapolis to pursue his musical career. Jennings made this decision after a friend of his father’s sent him cassette tapes of the Replacements, Jayhawks, and Prince. After non-stop listening he felt like it would be a great home for his music. 

Jennings produced his self-titled debut album in 1997 on a Tascam analog four-track in the living room of a rented home, playing all instruments himself. In October 1998, he began a weekly gig at Minneapolis' 400 Bar. The two-week gig ended up lasting four months. 

Birds Flying Away, Mason's second record, revealed his penchant for singing first-person narratives of imaginary rustic characters. In 2002, Jennings released a studio album, Century Spring, and a "fans only" collection of acoustic songs, Simple Life. Mason released all three albums (and re-released his earlier albums) on his own record label, Architect Records.

In 2004, Mason released Use Your Voice, which included the songs "Keepin' It Real," ostensibly written at the request of Shrek 2 producers (but not used in the film), and "The Ballad of Paul and Sheila," an acoustic dirge for late Minnesota senator Paul Wellstone. Later that year came a DVD entitled Use Your Van, which chronicled the recording of Use Your Voice and the promotional tour that followed. Andy Grund filmed the DVD.

In June of 2005, Jennings signed with Glacial Pace, a subsidiary of Sony's Epic Records headed by Modest Mouse frontman Isaac Brock. Minnesota's Star Tribune credited Brock with convincing Mason to sign after he opened for several Modest Mouse shows in 2004. Jennings had long avoided the major labels, citing desires to maintain creative control and dodge big-label politics.

Mason recorded his sixth album, Boneclouds, at Pachyderm Studio in Cannon Falls, MN with producer Noah Georgeson. Jennings recorded two Bob Dylan songs "The Times They Are A-Changin'" and "The Lonesome Death of Hattie Carroll" which Christian Bale lip-synched in the film “I'm Not There”.

In early 2008, Mason signed with Jack Johnson's record label, Brushfire Records. Jennings released In the Ever in May 2008. The title was inspired by his son referring to where he was before he was born as, "In the ever". Blood of Man soon followed and received a coveted 4-Star review in Rolling Stone, who also cited, “What makes Mason Jennings one of the best singer songwriters you’ve never heard of is his ragged intimate voice and his simple ruminations on God, war, hope and gratitude.”

In 2010, Live at First Ave., his first live album, was released. Later that same year, Jennings released The Flood, an album made up of songs he had recorded in the 1990s on a cassette tape he had lost. A friend sent a copy of the tape to Mason and after rediscovering the songs, he decided to re-record them in a stripped down fashion to stay true to their intent. 

In 2011, he released Minnesota, his first new album of original songs since 2009's Blood of Man. The single from the record "Raindrops on the Kitchen Floor” Jennings explains is "one of those songs that kind of wrote itself, I felt the only thing it needed was a secret weapon in the chorus. So I asked my friend, Jason Schwartzman from Coconut Records to help me out."

On November 12, 2013, he released Always Been. The first single from the album was "Lonely Street", was followed by "Wilderness". He released Wild Dark Metal in 2016. He got divorced and after taking some time off to focus on painting, to recover from depression and to heal from agoraphobia, he began touring again. He remarried in 2018 and released an album of love songs inspired by his new relationship, Songs From When We Met, available now.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191024T152041Z X-ACCESS:1 X-HITS:2728 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191026T210000 DTEND;TZID=America/Denver:20191026T220000 UID:F6EB4B4A-325F-411F-9693-20A248E5CE69 SUMMARY:Talia Keys and The Love - 8th Annual Halloween Bash 'Woodstock 50' DTSTAMP:20190802T151625Z DESCRIPTION:Talia Keys and The Love will be playing music from the original Woodstock, celebrating 50 years. Hendrix, CSNY, Sly, The Band, Janis Joplin, Joe Cocker, Jefferson Airplane, Santana, The Grateful Dead and more! Wear your best bell-bottoms and tie-dye, bring your crew and come ready for an incredible musical experience.\NThis is a Halloween DANCE PARTY!!\NTalia Keys is a genre-crossing multi-instrumental "musical powerhouse" bringing you her brand of Soul-Funk-Rock n' Roll, with unique vocal stylings and a storytelling flow. Sourcing energies largely compared to the bluesy rawness of Janis Joplin and the fire of Jimi Hendrix.\NSynergizing that old soul vibe with new school sounds, best described by Katie Bain as "blistering." Having been "struck by her talent, stage presence and refreshing candor." - Insomniac: 2014 Best of Electric Forest. As a Salt Lake City native, she keeps herself busy playing regionally since 2010, Europe in 2011 and touring nationally for the past four years with her solo project Gemini Mind. - A full electric solo live looping show that captivates and captures the hearts of good people everywhere. We are very pleased to announce the long awaited new album We're Here from The Love, dropping April 21, 2018!!! TK & The Love have been playing shows together for the last two years. From music festivals to music venues, original music to full blown tribute shows, TK & The Love are high energy, engaging and unique! Creating music you can dance to and feel. The Love formed with the release of Talia's first full length solo album, Fool's Gold (July 2015). Tracking a majority of the album herself she invited some of Salt Lake area's finest to recreate it live. Including Dave Brogan (ALO) on drums and Ryan Conger (Joe McQueen Quartet) on keys, shortly after adding Josh Olsen on bass and Lisa Giacoletto on backing vocals. Talia has accepted the roll of Music Director for Rock N' Roll Camp For Girls SLC and is very excited to return for their third season.\NAs well as Salt Lake's first-ever 2018 Rock camp for Women, happening in February. Talia is also presenting a new music series with KRCL - Women Who Rock, spotlighting women in music. TK & The Love headlined Vol.1, 2 and 3 featuring local female-fronted bands as support. More info on the next installments TBA. TK is proud to be featured as "a new face" for Salt Lake City's re-branding campaign, SKI CITY. Licensing her original song "Me", introducing the campaign as well as singing, playing guitars and drums throughout their commercial. You may have seen it previewing for Warren Miller's 2016 - Here, There and Every Where, on-line winter sporting events and select cable networks, to name a few. Skiing from the age of six and playing music from the age of nine, it felt like a good fit. Advocating for human rights Talia uses her music to convey a message of growth, awareness, and love. Promoting compassion and respect for our Earth and one another. "Music is very healing. If I can inspire just one person a show, I feel I am doing something right!" - Talia X-ALT-DESC;FMTTYPE=text/html:

Talia Keys and The Love will be playing music from the original Woodstock, celebrating 50 years. Hendrix, CSNY, Sly, The Band, Janis Joplin, Joe Cocker, Jefferson Airplane, Santana, The Grateful Dead and more! Wear your best bell-bottoms and tie-dye, bring your crew and come ready for an incredible musical experience.

This is a Halloween DANCE PARTY!!

Talia Keys is a genre-crossing multi-instrumental "musical powerhouse" bringing you her brand of Soul-Funk-Rock n' Roll, with unique vocal stylings and a storytelling flow. Sourcing energies largely compared to the bluesy rawness of Janis Joplin and the fire of Jimi Hendrix.

Synergizing that old soul vibe with new school sounds, best described by Katie Bain as "blistering." Having been "struck by her talent, stage presence and refreshing candor." - Insomniac: 2014 Best of Electric Forest. As a Salt Lake City native, she keeps herself busy playing regionally since 2010, Europe in 2011 and touring nationally for the past four years with her solo project Gemini Mind. - A full electric solo live looping show that captivates and captures the hearts of good people everywhere. We are very pleased to announce the long awaited new album We're Here from The Love, dropping April 21, 2018!!! TK & The Love have been playing shows together for the last two years. From music festivals to music venues, original music to full blown tribute shows, TK & The Love are high energy, engaging and unique! Creating music you can dance to and feel. The Love formed with the release of Talia's first full length solo album, Fool's Gold (July 2015). Tracking a majority of the album herself she invited some of Salt Lake area's finest to recreate it live. Including Dave Brogan (ALO) on drums and Ryan Conger (Joe McQueen Quartet) on keys, shortly after adding Josh Olsen on bass and Lisa Giacoletto on backing vocals. Talia has accepted the roll of Music Director for Rock N' Roll Camp For Girls SLC and is very excited to return for their third season.

As well as Salt Lake's first-ever 2018 Rock camp for Women, happening in February. Talia is also presenting a new music series with KRCL - Women Who Rock, spotlighting women in music. TK & The Love headlined Vol.1, 2 and 3 featuring local female-fronted bands as support. More info on the next installments TBA. TK is proud to be featured as "a new face" for Salt Lake City's re-branding campaign, SKI CITY. Licensing her original song "Me", introducing the campaign as well as singing, playing guitars and drums throughout their commercial. You may have seen it previewing for Warren Miller's 2016 - Here, There and Every Where, on-line winter sporting events and select cable networks, to name a few. Skiing from the age of six and playing music from the age of nine, it felt like a good fit. Advocating for human rights Talia uses her music to convey a message of growth, awareness, and love. Promoting compassion and respect for our Earth and one another. "Music is very healing. If I can inspire just one person a show, I feel I am doing something right!" - Talia

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191023T162601Z X-ACCESS:1 X-HITS:2806 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191030T200000 DTEND;TZID=America/Denver:20191030T233000 UID:B5BD116D-DC33-47E0-8394-A9D764439A32 SUMMARY:Shook Twins: A Halloween Tribute to the soundtrack of Dirty Dancing DTSTAMP:20190812T160450Z DESCRIPTION:Shook Twins: A Halloween Tribute to the Soundtrack of Dirty Dancing with special guests Mama Magnolia\N***“A moving testament to our life and times, Shook Twins’ emotive ‘Some Good Lives’ resonates with warm energy and raw humanity" - Atwood Magazine\N"Some Good Lives is as affirming as it is magical." - Popmatters\N"The Shook Twins tell it like it is while also making us want to dance." - Glide Magazine\N“I love the harmonies of the Shook Twins, the dreamlike songs that seem somehow permeated by the American Folk tradition, without actually being part of it. They make music that twines through your soul the way vines cover an abandoned shack in the woods.” – Neil Gaiman, New York Times – Best-Selling Author\N“The Shooks will Shake you. These ladies have been keepin’ it real since the day they were born and that was only seconds apart from one another I think. Do yourself a favor and check ’em out. I do declare, ya won’t be sorry.” – Langhorne Slim\N“The Shook Twins put on a heck of a show. Keep your eyes on these folks. I’m excited to hear what they do next.” – Tucker Martine\N“A unique, personal music that lights up the stage with its joy and enthusiasm.” – Mason Jennings\NEverybody in your life will write his or her own chapter in your story. Take a step back, and you’ll see the influence of your loved ones, mentors, and friends in your decisions. Shook Twins refer to these folks in the title of their fourth album, Some Good Lives. Throughout fourteen tracks, the duo—identical twin sisters Katelyn Shook [vocals, guitar] and Laurie Shook [banjo, vocals]—pay homage to everyone from a late grandpa and godfather to Bernie Sanders.\N“We realized there was a theme,” Katelyn reveals. “Even though our minds are mostly on the women of today and wanting the monarchy to rise up, we have several men in our lives who have been such positive forces. We wanted to thank them and honor the good guys who showed us the beauty in this crazy world we live in. So, it’s an album for Some Good Lives that have crossed paths with ours—and to them, we are grateful.”\NLaurie agrees, “It’s also an acknowledgment of our thankfulness of the good life that we get to live.”\NHowever, the pair derived their own strength from these relationships. Over the course of three full-length releases and a handful of EPs since 2008, acclaim would come by way of everyone from USA Today and Baeble Music to Langhorne Slim, The Lumineers, Mason Jennings, and iconic best-selling author Neil Gaiman who enthusiastically decreed, “They make music that twines through your soul the way vines cover an abandoned shack in the woods.” Beyond gigs with the likes of Gregory Alan Isakov and Ani DiFranco, they captivated crowds at High Sierra Music Festival, Lightning In A Bottle, Bumbershoot, Hulaween, Summer Camp Music Festival, and Northwest String Summit, to name a few. \NDuring 2016, they planted the seeds for what would become Some Good Lives by thinking bigger. The girls intermittently recorded at Hallowed Halls in Portland, OR. Within this old library building, “which feels full of stories,” they tapped into palpable energy like never before, locking into a groove inside of the spacious, reverberant live room. Moreover, the full band—Barra Brown [drums], Sydney Nash [bass], and Niko Slice [guitar, mandolin]—expanded the sonic palette.\N“It took us a long time to find the band that we wanted to record these songs with and for the songs to fully mature,” admits Laurie. “Once Barra, Sydney, and Niko joined us, we really started to explore what our music could be. These amazing players helped us realize that we could be more than just ‘folk pop’. We started adding other genres to the word like ‘disco,’ ‘psychedelic,’ ‘funk,’ and ‘soul.’ We really honed in on a new sound.”\NThey initially teased that evolution with the single “Safe.” Its airy acoustic guitar and delicate harmonies materialize as a heartfelt and hypnotic rumination on love. The track quickly surpassed 1 million Spotify streams and stoked excitement among audiences for the eventual arrival of Some Good Lives.\N“‘Safe’ was written up at a cabin in the woods,” recalls Katelyn. “I had the line ‘a love that feels safe’ in my mind for a while. That’s the only kind of love truly possible and healthy when you’re touring and away from your person all the time. You feel like you can trust it, and it’s not going to change within either of you—no matter how long and far you are away from each other.”\N“I was struggling to find that kind of love at the time, and Katelyn had this other perspective,” adds Laurie. “It’s my breakup song my sister wrote for me,” she laughs.\NElsewhere, opener “What Have We Done” struts forward on funky tambourine and boisterous horns before culminating on the shuddering soulful chant, “My God, what have we done?” Inspired by “feeling the Bern,” the track serves as a “wake-up-and-do better social commentary to fire people up.” Meanwhile, the dreamy “Figure It Out” sways from vivid verses into a catchy and confessional hook.\N“To me, it’s about being lost and trying to figure ‘it’ out over and over again,” continues Katelyn. “We’re always going to be trying to figure things out, and that’s okay.”\NThe intimate “Grandpa Piano” draws on 1992 tapes of the girls’ grandpa performing on a grand piano during the final weeks of his life. Such moments thematically thread together the record, following its concept.\NKatelyn adds, “You can hear our grandma, uncle, and godfather who have all passed on speaking in those clips too. These are little glimpses of those lives that we are honoring. I knew it was the perfect thing to add and complete the theme.”\NMeanwhile, the album concludes on “Dog Beach”—a song penned by their godfather Ted as his only original composition in 1989. Preserving the raw spirit, Shook Twins tracked their background vocals over the initial tape 28 years after the initial recording. As Ted passed away recently, the song possessed a special place in their hearts. \N“It’s like our village anthem in a way,” says Katelyn. “We made him sing it, and we’d all sing the responses at every campfire we had growing up.”\NIn the end, Shook Twins do Some Good Lives justice by reaching new heights themselves as musicians, lyricists, artists, and women.\N“I hope people will hear this music as part of the soundtrack to their lives,” Laurie leaves off. “I hope it makes them feel joy, relaxation, or makes them want to dance a little. I hope they’re satisfied with the way we captured these songs.”\N“I want them to feel the love that emanates from the songs: the love of the sounds we made and the love of the people we are honoring through them,” concludes Katelyn X-ALT-DESC;FMTTYPE=text/html:

Shook Twins: A Halloween Tribute to the Soundtrack of Dirty Dancing with special guests Mama Magnolia

***
“A moving testament to our life and times, Shook Twins’ emotive ‘Some Good Lives’ resonates with warm energy and raw humanity" - Atwood Magazine

"Some Good Lives is as affirming as it is magical." - Popmatters

"The Shook Twins tell it like it is while also making us want to dance." - Glide Magazine

“I love the harmonies of the Shook Twins, the dreamlike songs that seem somehow permeated by the American Folk tradition, without actually being part of it. They make music that twines through your soul the way vines cover an abandoned shack in the woods.” – Neil Gaiman, New York Times – Best-Selling Author

“The Shooks will Shake you. These ladies have been keepin’ it real since the day they were born and that was only seconds apart from one another I think. Do yourself a favor and check ’em out. I do declare, ya won’t be sorry.” – Langhorne Slim

“The Shook Twins put on a heck of a show. Keep your eyes on these folks. I’m excited to hear what they do next.” – Tucker Martine

“A unique, personal music that lights up the stage with its joy and enthusiasm.” – Mason Jennings

Everybody in your life will write his or her own chapter in your story. Take a step back, and you’ll see the influence of your loved ones, mentors, and friends in your decisions. Shook Twins refer to these folks in the title of their fourth album, Some Good Lives. Throughout fourteen tracks, the duo—identical twin sisters Katelyn Shook [vocals, guitar] and Laurie Shook [banjo, vocals]—pay homage to everyone from a late grandpa and godfather to Bernie Sanders.

“We realized there was a theme,” Katelyn reveals. “Even though our minds are mostly on the women of today and wanting the monarchy to rise up, we have several men in our lives who have been such positive forces. We wanted to thank them and honor the good guys who showed us the beauty in this crazy world we live in. So, it’s an album for Some Good Lives that have crossed paths with ours—and to them, we are grateful.”

Laurie agrees, “It’s also an acknowledgment of our thankfulness of the good life that we get to live.”

However, the pair derived their own strength from these relationships. Over the course of three full-length releases and a handful of EPs since 2008, acclaim would come by way of everyone from USA Today and Baeble Music to Langhorne Slim, The Lumineers, Mason Jennings, and iconic best-selling author Neil Gaiman who enthusiastically decreed, “They make music that twines through your soul the way vines cover an abandoned shack in the woods.” Beyond gigs with the likes of Gregory Alan Isakov and Ani DiFranco, they captivated crowds at High Sierra Music Festival, Lightning In A Bottle, Bumbershoot, Hulaween, Summer Camp Music Festival, and Northwest String Summit, to name a few. 

During 2016, they planted the seeds for what would become Some Good Lives by thinking bigger. The girls intermittently recorded at Hallowed Halls in Portland, OR. Within this old library building, “which feels full of stories,” they tapped into palpable energy like never before, locking into a groove inside of the spacious, reverberant live room. Moreover, the full band—Barra Brown [drums], Sydney Nash [bass], and Niko Slice [guitar, mandolin]—expanded the sonic palette.

“It took us a long time to find the band that we wanted to record these songs with and for the songs to fully mature,” admits Laurie. “Once Barra, Sydney, and Niko joined us, we really started to explore what our music could be. These amazing players helped us realize that we could be more than just ‘folk pop’. We started adding other genres to the word like ‘disco,’ ‘psychedelic,’ ‘funk,’ and ‘soul.’ We really honed in on a new sound.”

They initially teased that evolution with the single “Safe.” Its airy acoustic guitar and delicate harmonies materialize as a heartfelt and hypnotic rumination on love. The track quickly surpassed 1 million Spotify streams and stoked excitement among audiences for the eventual arrival of Some Good Lives.

“‘Safe’ was written up at a cabin in the woods,” recalls Katelyn. “I had the line ‘a love that feels safe’ in my mind for a while. That’s the only kind of love truly possible and healthy when you’re touring and away from your person all the time. You feel like you can trust it, and it’s not going to change within either of you—no matter how long and far you are away from each other.”

“I was struggling to find that kind of love at the time, and Katelyn had this other perspective,” adds Laurie. “It’s my breakup song my sister wrote for me,” she laughs.

Elsewhere, opener “What Have We Done” struts forward on funky tambourine and boisterous horns before culminating on the shuddering soulful chant, “My God, what have we done?” Inspired by “feeling the Bern,” the track serves as a “wake-up-and-do better social commentary to fire people up.” Meanwhile, the dreamy “Figure It Out” sways from vivid verses into a catchy and confessional hook.

“To me, it’s about being lost and trying to figure ‘it’ out over and over again,” continues Katelyn. “We’re always going to be trying to figure things out, and that’s okay.”

The intimate “Grandpa Piano” draws on 1992 tapes of the girls’ grandpa performing on a grand piano during the final weeks of his life. Such moments thematically thread together the record, following its concept.

Katelyn adds, “You can hear our grandma, uncle, and godfather who have all passed on speaking in those clips too. These are little glimpses of those lives that we are honoring. I knew it was the perfect thing to add and complete the theme.”

Meanwhile, the album concludes on “Dog Beach”—a song penned by their godfather Ted as his only original composition in 1989. Preserving the raw spirit, Shook Twins tracked their background vocals over the initial tape 28 years after the initial recording. As Ted passed away recently, the song possessed a special place in their hearts. 

“It’s like our village anthem in a way,” says Katelyn. “We made him sing it, and we’d all sing the responses at every campfire we had growing up.”

In the end, Shook Twins do Some Good Lives justice by reaching new heights themselves as musicians, lyricists, artists, and women.

“I hope people will hear this music as part of the soundtrack to their lives,” Laurie leaves off. “I hope it makes them feel joy, relaxation, or makes them want to dance a little. I hope they’re satisfied with the way we captured these songs.”

“I want them to feel the love that emanates from the songs: the love of the sounds we made and the love of the people we are honoring through them,” concludes Katelyn

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191023T162858Z X-ACCESS:1 X-HITS:2919 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191101T200000 DTEND;TZID=America/Denver:20191101T233000 UID:68690770-9E86-40E1-8CCF-67A6229BD417 SUMMARY:Heavy Music + Heavier Beer DTSTAMP:20190910T143422Z DESCRIPTION:Celebrate DIA DE LOS MUERTOS and the first official day of stronger beer in Utah on Friday, November 1 2019 at The State Room in downtown Salt Lake City.\NOn this one-of-a-kind evening the “spirits” will come visit — figuratively and literally. Not only is the DAY OF THE DEAD traditionally a time to gather and celebrate friends and family who have crossed over to the great beyond, but this year will end the 86 year-old Utah 3.2 draft beer law dating back to Prohibition. In celebration of both events, Bohemian Brewery and The State Room present an evening of “Heavy Music. Heavier Beer” with 3 of Salt Lake City's Heaviest Musical Ensembles: WEY, THUNDERFIST and MAÑANERO.\NIn addition to the musical performances, we will be offering one of the many fine “strong” drafts that Bohemian Brewery offers. For those with a ravenous appetite, indulge in the delicacies from TACOS LA FOGATA...makers of the most authentic “Mexicano” street food in Salt Lake. X-ALT-DESC;FMTTYPE=text/html:

Celebrate DIA DE LOS MUERTOS and the first official day of stronger beer in Utah on Friday, November 1 2019 at The State Room in downtown Salt Lake City.

On this one-of-a-kind evening the “spirits” will come visit — figuratively and literally. Not only is the DAY OF THE DEAD traditionally a time to gather and celebrate friends and family who have crossed over to the great beyond, but this year will end the 86 year-old Utah 3.2 draft beer law dating back to Prohibition. In celebration of both events, Bohemian Brewery and The State Room present an evening of “Heavy Music. Heavier Beer” with 3 of Salt Lake City's Heaviest Musical Ensembles: WEY, THUNDERFIST and MAÑANERO.

In addition to the musical performances, we will be offering one of the many fine “strong” drafts that Bohemian Brewery offers. For those with a ravenous appetite, indulge in the delicacies from TACOS LA FOGATA...makers of the most authentic “Mexicano” street food in Salt Lake.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191030T153915Z X-ACCESS:1 X-HITS:2691 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191102T200000 DTEND;TZID=America/Denver:20191102T233000 UID:6D3583BC-A524-4E3D-B3C3-3DD50E3E8C57 SUMMARY:Patrick Sweany DTSTAMP:20190908T002449Z DESCRIPTION:"You know how you have your favorite musicians, and then they have their favorite musicians? Well, Sweany is one of them. A musician’s musician, but one whose genius is accessible to all of us." - Paste Magazine\NNashville vocalist/guitarist Patrick Sweany doesn’t hold back on his latest studio album, Ancient Noise.\NSweany recorded the new tunes with GRAMMY® Award-winning engineer/producer Matt Ross-Spang after Ross-Spang invited Sweany to check out his new homebase at legendary Sam Phillips Recording in Memphis. The studio that Phillips had custom built in the 70s has been meticulously refurbished by the Phillips family.\N“Sam Phillips Recording is the best place on earth to record a rock ‘n’ roll album,” says Sweany. “I live for going into the sessions with no pre-production rehearsals with the band, we just cut the album on the floor of Studio A song-by-song.”\NFor the sessions, Sweany recruited longtime collaborator Ted Pecchio on bass (Doyle Bramhall II, Col. Bruce Hampton) and ex-Wilco drummer Ken Coomer both from Nashville. When Sweany needed some organ on a song, Ross-Spang got in touch with Charles Hodges, a veteran Memphis session player best known for playing with Al Green on all of his seminal records.\NHodges fit in so well, he ended up on nearly every track on Ancient Noise. “Charles truly elevated the entire experience,” says Sweany. “In fact, when we met on the first day of recording, Charles led us through a prayer before we had even played a single note together. I’m not particularly religious, but I have to say that was quite the experience and really set the tone of the album. The music is refined, emotional, and I was taken out of my comfort zone many times, which leads to the magic you’re looking for when the tape is rolling.”\NThe record opens with two tracks (“Old Time Ways” and “Up & Down”) that recall the howling vocals and raw guitar work that first put Sweany on the map over a decade ago.\NHowever, getting out of his comfort zone meant reimagining a lot of the songs Sweany had penned for Ancient Noise, none more so that the third track “Country Loving.” With Hodges’ grand piano front and center, Sweany croons like a young Tom Waits about long-term relationships, the stresses, the simple pleasures, the building of memories. It’s the most vulnerable song he’s ever recorded - and it heralds a new confidence in taking risks.\NThat confidence pushes through the rest of the record, where Sweany and the band delve deep into Allen Toussaint-style funk on “No Way No How,” the organ fueled “Get Along,” and “Cry Of Amédé,” which touches on the life of Amédé Ardoin, a brilliant, pioneering Creole musician who was brutally beaten in 1934 for accepting a hankerchief from a white woman.\NOther tracks recall even wider influences: “Outcast Blues” has a bluesy lurch that recalls The Stones’ Exile On Main Street; “Play Around” has an early 60s do wop feel, and album closer “Victory Lap” ends with a raving coda that would make Bob Seger proud. X-ALT-DESC;FMTTYPE=text/html:

"You know how you have your favorite musicians, and then they have their favorite musicians? Well, Sweany is one of them. A musician’s musician, but one whose genius is accessible to all of us." - Paste Magazine

Nashville vocalist/guitarist Patrick Sweany doesn’t hold back on his latest studio album, Ancient Noise.

Sweany recorded the new tunes with GRAMMY® Award-winning engineer/producer Matt Ross-Spang after Ross-Spang invited Sweany to check out his new homebase at legendary Sam Phillips Recording in Memphis. The studio that Phillips had custom built in the 70s has been meticulously refurbished by the Phillips family.

“Sam Phillips Recording is the best place on earth to record a rock ‘n’ roll album,” says Sweany. “I live for going into the sessions with no pre-production rehearsals with the band, we just cut the album on the floor of Studio A song-by-song.”

For the sessions, Sweany recruited longtime collaborator Ted Pecchio on bass (Doyle Bramhall II, Col. Bruce Hampton) and ex-Wilco drummer Ken Coomer both from Nashville. When Sweany needed some organ on a song, Ross-Spang got in touch with Charles Hodges, a veteran Memphis session player best known for playing with Al Green on all of his seminal records.

Hodges fit in so well, he ended up on nearly every track on Ancient Noise. “Charles truly elevated the entire experience,” says Sweany. “In fact, when we met on the first day of recording, Charles led us through a prayer before we had even played a single note together. I’m not particularly religious, but I have to say that was quite the experience and really set the tone of the album. The music is refined, emotional, and I was taken out of my comfort zone many times, which leads to the magic you’re looking for when the tape is rolling.”

The record opens with two tracks (“Old Time Ways” and “Up & Down”) that recall the howling vocals and raw guitar work that first put Sweany on the map over a decade ago.

However, getting out of his comfort zone meant reimagining a lot of the songs Sweany had penned for Ancient Noise, none more so that the third track “Country Loving.” With Hodges’ grand piano front and center, Sweany croons like a young Tom Waits about long-term relationships, the stresses, the simple pleasures, the building of memories. It’s the most vulnerable song he’s ever recorded - and it heralds a new confidence in taking risks.

That confidence pushes through the rest of the record, where Sweany and the band delve deep into Allen Toussaint-style funk on “No Way No How,” the organ fueled “Get Along,” and “Cry Of Amédé,” which touches on the life of Amédé Ardoin, a brilliant, pioneering Creole musician who was brutally beaten in 1934 for accepting a hankerchief from a white woman.

Other tracks recall even wider influences: “Outcast Blues” has a bluesy lurch that recalls The Stones’ Exile On Main Street; “Play Around” has an early 60s do wop feel, and album closer “Victory Lap” ends with a raving coda that would make Bob Seger proud.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191029T235653Z X-ACCESS:1 X-HITS:2072 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191103T200000 DTEND;TZID=America/Denver:20191103T233000 UID:E22A53D8-5255-41FD-B947-FEFB8F5A28B8 SUMMARY:The Brook & The Bluff DTSTAMP:20190816T194929Z DESCRIPTION:Established in Birmingham, AL, The Brook & The Bluff is a four-man band that consists of frontman Joseph Settine, drummer John Canada, guitarist Alec Bolton and bassist Fred Lankford.\NThe guys have quickly become recognized for their evocative blend of instrumental talent and vocal harmony. These elements are readily apparent in the band's debut track, "Masks." Having initially gained momentum via Spotify, the song has helped spur the band forward in their musical pursuits.\NThe group's first year as a full band was widely successful. From charting on Spotify's US and Canada Viral 50 Playlists, performing at the NAMM shows in both Nashville and Anaheim, and selling out shows in Atlanta, Birmingham, Huntsville, Nashville, Auburn and more, the band has had an exhilarating start.\NOriginally an acoustic duo, Alec and Joseph started turning heads in local venues with clean vocals and expert guitar work. John noticed the talent and potential of the duo and offered to play drums and sing with the guys. Soon after, he officially joined the group, expanding their sound with driving rhythm and an added voice. The trio instantly locked in and have been playing together ever since. With their new bassist Fred Lankford, The Brook and The Bluff relocated to Nashville in 2018.\NThe Brook & The Bluff just released the first track, "Halfway Up" off their upcoming 2019 record and will be touring across the country throughout 2019. X-ALT-DESC;FMTTYPE=text/html:

Established in Birmingham, AL, The Brook & The Bluff is a four-man band that consists of frontman Joseph Settine, drummer John Canada, guitarist Alec Bolton and bassist Fred Lankford.

The guys have quickly become recognized for their evocative blend of instrumental talent and vocal harmony. These elements are readily apparent in the band's debut track, "Masks." Having initially gained momentum via Spotify, the song has helped spur the band forward in their musical pursuits.

The group's first year as a full band was widely successful. From charting on Spotify's US and Canada Viral 50 Playlists, performing at the NAMM shows in both Nashville and Anaheim, and selling out shows in Atlanta, Birmingham, Huntsville, Nashville, Auburn and more, the band has had an exhilarating start.

Originally an acoustic duo, Alec and Joseph started turning heads in local venues with clean vocals and expert guitar work. John noticed the talent and potential of the duo and offered to play drums and sing with the guys. Soon after, he officially joined the group, expanding their sound with driving rhythm and an added voice. The trio instantly locked in and have been playing together ever since. With their new bassist Fred Lankford, The Brook and The Bluff relocated to Nashville in 2018.

The Brook & The Bluff just released the first track, "Halfway Up" off their upcoming 2019 record and will be touring across the country throughout 2019.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191029T235639Z X-ACCESS:1 X-HITS:1562 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191108T210000 DTEND;TZID=America/Denver:20191108T233000 UID:EEB2514B-9573-4096-8074-9C27F2A5BE82 SUMMARY:Brent Cobb DTSTAMP:20190410T231225Z DESCRIPTION:Brent Cobb didn't set out to write an album that feels and sounds like the place he grew up. But now that the grooves have been cut in his debut LP, Shine on Rainy Day, there's no denying the people, the places and the vibe of his southcentral Georgia home infuse almost every song.\N"It just is Georgia," Brent says in his musical drawl. "It's just that rural, easy-going way it feels down there on a nice spring evening when the wind's blowing warm and you smell wisteria, you know?"\NIt's quiet down there where he's from in Ellaville -- "population 1,609" -- laid back and forgotten in the shadow of Atlanta and Savannah. The people have blue-collar values and believe in treating your neighbor like you want to be treated. They believe in curses and the dark finger of Fate and wield a sharp, dark sense of humor that sustains them through the hardest of times. Distant radio stations, roadside honkytonks made of cinderblock and back-porch picking sessions heavy on the backbeat predominate under Spanish moss-strewn live oaks and loblolly pines.\NIt was the perfect place to grow up.\N"Lord, when I die, let's make a deal," Brent sings on the album's swirling thesis statement, "South of Atlanta," "lay me down in that town where time stands still."\NShine on Rainy Day is an album Brent's been trying to make for a decade, enlisting his cousin and fellow Georgian, Dave Cobb, the Grammy Award-winning producer whose Elektra Records imprint Low Country Sound is home to the album.\NBrent wanted to record an album that felt Southern, though not the kind of Southern you might expect. Neither Southern rock nor mainstream country, the sound sits somewhere on the wide bandwidth that exists between the two. Cousin Dave helped him find the right vibe, full of blue-eyed soul, country funk and the kind of swamp boogie sounds that predominated pop in the 1960s and early 1970s. There's a reason Georgia was always on Ray Charles' mind, after all.\N"I don't mean to get weird and be into, like, deep shit, but it really has got to be blood," Brent said. "When I write songs, it's almost like I didn't write them. You know it's just like this is happening right now and it just comes out. He's the same way in the studio. He's like, 'Put this right here and play it like this,' and you're like why? And he's like, 'I don't know, it's just the way it's supposed to go.' That's exactly how I write songs."\NBrent finds it a strange sensation to be so closely linked to someone. Though cousins, the Cobbs didn't know each other growing up. Dave's a little bit older than 29-year-old Brent and his father was the one brother who left the area and moved away -- to an island off the coast from Savannah. So when they first met -- as adults at an aunt's funeral -- Brent was wary. And a little bit of an ass.\N"We're standing around outside and I was like, 'Man, we hear you're producing in L.A. What you produced?' just kind of like a jerk, really," Brent said with a laugh. "He told me Shooter Jennings' 'Put the O Back in Country,' and that floored me, man. Because me and my buddies working at a tree service, we'd get off work, somebody would get a 12 pack, we'd get stoned and listen to 'Put the O Back in Country,' man. We knew it was the cool country. We knew it was for real. Man, I mean it was the shit."\NBrent's dad shamelessly slipped Dave a disc of six acoustic songs Brent recorded as he left town. Dave didn't really want to listen to it, but his wife, Lydia, convinced him to stick it in the car's player on the way to the airport. Not long after Jennings called and invited Brent out to Los Angeles.\NHe spent four months there, but after living through an earthquake, a drought, a near car-jacking and a drive-by shooting he returned home where he lived for about four months before an old acquaintance from the area, Luke Bryan, called out of the blue. Bryan invited Brent to stay with him and his wife for a week to write and get to know Nashville.\NNot long after he returned for good and recorded a well-received EP that led to 3½ years on the road, touring with a band and opening for every big player in country. He decided that wasn't what he was looking for either, and began to focus more deeply on songwriting. He landed several cuts -- most notably Miranda Lambert's "Old Shit," Kenny Chesney's "Don't It" and Bryan's "Tailgate Blues"- while working on his own songs and searching for a direction for his long-delayed debut.\NMeanwhile, Dave left L.A. for Nashville and began building a reputation as one of music's most exciting producers for his work with Chris Stapleton, Jamey Johnson, Sturgill Simpson and Jason Isbell. As part of his deal with Elektra, he conceived of a concept album called Southern Family and thought it only right his "bitch ass little cousin" have a part. "So I was like, 'I'll be there,'" Brent said. He contributed "Down Home" to the album and also mentioned the project to Lambert, who wanted in and sang the Brent-written "Sweet By & By," a standout on an album full of them.\NIt was during these sessions that the Cobbs began to notice a real connection in the way they would approach songs during the recording process. "It just felt like home, you know?" Brent said. "I made the comment, 'Dude, let's just do it.' So we did."\NFrom the Nashville slice-of-life narrative of "Solving Problems" to the delicate and powerful interplay of acoustic and electric guitars on the stunning closer "Black Crow," the album feels like the people, places and sounds of Brent's life.\NThe album carries something of a Southern Gothic narrative, alternating between dark visions and self-deprecating scenes of black humor that bubble up in laugh-or-cry moments. He chose the album's title after a friend heard "Shine on Rainy Day" following a family tragedy and mentioned how powerful it was to him.\N"When you have a bad storm that hits, the next day the trees are in full bloom and the grass is greener and lightning cleans the air up," Brent said. "My friend called me up out of the blue and said that song hit him so hard. It's talking about a rainy day, they're going through a real life rainy day."\NLike "Shine on Rainy Day," the album alternates between light and dark. In "Black Crow," a doomed soul argues with a laughing crow sitting on a fencepost, "Black crow, I ain't a joke no more!," before earning a prison sentence in a corner store robbery. "Lord," he sings, "I can feel those spirits carrying me down" before Jason Isbell unleashes a devilish slide guitar line that feels like a Neil Young guitar solo.\NThe deliciously self-deprecating "Diggin' Holes" has that giddy AM radio/Gram Parsons feel with dancing music accompanied by dark lyrics that are both funny and painful. "I ought to be workin' in a coal mine/Lord knows I'm good at diggin' holes."\N"Down in the Gulley" is a sour mash-flavored short story with a first line worthy of Faulkner or O'Connor: "My granddaddy was a good man -- no matter what the papers said." The dread-filled "Let the Rain Come Down" opens with visions of doom, a rattlesnake strung from a tree and a witch's curse: "She put a curse on me/Another on the river/And now my crops won't grow no more."\N"Solving Problems" was written sitting on a balcony overlooking an especially historic corner of historic Music Row while thinking about Kris Kristofferson's "To Beat the Devil," which has a spoken word section that feels lifted right from the Row.\N"The energy just feels crazy around here," Brent said. "I loved how Kristofferson would capture the present moment of his Nashville during that time. Nobody does that anymore."\N"Country Bound" is the only song on the album not written or co-written by Brent. Instead, the song was written by his father and uncle in a far-off place called Cleveland.\N"It was the first song I ever witnessed being written in my life," Brent said. "I was 5 years old and it was the first time I ever saw snow, too. We were up in Cleveland for Christmas. My uncle had been through this breakup and he was wanting to get the hell out of Cleveland and go to Georgia."\NBrent knows the feeling, and after listening to Shine on Rainy Day, he hopes you get it, too. He has never been more proud of his work. After 10 years of searching and struggle, the LP sounds and feels exactly how he wants it to. Like home.\N"It's not as good as it's going to get," Brent said. "But if it's the last thing that I ever do, if I died the day after it came out, then thank God I was able to record it because the songs and the production, it was everything I wanted to say. Finally." X-ALT-DESC;FMTTYPE=text/html:

Brent Cobb didn't set out to write an album that feels and sounds like the place he grew up. But now that the grooves have been cut in his debut LP, Shine on Rainy Day, there's no denying the people, the places and the vibe of his southcentral Georgia home infuse almost every song.

"It just is Georgia," Brent says in his musical drawl. "It's just that rural, easy-going way it feels down there on a nice spring evening when the wind's blowing warm and you smell wisteria, you know?"

It's quiet down there where he's from in Ellaville -- "population 1,609" -- laid back and forgotten in the shadow of Atlanta and Savannah. The people have blue-collar values and believe in treating your neighbor like you want to be treated. They believe in curses and the dark finger of Fate and wield a sharp, dark sense of humor that sustains them through the hardest of times. Distant radio stations, roadside honkytonks made of cinderblock and back-porch picking sessions heavy on the backbeat predominate under Spanish moss-strewn live oaks and loblolly pines.

It was the perfect place to grow up.

"Lord, when I die, let's make a deal," Brent sings on the album's swirling thesis statement, "South of Atlanta," "lay me down in that town where time stands still."

Shine on Rainy Day is an album Brent's been trying to make for a decade, enlisting his cousin and fellow Georgian, Dave Cobb, the Grammy Award-winning producer whose Elektra Records imprint Low Country Sound is home to the album.

Brent wanted to record an album that felt Southern, though not the kind of Southern you might expect. Neither Southern rock nor mainstream country, the sound sits somewhere on the wide bandwidth that exists between the two. Cousin Dave helped him find the right vibe, full of blue-eyed soul, country funk and the kind of swamp boogie sounds that predominated pop in the 1960s and early 1970s. There's a reason Georgia was always on Ray Charles' mind, after all.

"I don't mean to get weird and be into, like, deep shit, but it really has got to be blood," Brent said. "When I write songs, it's almost like I didn't write them. You know it's just like this is happening right now and it just comes out. He's the same way in the studio. He's like, 'Put this right here and play it like this,' and you're like why? And he's like, 'I don't know, it's just the way it's supposed to go.' That's exactly how I write songs."

Brent finds it a strange sensation to be so closely linked to someone. Though cousins, the Cobbs didn't know each other growing up. Dave's a little bit older than 29-year-old Brent and his father was the one brother who left the area and moved away -- to an island off the coast from Savannah. So when they first met -- as adults at an aunt's funeral -- Brent was wary. And a little bit of an ass.

"We're standing around outside and I was like, 'Man, we hear you're producing in L.A. What you produced?' just kind of like a jerk, really," Brent said with a laugh. "He told me Shooter Jennings' 'Put the O Back in Country,' and that floored me, man. Because me and my buddies working at a tree service, we'd get off work, somebody would get a 12 pack, we'd get stoned and listen to 'Put the O Back in Country,' man. We knew it was the cool country. We knew it was for real. Man, I mean it was the shit."

Brent's dad shamelessly slipped Dave a disc of six acoustic songs Brent recorded as he left town. Dave didn't really want to listen to it, but his wife, Lydia, convinced him to stick it in the car's player on the way to the airport. Not long after Jennings called and invited Brent out to Los Angeles.

He spent four months there, but after living through an earthquake, a drought, a near car-jacking and a drive-by shooting he returned home where he lived for about four months before an old acquaintance from the area, Luke Bryan, called out of the blue. Bryan invited Brent to stay with him and his wife for a week to write and get to know Nashville.

Not long after he returned for good and recorded a well-received EP that led to 3½ years on the road, touring with a band and opening for every big player in country. He decided that wasn't what he was looking for either, and began to focus more deeply on songwriting. He landed several cuts -- most notably Miranda Lambert's "Old Shit," Kenny Chesney's "Don't It" and Bryan's "Tailgate Blues"- while working on his own songs and searching for a direction for his long-delayed debut.

Meanwhile, Dave left L.A. for Nashville and began building a reputation as one of music's most exciting producers for his work with Chris Stapleton, Jamey Johnson, Sturgill Simpson and Jason Isbell. As part of his deal with Elektra, he conceived of a concept album called Southern Family and thought it only right his "bitch ass little cousin" have a part. "So I was like, 'I'll be there,'" Brent said. He contributed "Down Home" to the album and also mentioned the project to Lambert, who wanted in and sang the Brent-written "Sweet By & By," a standout on an album full of them.

It was during these sessions that the Cobbs began to notice a real connection in the way they would approach songs during the recording process. "It just felt like home, you know?" Brent said. "I made the comment, 'Dude, let's just do it.' So we did."

From the Nashville slice-of-life narrative of "Solving Problems" to the delicate and powerful interplay of acoustic and electric guitars on the stunning closer "Black Crow," the album feels like the people, places and sounds of Brent's life.

The album carries something of a Southern Gothic narrative, alternating between dark visions and self-deprecating scenes of black humor that bubble up in laugh-or-cry moments. He chose the album's title after a friend heard "Shine on Rainy Day" following a family tragedy and mentioned how powerful it was to him.

"When you have a bad storm that hits, the next day the trees are in full bloom and the grass is greener and lightning cleans the air up," Brent said. "My friend called me up out of the blue and said that song hit him so hard. It's talking about a rainy day, they're going through a real life rainy day."

Like "Shine on Rainy Day," the album alternates between light and dark. In "Black Crow," a doomed soul argues with a laughing crow sitting on a fencepost, "Black crow, I ain't a joke no more!," before earning a prison sentence in a corner store robbery. "Lord," he sings, "I can feel those spirits carrying me down" before Jason Isbell unleashes a devilish slide guitar line that feels like a Neil Young guitar solo.

The deliciously self-deprecating "Diggin' Holes" has that giddy AM radio/Gram Parsons feel with dancing music accompanied by dark lyrics that are both funny and painful. "I ought to be workin' in a coal mine/Lord knows I'm good at diggin' holes."

"Down in the Gulley" is a sour mash-flavored short story with a first line worthy of Faulkner or O'Connor: "My granddaddy was a good man -- no matter what the papers said." The dread-filled "Let the Rain Come Down" opens with visions of doom, a rattlesnake strung from a tree and a witch's curse: "She put a curse on me/Another on the river/And now my crops won't grow no more."

"Solving Problems" was written sitting on a balcony overlooking an especially historic corner of historic Music Row while thinking about Kris Kristofferson's "To Beat the Devil," which has a spoken word section that feels lifted right from the Row.

"The energy just feels crazy around here," Brent said. "I loved how Kristofferson would capture the present moment of his Nashville during that time. Nobody does that anymore."

"Country Bound" is the only song on the album not written or co-written by Brent. Instead, the song was written by his father and uncle in a far-off place called Cleveland.

"It was the first song I ever witnessed being written in my life," Brent said. "I was 5 years old and it was the first time I ever saw snow, too. We were up in Cleveland for Christmas. My uncle had been through this breakup and he was wanting to get the hell out of Cleveland and go to Georgia."

Brent knows the feeling, and after listening to Shine on Rainy Day, he hopes you get it, too. He has never been more proud of his work. After 10 years of searching and struggle, the LP sounds and feels exactly how he wants it to. Like home.

"It's not as good as it's going to get," Brent said. "But if it's the last thing that I ever do, if I died the day after it came out, then thank God I was able to record it because the songs and the production, it was everything I wanted to say. Finally."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191028T224352Z X-ACCESS:1 X-HITS:4308 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191109T203000 DTEND;TZID=America/Denver:20191109T230000 UID:40C3D4F2-1105-4874-AF29-0202F8411CC9 SUMMARY:TAUK DTSTAMP:20190726T200648Z DESCRIPTION:On their new album Shapeshifter II: Outbreak, New York-bred band TAUK offer an unsettling but ultimately exhilarating look at artificial intelligence and its potential to upend our world. With its dynamic sense of tension and cinematic mastery of mood, TAUK’s all-instrumental blend of progressive rock, hip-hop, and jazz proves to be the perfect backdrop for such explorations, giving way to an album that’s both powerfully hypnotic and intensely thought-provoking.\N“We’re all very much interested in A.I., and this idea of machines getting out of the hands of the people trying to control them,” notes TAUK guitarist Matt Jalbert, whose bandmates include bassist Charlie Dolan, keyboardist Alric “A.C.” Carter, and drummer Isaac Teel. “This album felt like a good setting to tell that kind of story, but in a way where we could have fun with it and let the listener escape into a whole other world.”Equally inspired by classic sci-fi like Blade Runner and more recent films like Ex Machina, Shapeshifter II: Outbreak embeds that narrative into TAUK’s most sonically adventurous, emotionally expansive work to date. A continuation of their early-2018 EP Shapeshifter I: Construct, the new album picks up its predecessor’s narrative thread with “Prelude”: a fantastically unsettling intro track whose frenetic keyboard work and chilling vocal samples set the tone for what’s to come. “The idea is that in the EP you’re seeing the construction of this being, and in the album you’re seeing it break out and become something that you can’t ignore anymore,” Carter explains.\NFrom there, TAUK charge forward with the driving rhythms of “Recreational Outrage” (a track laced with the ominous throb of a robotic heartbeat), the futuristic soundscape and heady grooves of “CMF 9000,” the gauzy reverie and glorious chaos of “Checkmate,” and the bright melodies and soulful guitar sprawl of “Convoy.” One of the album’s most mesmerizing moments, “Let It Ride” builds a brilliant tapestry from its luminous keyboard tones, kinetic guitar work, and kaleidoscopic rhythms. And on “Upside Down,” TAUK close out Shapeshifter II: Outbreak with a thrillingly epic burst of unfettered experimentalism.\NFree-flowing yet elaborately composed, Shapeshifter II: Outbreak came to life in collaboration with TAUK’s longtime cohort Robert Carranza—a Grammy Award-winning producer/mixer/engineer also known for his work The Mars Volta, Ozomatli, Marilyn Manson, and Taj Mahal. In a departure from their previous releases (including 2016’s Sir Nebula), the band shunned the typical studio environment and holed up for weeks in a long-abandoned, century-old home that Teel describes as “the Jumanji house meets Addams Family meets Amityville Horror.” Located in their homeland of Long Island, the house turned out to be the ideal spot for their makeshift studio, allowing for a creativity-enhancing seclusion. “Overall the whole process was incredibly organic—there were no constrictions as far as time or space, nothing ever felt forced,” says Dolan. “There was a greater feeling of possibility, and it ended up being a really liberating experience for all of us.” Jalbert adds: “The location definitely added to the vibe of everything we were going for. It was like we set up a laboratory in the middle of nowhere and shut off the rest of the world, which really helped get us into a specific headspace.”\NTrue to its thematic terrain, Shapeshifter II: Outbreak endlessly blurs the boundaries between organic and electronic, with TAUK broadening their sonic palette to include a vast spectrum of synth sounds and programmed effects (such as those exquisitely eerie vocal samples heard in “Prelude”). And in sculpting the album’s intricate arrangements, TAUK called on such esteemed musicians as The Naughty Horns, Ghost-Note’s Nate Werth (a percussionist who’s also played with David Crosby, Q-Tip, and Snarky Puppy), and Juan Alderete (longtime bassist for Racer X and The Mars Volta).\NThroughout Shapeshifter II: Outbreak, TAUK reveal the potent chemistry they discovered in childhood, when longtime friends Dolan, Jalbert, and Carter formed their first band in seventh grade. After playing together in various projects, the trio brought Teel into the fold in 2012, cementing the final lineup. Since then, TAUK have shared stages with acts like Umphrey’s McGee, Widespread Panic, and Lettuce, appeared at festivals like Electric Forest and Bonnaroo, and earned acclaim from major outlets like the Washington Post (who praised TAUK for “creating a hard-charging, often melodic fusion that—thanks to a penchant for improv—offers limitless possibilities”). As Teel points out, the band’s incessant touring over the years has significantly strengthened their musical connection. “The four of us as individuals are all very animated souls in our own right,” he says. “We each have our ideas and our perspectives, and when it all comes together, it creates this collective statement that takes on a life of its own.”\NIn creating Shapeshifter II: Outbreak, TAUK made that statement more deliberate and impactful than ever before. But while several upcoming videos and the vibrant artwork of illustrator Raul Urias add a new dimension to the album’s concept, the band purposely maintained a certain open-endedness in its execution. “People tell us all kinds of stories about what our songs mean to them, and it’s always cool to see how wide the gamut of those stories is,” says Carter. “What the song means to me might not be the same as what it means to you, but that’s one of the great things about this whole experience. There’s room for everyone to develop whatever narrative they want.” X-ALT-DESC;FMTTYPE=text/html:

On their new album Shapeshifter II: Outbreak, New York-bred band TAUK offer an unsettling but ultimately exhilarating look at artificial intelligence and its potential to upend our world. With its dynamic sense of tension and cinematic mastery of mood, TAUK’s all-instrumental blend of progressive rock, hip-hop, and jazz proves to be the perfect backdrop for such explorations, giving way to an album that’s both powerfully hypnotic and intensely thought-provoking.

“We’re all very much interested in A.I., and this idea of machines getting out of the hands of the people trying to control them,” notes TAUK guitarist Matt Jalbert, whose bandmates include bassist Charlie Dolan, keyboardist Alric “A.C.” Carter, and drummer Isaac Teel. “This album felt like a good setting to tell that kind of story, but in a way where we could have fun with it and let the listener escape into a whole other world.”Equally inspired by classic sci-fi like Blade Runner and more recent films like Ex Machina, Shapeshifter II: Outbreak embeds that narrative into TAUK’s most sonically adventurous, emotionally expansive work to date. A continuation of their early-2018 EP Shapeshifter I: Construct, the new album picks up its predecessor’s narrative thread with “Prelude”: a fantastically unsettling intro track whose frenetic keyboard work and chilling vocal samples set the tone for what’s to come. “The idea is that in the EP you’re seeing the construction of this being, and in the album you’re seeing it break out and become something that you can’t ignore anymore,” Carter explains.

From there, TAUK charge forward with the driving rhythms of “Recreational Outrage” (a track laced with the ominous throb of a robotic heartbeat), the futuristic soundscape and heady grooves of “CMF 9000,” the gauzy reverie and glorious chaos of “Checkmate,” and the bright melodies and soulful guitar sprawl of “Convoy.” One of the album’s most mesmerizing moments, “Let It Ride” builds a brilliant tapestry from its luminous keyboard tones, kinetic guitar work, and kaleidoscopic rhythms. And on “Upside Down,” TAUK close out Shapeshifter II: Outbreak with a thrillingly epic burst of unfettered experimentalism.

Free-flowing yet elaborately composed, Shapeshifter II: Outbreak came to life in collaboration with TAUK’s longtime cohort Robert Carranza—a Grammy Award-winning producer/mixer/engineer also known for his work The Mars Volta, Ozomatli, Marilyn Manson, and Taj Mahal. In a departure from their previous releases (including 2016’s Sir Nebula), the band shunned the typical studio environment and holed up for weeks in a long-abandoned, century-old home that Teel describes as “the Jumanji house meets Addams Family meets Amityville Horror.” Located in their homeland of Long Island, the house turned out to be the ideal spot for their makeshift studio, allowing for a creativity-enhancing seclusion. “Overall the whole process was incredibly organic—there were no constrictions as far as time or space, nothing ever felt forced,” says Dolan. “There was a greater feeling of possibility, and it ended up being a really liberating experience for all of us.” Jalbert adds: “The location definitely added to the vibe of everything we were going for. It was like we set up a laboratory in the middle of nowhere and shut off the rest of the world, which really helped get us into a specific headspace.”

True to its thematic terrain, Shapeshifter II: Outbreak endlessly blurs the boundaries between organic and electronic, with TAUK broadening their sonic palette to include a vast spectrum of synth sounds and programmed effects (such as those exquisitely eerie vocal samples heard in “Prelude”). And in sculpting the album’s intricate arrangements, TAUK called on such esteemed musicians as The Naughty Horns, Ghost-Note’s Nate Werth (a percussionist who’s also played with David Crosby, Q-Tip, and Snarky Puppy), and Juan Alderete (longtime bassist for Racer X and The Mars Volta).

Throughout Shapeshifter II: Outbreak, TAUK reveal the potent chemistry they discovered in childhood, when longtime friends Dolan, Jalbert, and Carter formed their first band in seventh grade. After playing together in various projects, the trio brought Teel into the fold in 2012, cementing the final lineup. Since then, TAUK have shared stages with acts like Umphrey’s McGee, Widespread Panic, and Lettuce, appeared at festivals like Electric Forest and Bonnaroo, and earned acclaim from major outlets like the Washington Post (who praised TAUK for “creating a hard-charging, often melodic fusion that—thanks to a penchant for improv—offers limitless possibilities”). As Teel points out, the band’s incessant touring over the years has significantly strengthened their musical connection. “The four of us as individuals are all very animated souls in our own right,” he says. “We each have our ideas and our perspectives, and when it all comes together, it creates this collective statement that takes on a life of its own.”

In creating Shapeshifter II: Outbreak, TAUK made that statement more deliberate and impactful than ever before. But while several upcoming videos and the vibrant artwork of illustrator Raul Urias add a new dimension to the album’s concept, the band purposely maintained a certain open-endedness in its execution. “People tell us all kinds of stories about what our songs mean to them, and it’s always cool to see how wide the gamut of those stories is,” says Carter. “What the song means to me might not be the same as what it means to you, but that’s one of the great things about this whole experience. There’s room for everyone to develop whatever narrative they want.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191025T190111Z X-ACCESS:1 X-HITS:2633 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191113T200000 DTEND;TZID=America/Denver:20191113T230000 UID:48C8D1DB-4067-468F-9BD8-68805B71DAC1 SUMMARY:The Milk Carton Kids DTSTAMP:20190906T143556Z DESCRIPTION:"For the longest time, we felt like we didn’t really fit in at the only venues that would book us. All the little rock clubs around the country where the beer fridges were louder than our show. It was hard to appreciate it at the time, but almost 10 years later it seems obvious— those clubs are where the most dedicated music fans in the country are, and it’s where the foundations of our relationship with our fans was laid. Once we started playing theaters, our ticket prices went way up and a lot of people we recognized from the clubs couldn’t afford it any more. In releasing The Only Ones, we wanted to self-produce, self-record, self-release and give it away for free, and tour, just the two of us, to some of the places we got started and charge hopefully reasonable ticket prices. It’s a short one, but these should be really fun nights for everyone who can come. And for us too."\NCritically acclaimed The Milk Carton Kids return with The Only Ones, out October 18 via the band’s own Milk Carton Records imprint in partnership with Thirty Tigers. The release follows 2018’s All the Things That I Did and All the Things That I Didn't Do, dubbed “practically irresistible” by NPR.\NIn celebration of the forthcoming release, the lead single, “The Only Ones” alongside “I Meant Every Word I Said,” are available today. Listen/share HERE and HERE.The new project speaks to the core of what The Milk Carton Kids are about musically—the duo. Off the heels of their last, full band effort, The Only Ones brings them back to their roots.\NBefore touring the U.S. this fall on their “A Night with the Milk Carton Kids in Very Small Venues at Very Low Ticket Prices Tour” in support of the new music, The Milk Carton Kids will host the 18th annual Americana Honors & Awards for the second year in a row. The awards show takes place on September 11 at the historic Ryman Auditorium in Nashville. Further appearances include a set at Americanafest, and performances at Boston’s Brighton Music Hall and New York City’s Zankel Hall. The intimate shows put them back into small venues where they started, with the special bonus of all ticket prices under twenty dollars.\NFounded in 2011, The Milk Carton Kids swiftly emerged as a major force in the American folk tradition, blending ethereal harmonies and intricate musicianship with a uniquely powerful brand of contemporary songcraft. 2013’s ANTI-debut, The Ash & Clay, proved their national breakthrough, earning The Milk Carton Kids their first Grammy Award nomination, for “Best Folk Album.” A second Grammy nomination for “Best American Roots Performance” followed in 2015, honoring “The City of Our Lady,” from The Milk Carton Kids’ acclaimed third studio album, Monterey. X-ALT-DESC;FMTTYPE=text/html:

"For the longest time, we felt like we didn’t really fit in at the only venues that would book us. All the little rock clubs around the country where the beer fridges were louder than our show. It was hard to appreciate it at the time, but almost 10 years later it seems obvious— those clubs are where the most dedicated music fans in the country are, and it’s where the foundations of our relationship with our fans was laid. Once we started playing theaters, our ticket prices went way up and a lot of people we recognized from the clubs couldn’t afford it any more. In releasing The Only Ones, we wanted to self-produce, self-record, self-release and give it away for free, and tour, just the two of us, to some of the places we got started and charge hopefully reasonable ticket prices. It’s a short one, but these should be really fun nights for everyone who can come. And for us too."

Critically acclaimed The Milk Carton Kids return with The Only Ones, out October 18 via the band’s own Milk Carton Records imprint in partnership with Thirty Tigers. The release follows 2018’s All the Things That I Did and All the Things That I Didn't Do, dubbed “practically irresistible” by NPR.

In celebration of the forthcoming release, the lead single, “The Only Ones” alongside “I Meant Every Word I Said,” are available today. Listen/share HERE and HERE.
The new project speaks to the core of what The Milk Carton Kids are about musically—the duo. Off the heels of their last, full band effort, The Only Ones brings them back to their roots.

Before touring the U.S. this fall on their “A Night with the Milk Carton Kids in Very Small Venues at Very Low Ticket Prices Tour” in support of the new music, The Milk Carton Kids will host the 18th annual Americana Honors & Awards for the second year in a row. The awards show takes place on September 11 at the historic Ryman Auditorium in Nashville. Further appearances include a set at Americanafest, and performances at Boston’s Brighton Music Hall and New York City’s Zankel Hall. The intimate shows put them back into small venues where they started, with the special bonus of all ticket prices under twenty dollars.

Founded in 2011, The Milk Carton Kids swiftly emerged as a major force in the American folk tradition, blending ethereal harmonies and intricate musicianship with a uniquely powerful brand of contemporary songcraft. 2013’s ANTI-debut, The Ash & Clay, proved their national breakthrough, earning The Milk Carton Kids their first Grammy Award nomination, for “Best Folk Album.” A second Grammy nomination for “Best American Roots Performance” followed in 2015, honoring “The City of Our Lady,” from The Milk Carton Kids’ acclaimed third studio album, Monterey.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191025T190232Z X-ACCESS:1 X-HITS:2350 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191114T200000 DTEND;TZID=America/Denver:20191114T233000 UID:0108E517-586D-4841-B65D-A9961E436D7E SUMMARY:Bruce Cockburn DTSTAMP:20190523T204317Z DESCRIPTION:Few recording artists are as creative and prolific as Bruce Cockburn. Since his self-titled debut in 1970, the Canadian singer-songwriter has issued a steady stream of acclaimed albums every couple of years. But that output suddenly ran dry in 2011 following the release of Small Source of Comfort. There were good reasons for the drought. For one thing, Cockburn became a father again with the birth of his daughter Iona. Then there was the publication of his 2014 memoir Rumours of Glory.\N“I didn’t write any songs until after the book was published because all my creative energy had gone into three years of writing it,” Cockburn explains, from his home in San Francisco. “There was simply nothing left to write songs with. As soon as the book was put to bed, I started asking myself whether I was ever going to be a songwriter again.”\NSuch doubt was new to the man who’s rarely been at a loss for words as he’s distilled political views, spiritual revelations and personal experiences into some of popular music’s most compelling songs. What spurred Cockburn back into songwriting was an invitation to contribute a song to a documentary film about the late, seminal Canadian poet Al Purdy and he was off to the races.\NBone On Bone, Cockburn’s 33rd album, arrives with 11 new songs, including “3 Al Purdys,” a brilliant, six-minute epic that pays tribute to Purdy’s poetry. Cockburn explains its genesis: “I went out and got Purdy’s collected works, which is an incredible book. Then I had this vision of a homeless guy who is obsessed with Purdy’s poetry, and he’s ranting it on the street. The song is written in the voice of that character. The chorus goes, ‘I'll give you three Al Purdys for a twenty dollar bill.’ Here’s this\Ngrey-haired dude, coat tails flapping in the wind, being mistaken for the sort of addled ranters you run into on the street—except he’s not really ranting, he’s reciting Al Purdy. The spoken word parts of the track are excerpts from\NPurdy’s poems. After that, once the ice was broken, the songs just started coming.”\NCockburn’s rugged fingerpicking style on the Dobro perfectly matches Purdy’s plainspoken words and the grizzled voice of his street character. A similar guitar style can be heard on two of the next songs Cockburn wrote, the gospel-like “Jesus Train,” and “Café Society,” a bluesy number about people who gather at his local coffee shop to sip their java and talk about the state of the world.\NThere’s a prevalent urgency and anxious tone to much of the album, which Cockburn attributes to living in America during the Trump era. But, more than anything, Bone on Bone amounts to the deepest expression of Cockburn’s spiritual concerns to date. The 12-time Juno winner and Canadian Music Hall of Fame inductee turned away from traditional Christianity in the mid-1970s toward a quest for the more all-inclusive mysticism he documents in his memoir. And it’s that kind of spirituality that figures prominently in “Jesus Train” and “Twelve Gates to the City.” In “Looking and Waiting,” Cockburn sings of “scanning the skies for a beacon” from the divine.\N“It’s a song of faith and frustration,” says Cockburn of the latter. "...Tired of looking in from the outside. My MO has always been to be aware of the divine...that dimension...always dealing with being stuck in a kind of observer’s position with respect to all that. I know it’s there. I don't really see as faith so much as knowledge. Others may have different ideas about those things, but for me, I don’t have to struggle to believe in God, or the notion that God cares what happens to me. But I do have to struggle with being in a conscious, intentional relationship. That underlies a lot of these songs.”\N“Forty Years in the Wilderness” ranks alongside “Pacing the Cage” or “All the Diamonds” as one of Cockburn’s most starkly beautiful folk songs.\N“There have been so many times in my life when an invitation has come from somewhere...the cosmos...the divine...to step out of the familiar into something new. I’ve found it’s best to listen for, and follow these promptings. The song is really about that. You can stay with what you know or you can pack your bag and go where you’re called, even if it seems weird...even if you can’t see why or where you’ll end up.”\N“Forty Years in the Wilderness” is one of several songs that feature a number of singers from the church Cockburn frequents, for the sake of convenience referred to in the album credits as the San Francisco Lighthouse “Chorus.” “The music was one of the enticements that drew me to SF Lighthouse. As I found myself becoming one of the regulars there, and got to know the people, I felt that I really wanted all these great singers, who were now becoming friends, to be on the album. They were kind enough to say yes!” Among other songs, they contribute\Ncall-and-response vocals to the stirring “Stab at Matter.” Other guests on the album include singer-songwriters Ruby Amanfu, Mary Gauthier, and Brandon Robert Young, along with bassist Roberto Occhipinti, and Julie Wolf, who plays accordion on “3 Al Purdys” and sings with the folks from Lighthouse, together with LA songwriter Tamara Silvera.\NProduced by Colin Linden, Cockburn’s longtime collaborator, the album is built around the musicianship of Cockburn on guitar and the core accompaniment of bassist John Dymond and drummer Gary Craig. Also very much part of the sound is the accordion playing of Cockburn’s nephew John Aaron Cockburn and the solos of noted fluegelhorn player Ron Miles (check out his stunning work on the cascading “Mon Chemin,” for example).\NTwo other songs should be noted. The environmental warning “False River” came about at the invitation of Yvonne Bloomer, the poet laureate of Victoria, British Columbia. Bloomer was seeking a poem about the controversial Kinder Morgan Trans Mountain Pipeline. “Pipelines have their\Nown perils that we’re all aware of,” says Cockburn, “so I started writing what was meant to be a spoken-word piece with a rhythm to it. But it evolved very quickly into a song.”\N“States I’m In,” which opens the album, conjures up feelings of mystery and dread. “It’s literally a ‘dark night of the soul’ kind of song,” Cockburn explains, “as it starts with sunset and ends with dawn. It passes through the night. The song is about illusion and self-delusion, looking at the tricks you play on yourself.” He adds: “Maybe it’s also a play on words about me living in the States.”\NCockburn, who won the inaugural People’s Voice Award at the Folk Alliance International conference in February and will be inducted into the Canadian Songwriters Hall of Fame in September, continues to find inspiration in the world around him and channel those ideas into songs. “My job is to try and trap the spirits of things in the scratches of pen on paper and the pulling of notes out of metal,” he once noted. More than forty years after embarking on his singer-songwriting career, Cockburn keeps kicking at the darkness so that it might bleed daylight. X-ALT-DESC;FMTTYPE=text/html:

Few recording artists are as creative and prolific as Bruce Cockburn. Since his self-titled debut in 1970, the Canadian singer-songwriter has issued a steady stream of acclaimed albums every couple of years. But that output suddenly ran dry in 2011 following the release of Small Source of Comfort. There were good reasons for the drought. For one thing, Cockburn became a father again with the birth of his daughter Iona. Then there was the publication of his 2014 memoir Rumours of Glory.

“I didn’t write any songs until after the book was published because all my creative energy had gone into three years of writing it,” Cockburn explains, from his home in San Francisco. “There was simply nothing left to write songs with. As soon as the book was put to bed, I started asking myself whether I was ever going to be a songwriter again.”

Such doubt was new to the man who’s rarely been at a loss for words as he’s distilled political views, spiritual revelations and personal experiences into some of popular music’s most compelling songs. What spurred Cockburn back into songwriting was an invitation to contribute a song to a documentary film about the late, seminal Canadian poet Al Purdy and he was off to the races.

Bone On Bone, Cockburn’s 33rd album, arrives with 11 new songs, including “3 Al Purdys,” a brilliant, six-minute epic that pays tribute to Purdy’s poetry. Cockburn explains its genesis: “I went out and got Purdy’s collected works, which is an incredible book. Then I had this vision of a homeless guy who is obsessed with Purdy’s poetry, and he’s ranting it on the street. The song is written in the voice of that character. The chorus goes, ‘I'll give you three Al Purdys for a twenty dollar bill.’ Here’s this

grey-haired dude, coat tails flapping in the wind, being mistaken for the sort of addled ranters you run into on the street—except he’s not really ranting, he’s reciting Al Purdy. The spoken word parts of the track are excerpts from

Purdy’s poems. After that, once the ice was broken, the songs just started coming.”

Cockburn’s rugged fingerpicking style on the Dobro perfectly matches Purdy’s plainspoken words and the grizzled voice of his street character. A similar guitar style can be heard on two of the next songs Cockburn wrote, the gospel-like “Jesus Train,” and “Café Society,” a bluesy number about people who gather at his local coffee shop to sip their java and talk about the state of the world.

There’s a prevalent urgency and anxious tone to much of the album, which Cockburn attributes to living in America during the Trump era. But, more than anything, Bone on Bone amounts to the deepest expression of Cockburn’s spiritual concerns to date. The 12-time Juno winner and Canadian Music Hall of Fame inductee turned away from traditional Christianity in the mid-1970s toward a quest for the more all-inclusive mysticism he documents in his memoir. And it’s that kind of spirituality that figures prominently in “Jesus Train” and “Twelve Gates to the City.” In “Looking and Waiting,” Cockburn sings of “scanning the skies for a beacon” from the divine.

“It’s a song of faith and frustration,” says Cockburn of the latter. "...Tired of looking in from the outside. My MO has always been to be aware of the divine...that dimension...always dealing with being stuck in a kind of observer’s position with respect to all that. I know it’s there. I don't really see as faith so much as knowledge. Others may have different ideas about those things, but for me, I don’t have to struggle to believe in God, or the notion that God cares what happens to me. But I do have to struggle with being in a conscious, intentional relationship. That underlies a lot of these songs.”

“Forty Years in the Wilderness” ranks alongside “Pacing the Cage” or “All the Diamonds” as one of Cockburn’s most starkly beautiful folk songs.

“There have been so many times in my life when an invitation has come from somewhere...the cosmos...the divine...to step out of the familiar into something new. I’ve found it’s best to listen for, and follow these promptings. The song is really about that. You can stay with what you know or you can pack your bag and go where you’re called, even if it seems weird...even if you can’t see why or where you’ll end up.”

“Forty Years in the Wilderness” is one of several songs that feature a number of singers from the church Cockburn frequents, for the sake of convenience referred to in the album credits as the San Francisco Lighthouse “Chorus.” “The music was one of the enticements that drew me to SF Lighthouse. As I found myself becoming one of the regulars there, and got to know the people, I felt that I really wanted all these great singers, who were now becoming friends, to be on the album. They were kind enough to say yes!” Among other songs, they contribute

call-and-response vocals to the stirring “Stab at Matter.” Other guests on the album include singer-songwriters Ruby Amanfu, Mary Gauthier, and Brandon Robert Young, along with bassist Roberto Occhipinti, and Julie Wolf, who plays accordion on “3 Al Purdys” and sings with the folks from Lighthouse, together with LA songwriter Tamara Silvera.

Produced by Colin Linden, Cockburn’s longtime collaborator, the album is built around the musicianship of Cockburn on guitar and the core accompaniment of bassist John Dymond and drummer Gary Craig. Also very much part of the sound is the accordion playing of Cockburn’s nephew John Aaron Cockburn and the solos of noted fluegelhorn player Ron Miles (check out his stunning work on the cascading “Mon Chemin,” for example).

Two other songs should be noted. The environmental warning “False River” came about at the invitation of Yvonne Bloomer, the poet laureate of Victoria, British Columbia. Bloomer was seeking a poem about the controversial Kinder Morgan Trans Mountain Pipeline. “Pipelines have their

own perils that we’re all aware of,” says Cockburn, “so I started writing what was meant to be a spoken-word piece with a rhythm to it. But it evolved very quickly into a song.”

“States I’m In,” which opens the album, conjures up feelings of mystery and dread. “It’s literally a ‘dark night of the soul’ kind of song,” Cockburn explains, “as it starts with sunset and ends with dawn. It passes through the night. The song is about illusion and self-delusion, looking at the tricks you play on yourself.” He adds: “Maybe it’s also a play on words about me living in the States.”

Cockburn, who won the inaugural People’s Voice Award at the Folk Alliance International conference in February and will be inducted into the Canadian Songwriters Hall of Fame in September, continues to find inspiration in the world around him and channel those ideas into songs. “My job is to try and trap the spirits of things in the scratches of pen on paper and the pulling of notes out of metal,” he once noted. More than forty years after embarking on his singer-songwriting career, Cockburn keeps kicking at the darkness so that it might bleed daylight.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191025T190310Z X-ACCESS:1 X-HITS:2527 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191115T210000 DTEND;TZID=America/Denver:20191115T233000 UID:F2217B73-F06F-45DD-A451-6873EF179A50 SUMMARY:Penny & Sparrow DTSTAMP:20190425T230014Z DESCRIPTION:“Almost everything changed for us in these last two years,” says Andy Baxter, one half of the acclaimed duo Penny & Sparrow. “It was a painful experience in a lot of ways, but it was also a joyful one.”\NJoy and pain walk hand in hand on ‘Finch,’ Penny & Sparrow’s magnificent sixth album. Written during their first major break from the road in years, the record finds the band reckoning with a prolonged period of intense personal transformation, a profound awakening that altered their perceptions of masculinity, sex, religion, divorce, friendship, vanity, purpose, and, perhaps most importantly, self. Deeply vulnerable and boldly cinematic, the resulting songs blur the lines between indie-folk and alt-pop, with dense string arrangements and atmospheric production underpinning soaring melodies and airtight harmonies from Baxter and his longtime musical partner, Kyle Jahnke.\NTexas natives, Baxter and Jahnke first crossed paths at UT Austin, where they developed both a fast friendship and a deeply symbiotic musical connection. Jahnke was a gifted guitarist with an ear for melody, Baxter an erudite lyricist with a mesmerizing voice and crystalline falsetto, and the duo quickly found that their vocals blended together as if they’d been singing in harmony their whole lives. Beginning with 2013’s ‘Tenboom,’ the staunchly DIY pair released a series of critically lauded records that garnered comparisons to the hushed intimacy of Iron & Wine and the adventurous beauty of James Blake, building up a devoted fanbase along the way through relentless touring and word-of-mouth buzz. NPR praised the band’s songwriting as a “delicate dance between heartache and resolve,” while The World Café raved that they’ve “steadily built a sound as attentive to detail as Simon & Garfunkel and as open to the present day as Bon Iver,” and Rolling Stone hailed their catalog as “folk music for Sunday mornings, quiet evenings, and all the fragile moments in between.” In addition to the mountain of glowing reviews, the band also earned high profile fans—including The Civil Wars’ John Paul White, who produced 2015’s ‘Let A Lover Drown You’—and extensive tour dates with everyone from Josh Ritter and Johnnyswim to Drew Holcomb and Delta Rae. X-ALT-DESC;FMTTYPE=text/html:

“Almost everything changed for us in these last two years,” says Andy Baxter, one half of the acclaimed duo Penny & Sparrow. “It was a painful experience in a lot of ways, but it was also a joyful one.”

Joy and pain walk hand in hand on ‘Finch,’ Penny & Sparrow’s magnificent sixth album. Written during their first major break from the road in years, the record finds the band reckoning with a prolonged period of intense personal transformation, a profound awakening that altered their perceptions of masculinity, sex, religion, divorce, friendship, vanity, purpose, and, perhaps most importantly, self. Deeply vulnerable and boldly cinematic, the resulting songs blur the lines between indie-folk and alt-pop, with dense string arrangements and atmospheric production underpinning soaring melodies and airtight harmonies from Baxter and his longtime musical partner, Kyle Jahnke.

Texas natives, Baxter and Jahnke first crossed paths at UT Austin, where they developed both a fast friendship and a deeply symbiotic musical connection. Jahnke was a gifted guitarist with an ear for melody, Baxter an erudite lyricist with a mesmerizing voice and crystalline falsetto, and the duo quickly found that their vocals blended together as if they’d been singing in harmony their whole lives. Beginning with 2013’s ‘Tenboom,’ the staunchly DIY pair released a series of critically lauded records that garnered comparisons to the hushed intimacy of Iron & Wine and the adventurous beauty of James Blake, building up a devoted fanbase along the way through relentless touring and word-of-mouth buzz. NPR praised the band’s songwriting as a “delicate dance between heartache and resolve,” while The World Café raved that they’ve “steadily built a sound as attentive to detail as Simon & Garfunkel and as open to the present day as Bon Iver,” and Rolling Stone hailed their catalog as “folk music for Sunday mornings, quiet evenings, and all the fragile moments in between.” In addition to the mountain of glowing reviews, the band also earned high profile fans—including The Civil Wars’ John Paul White, who produced 2015’s ‘Let A Lover Drown You’—and extensive tour dates with everyone from Josh Ritter and Johnnyswim to Drew Holcomb and Delta Rae.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191025T190326Z X-ACCESS:1 X-HITS:6876 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191116T210000 DTEND;TZID=America/Denver:20191116T233000 UID:1FE7BA82-1165-44DF-8DC2-F41F9DE50419 SUMMARY:Son Little DTSTAMP:20190624T180244Z DESCRIPTION:Son Little, New Magic\NWhat is the new magic of music? If you trace the path of a plan back to its beginnings, what do you find? Is it a tree, growing from seed with deep roots planted in fertile soil, branches arcing out in all directions? Or a spark in the dark, an electrical charge? Is it a waterway, with swirling currents raging to create a river? Or is it a snowflake, falling from on high and dropping down to earth with a singular splash?\NFor Son Little, the genesis of a musical idea—the magic—remains largely a mystery. But his kinetic ability to summon that energy all the same, to command it, hold onto it, and set it in motion, is the stuff of alchemy.\N“The magic is this well I can draw from; you can’t necessarily see it, you just have to believe that it’s there,” he says. “If you believe, then you can reach your hand down in there and get it wet. But if you don’t feel like it’s there, it won’t be.”\NSon Little, the singer and songwriter born Aaron Livingston, is the easygoing musical alchemist of our time. He is a conjurer, and much like those of his heroes Stevie Wonder and Jimi Hendrix, his songs are deconstructions of the diaspora of American R & B. Deftly he weaves different eras of the sound—blues, soul, gospel, rock and roll—through his own unique vision, never forced, always smooth, each note a tributary on the flowing river of rhythm and blues. The currents empty into an estuary, and into this well water Son dips his bucket—trusting innately in the magic’s existence. And now, with his second full-length album, New Magic, he has delivered a profound statement, a cohesive creation that captures the diverse spirit of American music in a fresh and modern way.\NOn the heels of his 2015 self-titled debut and the 5-song EP, Songs I Forgot, that came before it, Son Little found his reach steadily growing. His song “Lay Down” had been played over seven million times on Spotify, he had toured the world with artists as diverse as Leon Bridges, Kelis, Mumford & Sons, and Shakey Graves in addition to his own headlining runs, and also became a Grammy Award winning producer, earning a 2016 Best Roots Performance award for his work on Mavis Staples’s “See That My Grave Is Kept Clean.” But in the midst of all this success, so too did he find that the window for writing new songs was shrinking. Where his previous releases had been culled from various eras and scattered sessions early in his career, he now craved an opportunity to sit and write a new album in a distinct, unified direction, one that would establish his place in the world of black music. The only problems were: when, and how?\N“I was on the road so much and found myself wanting to write, but I couldn’t really find time or space to do it in the way I wanted,” Son Little says. “I was playing around with beats or messing with chord changes; I had all these little fragments, thinking I would later piece them together. I kept the wheels turning by doing those exercises, but I knew it would feel really luxurious to be able to sit down by myself and write something from scratch. I was really hungry to get in that space and chisel out something new, without being interrupted by sound checks and rides in vans and radio. All that stuff is cool and I was having a blast touring, but a crucial part for me was missing. I wanted the writing to be broken up as little as possible.”\NIn the meantime, all that motion was filling him with both confidence and inspiration for the next step. The limitations he encountered while performing a debut record with so much studio sorcery via a live band onstage each night were influential in terms of how he began thinking about a followup. “I’ve often been a guy who was somewhat hiding behind the guitar,” he says. “Getting used to being out front and exposing the guitar and my voice, and leaving a lot of space in the material, all really inspired me and got the wheels turning for what I would do with the next group of songs.”\NSometimes, in order to see the stars, you have to get far away from the city lights. Finally, in the fall of last year, Son Little found himself in such a place, and it was there at the end of a tour in the remote, tropical Northern Territory of Australia that he looked up in the sky and saw the perfect alignment. Benefitting from several hours free on a string of consecutive days as well as the excitement of alien terrain and the inherent magic in a borrowed instrument, he felt things starting to come together.\N“The Northern Territory is a place where things are moving a little slower than anywhere else,” he says. “There were these big crocodiles and enormous bats, just wild things I’d never seen. I found myself with a few hours to kill a couple days in a row, and I set up in the hotel and just kinda followed the process: I found a rhythmic idea I liked and then sang and played a little guitar over it. Like a tip jar in a cafe that fills up after the first dollar goes in, you need that first little piece to slide into place and then the whole thing comes together. I ran off five songs all in the same day.” (Three of those songs, “Kimberly’s Mine,” Charging Bull,” and “Mad About You,” would make the album.)\NThat process to which he refers stems from an experience he encountered while writing a cornerstone of his early material, the soul-scorching, chanty-like “Your Love Will Blow Me Away When My Heart Aches,” one of few moments of inspiration he can still visualize. The song came to him while standing in his bedroom; beginning with a couple of words and a tempo, Son Little started to pound his fist on the dresser and made up the song’s melody on the spot. “I was banging on the dresser, and then I don’t know what happened. There was no melody, no words...and now there is. I know now that if I get part of the melody, a phrase or two, and a tempo, then the rest will follow. So I wanted to follow that pattern for the new songs and let the idea grow from that without worrying about what the production would sound like or which guitar to use. I was more focused on finding the song and the arrangement.”\NBut, as it happened, the guitar seemed to find him, too. “All those songs in Australia were written with one mic and an acoustic left-handed guitar I was playing upside-down,” he says. “It was borrowed from the Australian singer Gurrumul, a blind Aboriginal musician with this angelic voice. I needed a guitar and he was nice enough to loan it to me; I took it upstairs and all those songs came out of it. You hear people say guitars have songs in them, and that one certainly did.\NWhether or not Son Little was aware at the time of the overt connection to his pair of R & B heroes—Stevie and Jimi - that lending presented is unclear. Let’s, again, chalk it up to the magic.\N“Those two dudes are a little bit alone there; I can’t see how there can be a higher level of musical genius after Stevie and Jimi,” he says. “I do think of both of them as R & B guys, but\Nneither was trying to contain themselves there in any way. They were letting themselves be influenced by other stuff, be it jazz or Latin music or whatever, but they were just making songs and musically doing what felt good. That’s what I wanted to do here. I do see myself that way, in the branches of the R & B river.”\N(A quick but magical aside: In the winter of 2015, Son found himself invited to a reading a friend was giving at Electric Lady Studios in New York City, the legendary underground recording facility conceived and once owned by Jimi Hendrix himself. After the event he was invited to spin his debut album on the studio’s speakers, and while it played an employee asked him if he would like to “see the river”—a trickling branch of the seldom seen Minetta Creek that runs under parts of Manhattan. “I put my record on—which was a trip, like I was playing it for Jimi— and we went back in the corner behind where the amps are set up, and they pulled this panel up, and sure enough, there’s running water right under the floor. You can stick your hand in there and get it wet.”)\NFlowing water is a recurring theme in Son Little’s music, in addition to its symbolic inspiration. From his debut’s hit “The River” to a lyric in “Mad About You” (“Now you say it’s different, baby/ After I took you to the river”), his work tends to be thematically waterlogged. “My well is fed by the different tributaries, the other water sources that pour into it,” he says. “When you dip your bucket into it, you’re gonna get all kinds of different water. Water behaves that way underground, too; you can dig if you know where it’s at, and there are people, like the Aboriginal water diviner, who can find the water. My music has a kind of magic in it, being connected to whatever those forces are.”\NHaving been handed the divining rod in Australia, Son Little was able to connect the dots and finish New Magic by early spring. The trio written Down Under form the heart of the album’s vibe, with “Kimberly’s Mine” leading the record off with its Old Blues soap-operatic feel, and “Charging Bull”’s funky, fevered groove and the D’Angelo-inspired R & B minimalism of “Mad About You”—a lovelorn, aching track Son Little claims found itself only when he stripped it down to its barest essentials—holding anchor in the middle. But the song that serves as the album’s true centerpiece is “Blue Magic,” a Philly Soul inspired number deconstructed almost like a rap song or the best of production savants like J Dilla, Madlib, and Sparklehorse’s Mark Linkous, complete with chiming glockenspiel bells and old school female backing vocals. With its origins predating the Australia trip, the song has the appeal of an instant classic, a feeling that did not escape its maker, either.\N“I knew ‘Blue Magic’ would be my focal point from the second I made it up,” Son Little says. “I was just goofing around before a show—and I wish I could explain where something like this comes from but I have absolutely no idea—and I was freestyling with the guitar. The thought occurred to me that people were characterizing my music as this new blues thing, even though I was never exactly trying to heroically ‘save the blues’ or anything like that, or even put myself in a place where everything had to be bluesy. But suddenly I’m telling you in the song I’ve got the ‘blue magic,’ and even though there are things called ‘blue magic’ I hadn’t seen that phrase anywhere or heard anyone say it. But I said it, and then there’s a pressure to back it up, to support that claim. I think I’m addicted to that pressure; this thing is hanging in the balance, and the whole thing can go up in smoke if I don’t figure this out and put these pieces together in motion. I enjoy the feeling of not knowing what’s gonna happen from there; it doesn’t always end perfectly but I think you have to resolve that pressure, and not knowing how is really exciting to me. That feeling is somewhat hanging over this whole album: watch me make something out of thin air.”\NFollowing that lead are the pair of “Bread and Butter,” a playful, modern take on James Brown, and “The Middle,” a classic drinking-blues, both deconstructed through a filter of musical Cubism. “ASAP” is Son Little’s fiery, direct take on a Hendrix rock and roll song, and “Letter Bound” reminds of a yearning, crooning Bobby Womack joint, with the “little cry” in Son Little’s voice, as Mavis Staples calls it, taking the spotlight. The album ends with the ethereal, gospel-tinged number “Demon to the Dark,” which serves as the singer’s conversation with Washington Phillips, a little known blind musician and church deacon from early in the 20th century whose song “What Are They Doing in Heaven Today” utilized the dulceola, a novelty instrument comprised of two autoharps essentially stuck together. Phillips was a man of strong faith, a deacon in his church, and in his music Son Little found a source of forgiveness as well as an inspiration to carry on. As chiming strains of Omnichord take us out, the electricity in the air is palpable, the belief and trust in the spark at its peak.\NWhat is the new magic? How did that deep well get there in the first place, and what is the source water of all these confluents pouring in? To Son Little, there is an attitude running through his makings and his music, a mighty river of superstition and Spanish castles that runneth over. And despite its murky and mysterious origins, the musician’s divination ability is just that—divine.\N“There is this vein of the blues in it, and it can be distilled or boiled down just to the guitar and voice—or even just the voice,” he says. “And that process of me in my bedroom, making ‘Your Love’ with the dresser as the drum—I did that same thing as I wrote these songs. It’s that same scenario of making something out of nothing. And even if I am capable of doing that, I can’t really explain it. That’s the gist of the magic. I don’t know where it comes from, but it’s there, and I can call on it. I can call on it standing by the dresser, walking down the street, driving a car, on a train, a plane, in a hotel room, in the green room, during an interview...it’s just there. I’m trying to pay tribute to that fact. It’s had a really powerful and in some ways increasingly healing effect on my life. Hopefully other people have that experience with it as well. I’m just happy that it’s there, wherever it comes from.” X-ALT-DESC;FMTTYPE=text/html:

Son Little, New Magic

What is the new magic of music? If you trace the path of a plan back to its beginnings, what do you find? Is it a tree, growing from seed with deep roots planted in fertile soil, branches arcing out in all directions? Or a spark in the dark, an electrical charge? Is it a waterway, with swirling currents raging to create a river? Or is it a snowflake, falling from on high and dropping down to earth with a singular splash?

For Son Little, the genesis of a musical idea—the magic—remains largely a mystery. But his kinetic ability to summon that energy all the same, to command it, hold onto it, and set it in motion, is the stuff of alchemy.

“The magic is this well I can draw from; you can’t necessarily see it, you just have to believe that it’s there,” he says. “If you believe, then you can reach your hand down in there and get it wet. But if you don’t feel like it’s there, it won’t be.”

Son Little, the singer and songwriter born Aaron Livingston, is the easygoing musical alchemist of our time. He is a conjurer, and much like those of his heroes Stevie Wonder and Jimi Hendrix, his songs are deconstructions of the diaspora of American R & B. Deftly he weaves different eras of the sound—blues, soul, gospel, rock and roll—through his own unique vision, never forced, always smooth, each note a tributary on the flowing river of rhythm and blues. The currents empty into an estuary, and into this well water Son dips his bucket—trusting innately in the magic’s existence. And now, with his second full-length album, New Magic, he has delivered a profound statement, a cohesive creation that captures the diverse spirit of American music in a fresh and modern way.

On the heels of his 2015 self-titled debut and the 5-song EP, Songs I Forgot, that came before it, Son Little found his reach steadily growing. His song “Lay Down” had been played over seven million times on Spotify, he had toured the world with artists as diverse as Leon Bridges, Kelis, Mumford & Sons, and Shakey Graves in addition to his own headlining runs, and also became a Grammy Award winning producer, earning a 2016 Best Roots Performance award for his work on Mavis Staples’s “See That My Grave Is Kept Clean.” But in the midst of all this success, so too did he find that the window for writing new songs was shrinking. Where his previous releases had been culled from various eras and scattered sessions early in his career, he now craved an opportunity to sit and write a new album in a distinct, unified direction, one that would establish his place in the world of black music. The only problems were: when, and how?

“I was on the road so much and found myself wanting to write, but I couldn’t really find time or space to do it in the way I wanted,” Son Little says. “I was playing around with beats or messing with chord changes; I had all these little fragments, thinking I would later piece them together. I kept the wheels turning by doing those exercises, but I knew it would feel really luxurious to be able to sit down by myself and write something from scratch. I was really hungry to get in that space and chisel out something new, without being interrupted by sound checks and rides in vans and radio. All that stuff is cool and I was having a blast touring, but a crucial part for me was missing. I wanted the writing to be broken up as little as possible.”

In the meantime, all that motion was filling him with both confidence and inspiration for the next step. The limitations he encountered while performing a debut record with so much studio sorcery via a live band onstage each night were influential in terms of how he began thinking about a followup. “I’ve often been a guy who was somewhat hiding behind the guitar,” he says. “Getting used to being out front and exposing the guitar and my voice, and leaving a lot of space in the material, all really inspired me and got the wheels turning for what I would do with the next group of songs.”

Sometimes, in order to see the stars, you have to get far away from the city lights. Finally, in the fall of last year, Son Little found himself in such a place, and it was there at the end of a tour in the remote, tropical Northern Territory of Australia that he looked up in the sky and saw the perfect alignment. Benefitting from several hours free on a string of consecutive days as well as the excitement of alien terrain and the inherent magic in a borrowed instrument, he felt things starting to come together.

“The Northern Territory is a place where things are moving a little slower than anywhere else,” he says. “There were these big crocodiles and enormous bats, just wild things I’d never seen. I found myself with a few hours to kill a couple days in a row, and I set up in the hotel and just kinda followed the process: I found a rhythmic idea I liked and then sang and played a little guitar over it. Like a tip jar in a cafe that fills up after the first dollar goes in, you need that first little piece to slide into place and then the whole thing comes together. I ran off five songs all in the same day.” (Three of those songs, “Kimberly’s Mine,” Charging Bull,” and “Mad About You,” would make the album.)

That process to which he refers stems from an experience he encountered while writing a cornerstone of his early material, the soul-scorching, chanty-like “Your Love Will Blow Me Away When My Heart Aches,” one of few moments of inspiration he can still visualize. The song came to him while standing in his bedroom; beginning with a couple of words and a tempo, Son Little started to pound his fist on the dresser and made up the song’s melody on the spot. “I was banging on the dresser, and then I don’t know what happened. There was no melody, no words...and now there is. I know now that if I get part of the melody, a phrase or two, and a tempo, then the rest will follow. So I wanted to follow that pattern for the new songs and let the idea grow from that without worrying about what the production would sound like or which guitar to use. I was more focused on finding the song and the arrangement.”

But, as it happened, the guitar seemed to find him, too. “All those songs in Australia were written with one mic and an acoustic left-handed guitar I was playing upside-down,” he says. “It was borrowed from the Australian singer Gurrumul, a blind Aboriginal musician with this angelic voice. I needed a guitar and he was nice enough to loan it to me; I took it upstairs and all those songs came out of it. You hear people say guitars have songs in them, and that one certainly did.

Whether or not Son Little was aware at the time of the overt connection to his pair of R & B heroes—Stevie and Jimi - that lending presented is unclear. Let’s, again, chalk it up to the magic.

“Those two dudes are a little bit alone there; I can’t see how there can be a higher level of musical genius after Stevie and Jimi,” he says. “I do think of both of them as R & B guys, but

neither was trying to contain themselves there in any way. They were letting themselves be influenced by other stuff, be it jazz or Latin music or whatever, but they were just making songs and musically doing what felt good. That’s what I wanted to do here. I do see myself that way, in the branches of the R & B river.”

(A quick but magical aside: In the winter of 2015, Son found himself invited to a reading a friend was giving at Electric Lady Studios in New York City, the legendary underground recording facility conceived and once owned by Jimi Hendrix himself. After the event he was invited to spin his debut album on the studio’s speakers, and while it played an employee asked him if he would like to “see the river”—a trickling branch of the seldom seen Minetta Creek that runs under parts of Manhattan. “I put my record on—which was a trip, like I was playing it for Jimi— and we went back in the corner behind where the amps are set up, and they pulled this panel up, and sure enough, there’s running water right under the floor. You can stick your hand in there and get it wet.”)

Flowing water is a recurring theme in Son Little’s music, in addition to its symbolic inspiration. From his debut’s hit “The River” to a lyric in “Mad About You” (“Now you say it’s different, baby/ After I took you to the river”), his work tends to be thematically waterlogged. “My well is fed by the different tributaries, the other water sources that pour into it,” he says. “When you dip your bucket into it, you’re gonna get all kinds of different water. Water behaves that way underground, too; you can dig if you know where it’s at, and there are people, like the Aboriginal water diviner, who can find the water. My music has a kind of magic in it, being connected to whatever those forces are.”

Having been handed the divining rod in Australia, Son Little was able to connect the dots and finish New Magic by early spring. The trio written Down Under form the heart of the album’s vibe, with “Kimberly’s Mine” leading the record off with its Old Blues soap-operatic feel, and “Charging Bull”’s funky, fevered groove and the D’Angelo-inspired R & B minimalism of “Mad About You”—a lovelorn, aching track Son Little claims found itself only when he stripped it down to its barest essentials—holding anchor in the middle. But the song that serves as the album’s true centerpiece is “Blue Magic,” a Philly Soul inspired number deconstructed almost like a rap song or the best of production savants like J Dilla, Madlib, and Sparklehorse’s Mark Linkous, complete with chiming glockenspiel bells and old school female backing vocals. With its origins predating the Australia trip, the song has the appeal of an instant classic, a feeling that did not escape its maker, either.

“I knew ‘Blue Magic’ would be my focal point from the second I made it up,” Son Little says. “I was just goofing around before a show—and I wish I could explain where something like this comes from but I have absolutely no idea—and I was freestyling with the guitar. The thought occurred to me that people were characterizing my music as this new blues thing, even though I was never exactly trying to heroically ‘save the blues’ or anything like that, or even put myself in a place where everything had to be bluesy. But suddenly I’m telling you in the song I’ve got the ‘blue magic,’ and even though there are things called ‘blue magic’ I hadn’t seen that phrase anywhere or heard anyone say it. But I said it, and then there’s a pressure to back it up, to support that claim. I think I’m addicted to that pressure; this thing is hanging in the balance, and the whole thing can go up in smoke if I don’t figure this out and put these pieces together in motion. I enjoy the feeling of not knowing what’s gonna happen from there; it doesn’t always end perfectly but I think you have to resolve that pressure, and not knowing how is really exciting to me. That feeling is somewhat hanging over this whole album: watch me make something out of thin air.”

Following that lead are the pair of “Bread and Butter,” a playful, modern take on James Brown, and “The Middle,” a classic drinking-blues, both deconstructed through a filter of musical Cubism. “ASAP” is Son Little’s fiery, direct take on a Hendrix rock and roll song, and “Letter Bound” reminds of a yearning, crooning Bobby Womack joint, with the “little cry” in Son Little’s voice, as Mavis Staples calls it, taking the spotlight. The album ends with the ethereal, gospel-tinged number “Demon to the Dark,” which serves as the singer’s conversation with Washington Phillips, a little known blind musician and church deacon from early in the 20th century whose song “What Are They Doing in Heaven Today” utilized the dulceola, a novelty instrument comprised of two autoharps essentially stuck together. Phillips was a man of strong faith, a deacon in his church, and in his music Son Little found a source of forgiveness as well as an inspiration to carry on. As chiming strains of Omnichord take us out, the electricity in the air is palpable, the belief and trust in the spark at its peak.

What is the new magic? How did that deep well get there in the first place, and what is the source water of all these confluents pouring in? To Son Little, there is an attitude running through his makings and his music, a mighty river of superstition and Spanish castles that runneth over. And despite its murky and mysterious origins, the musician’s divination ability is just that—divine.

“There is this vein of the blues in it, and it can be distilled or boiled down just to the guitar and voice—or even just the voice,” he says. “And that process of me in my bedroom, making ‘Your Love’ with the dresser as the drum—I did that same thing as I wrote these songs. It’s that same scenario of making something out of nothing. And even if I am capable of doing that, I can’t really explain it. That’s the gist of the magic. I don’t know where it comes from, but it’s there, and I can call on it. I can call on it standing by the dresser, walking down the street, driving a car, on a train, a plane, in a hotel room, in the green room, during an interview...it’s just there. I’m trying to pay tribute to that fact. It’s had a really powerful and in some ways increasingly healing effect on my life. Hopefully other people have that experience with it as well. I’m just happy that it’s there, wherever it comes from.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191025T190350Z X-ACCESS:1 X-HITS:2891 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191117T200000 DTEND;TZID=America/Denver:20191117T233000 UID:6138B821-201A-4C05-B417-03B37471B74B SUMMARY:The Steel Wheels DTSTAMP:20190617T190041Z DESCRIPTION:Simultaneously familiar and fresh, the Steel Wheels bring a singular energy to every note they play and sparkling craft to each song. This potent combination, paired with a robust tour calendar, have made the veteran band hands-down favorites of fans and peers alike. From their base in Virginia’s Blue Ridge Mountains, TSW have played the most prestigious festivals, listening rooms, and clubs in the world, cementing a reputation as one of the top independent bands on the scene today.\NWhile 2017’s stunning studio album, Wild As We Came Here, was still ringing in the air, the band shone a light on their concerts with the release of two EPs of live music; Volume 1: Live at the Station Inn, and Volume 2: Live at The Jefferson Theatre. Ever ambitious and not content to let moss grow under their feet, the Wheels returned to the woods of Maine and studio-retreat of Sam Kassirer, producer of Wild, to record another studio album, Over The Trees, to be released in July 2019.\NIn keeping with their relentless growth, the quartet has become a quintet with the permanent addition of percussionist Kevin Garcia to the longtime lineup of Brian Dickel, Trent Wagler, Jay Lapp, and Eric Brubaker.\N2019 also marks the seventh year for the Steel Wheel’s signature event; the Red Wing Roots Music Festival. Held in Natural Chimney Park in Mt. Solon, Virginia, the annual celebration of roots music and the outdoors hosts a dazzling musical lineup and a wide array of non-musical activities, including organized bike rides, morning yoga, and hikes, allowing fans to take full advantage of the beautiful landscape of the park and surrounding area. The wide variety of opportunities and the family-friendly nature of Red Wing Roots have made it a perfect destination for music and nature lovers of all ages with the event regularly selling out year after year. X-ALT-DESC;FMTTYPE=text/html:

Simultaneously familiar and fresh, the Steel Wheels bring a singular energy to every note they play and sparkling craft to each song. This potent combination, paired with a robust tour calendar, have made the veteran band hands-down favorites of fans and peers alike. From their base in Virginia’s Blue Ridge Mountains, TSW have played the most prestigious festivals, listening rooms, and clubs in the world, cementing a reputation as one of the top independent bands on the scene today.

While 2017’s stunning studio album, Wild As We Came Here, was still ringing in the air, the band shone a light on their concerts with the release of two EPs of live music; Volume 1: Live at the Station Inn, and Volume 2: Live at The Jefferson Theatre. Ever ambitious and not content to let moss grow under their feet, the Wheels returned to the woods of Maine and studio-retreat of Sam Kassirer, producer of Wild, to record another studio album, Over The Trees, to be released in July 2019.

In keeping with their relentless growth, the quartet has become a quintet with the permanent addition of percussionist Kevin Garcia to the longtime lineup of Brian Dickel, Trent Wagler, Jay Lapp, and Eric Brubaker.

2019 also marks the seventh year for the Steel Wheel’s signature event; the Red Wing Roots Music Festival. Held in Natural Chimney Park in Mt. Solon, Virginia, the annual celebration of roots music and the outdoors hosts a dazzling musical lineup and a wide array of non-musical activities, including organized bike rides, morning yoga, and hikes, allowing fans to take full advantage of the beautiful landscape of the park and surrounding area. The wide variety of opportunities and the family-friendly nature of Red Wing Roots have made it a perfect destination for music and nature lovers of all ages with the event regularly selling out year after year.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191025T190911Z X-ACCESS:1 X-HITS:2245 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191121T200000 DTEND;TZID=America/Denver:20191121T210000 UID:C35A4105-C661-4E4F-B7FB-7C6D4B4B0B09 SUMMARY:Private Event DTSTAMP:20191022T024435Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191022T024725Z X-ACCESS:1 X-HITS:699 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191123T210000 DTEND;TZID=America/Denver:20191123T233000 UID:2121A43C-36B0-4B26-8B6C-54D4F4B8DDD3 SUMMARY:Hail Hail Rock n' Roll DTSTAMP:20190909T210228Z DESCRIPTION:Local acts Green River Blues, Sarah Degraw and The Lovely Noughts will be hosting “Hail Hail Rock n’ Roll” Sponsored by Coalatree and featuring the International Society of Rock n’ Roll. X-ALT-DESC;FMTTYPE=text/html:

Local acts Green River Blues, Sarah Degraw and The Lovely Noughts will be hosting “Hail Hail Rock n’ Roll” Sponsored by Coalatree and featuring the International Society of Rock n’ Roll.

LAST-MODIFIED:20191107T173930Z X-ACCESS:1 X-HITS:3216 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191124T200000 DTEND;TZID=America/Denver:20191124T233000 UID:4C85AEDE-F92A-4FFB-846B-A6BA199B6BF9 SUMMARY:Booker T. Jones DTSTAMP:20190930T195447Z DESCRIPTION:Booker T, a Rock & Roll Hall of Fame Inductee, winner of four GRAMMY Awards and recipient of a GRAMMY Award for Lifetime Achievement, will treat fans prior to the musical performance to an intimate reading from his forthcoming autobiography Time is Tight, followed by a short Q&A opportunity. In an emotional musical journey, Booker T will then perform the songs that make up the fabric of his musical identity and material from his new album Note By Note.Booker T. & the M.G.’s staples like “Green Onions” are woven into defining moments from his journey after Stax, when he produced and recorded with artists as diverse as Bill Withers, Willie Nelson, and Carlos Santana. The evening culminates with new original music, highlighting the soaring guitar and vocals of his son and collaborator Teddy Jones. After the show, Booker T will greet fans and sign copies of his memoir Time is Tight and new album Note By Note.\N“… this book reveals so much more of the man.” – Bob Dylan\N“as joyful to read as Booker’s music is to listen to.” – Willie Nelson\N“This beautiful memoir is a near perfect reflection of the man I would walk a million miles for: engaging, unforgettable, and deeply creative.” – Sinéad O’Connor\N“In a new memoir, Time Is Tight: My Life, Note by Note, the Stax studio wizard and acclaimed producer tells his own story and finds his voice. … The result emphasizes not only his Memphis roots and role in Stax’s reinvention of R&B but his second act here in Los Angeles — as a wide-ranging session man and producer who remains, in his eighth decade, a sought-after sonic guru.” – The New York Times X-ALT-DESC;FMTTYPE=text/html:

Booker T, a Rock & Roll Hall of Fame Inductee, winner of four GRAMMY Awards and recipient of a GRAMMY Award for Lifetime Achievement, will treat fans prior to the musical performance to an intimate reading from his forthcoming autobiography Time is Tight, followed by a short Q&A opportunity. In an emotional musical journey, Booker T will then perform the songs that make up the fabric of his musical identity and material from his new album Note By Note.Booker T. & the M.G.’s staples like “Green Onions” are woven into defining moments from his journey after Stax, when he produced and recorded with artists as diverse as Bill Withers, Willie Nelson, and Carlos Santana. The evening culminates with new original music, highlighting the soaring guitar and vocals of his son and collaborator Teddy Jones. After the show, Booker T will greet fans and sign copies of his memoir Time is Tight and new album Note By Note.

“… this book reveals so much more of the man.” – Bob Dylan

“as joyful to read as Booker’s music is to listen to.” – Willie Nelson

“This beautiful memoir is a near perfect reflection of the man I would walk a million miles for: engaging, unforgettable, and deeply creative.” – Sinéad O’Connor

“In a new memoir, Time Is Tight: My Life, Note by Note, the Stax studio wizard and acclaimed producer tells his own story and finds his voice. … The result emphasizes not only his Memphis roots and role in Stax’s reinvention of R&B but his second act here in Los Angeles — as a wide-ranging session man and producer who remains, in his eighth decade, a sought-after sonic guru.” – The New York Times

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191025T190525Z X-ACCESS:1 X-HITS:2482 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191130T200000 DTEND;TZID=America/Denver:20191130T233000 UID:3AD48264-8A63-4A2D-96E9-61752B7D4751 SUMMARY:A Night With Jim Bone & Purdymouth W.V. DTSTAMP:20190917T160737Z DESCRIPTION:Spotify | Apple Music\NSalt Lake's own Purdymouth, W.V. reunites after an 8 year hiatus to celebrate 20 years of masterfully crafted, multi-genre Americana-flavored music.\NAfter 12 years of rocking Salt Lake's top music clubs and festivals, constant touring and releasing 4 records, Purdymouth took a break to pursue other interests and music projects. A recent impromptu jam session reignited their love for the songs and reminded them of their great chemistry. They had such a blast playing together it was a unanimous choice to reunite and share the love.\NPurdymouth's line up consists of some of the Mountain West's finest music veterans: Derrek Wright, Steve Flygare, Mike Crandall, Bronwen Beecher, Lee Sebel, Van Christensen, all lead by front man and singer/songwriter, Jim Bone. A night with Purdymouth will feature a packed dance floor, epic jams and an evening of sonic bliss!\NThe State Room is thrilled to host the beginning of the next chapter of Purdymouth and what is sure to be another epic run. Get your tickets early as this special 20th Anniversary show is sure to sell out. X-ALT-DESC;FMTTYPE=text/html:

Spotify | Apple Music

Salt Lake's own Purdymouth, W.V. reunites after an 8 year hiatus to celebrate 20 years of masterfully crafted, multi-genre Americana-flavored music.

After 12 years of rocking Salt Lake's top music clubs and festivals, constant touring and releasing 4 records, Purdymouth took a break to pursue other interests and music projects. A recent impromptu jam session reignited their love for the songs and reminded them of their great chemistry. They had such a blast playing together it was a unanimous choice to reunite and share the love.

Purdymouth's line up consists of some of the Mountain West's finest music veterans: Derrek Wright, Steve Flygare, Mike Crandall, Bronwen Beecher, Lee Sebel, Van Christensen, all lead by front man and singer/songwriter, Jim Bone. A night with Purdymouth will feature a packed dance floor, epic jams and an evening of sonic bliss!

The State Room is thrilled to host the beginning of the next chapter of Purdymouth and what is sure to be another epic run. Get your tickets early as this special 20th Anniversary show is sure to sell out.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191022T024043Z X-ACCESS:1 X-HITS:3295 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191203T200000 DTEND;TZID=America/Denver:20191203T233000 UID:FE47AD2E-EA53-47AB-BC6E-E21575B2D584 SUMMARY:The Skatalites DTSTAMP:20191202T222305Z DESCRIPTION:2019 marks the 55th Anniversary of The Skatalites. The original members had played on hundreds of recording sessions before forming the band in 1964. They backed most of the vocalists in Jamaica at that time, including Bob Marley, Toots and The Maytals, Jimmy Cliff, Alton Ellis,Ken Boothe and many more. After disbanding in 1965 the individual members continued playing in various groups as the music evolved from ska to rocksteady to reggae. In the late 70's a resurgence of interest in the music began in the U.K. which caused the creation of many bands such as The Specials, The English Beat, Madness, The Selecter and Bad Manners. This became known as the "Two-Tone era" and these British musicians fused rock music with the ska and reggae. In The early 80's the music started to spread to The U.S.A and other parts of the world and bands began to emerge everywhere playing different flavors of ska and reggae fused with whatever else they wanted to throw in, including hard core , jazz and even punk. In 1983 The Skatalites reunited to play Reggae Sunsplash in Montego Bay and subsequently in London at The Crystal Palace for the U.K version of The Sunsplash event. A few years later they began emigrating to the U.S.A and in 1986 the first US shows began at The Village Gate in NYC. In 1989 the band supported Bunny Wailer on The Liberation Tour and in 1990 they embarked on their first headline tour of The U.S.A. and have not stopped touring the world ever since. The band is available for festivals and also plays in intimate club settings. Their unique infectious brand of real Jamaican ska pleases audiences of all ages across the globe year after year. "We hope you will enjoy listening to our music as much as we enjoy performing it for you. "\NForever indebted to the inspiration and talent of: Roland Alphonso, Lloyd Brevett, Tony DaCosta, Rupert Dillon , Don Drummond, Joseph " Lord Tanamo" Gordon, Jerome "Jah Jerry" Haynes, Lloyd Knibb, Tommy McCook, Donat Roy "Jackie" Mittoo, John " Dizzy Johnny" Moore, Jackie Opel, Doreen Shaffer, Lester Sterling. X-ALT-DESC;FMTTYPE=text/html:

2019 marks the 55th Anniversary of The Skatalites. The original members had played on hundreds of recording sessions before forming the band in 1964. They backed most of the vocalists in Jamaica at that time, including Bob Marley, Toots and The Maytals, Jimmy Cliff, Alton Ellis,Ken Boothe and many more. After disbanding in 1965 the individual members continued playing in various groups as the music evolved from ska to rocksteady to reggae. In the late 70's a resurgence of interest in the music began in the U.K. which caused the creation of many bands such as The Specials, The English Beat, Madness, The Selecter and Bad Manners. This became known as the "Two-Tone era" and these British musicians fused rock music with the ska and reggae. In The early 80's the music started to spread to The U.S.A and other parts of the world and bands began to emerge everywhere playing different flavors of ska and reggae fused with whatever else they wanted to throw in, including hard core , jazz and even punk. In 1983 The Skatalites reunited to play Reggae Sunsplash in Montego Bay and subsequently in London at The Crystal Palace for the U.K version of The Sunsplash event. A few years later they began emigrating to the U.S.A and in 1986 the first US shows began at The Village Gate in NYC. In 1989 the band supported Bunny Wailer on The Liberation Tour and in 1990 they embarked on their first headline tour of The U.S.A. and have not stopped touring the world ever since. The band is available for festivals and also plays in intimate club settings. Their unique infectious brand of real Jamaican ska pleases audiences of all ages across the globe year after year. "We hope you will enjoy listening to our music as much as we enjoy performing it for you. "

Forever indebted to the inspiration and talent of: Roland Alphonso, Lloyd Brevett, Tony DaCosta, Rupert Dillon , Don Drummond, Joseph " Lord Tanamo" Gordon, Jerome "Jah Jerry" Haynes, Lloyd Knibb, Tommy McCook, Donat Roy "Jackie" Mittoo, John " Dizzy Johnny" Moore, Jackie Opel, Doreen Shaffer, Lester Sterling.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 X-ACCESS:1 X-HITS:965 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191205T190000 DTEND;TZID=America/Denver:20191205T233000 UID:FC470203-03D3-40EA-AB5A-63FF8C17474A SUMMARY:The Salt Lake Tribune Presents Party with The Pundits DTSTAMP:20191114T234658Z DESCRIPTION:Join Tribune columnists Robert Gehrke, Michelle Quist, George Pyle and Marina Gomberg as we say good riddance to 2019! X-ALT-DESC;FMTTYPE=text/html:

Join Tribune columnists Robert Gehrke, Michelle Quist, George Pyle and Marina Gomberg as we say good riddance to 2019!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191114T235045Z X-ACCESS:1 X-HITS:3001 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191206T200000 DTEND;TZID=America/Denver:20191206T233000 UID:DC7FAA47-D22B-486E-B08C-A857E25F9450 SUMMARY:JD McPherson DTSTAMP:20190908T164119Z DESCRIPTION:“I’ve always loved Christmas music, especially popular Christmas music from the 1940s and ‘50s,” says JD McPherson. “There’s something classic about that sound. Something that keeps you coming back, year after year.”\NSOCKS, McPherson’s fourth album, dives headfirst into the world of original holiday music. Written, produced, and arranged by the frontman and his longtime bandmates, it’s a record rooted in the same timeless influences—from 1950s rock & roll to oldschool rhythm & blues—that inspired his breakthrough release, Signs and Signifiers, back in 2010. The result is a return to McPherson’s musical wheelhouse, mixing new songs and classic tones with his band’s sharpest performances to date.\N“SOCKS overflows with vintage rock & roll tidings of comfort and joy...You could easily fool someone into thinking you discovered a gem of an album from 60 years ago. Scuff one up a little and keep someone from Googling it and you might be able to pull it off.” ~ Rolling Stone X-ALT-DESC;FMTTYPE=text/html:

“I’ve always loved Christmas music, especially popular Christmas music from the 1940s and ‘50s,” says JD McPherson. “There’s something classic about that sound. Something that keeps you coming back, year after year.”

SOCKS, McPherson’s fourth album, dives headfirst into the world of original holiday music. Written, produced, and arranged by the frontman and his longtime bandmates, it’s a record rooted in the same timeless influences—from 1950s rock & roll to oldschool rhythm & blues—that inspired his breakthrough release, Signs and Signifiers, back in 2010. The result is a return to McPherson’s musical wheelhouse, mixing new songs and classic tones with his band’s sharpest performances to date.

“SOCKS overflows with vintage rock & roll tidings of comfort and joy...You could easily fool someone into thinking you discovered a gem of an album from 60 years ago. Scuff one up a little and keep someone from Googling it and you might be able to pull it off.” ~ Rolling Stone

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191017T171412Z X-ACCESS:1 X-HITS:3944 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191207T200000 DTEND;TZID=America/Denver:20191207T233000 UID:26FA7932-56FF-44D4-A0FD-5988C5194C69 SUMMARY:Tony Holiday & The Soul Service DTSTAMP:20190908T162614Z DESCRIPTION:Tony Holiday, a Vocalist and Harmonica player hailing from Memphis TN has been recognized by peers such as Charlie Musselwhite and James Harman as a rising star in the community and Holiday included both, amongst many others, on his latest release of field recordings Tony Holiday’s Porch Sessions.\N“There are many young players on the current international blues scene and Tony Holiday is one that stands out amongst the finest” -Charlie Musselwhite -\NHolidays latest formation ‘The Soul Service’ is his Memphis based Blues-Soul fusion band has been on the road heavy this year and has proven to be Holiday’s most definable project yet. X-ALT-DESC;FMTTYPE=text/html:

Tony Holiday, a Vocalist and Harmonica player hailing from Memphis TN has been recognized by peers such as Charlie Musselwhite and James Harman as a rising star in the community and Holiday included both, amongst many others, on his latest release of field recordings Tony Holiday’s Porch Sessions.

“There are many young players on the current international blues scene and Tony Holiday is one that stands out amongst the finest” -Charlie Musselwhite -

Holidays latest formation ‘The Soul Service’ is his Memphis based Blues-Soul fusion band has been on the road heavy this year and has proven to be Holiday’s most definable project yet.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191205T175156Z X-ACCESS:1 X-HITS:3477 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191211T200000 DTEND;TZID=America/Denver:20191211T233000 UID:10BA4342-DF9B-45BA-849F-DDD7708193CA SUMMARY:Casey Donahew DTSTAMP:20190814T183203Z DESCRIPTION:A true Christmas Miracle: CASEY DONAHEW WILL PERFORM!\NThe previously canceled Casey Donahew show at The State Room TOMORROW 12/11 IS BACK ON!\NWe have received word that Casey is feeling better and will be performing.\NAll tickets previously purchased will be valid. Please email box@thestateroom.com if you have any questions and/or concerns.\NWe apologize for any inconvenience this may have caused & thank you for your understanding!\NEnjoy the show!\N--------\NIf you build it, they will come. This might be the mantra of one of the greatest baseball movies of all time, ‘”Field Of Dreams,” but it’s also a pretty accurate description of the career of Texas music sensation Casey Donahew.\NThe Burleson native, (with the help of his wife Melinda,) has painstakingly carved out an impressive niche for himself on the country music scene over the past 17 years, attracting a solid base of loyal fans who flock to his legendary live shows. Building his career from the ground up one show at a time, he’s managed to perform on countless stages night after night in front of thousands, topped the Texas music charts 18 times, released all of his albums independently to critical acclaim, and forged a path all his own through the music scene without the aid or muscle of a major record label or power-suit management company.\NThough he seems like a born natural when it comes to performing, Casey actually fell into music gradually. He grew up on a farm the first few years of his life and quickly grew to love riding and team roping, a sport he still enjoys today. His grandfather, who loved to play and sing, gave Casey his first guitar growing up, but it wasn’t until college at Texas A&M that he first began to teach himself to play and really focused on writing songs. A big fan of 80’s and 90’s country, Casey had always admired the storytelling in the songs of that period, and when a wild-eyed Oklahoma boy named Garth Brooks began swinging from the rafters and employing all sorts of crazy, rock show antics during his concerts, Casey was immediately hooked.\N“I’ve just always liked the country songs from the 80’s,” says Casey. “It seems like a time when there was a lot of great songwriting going on, and I just enjoy people who can tell a story with a song. And I’ve always been a big Garth Brooks fan, since the beginning. First there was George Strait, and then here came this guy from Oklahoma, Garth Brooks. And you’d see George standing there playing guitar, but then Garth comes along running all over the stage, playing guitar and singing all these songs that he wrote. And the thing I was always most enamored with about Garth was that he wrote most of those songs. He was just one of those guys who did it all. And he started in Stillwater, not too far from the Red Dirt scene. You could really take a lot of Garth Brooks songs and put ‘em on a record of mine, and I think it would fit right in.”\NIt was during his college days that Casey also discovered another rowdy artist who was forging his own path across the Lonestar state in a big way, Pat Green. When his fraternity hired Pat to play one of their parties back in those early days, Casey was instantly inspired by Pat’s way with a song and his ability to connect with an audience. “Pat Green was really the guy who started it all for me in college. He just did a great job connecting with fans, and later on when we started playing, we really tried to mirror how he did that. He was one of those guys who I thought was a great entertainer, and really told stories that people wanted to hear and could relate to, and I think that’s what made him so popular.”\NTransferring to the University of Texas/Arlington, Casey began traveling around with his girlfriend/future wife Melinda to catch shows by Pat, Randy Rogers, Cross Canadian Ragweed, and other acts who were bubbling up just above the surface on the burgeoning Texas music scene at the time. And it wasn’t long before he was testing the waters himself, playing a regular acoustic gig at Fort Worth bar the Thirsty Armadillo, trying out the songs he’d been writing since high school.\N“I had moved back and was going to UTA, and just started following some of those guys around,” he recalls. “We’d go see guys like Randy play at the Thirsty Armadillo when he was just starting out and the scene was just barely beginning to go anywhere out here. Pat was selling Billy Bob’s out, and we’d go see him, and Ragweed was just starting to break in that timeframe too.\NI had also discovered Matchbox 20 during that time, and I don’t know what it was exactly, maybe the timing of that first CD when it came out it, but that whole record just speaks to me. It’s one of those records I still listen to...something about the way he writes songs translates to the way I felt in life at the time, and it still does. And that’s something you try to capture and recreate and hopefully through your writing you help people through hard times or get people through situations in life. I don’t know if there was ever a specific point where I said, ‘Hey I’m gonna do this for a living,’ but I just enjoyed writing songs and playing. It was a way to get my feet wet -- and I learned a lot playing at the Armadillo. And it was a way into the industry and to see how other people did it, and we learned a lot of stuff in those first couple of years.”\NWithin a few years Casey had conquered the small club circuit and was packing out larger places like the Fort Worth Horseman’s Club. He released his first independent CD, “Lost Days,” (which included the autobiographical nod to his home turf, “Stockyards,”) and the song quickly became a huge hit for the new band, even among fans who had never visited the Texas city. “Stockyards is one of those songs we started out with. I’ve been to a lot of places, and I’ve never been anywhere quite like the North side of Fort Worth. Its just one of those places…I grew up in all those bars, and there’s such a history down there and it’s something I think everyone can relate to. It’s weird, it seems like we go far from Fort Worth and people still sing that song, it’s one of those things people relate to -- everyone’s got their own Stockyards if you will, their own place they grew up that they remember going to the bars and running the streets and getting into trouble, I guess.”\NAround this time, with his wife Melinda spearheading management and booking for the band, Casey impressed the owners of Billy Bob’s enough to land a gig playing the legendary club where he’d attended so many shows as a fan himself. Within two years of his first show there, Casey was drawing nearly 4000 eager fans, and he’s never looked back since.\NIn 2006 he released a second self-titled CD that included “White Trash Story,” a raucous, redneck story tune that instantly became a fan favorite. He followed that up with a live CD recorded at Bostock’s, (the Stephenville bar that gave Casey one of his first big breaks), then returned to the studio in 2009 to make, “Moving On,” a project described as “rattling, rolling and rumbling like a youthful Robert Earl Keen fronting Reckless Kelly. That project sold an impressive 32,000 copies thanks to his growing legion of fans, as word spread like wildfire among the college crowd about this underground indie sensation. The fans have always been foremost on Casey’s mind as he built his career, and he makes his music with them in mind. For Casey, it’s never been about accolades, or awards, or even major label attention or fawning. It’s simply about the music. And his fans recognize and appreciate that. Taking a page from the live performance playbook of one of his heroes, Pat Green, Casey fuses genuine, honest lyrics with a contagious, take-no-prisoners energy onstage, making sure everyone is along for the ride -- which, more often than not, is a wild one. \N“I think we definitely make music for our fans…we don’t worry about much else except making the fans happy and making ourselves happy, and we’ve been real lucky and fortunate in that I think we came along and started this band at a time when social media was really kind of starting to get some legs. And that really made it possible for a band that really didn’t have a lot of radio support to thrive and succeed…you know we were able to keep people interested and with social media they were able to share it with their friends in such a fast way that it really spread the music to a large group of people quicker than it could have ever before.”\NOver the last 17 years, Casey has racked up 18 #1 singles, and become a national headliner, playing coast-to-coast and selling out venues such as Billy Bob’s and The Grizzly Rose multiple times. Donahew has over 120 MILLION on-demand digital music streams, and over 330 MILLION streams on Pandora.\NDonahew has released eight independent albums to critical and commercial acclaim. Donahew’s "Standoff," quickly topped the iTunes Country Chart at #1, and his follow-up 2016 album "All Night Party", hit #3 on the Billboard Top Country Albums Chart, and #13 on the Top Album Sales Chart and Top Current Album Sales Charts.  In 2017, a 15th anniversary record titled, "15 Years, The WIld Ride", was released. The collection featured updated recordings of Donahew’s most popular songs from the first part of his career, as well as a recording of Matchbox 20’s 3AM, a song Casey played for years live before finally recording the classic hit. \NOn March 29, 2019, Casey announced his latest release, "One Light Town". Released on July 26, 2019, and produced again by Josh Leo, "One Light Town" features 15 new songs, 7 of which were released to fans when the album was announced. The album features songs written by Casey as well as writers including Tim Nichols, David Lee Murphy, Brad Tursi, Matt Ramey & Trevor Rosen, Jeff Hyde, Jon Randall Rodney Clawson and Wynn Varble. \NAnd though his dream may soon grow much, much larger than a double wide, and reach heights even he couldn’t have imagined, Casey is quite content with all he’s accomplished thus far in this little career that could. “I don’t see anyone coming to make a deal where we’re gonna change what we do. I’m not sure how far we have left to go, hopefully forever, but you know nothing lasts forever, so I’m always mindful of that and prepared that one day this ride could be over. And I’m pretty proud of everything we’ve accomplished. I hope there’s more, but if it were over tomorrow, I could look at my wife and say I was really proud of everything we’ve accomplished. I’m really excited about this record. I think the songs on here are great, and are a big step forward, and the fans, whatever their expectations are, I hope we blow em away!” X-ALT-DESC;FMTTYPE=text/html:

A true Christmas Miracle: CASEY DONAHEW WILL PERFORM!

The previously canceled Casey Donahew show at The State Room TOMORROW 12/11 IS BACK ON!

We have received word that Casey is feeling better and will be performing.

All tickets previously purchased will be valid. Please email box@thestateroom.com if you have any questions and/or concerns.

We apologize for any inconvenience this may have caused & thank you for your understanding!

Enjoy the show!

--------

If you build it, they will come. This might be the mantra of one of the greatest baseball movies of all time, ‘”Field Of Dreams,” but it’s also a pretty accurate description of the career of Texas music sensation Casey Donahew.

The Burleson native, (with the help of his wife Melinda,) has painstakingly carved out an impressive niche for himself on the country music scene over the past 17 years, attracting a solid base of loyal fans who flock to his legendary live shows. Building his career from the ground up one show at a time, he’s managed to perform on countless stages night after night in front of thousands, topped the Texas music charts 18 times, released all of his albums independently to critical acclaim, and forged a path all his own through the music scene without the aid or muscle of a major record label or power-suit management company.

Though he seems like a born natural when it comes to performing, Casey actually fell into music gradually. He grew up on a farm the first few years of his life and quickly grew to love riding and team roping, a sport he still enjoys today. His grandfather, who loved to play and sing, gave Casey his first guitar growing up, but it wasn’t until college at Texas A&M that he first began to teach himself to play and really focused on writing songs. A big fan of 80’s and 90’s country, Casey had always admired the storytelling in the songs of that period, and when a wild-eyed Oklahoma boy named Garth Brooks began swinging from the rafters and employing all sorts of crazy, rock show antics during his concerts, Casey was immediately hooked.

“I’ve just always liked the country songs from the 80’s,” says Casey. “It seems like a time when there was a lot of great songwriting going on, and I just enjoy people who can tell a story with a song. And I’ve always been a big Garth Brooks fan, since the beginning. First there was George Strait, and then here came this guy from Oklahoma, Garth Brooks. And you’d see George standing there playing guitar, but then Garth comes along running all over the stage, playing guitar and singing all these songs that he wrote. And the thing I was always most enamored with about Garth was that he wrote most of those songs. He was just one of those guys who did it all. And he started in Stillwater, not too far from the Red Dirt scene. You could really take a lot of Garth Brooks songs and put ‘em on a record of mine, and I think it would fit right in.”

It was during his college days that Casey also discovered another rowdy artist who was forging his own path across the Lonestar state in a big way, Pat Green. When his fraternity hired Pat to play one of their parties back in those early days, Casey was instantly inspired by Pat’s way with a song and his ability to connect with an audience. “Pat Green was really the guy who started it all for me in college. He just did a great job connecting with fans, and later on when we started playing, we really tried to mirror how he did that. He was one of those guys who I thought was a great entertainer, and really told stories that people wanted to hear and could relate to, and I think that’s what made him so popular.”

Transferring to the University of Texas/Arlington, Casey began traveling around with his girlfriend/future wife Melinda to catch shows by Pat, Randy Rogers, Cross Canadian Ragweed, and other acts who were bubbling up just above the surface on the burgeoning Texas music scene at the time. And it wasn’t long before he was testing the waters himself, playing a regular acoustic gig at Fort Worth bar the Thirsty Armadillo, trying out the songs he’d been writing since high school.

“I had moved back and was going to UTA, and just started following some of those guys around,” he recalls. “We’d go see guys like Randy play at the Thirsty Armadillo when he was just starting out and the scene was just barely beginning to go anywhere out here. Pat was selling Billy Bob’s out, and we’d go see him, and Ragweed was just starting to break in that timeframe too.

I had also discovered Matchbox 20 during that time, and I don’t know what it was exactly, maybe the timing of that first CD when it came out it, but that whole record just speaks to me. It’s one of those records I still listen to...something about the way he writes songs translates to the way I felt in life at the time, and it still does. And that’s something you try to capture and recreate and hopefully through your writing you help people through hard times or get people through situations in life. I don’t know if there was ever a specific point where I said, ‘Hey I’m gonna do this for a living,’ but I just enjoyed writing songs and playing. It was a way to get my feet wet -- and I learned a lot playing at the Armadillo. And it was a way into the industry and to see how other people did it, and we learned a lot of stuff in those first couple of years.”

Within a few years Casey had conquered the small club circuit and was packing out larger places like the Fort Worth Horseman’s Club. He released his first independent CD, “Lost Days,” (which included the autobiographical nod to his home turf, “Stockyards,”) and the song quickly became a huge hit for the new band, even among fans who had never visited the Texas city. “Stockyards is one of those songs we started out with. I’ve been to a lot of places, and I’ve never been anywhere quite like the North side of Fort Worth. Its just one of those places…I grew up in all those bars, and there’s such a history down there and it’s something I think everyone can relate to. It’s weird, it seems like we go far from Fort Worth and people still sing that song, it’s one of those things people relate to -- everyone’s got their own Stockyards if you will, their own place they grew up that they remember going to the bars and running the streets and getting into trouble, I guess.”

Around this time, with his wife Melinda spearheading management and booking for the band, Casey impressed the owners of Billy Bob’s enough to land a gig playing the legendary club where he’d attended so many shows as a fan himself. Within two years of his first show there, Casey was drawing nearly 4000 eager fans, and he’s never looked back since.

In 2006 he released a second self-titled CD that included “White Trash Story,” a raucous, redneck story tune that instantly became a fan favorite. He followed that up with a live CD recorded at Bostock’s, (the Stephenville bar that gave Casey one of his first big breaks), then returned to the studio in 2009 to make, “Moving On,” a project described as “rattling, rolling and rumbling like a youthful Robert Earl Keen fronting Reckless Kelly. That project sold an impressive 32,000 copies thanks to his growing legion of fans, as word spread like wildfire among the college crowd about this underground indie sensation. The fans have always been foremost on Casey’s mind as he built his career, and he makes his music with them in mind. For Casey, it’s never been about accolades, or awards, or even major label attention or fawning. It’s simply about the music. And his fans recognize and appreciate that. Taking a page from the live performance playbook of one of his heroes, Pat Green, Casey fuses genuine, honest lyrics with a contagious, take-no-prisoners energy onstage, making sure everyone is along for the ride -- which, more often than not, is a wild one. 

“I think we definitely make music for our fans…we don’t worry about much else except making the fans happy and making ourselves happy, and we’ve been real lucky and fortunate in that I think we came along and started this band at a time when social media was really kind of starting to get some legs. And that really made it possible for a band that really didn’t have a lot of radio support to thrive and succeed…you know we were able to keep people interested and with social media they were able to share it with their friends in such a fast way that it really spread the music to a large group of people quicker than it could have ever before.”

Over the last 17 years, Casey has racked up 18 #1 singles, and become a national headliner, playing coast-to-coast and selling out venues such as Billy Bob’s and The Grizzly Rose multiple times. Donahew has over 120 MILLION on-demand digital music streams, and over 330 MILLION streams on Pandora.

Donahew has released eight independent albums to critical and commercial acclaim. Donahew’s "Standoff," quickly topped the iTunes Country Chart at #1, and his follow-up 2016 album "All Night Party", hit #3 on the Billboard Top Country Albums Chart, and #13 on the Top Album Sales Chart and Top Current Album Sales Charts.  In 2017, a 15th anniversary record titled, "15 Years, The WIld Ride", was released. The collection featured updated recordings of Donahew’s most popular songs from the first part of his career, as well as a recording of Matchbox 20’s 3AM, a song Casey played for years live before finally recording the classic hit. 

On March 29, 2019, Casey announced his latest release, "One Light Town". Released on July 26, 2019, and produced again by Josh Leo, "One Light Town" features 15 new songs, 7 of which were released to fans when the album was announced. The album features songs written by Casey as well as writers including Tim Nichols, David Lee Murphy, Brad Tursi, Matt Ramey & Trevor Rosen, Jeff Hyde, Jon Randall Rodney Clawson and Wynn Varble. 

And though his dream may soon grow much, much larger than a double wide, and reach heights even he couldn’t have imagined, Casey is quite content with all he’s accomplished thus far in this little career that could. “I don’t see anyone coming to make a deal where we’re gonna change what we do. I’m not sure how far we have left to go, hopefully forever, but you know nothing lasts forever, so I’m always mindful of that and prepared that one day this ride could be over. And I’m pretty proud of everything we’ve accomplished. I hope there’s more, but if it were over tomorrow, I could look at my wife and say I was really proud of everything we’ve accomplished. I’m really excited about this record. I think the songs on here are great, and are a big step forward, and the fans, whatever their expectations are, I hope we blow em away!”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191210T174007Z X-ACCESS:1 X-HITS:4551 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191212T190000 DTEND;TZID=America/Denver:20191212T230000 UID:C5BEFDCD-E291-4E10-B06E-CE50A48D5C2D SUMMARY:Third Annual Law Rocks Salt Lake City DTSTAMP:20191119T153509Z DESCRIPTION:LAW ROCKS IS BACK IN SALT LAKE AND LOOKING FOR LAWYERS WHO ROCK\NLaw Rocks is thrilled to return to Salt Lake City for the third annual event benefiting Rock Camp SLC! Check out the event page here for more info!\NGet your tickets HERE  X-ALT-DESC;FMTTYPE=text/html:

LAW ROCKS IS BACK IN SALT LAKE AND LOOKING FOR LAWYERS WHO ROCK

Law Rocks is thrilled to return to Salt Lake City for the third annual event benefiting Rock Camp SLC! Check out the event page here for more info!

Get your tickets HERE 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191205T171923Z X-ACCESS:1 X-HITS:1106 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191216T200000 DTEND;TZID=America/Denver:20191216T233000 UID:44C3C395-5B09-4D8C-8FF7-31EFB81E23FA SUMMARY:Patterson Hood DTSTAMP:20190909T025022Z DESCRIPTION:Patterson Hood is a prolific writer and performer whose character-driven stories are packed with political subtext. He is best known as front-man, singer, songwriter and guitar player for the critically acclaimed rock and roll band Drive-By Truckers, but is also a writer of essays, columns and short stories.\NIn the past few years he has written an op-ed on the on-going controversies surrounding the confederate flag for The New York Times Magazine, a piece on Vic Chesnutt for The Oxford American’s annual music issue, and retrospectives on David Bowie for American Songwriter and Merle Haggard for NPR. Most recently in October of 2016, Patterson published his first short story featured in “The Highway Kind,” a car-themed crime fiction anthology.\NDrive-By Truckers have released 13 albums and played over 2,000 shows in the past nineteen years. They also released a 35-song, career-spanning box set in 2015 that was recorded live at The Fillmore in San Francisco. American Band, their most recent album released in the height of election season on September 30th 2016, takes their political undertones much closer to the surface than ever before. The album delves into matters that resonate deeply in divided America, including last year’s massacres in Charleston, SC and Roseburg, OR; the death of Michael Brown; the continued controversy over the Confederate flag; and the roots of the National Rifle Association. According to Patterson, the track “What It Means” is the most blatant protest song on the record. “I look at that song as the beginning of a conversation that, perhaps, we all need to have. I think white people are afraid to talk about race. Maybe it’s time for us to get past that, too,” he explained in an interview with CNN.\NPraises have rolled in for “American Band” since its release. NPR has claimed it to be one of the best albums yet from Drive-By Truckers, deeming it “unapologetically progressive,” and “a poignant take on what it means to be an American in a time when uncertainty and fear are omnipresent.” Rolling Stone raves, “’American Band’ comes from the very distinct perspective of a group that remains burdened by, and reckoning with, its own bloody southern history.” The record has been also been recognized on several 2016 year-end lists including The Los Angeles Times, Chicago Tribune, Rolling Stone, NPR, Uncut, and Entertainment Weekly.\NIn addition to his work with Drive-By Truckers, Patterson has amassed 3 solo albums and co-produced or played on additional albums by Bettye LaVette, Booker T. Jones and The Dexateens. As a speaker and lecturer, he has spoken and conducted classes at Princeton, The University of Indiana, The University of Georgia, and The University of Alabama. Earlier this year he spoke at the Frank and Kula Lumpuris Distinguished Lecture Series at the William J. Clinton Presidential Center in Little Rock, Arkansas, and also delivered the commencement address to the graduating class of 2015 at the University of Northern Alabama.\NAlabama is near to Hood’s heart, being born in Florence and raised in the Muscle Shoals area. He attended The University of Northern Alabama before he moved to Athens, Georgia where he lived for twenty-one years. Last year, he and his family left Georgia for Portland, Oregon.\N“Southern Rock Opera,” Drive-By Truckers’ best known work, is a concept album that examines growing up in the post-civil rights South and something called “The Duality of the Southern Thing.” Hood penned an article for The Bitter Southerner in 2013 titled “The New(er) South,” and in it he revisits many of those same themes found on the record by giving a glimpse into his first 28 years of life in Alabama. “I grew up as a living part of the legacy of Muscle Shoals music,” Hood says. His father, David Hood, co-founded Muscle Shoals Sound Studio and was a bassist in the Muscle Shoals Sound Rhythm Section, more casually known as The Swampers. He built his career by backing up African-American R&B stars as a white southerner in the thick of the 1960’s civil rights movement, playing on records by Aretha Franklin, Etta James, The Staple Singers, Percy Sledge, and Odetta to name a few. Willie Nelson, Rod Stewart, Bob Seger, Paul Simon, and Simon and Garfunkel also worked with him over the years. David’s monumental career is celebrated in the 2013 award-winning documentary, “Muscle Shoals.” Patterson claims that this environment his father created for him to grow up in was the breeding ground for a lot of his current viewpoints. He is still “fiercely proud” of his hometown, its music scene, and the beautiful music his father created there, but also “ashamed” of the political landscape he had to endure. “Such is the duality of the Southern Thing,” Patterson says.\NWhen he relocated to Athens at age 30, he “felt like he had died and gone to heaven.” Athens is where Drive-By Truckers was born, and where Patterson really hit his stride. Despite finding success in moving on from Muscle Shoals, he still makes it a point to praise his hometown on the transformation it has seen in the last several years. Now a Portland resident on the other side of the country, Hood continues to embrace his Southern, Alabama-bred identity with uncompromising loyalty and a heart for seeing the South become one of the best places to live. X-ALT-DESC;FMTTYPE=text/html:

Patterson Hood is a prolific writer and performer whose character-driven stories are packed with political subtext. He is best known as front-man, singer, songwriter and guitar player for the critically acclaimed rock and roll band Drive-By Truckers, but is also a writer of essays, columns and short stories.

In the past few years he has written an op-ed on the on-going controversies surrounding the confederate flag for The New York Times Magazine, a piece on Vic Chesnutt for The Oxford American’s annual music issue, and retrospectives on David Bowie for American Songwriter and Merle Haggard for NPR. Most recently in October of 2016, Patterson published his first short story featured in “The Highway Kind,” a car-themed crime fiction anthology.

Drive-By Truckers have released 13 albums and played over 2,000 shows in the past nineteen years. They also released a 35-song, career-spanning box set in 2015 that was recorded live at The Fillmore in San Francisco. American Band, their most recent album released in the height of election season on September 30th 2016, takes their political undertones much closer to the surface than ever before. The album delves into matters that resonate deeply in divided America, including last year’s massacres in Charleston, SC and Roseburg, OR; the death of Michael Brown; the continued controversy over the Confederate flag; and the roots of the National Rifle Association. According to Patterson, the track “What It Means” is the most blatant protest song on the record. “I look at that song as the beginning of a conversation that, perhaps, we all need to have. I think white people are afraid to talk about race. Maybe it’s time for us to get past that, too,” he explained in an interview with CNN.

Praises have rolled in for “American Band” since its release. NPR has claimed it to be one of the best albums yet from Drive-By Truckers, deeming it “unapologetically progressive,” and “a poignant take on what it means to be an American in a time when uncertainty and fear are omnipresent.” Rolling Stone raves, “’American Band’ comes from the very distinct perspective of a group that remains burdened by, and reckoning with, its own bloody southern history.” The record has been also been recognized on several 2016 year-end lists including The Los Angeles Times, Chicago Tribune, Rolling Stone, NPR, Uncut, and Entertainment Weekly.

In addition to his work with Drive-By Truckers, Patterson has amassed 3 solo albums and co-produced or played on additional albums by Bettye LaVette, Booker T. Jones and The Dexateens. As a speaker and lecturer, he has spoken and conducted classes at Princeton, The University of Indiana, The University of Georgia, and The University of Alabama. Earlier this year he spoke at the Frank and Kula Lumpuris Distinguished Lecture Series at the William J. Clinton Presidential Center in Little Rock, Arkansas, and also delivered the commencement address to the graduating class of 2015 at the University of Northern Alabama.

Alabama is near to Hood’s heart, being born in Florence and raised in the Muscle Shoals area. He attended The University of Northern Alabama before he moved to Athens, Georgia where he lived for twenty-one years. Last year, he and his family left Georgia for Portland, Oregon.

“Southern Rock Opera,” Drive-By Truckers’ best known work, is a concept album that examines growing up in the post-civil rights South and something called “The Duality of the Southern Thing.” Hood penned an article for The Bitter Southerner in 2013 titled “The New(er) South,” and in it he revisits many of those same themes found on the record by giving a glimpse into his first 28 years of life in Alabama. “I grew up as a living part of the legacy of Muscle Shoals music,” Hood says. His father, David Hood, co-founded Muscle Shoals Sound Studio and was a bassist in the Muscle Shoals Sound Rhythm Section, more casually known as The Swampers. He built his career by backing up African-American R&B stars as a white southerner in the thick of the 1960’s civil rights movement, playing on records by Aretha Franklin, Etta James, The Staple Singers, Percy Sledge, and Odetta to name a few. Willie Nelson, Rod Stewart, Bob Seger, Paul Simon, and Simon and Garfunkel also worked with him over the years. David’s monumental career is celebrated in the 2013 award-winning documentary, “Muscle Shoals.” Patterson claims that this environment his father created for him to grow up in was the breeding ground for a lot of his current viewpoints. He is still “fiercely proud” of his hometown, its music scene, and the beautiful music his father created there, but also “ashamed” of the political landscape he had to endure. “Such is the duality of the Southern Thing,” Patterson says.

When he relocated to Athens at age 30, he “felt like he had died and gone to heaven.” Athens is where Drive-By Truckers was born, and where Patterson really hit his stride. Despite finding success in moving on from Muscle Shoals, he still makes it a point to praise his hometown on the transformation it has seen in the last several years. Now a Portland resident on the other side of the country, Hood continues to embrace his Southern, Alabama-bred identity with uncompromising loyalty and a heart for seeing the South become one of the best places to live.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190911T012538Z X-ACCESS:1 X-HITS:2855 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191219T200000 DTEND;TZID=America/Denver:20191219T233000 UID:A510EF7D-8A86-4CCA-A570-A5E135713AF2 SUMMARY:Charlie Parr DTSTAMP:20190813T200441Z DESCRIPTION:CHARLIE PARR is the eponymous new album by the Minnesota-based folk blues artist the same name. The album is a collection of new songs and new studio versions of classics/audience favorites from throughout Parr’s career and will be released September 27 on Red House Records. Recorded at Pachyderm Studio in Canon Falls, MN, CHARLIE PARR features Charlie’s trademark resonator guitar and 12-string with co-producer Liz Draper on bass, longtime collaborator Mikkel Beckmen on percussion, Jeff Mitchell on electric guitar, accordion, organ, backing vocals, and Dave Hundrieser on harmonica. The album is an honest and raw recording of Parr reflecting on himself and his career up to this point. It’s a musical reckoning that came after a freak accident less than a year ago that forced him to relearn how to play guitar, causing him to take stock of the songs he’s written over his lifetime. CHARLIE PARR is a stunning folk record that will surely stand the test of time, just like the man himself.\NThe accident on August 3, 2018 could have put an end to Parr’s career. Only a month earlier he had made his first appearance at the Newport Folk Festival, bookending a summer year of touring and career highpoints. Then, while skateboarding with his daughter along Lake Superior, he hit pavement. His right shoulder was busted into pieces and his ability to play guitar on stage again was suddenly in question. But, when playing the guitar is intertwined with who you are, not playing really isn’t an option.\NHe underwent surgery that left him with a metal plate and eight pins holding his reconstructed shoulder together. Within days, as soon as he could tabletop his guitar across his lap, Parr was playing again. Three weeks later he made a pain-filled return to the stage with an appearance on the Live from Big Top Chautauqua radio show.\N“It’s the defining thing in my life,” Parr says. “When you think about yourself, you think, ‘That’s what I am. I’m the guy that plays guitar.’ So what happens when that gets stripped out? If there’s any way you can keep doing it, you’re going to keep on.”\NBut not everything returned to the way it was; his outlook had been altered.\N“I’m not really that interested in careerism,” Parr says. “Part of the effect of the accident was a reaffirming of what’s really important to me. That’s not a music career, it’s just making music. That’s what counts the most — having pure motives and loving intention.”\NBy the time Parr hit the road again, he was reinvigorated to play music in a way he had not been for some time. He started digging out songs from early in his career.\N“I can revisit any of them I want and meditate on what it was like to be seven years old again, curious about the guitar, obsessed with music and hoarding bike parts,” he says. “I can relive all the joyful times I had with my friends and family. I can grieve all over again my Dad’s passing; I can feel my stomach turn at the mountains of regret that I’ve amassed and the people I’ve hurt when I’ve been too self-absorbed to take better care of my actions, but I can’t change it.\N“Songs are a different kind of history though, they’re not subject to the rules of time, they never died and they never will, and they grow and evolve right along with the rest of me.”\NParr had never really stopped playing those songs completely and, along the way, they had matured along with him. He wanted a chance to record them again to capture what they had become.\N“I recorded some of those songs almost 20 years ago and, when I think about what my mind was like at that time, it’s not what it is now,” he explains. “In a way, I’ve been re-writing them over and over again for the past two decades.”\N“Cheap Wine” is a new recording of a longtime audience favorite, a sinister narrative sung from the point of view of a liquor store owner with a dark secret who’s starting to crack. The plotline came from an idea for a novel that Parr eventually abandoned and mined for song ideas,\N“Twenty-five Forty-one” is a cover by the late Grant Hart, one-third of seminal Twin Cities punk rock band Husker Du. Charlie’s poignant take on the track is a moving testament to Hart’s underrated songwriting skills. Another cover finds Parr covering his idol, Minnesota folk blues legend Spider John Koerner, with a blistering version of “Running Jumping Standing Still.”\N“John is a true cipher in my mind, a living embodiment of the folk process,” Parr says. “This song has been one of my favorite songs ever since I first heard it.”\N“On Stealing a Sailboat” is a new song, a “cautionary tale about choosing your friends wisely,” he deadpans.\NBy 2019, Parr is back on his grueling international tour schedule, mended and reinvigorated, covering the entire country alone in his car, occasionally cooking his vegan meals on his car manifold. It’s a lonely existence that leaves a lot of time for reflection and reminiscing. Charlie Parr is the first album -- and there are 13 others -- that Parr he felt like putting his name on. It’s a bit of the new, a bit of the old, and a bit of what’s motivated and moved him. Most importantly, it’s an audio tour of his life and career to date and a celebration of more songs and stories to come. X-ALT-DESC;FMTTYPE=text/html:

CHARLIE PARR is the eponymous new album by the Minnesota-based folk blues artist the same name. The album is a collection of new songs and new studio versions of classics/audience favorites from throughout Parr’s career and will be released September 27 on Red House Records. Recorded at Pachyderm Studio in Canon Falls, MN, CHARLIE PARR features Charlie’s trademark resonator guitar and 12-string with co-producer Liz Draper on bass, longtime collaborator Mikkel Beckmen on percussion, Jeff Mitchell on electric guitar, accordion, organ, backing vocals, and Dave Hundrieser on harmonica. The album is an honest and raw recording of Parr reflecting on himself and his career up to this point. It’s a musical reckoning that came after a freak accident less than a year ago that forced him to relearn how to play guitar, causing him to take stock of the songs he’s written over his lifetime. CHARLIE PARR is a stunning folk record that will surely stand the test of time, just like the man himself.

The accident on August 3, 2018 could have put an end to Parr’s career. Only a month earlier he had made his first appearance at the Newport Folk Festival, bookending a summer year of touring and career highpoints. Then, while skateboarding with his daughter along Lake Superior, he hit pavement. His right shoulder was busted into pieces and his ability to play guitar on stage again was suddenly in question. But, when playing the guitar is intertwined with who you are, not playing really isn’t an option.

He underwent surgery that left him with a metal plate and eight pins holding his reconstructed shoulder together. Within days, as soon as he could tabletop his guitar across his lap, Parr was playing again. Three weeks later he made a pain-filled return to the stage with an appearance on the Live from Big Top Chautauqua radio show.

“It’s the defining thing in my life,” Parr says. “When you think about yourself, you think, ‘That’s what I am. I’m the guy that plays guitar.’ So what happens when that gets stripped out? If there’s any way you can keep doing it, you’re going to keep on.”

But not everything returned to the way it was; his outlook had been altered.

“I’m not really that interested in careerism,” Parr says. “Part of the effect of the accident was a reaffirming of what’s really important to me. That’s not a music career, it’s just making music. That’s what counts the most — having pure motives and loving intention.”

By the time Parr hit the road again, he was reinvigorated to play music in a way he had not been for some time. He started digging out songs from early in his career.

“I can revisit any of them I want and meditate on what it was like to be seven years old again, curious about the guitar, obsessed with music and hoarding bike parts,” he says. “I can relive all the joyful times I had with my friends and family. I can grieve all over again my Dad’s passing; I can feel my stomach turn at the mountains of regret that I’ve amassed and the people I’ve hurt when I’ve been too self-absorbed to take better care of my actions, but I can’t change it.

“Songs are a different kind of history though, they’re not subject to the rules of time, they never died and they never will, and they grow and evolve right along with the rest of me.”

Parr had never really stopped playing those songs completely and, along the way, they had matured along with him. He wanted a chance to record them again to capture what they had become.

“I recorded some of those songs almost 20 years ago and, when I think about what my mind was like at that time, it’s not what it is now,” he explains. “In a way, I’ve been re-writing them over and over again for the past two decades.”

“Cheap Wine” is a new recording of a longtime audience favorite, a sinister narrative sung from the point of view of a liquor store owner with a dark secret who’s starting to crack. The plotline came from an idea for a novel that Parr eventually abandoned and mined for song ideas,

“Twenty-five Forty-one” is a cover by the late Grant Hart, one-third of seminal Twin Cities punk rock band Husker Du. Charlie’s poignant take on the track is a moving testament to Hart’s underrated songwriting skills. Another cover finds Parr covering his idol, Minnesota folk blues legend Spider John Koerner, with a blistering version of “Running Jumping Standing Still.”

“John is a true cipher in my mind, a living embodiment of the folk process,” Parr says. “This song has been one of my favorite songs ever since I first heard it.”

“On Stealing a Sailboat” is a new song, a “cautionary tale about choosing your friends wisely,” he deadpans.

By 2019, Parr is back on his grueling international tour schedule, mended and reinvigorated, covering the entire country alone in his car, occasionally cooking his vegan meals on his car manifold. It’s a lonely existence that leaves a lot of time for reflection and reminiscing. Charlie Parr is the first album -- and there are 13 others -- that Parr he felt like putting his name on. It’s a bit of the new, a bit of the old, and a bit of what’s motivated and moved him. Most importantly, it’s an audio tour of his life and career to date and a celebration of more songs and stories to come.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190906T025653Z X-ACCESS:1 X-HITS:2661 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191220T210000 DTEND;TZID=America/Denver:20191220T233000 UID:1FE996F7-0AFA-4A7F-9D5F-2F600EBF68FF SUMMARY:The Pour DTSTAMP:20191021T225358Z DESCRIPTION:Salt Lake City based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead. With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. Members of The Pour have had the privilege of opening for, and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic. X-ALT-DESC;FMTTYPE=text/html:

Salt Lake City based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead. With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. Members of The Pour have had the privilege of opening for, and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191024T191344Z X-ACCESS:1 X-HITS:1717 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191227T200000 DTEND;TZID=America/Denver:20191227T233000 UID:51486706-4CE4-41C3-B3B3-48FCF233B283 SUMMARY:Mokie DTSTAMP:20191029T232307Z DESCRIPTION:Mokie\NUtah's #1 Jam Band-Reverbnation\N"Plan on a night of dancing and partying when you see one of their shows. These guys really know how to jam" --D. Manning X-ALT-DESC;FMTTYPE=text/html:

Mokie

Utah's #1 Jam Band-Reverbnation

"Plan on a night of dancing and partying when you see one of their shows. These guys really know how to jam" --D. Manning

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191228T003354Z X-ACCESS:1 X-HITS:2752 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200103T200000 DTEND;TZID=America/Denver:20200103T233000 UID:DE698A83-DE75-4B68-8DA8-50E069F1CC8D SUMMARY:Eric Johnson Classics: Present and Past DTSTAMP:20191126T014802Z DESCRIPTION:Eric Johnson has announced an extensive tour of The U.S. that will stage 45 performances. The run is it titled CLASSICS: PRESENT & PAST, and begins on January 8 in Spokane, WA at the Big Crosby Theater. The final show will be performed in New Orleans, LA at the Civic Theatre.\NEric Johnson has been traveling on a prolific odyssey over the course of more than four decades. Along the way, his creations have encompassed repertoire that cross pollinate genres which include rock, blues, jazz, fusion, soul, folk, new-age, classical and even country. Inevitably E.J. says it best himself in sharing. “It really boils down to the music and the song at the end of the day,” he explains. “If it doesn’t have that it gets boring for me. The most important thing for me is to grow musically and make a more expansive and meaningful artistic statement with every new project.”\NAs another decade turns, the guitarist, vocalist, composer, and multi-instrumentalist will release a new studio offering titled EJ Vol II. This album follows its predecessor from 2016 which was simply EJ, an all-acoustic collection of songs which showcased nine original compositions and four covers. His approach was deeply honest, intimate, personal and delivered with organic emotion. The touring which followed presented the rare opportunity for fans to enjoy the artist’s performances on both guitar and piano. With EJ Vol II, Johnson presents new repertoire that combines electric and acoustic arrangements. Additional detail on the upcoming album release will follow later this year.\NAmong Johnson's many accolades are a Grammy award for "Cliffs Of Dover " (a track from his Platinum certified Ah Via Musicom), lifetime induction into the Guitar Player Gallery of Greats, his listing among the "100 Greatest Guitarists of the 20th Century" by Musician. In his hometown of Austin TX, a city full of guitarists the readers of the Austin Chronicle have voted Johnson the city's "Best Electric Guitarist" and "Best Acoustic Guitarist" in their yearly poll year after year. They also named him "Electric Guitarist of the Decade" and one of the top five "Musicians of the Decade".\NThroughout his career, Johnson has approached music as a healing force, a way to enhance a listener’s consciousness and conjure joy and inspiration. “That’s what I’ve always appreciated most about other artists,” he says. “Some artists inspire us to wake up and get back to the clarity of consciousness. With this record, I’m trying to do that too, because I appreciate it so much in other people.”\NIn 2020, Eric will tour in support of the new album across The U.S., with planned appearances in 45 cities beginning in January. The tour titled “Classics: Present and Past” will feature EJ Vol. II alongside repertoire from his prolific career. The new year will also see the release of a new Fender Stratocaster as a part of their “Stories Collection” (modeled after an instrument Johnson frequently used early in his career). This model will be his fourth in the Fender collection of signature Johnson guitars. The past releases include the signature Stratocaster Thinline, which was the first hollow body Stratocaster, along with the Rosewood and Maple Neck Stratocasters made to his specifications designed per EJ’s vision.\NIn 2017, Johnson brought the trio back together who recorded his seminal release Ah Via Musicom. The ensemble featuring Johnson alongside Tommy Taylor and Kyle Brock performed the album in its entirely to standing room only crowds across North America. In 2020, he’ll bring that show overseas to Europe and beyond, starting the evening off with performances of songs from EJ Vol. II, and then playing AVM in its entirety with the players who recorded the album and subsequently toured it in the early 90s. In North America, he’ll tour early in 2020, staging CLASSICS: PRESENT AND PAST, performing a selection of repertoire that features songs from this new release alongside key tracks throughout his prolific career. X-ALT-DESC;FMTTYPE=text/html:

Eric Johnson has announced an extensive tour of The U.S. that will stage 45 performances. The run is it titled CLASSICS: PRESENT & PAST, and begins on January 8 in Spokane, WA at the Big Crosby Theater. The final show will be performed in New Orleans, LA at the Civic Theatre.

Eric Johnson has been traveling on a prolific odyssey over the course of more than four decades. Along the way, his creations have encompassed repertoire that cross pollinate genres which include rock, blues, jazz, fusion, soul, folk, new-age, classical and even country. Inevitably E.J. says it best himself in sharing. “It really boils down to the music and the song at the end of the day,” he explains. “If it doesn’t have that it gets boring for me. The most important thing for me is to grow musically and make a more expansive and meaningful artistic statement with every new project.”

As another decade turns, the guitarist, vocalist, composer, and multi-instrumentalist will release a new studio offering titled EJ Vol II. This album follows its predecessor from 2016 which was simply EJ, an all-acoustic collection of songs which showcased nine original compositions and four covers. His approach was deeply honest, intimate, personal and delivered with organic emotion. The touring which followed presented the rare opportunity for fans to enjoy the artist’s performances on both guitar and piano. With EJ Vol II, Johnson presents new repertoire that combines electric and acoustic arrangements. Additional detail on the upcoming album release will follow later this year.

Among Johnson's many accolades are a Grammy award for "Cliffs Of Dover " (a track from his Platinum certified Ah Via Musicom), lifetime induction into the Guitar Player Gallery of Greats, his listing among the "100 Greatest Guitarists of the 20th Century" by Musician. In his hometown of Austin TX, a city full of guitarists the readers of the Austin Chronicle have voted Johnson the city's "Best Electric Guitarist" and "Best Acoustic Guitarist" in their yearly poll year after year. They also named him "Electric Guitarist of the Decade" and one of the top five "Musicians of the Decade".

Throughout his career, Johnson has approached music as a healing force, a way to enhance a listener’s consciousness and conjure joy and inspiration. “That’s what I’ve always appreciated most about other artists,” he says. “Some artists inspire us to wake up and get back to the clarity of consciousness. With this record, I’m trying to do that too, because I appreciate it so much in other people.”

In 2020, Eric will tour in support of the new album across The U.S., with planned appearances in 45 cities beginning in January. The tour titled “Classics: Present and Past” will feature EJ Vol. II alongside repertoire from his prolific career. The new year will also see the release of a new Fender Stratocaster as a part of their “Stories Collection” (modeled after an instrument Johnson frequently used early in his career). This model will be his fourth in the Fender collection of signature Johnson guitars. The past releases include the signature Stratocaster Thinline, which was the first hollow body Stratocaster, along with the Rosewood and Maple Neck Stratocasters made to his specifications designed per EJ’s vision.

In 2017, Johnson brought the trio back together who recorded his seminal release Ah Via Musicom. The ensemble featuring Johnson alongside Tommy Taylor and Kyle Brock performed the album in its entirely to standing room only crowds across North America. In 2020, he’ll bring that show overseas to Europe and beyond, starting the evening off with performances of songs from EJ Vol. II, and then playing AVM in its entirety with the players who recorded the album and subsequently toured it in the early 90s. In North America, he’ll tour early in 2020, staging CLASSICS: PRESENT AND PAST, performing a selection of repertoire that features songs from this new release alongside key tracks throughout his prolific career.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200103T210403Z X-ACCESS:1 X-HITS:2842 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200104T200000 DTEND;TZID=America/Denver:20200104T233000 UID:1EF0CDE1-0D85-4469-94CF-0B939B97F978 SUMMARY:Eric Johnson Classics: Present and Past DTSTAMP:20191107T181008Z DESCRIPTION:Eric Johnson has announced an extensive tour of The U.S. that will stage 45 performances. The run is it titled CLASSICS: PRESENT & PAST, and begins on January 8 in Spokane, WA at the Big Crosby Theater. The final show will be performed in New Orleans, LA at the Civic Theatre.\NEric Johnson has been traveling on a prolific odyssey over the course of more than four decades. Along the way, his creations have encompassed repertoire that cross pollinate genres which include rock, blues, jazz, fusion, soul, folk, new-age, classical and even country. Inevitably E.J. says it best himself in sharing. “It really boils down to the music and the song at the end of the day,” he explains. “If it doesn’t have that it gets boring for me. The most important thing for me is to grow musically and make a more expansive and meaningful artistic statement with every new project.”\NAs another decade turns, the guitarist, vocalist, composer, and multi-instrumentalist will release a new studio offering titled EJ Vol II. This album follows its predecessor from 2016 which was simply EJ, an all-acoustic collection of songs which showcased nine original compositions and four covers. His approach was deeply honest, intimate, personal and delivered with organic emotion. The touring which followed presented the rare opportunity for fans to enjoy the artist’s performances on both guitar and piano. With EJ Vol II, Johnson presents new repertoire that combines electric and acoustic arrangements. Additional detail on the upcoming album release will follow later this year.\NAmong Johnson's many accolades are a Grammy award for "Cliffs Of Dover " (a track from his Platinum certified Ah Via Musicom), lifetime induction into the Guitar Player Gallery of Greats, his listing among the "100 Greatest Guitarists of the 20th Century" by Musician. In his hometown of Austin TX, a city full of guitarists the readers of the Austin Chronicle have voted Johnson the city's "Best Electric Guitarist" and "Best Acoustic Guitarist" in their yearly poll year after year. They also named him "Electric Guitarist of the Decade" and one of the top five "Musicians of the Decade".\NThroughout his career, Johnson has approached music as a healing force, a way to enhance a listener’s consciousness and conjure joy and inspiration. “That’s what I’ve always appreciated most about other artists,” he says. “Some artists inspire us to wake up and get back to the clarity of consciousness. With this record, I’m trying to do that too, because I appreciate it so much in other people.”\NIn 2020, Eric will tour in support of the new album across The U.S., with planned appearances in 45 cities beginning in January. The tour titled “Classics: Present and Past” will feature EJ Vol. II alongside repertoire from his prolific career. The new year will also see the release of a new Fender Stratocaster as a part of their “Stories Collection” (modeled after an instrument Johnson frequently used early in his career). This model will be his fourth in the Fender collection of signature Johnson guitars. The past releases include the signature Stratocaster Thinline, which was the first hollow body Stratocaster, along with the Rosewood and Maple Neck Stratocasters made to his specifications designed per EJ’s vision.\NIn 2017, Johnson brought the trio back together who recorded his seminal release Ah Via Musicom. The ensemble featuring Johnson alongside Tommy Taylor and Kyle Brock performed the album in its entirely to standing room only crowds across North America. In 2020, he’ll bring that show overseas to Europe and beyond, starting the evening off with performances of songs from EJ Vol. II, and then playing AVM in its entirety with the players who recorded the album and subsequently toured it in the early 90s. In North America, he’ll tour early in 2020, staging CLASSICS: PRESENT AND PAST, performing a selection of repertoire that features songs from this new release alongside key tracks throughout his prolific career. X-ALT-DESC;FMTTYPE=text/html:

Eric Johnson has announced an extensive tour of The U.S. that will stage 45 performances. The run is it titled CLASSICS: PRESENT & PAST, and begins on January 8 in Spokane, WA at the Big Crosby Theater. The final show will be performed in New Orleans, LA at the Civic Theatre.

Eric Johnson has been traveling on a prolific odyssey over the course of more than four decades. Along the way, his creations have encompassed repertoire that cross pollinate genres which include rock, blues, jazz, fusion, soul, folk, new-age, classical and even country. Inevitably E.J. says it best himself in sharing. “It really boils down to the music and the song at the end of the day,” he explains. “If it doesn’t have that it gets boring for me. The most important thing for me is to grow musically and make a more expansive and meaningful artistic statement with every new project.”

As another decade turns, the guitarist, vocalist, composer, and multi-instrumentalist will release a new studio offering titled EJ Vol II. This album follows its predecessor from 2016 which was simply EJ, an all-acoustic collection of songs which showcased nine original compositions and four covers. His approach was deeply honest, intimate, personal and delivered with organic emotion. The touring which followed presented the rare opportunity for fans to enjoy the artist’s performances on both guitar and piano. With EJ Vol II, Johnson presents new repertoire that combines electric and acoustic arrangements. Additional detail on the upcoming album release will follow later this year.

Among Johnson's many accolades are a Grammy award for "Cliffs Of Dover " (a track from his Platinum certified Ah Via Musicom), lifetime induction into the Guitar Player Gallery of Greats, his listing among the "100 Greatest Guitarists of the 20th Century" by Musician. In his hometown of Austin TX, a city full of guitarists the readers of the Austin Chronicle have voted Johnson the city's "Best Electric Guitarist" and "Best Acoustic Guitarist" in their yearly poll year after year. They also named him "Electric Guitarist of the Decade" and one of the top five "Musicians of the Decade".

Throughout his career, Johnson has approached music as a healing force, a way to enhance a listener’s consciousness and conjure joy and inspiration. “That’s what I’ve always appreciated most about other artists,” he says. “Some artists inspire us to wake up and get back to the clarity of consciousness. With this record, I’m trying to do that too, because I appreciate it so much in other people.”

In 2020, Eric will tour in support of the new album across The U.S., with planned appearances in 45 cities beginning in January. The tour titled “Classics: Present and Past” will feature EJ Vol. II alongside repertoire from his prolific career. The new year will also see the release of a new Fender Stratocaster as a part of their “Stories Collection” (modeled after an instrument Johnson frequently used early in his career). This model will be his fourth in the Fender collection of signature Johnson guitars. The past releases include the signature Stratocaster Thinline, which was the first hollow body Stratocaster, along with the Rosewood and Maple Neck Stratocasters made to his specifications designed per EJ’s vision.

In 2017, Johnson brought the trio back together who recorded his seminal release Ah Via Musicom. The ensemble featuring Johnson alongside Tommy Taylor and Kyle Brock performed the album in its entirely to standing room only crowds across North America. In 2020, he’ll bring that show overseas to Europe and beyond, starting the evening off with performances of songs from EJ Vol. II, and then playing AVM in its entirety with the players who recorded the album and subsequently toured it in the early 90s. In North America, he’ll tour early in 2020, staging CLASSICS: PRESENT AND PAST, performing a selection of repertoire that features songs from this new release alongside key tracks throughout his prolific career.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191217T190545Z X-ACCESS:1 X-HITS:1977 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200109T200000 DTEND;TZID=America/Denver:20200109T233000 UID:A92B878E-2D0A-4EFB-ADE5-5816B2C2C981 SUMMARY:Danielle Nicole DTSTAMP:20191018T205950Z DESCRIPTION:Founding member, lead singer, and bass player of Kansas City blues-rock band Trampled Under Foot, Danielle Nicole stepped out on her own in 2015 with her debut album “Wolf Den.” In 2018, Nicole returns with a follow-up release via Concord Records. "I grew up playing the blues, and the blues is still a big part of what I do. But now I'm reaching out more and trying different things. It still sounds like me, but I'm stretching out a lot more than I have previously." Nicole's distinctive, inventive bass work—which resulted in her becoming the first woman to win the Blues Foundation's 2014 Blues Music Award for Best Instrumentalist, Bass—is the product of years of intensive roadwork. Although she had no experience with the instrument when she became Trampled Under Foot's bassist, now she can't imagine life without it."When I started doing my solo thing," she continues, "someone asked me if I was gonna hire a bass player. No, of course not! I originally picked up the bass to keep Trampled Under Foot a family band, but I really fell in love with it. It was a huge challenge, and it still is. But I really love being part of the groove and getting to sing on top of that. I had learned some stuff on acoustic guitar before I started playing bass, but I never really felt connected to it the way I do with the bass. It's empowering, walking onto a stage full of grown men who can play their asses off, and it's 'OK, I’m gonna play this bass, we're gonna do this, and it's gonna rock.’" Rounding out her band are longtime Danielle Nicole Band guitarist and multi-instrumentalist Brandon Miller, and Ralph Forrest on drums. "I think that it's a good time for the kind of thing I'm doing," she states. "From my years of playing blues festivals, I've seen that younger and younger audiences are getting into the blues. I think that people want to hear authentic music again." X-ALT-DESC;FMTTYPE=text/html:

Founding member, lead singer, and bass player of Kansas City blues-rock band Trampled Under Foot, Danielle Nicole stepped out on her own in 2015 with her debut album “Wolf Den.” In 2018, Nicole returns with a follow-up release via Concord Records. "I grew up playing the blues, and the blues is still a big part of what I do. But now I'm reaching out more and trying different things. It still sounds like me, but I'm stretching out a lot more than I have previously."

Nicole's distinctive, inventive bass work—which resulted in her becoming the first woman to win the Blues Foundation's 2014 Blues Music Award for Best Instrumentalist, Bass—is the product of years of intensive roadwork. Although she had no experience with the instrument when she became Trampled Under Foot's bassist, now she can't imagine life without it.
"When I started doing my solo thing," she continues, "someone asked me if I was gonna hire a bass player. No, of course not! I originally picked up the bass to keep Trampled Under Foot a family band, but I really fell in love with it. It was a huge challenge, and it still is. But I really love being part of the groove and getting to sing on top of that. I had learned some stuff on acoustic guitar before I started playing bass, but I never really felt connected to it the way I do with the bass. It's empowering, walking onto a stage full of grown men who can play their asses off, and it's 'OK, I’m gonna play this bass, we're gonna do this, and it's gonna rock.’" Rounding out her band are longtime Danielle Nicole Band guitarist and multi-instrumentalist Brandon Miller, and Ralph Forrest on drums. "I think that it's a good time for the kind of thing I'm doing," she states. "From my years of playing blues festivals, I've seen that younger and younger audiences are getting into the blues. I think that people want to hear authentic music again."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191216T223711Z X-ACCESS:1 X-HITS:2791 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200111T210000 DTEND;TZID=America/Denver:20200111T233000 UID:A9A0BF65-BA19-4969-84BB-44830085F2BB SUMMARY:Randall King DTSTAMP:20191203T233145Z DESCRIPTION:Humble beginnings, a cultivated work ethic and the influences of classic country legends, synchronized together in perfect harmony, make up singer-songwriter from the West Texas Plains, Randall King.Growing up a fourth generation hay-hauler, many of King’s songs are written and inspired by his deep southern heritage and family roots.\NKing was raised listening to the rich and soulful, classic country voices of Keith Whitley, George Strait and Alan Jackson, to name a few, which helped create King’s musical style into what many have described as neo-traditional country. “Randall King remains to the heart and soul of country music, but no doubt brings his own unique brand to the genre,” says hit songwriter Mark Nesler (co-writer of “Just To See You Smile” by Tim McGraw, “You Look Good In My Shirt” by Keith Urban).\NWith a sound rooted in tradition and songwriting that showcases honesty, conviction and authenticity, King connects with fans on all emotional levels. “Randall King has a great voice that sounds classic, yet is fresh and as a songwriter he actually has something to say – be it something that touches your heart or something simple and fun that makes you wanna get out and raise some hell.” said multi-award-winning and critically acclaimed singer-songwriter Anthony Smith (co-writer of “Run” & “Cowboys Like Us” by George Strait).\NUnlike the west Texas wind, King is a grounded and talented singer-songwriter who is sure to stay. “There’s a lot of people that want country music to come back around, and there’s a lot of people that will say you have to sell out and play radio hits to make it. I think for me I want to make my stamp as an artist with this record, that I can be me and still make an impact across the country. X-ALT-DESC;FMTTYPE=text/html:

Humble beginnings, a cultivated work ethic and the influences of classic country legends, synchronized together in perfect harmony, make up singer-songwriter from the West Texas Plains, Randall King.
Growing up a fourth generation hay-hauler, many of King’s songs are written and inspired by his deep southern heritage and family roots.

King was raised listening to the rich and soulful, classic country voices of Keith Whitley, George Strait and Alan Jackson, to name a few, which helped create King’s musical style into what many have described as neo-traditional country. “Randall King remains to the heart and soul of country music, but no doubt brings his own unique brand to the genre,” says hit songwriter Mark Nesler (co-writer of “Just To See You Smile” by Tim McGraw, “You Look Good In My Shirt” by Keith Urban).

With a sound rooted in tradition and songwriting that showcases honesty, conviction and authenticity, King connects with fans on all emotional levels. “Randall King has a great voice that sounds classic, yet is fresh and as a songwriter he actually has something to say – be it something that touches your heart or something simple and fun that makes you wanna get out and raise some hell.” said multi-award-winning and critically acclaimed singer-songwriter Anthony Smith (co-writer of “Run” & “Cowboys Like Us” by George Strait).

Unlike the west Texas wind, King is a grounded and talented singer-songwriter who is sure to stay. “There’s a lot of people that want country music to come back around, and there’s a lot of people that will say you have to sell out and play radio hits to make it. I think for me I want to make my stamp as an artist with this record, that I can be me and still make an impact across the country.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200228T182403Z X-ACCESS:1 X-HITS:3093 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200116T200000 DTEND;TZID=America/Denver:20200116T233000 UID:C5CB626A-7B2B-447A-ABBB-DE7AD07EC282 SUMMARY:Brett Dennen DTSTAMP:20191113T205008Z DESCRIPTION:Amiable West Coast singer/songwriter Brett Dennen first drew attention in 2004 with the single "Desert Sunrise." The tune, with its easy groove and soulful phrasing, garnered enough spins on KCRW to warrant the release of his self-titled debut the following year. Stylistically, Dennen's thoughtful, laid-back tunes fit in with the burgeoning singer/songwriter scene that had produced stars like Jason Mraz and Jack Johnson. He signed with Dualtone and released 2006's So Much More, followed two years later by Hope for the Hopeless. When he wasn't headlining his own tours, he could be found opening bills for Dave Matthews, Taj Mahal, Ziggy Marley, and Jackson Browne, among others. Dennen's fourth studio effort, Loverboy, arrived in 2011 and featured subtle African rhythms and more of a pop veneer. It was followed in 2013 by the sparser, acoustic-based Smoke and Mirrors, which was released by Atlantic. The album was a success and landed Dennen in Billboard's Top 200 for the first time. By this point he had also landed a number of prominent TV placements including the theme song of NBC's sitcom, About a Boy. His fifth album, 2016's Dave Cobb-produced Por Favor, was a rhythmic, stripped-down affair with a light reggae flair. For his next release, 2018's Let's..., Dennen collaborated with hitmaking songwriter Dan Wilson, who also produced the five-song EP. X-ALT-DESC;FMTTYPE=text/html:

Amiable West Coast singer/songwriter Brett Dennen first drew attention in 2004 with the single "Desert Sunrise." The tune, with its easy groove and soulful phrasing, garnered enough spins on KCRW to warrant the release of his self-titled debut the following year. Stylistically, Dennen's thoughtful, laid-back tunes fit in with the burgeoning singer/songwriter scene that had produced stars like Jason Mraz and Jack Johnson. He signed with Dualtone and released 2006's So Much More, followed two years later by Hope for the Hopeless. When he wasn't headlining his own tours, he could be found opening bills for Dave Matthews, Taj Mahal, Ziggy Marley, and Jackson Browne, among others. Dennen's fourth studio effort, Loverboy, arrived in 2011 and featured subtle African rhythms and more of a pop veneer. It was followed in 2013 by the sparser, acoustic-based Smoke and Mirrors, which was released by Atlantic. The album was a success and landed Dennen in Billboard's Top 200 for the first time. By this point he had also landed a number of prominent TV placements including the theme song of NBC's sitcom, About a Boy. His fifth album, 2016's Dave Cobb-produced Por Favor, was a rhythmic, stripped-down affair with a light reggae flair. For his next release, 2018's Let's..., Dennen collaborated with hitmaking songwriter Dan Wilson, who also produced the five-song EP.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200116T194306Z X-ACCESS:1 X-HITS:1443 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200117T200000 DTEND;TZID=America/Denver:20200117T233000 UID:AECC7FC6-53D3-48DF-B3D3-A3172FCF85D6 SUMMARY:Brett Dennen DTSTAMP:20191113T205555Z DESCRIPTION:Amiable West Coast singer/songwriter Brett Dennen first drew attention in 2004 with the single "Desert Sunrise." The tune, with its easy groove and soulful phrasing, garnered enough spins on KCRW to warrant the release of his self-titled debut the following year. Stylistically, Dennen's thoughtful, laid-back tunes fit in with the burgeoning singer/songwriter scene that had produced stars like Jason Mraz and Jack Johnson. He signed with Dualtone and released 2006's So Much More, followed two years later by Hope for the Hopeless. When he wasn't headlining his own tours, he could be found opening bills for Dave Matthews, Taj Mahal, Ziggy Marley, and Jackson Browne, among others. Dennen's fourth studio effort, Loverboy, arrived in 2011 and featured subtle African rhythms and more of a pop veneer. It was followed in 2013 by the sparser, acoustic-based Smoke and Mirrors, which was released by Atlantic. The album was a success and landed Dennen in Billboard's Top 200 for the first time. By this point he had also landed a number of prominent TV placements including the theme song of NBC's sitcom, About a Boy. His fifth album, 2016's Dave Cobb-produced Por Favor, was a rhythmic, stripped-down affair with a light reggae flair. For his next release, 2018's Let's..., Dennen collaborated with hitmaking songwriter Dan Wilson, who also produced the five-song EP. X-ALT-DESC;FMTTYPE=text/html:

Amiable West Coast singer/songwriter Brett Dennen first drew attention in 2004 with the single "Desert Sunrise." The tune, with its easy groove and soulful phrasing, garnered enough spins on KCRW to warrant the release of his self-titled debut the following year. Stylistically, Dennen's thoughtful, laid-back tunes fit in with the burgeoning singer/songwriter scene that had produced stars like Jason Mraz and Jack Johnson. He signed with Dualtone and released 2006's So Much More, followed two years later by Hope for the Hopeless. When he wasn't headlining his own tours, he could be found opening bills for Dave Matthews, Taj Mahal, Ziggy Marley, and Jackson Browne, among others. Dennen's fourth studio effort, Loverboy, arrived in 2011 and featured subtle African rhythms and more of a pop veneer. It was followed in 2013 by the sparser, acoustic-based Smoke and Mirrors, which was released by Atlantic. The album was a success and landed Dennen in Billboard's Top 200 for the first time. By this point he had also landed a number of prominent TV placements including the theme song of NBC's sitcom, About a Boy. His fifth album, 2016's Dave Cobb-produced Por Favor, was a rhythmic, stripped-down affair with a light reggae flair. For his next release, 2018's Let's..., Dennen collaborated with hitmaking songwriter Dan Wilson, who also produced the five-song EP.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200115T202249Z X-ACCESS:1 X-HITS:2014 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200123T190000 DTEND;TZID=America/Denver:20200123T213000 UID:37C60C92-06EB-4507-9F13-794B69C4A6DB SUMMARY:Jay and Silent Bob Reboot Roadshow with Kevin Smith DTSTAMP:20190908T212715Z DESCRIPTION:Kevin Smith comes to YOUR town to show his latest and greatest motion picture, the star studded Jay and Silent Bob Reboot!\NThe New Jersey stoner icons who first hit the screen 25 years ago in CLERKS are back! When Jay and Silent Bob discover that Hollywood is rebooting an old movie based on them, the clueless duo embark on another cross-country mission to stop it all over again! X-ALT-DESC;FMTTYPE=text/html:

Kevin Smith comes to YOUR town to show his latest and greatest motion picture, the star studded Jay and Silent Bob Reboot!

The New Jersey stoner icons who first hit the screen 25 years ago in CLERKS are back! When Jay and Silent Bob discover that Hollywood is rebooting an old movie based on them, the clueless duo embark on another cross-country mission to stop it all over again!

LAST-MODIFIED:20200115T202717Z X-ACCESS:1 X-HITS:13993 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200124T200000 DTEND;TZID=America/Denver:20200124T233000 UID:9EFA6BAC-EA6F-48DF-B335-90CB2045F82B SUMMARY:Midge Ure DTSTAMP:20190823T170732Z DESCRIPTION:Midge Ure returns to North Americas intimate venue circuit with his open and honest, Songs, Questions and Answers Tour 2020.\NDirect from the hugely successful UK leg of the tour Midge will be playing alongside multi instrumental musician Tony Solis, performing acoustic versions of his catalogue and taking questions, and maybe the odd song request, from the audience.\NThere is plenty to talk about too while covering a 40 year professional career, Ultravox, Solo work, Band Aid, Live Aid, his Orchestrated album from 2017....and anything YOU the audience can think of to ask him!\NThis is as close as you can possibly get to the man, his life and his music. An event as real, honest, uplifting and poignant as his songs. X-ALT-DESC;FMTTYPE=text/html:

Midge Ure returns to North Americas intimate venue circuit with his open and honest, Songs, Questions and Answers Tour 2020.

Direct from the hugely successful UK leg of the tour Midge will be playing alongside multi instrumental musician Tony Solis, performing acoustic versions of his catalogue and taking questions, and maybe the odd song request, from the audience.

There is plenty to talk about too while covering a 40 year professional career, Ultravox, Solo work, Band Aid, Live Aid, his Orchestrated album from 2017....and anything YOU the audience can think of to ask him!

This is as close as you can possibly get to the man, his life and his music. An event as real, honest, uplifting and poignant as his songs.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20190930T172420Z X-ACCESS:1 X-HITS:5089 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200130T193000 DTEND;TZID=America/Denver:20200130T233000 UID:0AF113F1-4505-4EDD-A7F0-B7F344D4FFA0 SUMMARY:KUER Presents Preach Podcast Live DTSTAMP:20191217T185004Z DESCRIPTION:EVERYBODY BELIEVES IN SOMETHING\NOn Preach, host Lee Hale sits down with people from all walks of life and all religions. You’ll hear people talk honestly about their doubts and beliefs. How they wrestle with life’s big questions. And the way spirituality intersects with their daily struggles and joys.\NThese days, especially on social media, the word “Preach” is used as a way to encourage someone to share their story. To validate. To tell them that they deserve to be heard. That’s what this show is about. Empowering the people — some of them famous, all of them fascinating — who live in the messy middle of faith. Because we’re all hungry for more frank, fun conversations about how we make sense of life. From KUER and PRX.\NABOUT THE HOST\NLee Hale is a millennial who grew up in a devout Mormon household. Three years ago he decided to move to Salt Lake City to report on his own church for KUER (NPR Utah). The experience has been enlightening, disheartening and has changed the way he thinks about belief. So now Lee wants to talk to people of all faiths about living as a believer in the modern world. Because he’s still sorting out it all out. And he thinks you might be too. X-ALT-DESC;FMTTYPE=text/html:

EVERYBODY BELIEVES IN SOMETHING

On Preach, host Lee Hale sits down with people from all walks of life and all religions. You’ll hear people talk honestly about their doubts and beliefs. How they wrestle with life’s big questions. And the way spirituality intersects with their daily struggles and joys.

These days, especially on social media, the word “Preach” is used as a way to encourage someone to share their story. To validate. To tell them that they deserve to be heard.
That’s what this show is about. Empowering the people — some of them famous, all of them fascinating — who live in the messy middle of faith. Because we’re all hungry for more frank, fun conversations about how we make sense of life. From KUER and PRX.

ABOUT THE HOST

Lee Hale is a millennial who grew up in a devout Mormon household. Three years ago he decided to move to Salt Lake City to report on his own church for KUER (NPR Utah). The experience has been enlightening, disheartening and has changed the way he thinks about belief. So now Lee wants to talk to people of all faiths about living as a believer in the modern world. Because he’s still sorting out it all out. And he thinks you might be too.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191217T230055Z X-ACCESS:1 X-HITS:1328 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200131T210000 DTEND;TZID=America/Denver:20200131T233000 UID:0A662922-1A0F-4824-8843-A1D88E5264FB SUMMARY:Bedouine DTSTAMP:20191001T194735Z DESCRIPTION:Bedouine, a gallicized riff on bedouin, the nomad, the wanderer. Anyone can assume such a name, but Azniv Korkejian has an experience of what it means, the type of ground it covers. “Moving around so much caused me at some point to feel displaced, to not really belong anywhere and I thought that was a good title.” Her development was shaped by political landscapes and family opportunities, her adult life patterned by paths of her own. Born in Aleppo, Syria to Armenian parents, Korkejian spent her childhood in Saudi Arabia, moving to America when her family won a Green Card lottery. They settled in Boston, then Houston, but she split for L.A. as soon as she could. A casual offer to stay on a horse farm took her to the rolling hills of Lexington, Kentucky, followed by a year in Austin, and a trip east to Savannah for a degree in sound design. Returning to L.A., she discovered a close-knit community of musicians in Echo Park that started to feel like home. Maybe America is just a highway that leads back to L.A.\NKorkejian works with sound professionally, in dialogue editing and music editing, a slice of Hollywood’s sprawling industry. She never set out to be a singer in L.A., taking a zen approach to that part of her life, thinking that if it happens, it happens. “I just kept meeting the right people, who were professional musicians, and even though they were going on these big legitimate tours, they were still coming back to this amazing small scene, still demoing at home, and I immediately felt welcomed to join in on that. L.A. actually made me less jaded.” One day she walked into the studio of bass player / producer Gus Seyffert (Beck, Norah Jones, The Black Keys) to inquire about portable reel-to-reel tape machines and ended up cutting “Solitary Daughter in a first take. So they began another kind of journey.\NBedouine has a sound. Sixties folk meets seventies country-funk with a glimmer of bossa nova cool. Lithe guitar picking and precise lyrical excursions. That mesmerizing voice and phrasing. Working on around thirty tracks over three years, with contributions from a remarkable cast of players like guitarist Smokey Hormel (Tom Waits, Joe Strummer, Johnny Cash), Seyffert and Korkejian brought a selection of ten songs to Richmond, Virginia. She specifically sought out Spacebomb, approaching Matthew E. White after a show in L.A. He remembers listening to the song she sent over and over, on and off the road, “‘One of These Days’ became our alarm when we woke up for almost all of that tour.” Anticipating this future collaboration, the tracks were created with breathing room for the Spacebomb touch and Trey Pollard’s sinuous symphonic arrangements. Back in California, Thom Monahan (Pernice Brothers, Devendra Banhart, Vetiver) brought all the elements together in a masterful final mix.\NEschewing notions of nomadic chic, Bedouine represents minimalism motivated by travel, paring down and paring down until only the essential remains. Her music establishes a sustained and complete mood, reflecting on the unending reverberations of displacement, unafraid to take pleasure along the way. At the end of “Summer Cold” Korkejian composed an interstitial piece to recreate the sounds of her grandmother’s street in Aleppo. Partly due to America’s role in destabilizing Syria, this sonic memory is the only way to return to her birthplace. Worlds that have been lost might only be accessed through a song, in a line or a melody or a trace of tape, but they must be looked for in order to be found, so she wanders on. X-ALT-DESC;FMTTYPE=text/html:

Bedouine, a gallicized riff on bedouin, the nomad, the wanderer. Anyone can assume such a name, but Azniv Korkejian has an experience of what it means, the type of ground it covers. “Moving around so much caused me at some point to feel displaced, to not really belong anywhere and I thought that was a good title.” Her development was shaped by political landscapes and family opportunities, her adult life patterned by paths of her own. Born in Aleppo, Syria to Armenian parents, Korkejian spent her childhood in Saudi Arabia, moving to America when her family won a Green Card lottery. They settled in Boston, then Houston, but she split for L.A. as soon as she could. A casual offer to stay on a horse farm took her to the rolling hills of Lexington, Kentucky, followed by a year in Austin, and a trip east to Savannah for a degree in sound design. Returning to L.A., she discovered a close-knit community of musicians in Echo Park that started to feel like home. Maybe America is just a highway that leads back to L.A.

Korkejian works with sound professionally, in dialogue editing and music editing, a slice of Hollywood’s sprawling industry. She never set out to be a singer in L.A., taking a zen approach to that part of her life, thinking that if it happens, it happens. “I just kept meeting the right people, who were professional musicians, and even though they were going on these big legitimate tours, they were still coming back to this amazing small scene, still demoing at home, and I immediately felt welcomed to join in on that. L.A. actually made me less jaded.” One day she walked into the studio of bass player / producer Gus Seyffert (Beck, Norah Jones, The Black Keys) to inquire about portable reel-to-reel tape machines and ended up cutting “Solitary Daughter in a first take. So they began another kind of journey.

Bedouine has a sound. Sixties folk meets seventies country-funk with a glimmer of bossa nova cool. Lithe guitar picking and precise lyrical excursions. That mesmerizing voice and phrasing. Working on around thirty tracks over three years, with contributions from a remarkable cast of players like guitarist Smokey Hormel (Tom Waits, Joe Strummer, Johnny Cash), Seyffert and Korkejian brought a selection of ten songs to Richmond, Virginia. She specifically sought out Spacebomb, approaching Matthew E. White after a show in L.A. He remembers listening to the song she sent over and over, on and off the road, “‘One of These Days’ became our alarm when we woke up for almost all of that tour.” Anticipating this future collaboration, the tracks were created with breathing room for the Spacebomb touch and Trey Pollard’s sinuous symphonic arrangements. Back in California, Thom Monahan (Pernice Brothers, Devendra Banhart, Vetiver) brought all the elements together in a masterful final mix.

Eschewing notions of nomadic chic, Bedouine represents minimalism motivated by travel, paring down and paring down until only the essential remains. Her music establishes a sustained and complete mood, reflecting on the unending reverberations of displacement, unafraid to take pleasure along the way. At the end of “Summer Cold” Korkejian composed an interstitial piece to recreate the sounds of her grandmother’s street in Aleppo. Partly due to America’s role in destabilizing Syria, this sonic memory is the only way to return to her birthplace. Worlds that have been lost might only be accessed through a song, in a line or a melody or a trace of tape, but they must be looked for in order to be found, so she wanders on.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200122T175705Z X-ACCESS:1 X-HITS:3359 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200205T200000 DTEND;TZID=America/Denver:20200205T233000 UID:B907137E-0705-49BB-B0B8-9B38EA0784EF SUMMARY:Trout Steak Revival DTSTAMP:20191114T224952Z DESCRIPTION:Colorado’s Trout Steak Revival has announced the release of their fifth studio album in Winter 2020 and will kick off its album release with a tour through the Colorado mountains, Montana, and the Pacific Northwest. The album includes an array of original songs crafted over the last several years by the individual songwriters and beautifully arranged and recorded by the band over the course of the summer of 2019.\NEver since winning the Telluride Bluegrass Festival Band Competition, Trout Steak Revival has quickly become a quintessential Colorado band. The band won an Emmy Award for a soundtrack they contributed to a Rocky Mountain PBS. They collaborate with school children in mentoring programs in Colorado and nationwide as part of the Can’d Aid Tunes Ambassador Program. Their music is featured on Bank of Colorado’s radio and television advertisements. Westword named them Denver’s Best Bluegrass Band, and they were nominated as a Momentum Band of the Year by the International Bluegrass Music Association. X-ALT-DESC;FMTTYPE=text/html:

Colorado’s Trout Steak Revival has announced the release of their fifth studio album in Winter 2020 and will kick off its album release with a tour through the Colorado mountains, Montana, and the Pacific Northwest. The album includes an array of original songs crafted over the last several years by the individual songwriters and beautifully arranged and recorded by the band over the course of the summer of 2019.

Ever since winning the Telluride Bluegrass Festival Band Competition, Trout Steak Revival has quickly become a quintessential Colorado band. The band won an Emmy Award for a soundtrack they contributed to a Rocky Mountain PBS. They collaborate with school children in mentoring programs in Colorado and nationwide as part of the Can’d Aid Tunes Ambassador Program. Their music is featured on Bank of Colorado’s radio and television advertisements. Westword named them Denver’s Best Bluegrass Band, and they were nominated as a Momentum Band of the Year by the International Bluegrass Music Association.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200107T193431Z X-ACCESS:1 X-HITS:2187 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200211T200000 DTEND;TZID=America/Denver:20200211T233000 UID:113B5EBE-0D47-43A1-B805-098B423BF82D SUMMARY:The Fred Eaglesmith Show starring Tif Ginn DTSTAMP:20191202T195540Z DESCRIPTION:Fred Eaglesmith can talk to you about almost anything. Chances are, he’s had that car, tractor, job, relationship, idea, and hat. But throughout his life and experiences there is always one thing that has remained the same: his undeniable gift for writing a song. Aspiring songwriters and performers of all ages call and write Fred with questions on how to have a career like his. And what can he say? Start writing songs when you’re 10 years old. Grow up with poverty, agriculture, religion, and eight siblings. Run away from home. Hop freight trains. Start a business. Loose a business. Struggle to get any gig. Drive to Nashville with no money and pockets full of songs. Get a record deal. Lose a record deal. Win a Juno Award. Break down on the side of the road everyday for days on end. Become a cult hero and amass a following of self-proclaimed “Fred Heads.” Tour relentlessly. Become everyone’s favorite. Becomes nobody’s favorite. Follow your gut. Smarten up. Don’t care what anybody thinks. Be fair. Be loyal no matter what. Keep going. Soften up. Give people a break. Expect nothing. Give everything. Keep going. Allow yourself to be happy. Find out who you are and deal with that. Don’t stay in fancy hotels. Write good songs.\NAfter all these years touring the United States, Canada, and Europe, having his songs covered by some of the biggest names in music, and appearing on “The Late Show with David Letterman” – the enigmatic, countrified, Rock n’ Roll troubadour, Fred Eaglesmith, is carrying on with musical wife Tif Ginn.\NEaglesmith is a veteran of the music industry and at the same time is about as far away from actually participating in today’s music industry as one could be. Never operating within anyone’s boundaries, he continues to set the standard for independent artists everywhere. X-ALT-DESC;FMTTYPE=text/html:

Fred Eaglesmith can talk to you about almost anything. Chances are, he’s had that car, tractor, job, relationship, idea, and hat. But throughout his life and experiences there is always one thing that has remained the same: his undeniable gift for writing a song. Aspiring songwriters and performers of all ages call and write Fred with questions on how to have a career like his. And what can he say? Start writing songs when you’re 10 years old. Grow up with poverty, agriculture, religion, and eight siblings. Run away from home. Hop freight trains. Start a business. Loose a business. Struggle to get any gig. Drive to Nashville with no money and pockets full of songs. Get a record deal. Lose a record deal. Win a Juno Award. Break down on the side of the road everyday for days on end. Become a cult hero and amass a following of self-proclaimed “Fred Heads.” Tour relentlessly. Become everyone’s favorite. Becomes nobody’s favorite. Follow your gut. Smarten up. Don’t care what anybody thinks. Be fair. Be loyal no matter what. Keep going. Soften up. Give people a break. Expect nothing. Give everything. Keep going. Allow yourself to be happy. Find out who you are and deal with that. Don’t stay in fancy hotels. Write good songs.

After all these years touring the United States, Canada, and Europe, having his songs covered by some of the biggest names in music, and appearing on “The Late Show with David Letterman” – the enigmatic, countrified, Rock n’ Roll troubadour, Fred Eaglesmith, is carrying on with musical wife Tif Ginn.

Eaglesmith is a veteran of the music industry and at the same time is about as far away from actually participating in today’s music industry as one could be. Never operating within anyone’s boundaries, he continues to set the standard for independent artists everywhere.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200115T203832Z X-ACCESS:1 X-HITS:2208 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200212T200000 DTEND;TZID=America/Denver:20200212T233000 UID:A5A7FFC4-9037-4781-8712-ADAD8128FA1F SUMMARY:Yola DTSTAMP:20190913T212612Z DESCRIPTION:WALK THROUGH FIRE, THE DEBUT ALBUM FROM YOLA, ESTABLISHES HER AS THE QUEEN OF COUNTRY SOUL FROM THE FIRST NOTE.\NThe Dan Auerbach–produced album is a contemporary twist on a traditional sonic tapestry of orchestral strings, fiddle, steel, and shimmering tremolo guitars. Walk Through Fire is a career-defining and genre-bending release from one of the most exciting emerging British artists in music today. Yola’s arresting vocals captivate with sincere tales of heartache and loves lost, forgotten, and broken. X-ALT-DESC;FMTTYPE=text/html:

WALK THROUGH FIRE, THE DEBUT ALBUM FROM YOLA, ESTABLISHES HER AS THE QUEEN OF COUNTRY SOUL FROM THE FIRST NOTE.

The Dan Auerbach–produced album is a contemporary twist on a traditional sonic tapestry of orchestral strings, fiddle, steel, and shimmering tremolo guitars. Walk Through Fire is a career-defining and genre-bending release from one of the most exciting emerging British artists in music today. Yola’s arresting vocals captivate with sincere tales of heartache and loves lost, forgotten, and broken.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200212T172446Z X-ACCESS:1 X-HITS:3670 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200213T200000 DTEND;TZID=America/Denver:20200213T233000 UID:553015F2-E75F-42E5-9EF1-880B82D9316F SUMMARY:Ozomatli 2020 Tour DTSTAMP:20191108T205817Z DESCRIPTION:The 24+-year history of Ozomatli notably contains many firsts for culture and music at large. The three-time GRAMMY® Award-winning Los Angeles six-piece consistently breaks boundaries with an uplifting and uniquely multi-cultural American world style. Among many historic firsts, Ozo stands out as “the first American band to visit Burma,” “the first contemporary western band to play public concerts in Mongolia”, and the “first band to give a musical talk at any TED conference.”Ozomatli have declared that 2020 will be a prolific year of new music. In true Ozo fashion, the band will enthusiastically hit the road to perform their new material as well as their existing trove of songs we know and love.\NLatest releases:\NTheir latest single, “El Otro Lado”, released worldwide on April 19th, 2019.The new cumbia-flavored song is a collaboration between the multi-Grammy and Latin Grammy award-winning Latin rock/urban group and founding member Chali 2na, as well as guest MC Olmeca. Speaking out against racism and xenophobia, the lyrics highlight the struggle of Latin workers who travel great distances at personal peril to provide for loved ones left behind, on the other side of the border wall.\NThe single, “Libertad”, released worldwide on January 25th, 2019.LIBERTAD (the Spanish word for: FREEDOM) is a collaboration with founding members Chali 2na (Jurassic 5) & Cut Chemist. This is their first collaborative release together since Ozomatli’s 1998 debut album. LIBERTAD is a colorful explosion representing what Ozomatli has always been about. A throwback to old-school Ozomatli, mixing funk, hip-hop, Latin, Cuban & Salsa into a bubbling melting pot of an infectious Los Angeles sound. Chali 2na’s unmistakable vocals and lyrics reference hope, change and freedom through medicinal music and the power of choice. The 1/2 way switch up allows Ozomatli to flex their musicality taking it home with powerful horns, Cut Chemist’s flavorful beats and exciting percussion to keep the World-Wide Block Party moving! X-ALT-DESC;FMTTYPE=text/html:

The 24+-year history of Ozomatli notably contains many firsts for culture and music at large. The three-time GRAMMY® Award-winning Los Angeles six-piece consistently breaks boundaries with an uplifting and uniquely multi-cultural American world style. Among many historic firsts, Ozo stands out as “the first American band to visit Burma,” “the first contemporary western band to play public concerts in Mongolia”, and the “first band to give a musical talk at any TED conference.”
Ozomatli have declared that 2020 will be a prolific year of new music. In true Ozo fashion, the band will enthusiastically hit the road to perform their new material as well as their existing trove of songs we know and love.

Latest releases:

Their latest single, “El Otro Lado”, released worldwide on April 19th, 2019.
The new cumbia-flavored song is a collaboration between the multi-Grammy and Latin Grammy award-winning Latin rock/urban group and founding member Chali 2na, as well as guest MC Olmeca. Speaking out against racism and xenophobia, the lyrics highlight the struggle of Latin workers who travel great distances at personal peril to provide for loved ones left behind, on the other side of the border wall.

The single, “Libertad”, released worldwide on January 25th, 2019.
LIBERTAD (the Spanish word for: FREEDOM) is a collaboration with founding members Chali 2na (Jurassic 5) & Cut Chemist. This is their first collaborative release together since Ozomatli’s 1998 debut album. LIBERTAD is a colorful explosion representing what Ozomatli has always been about. A throwback to old-school Ozomatli, mixing funk, hip-hop, Latin, Cuban & Salsa into a bubbling melting pot of an infectious Los Angeles sound. Chali 2na’s unmistakable vocals and lyrics reference hope, change and freedom through medicinal music and the power of choice. The 1/2 way switch up allows Ozomatli to flex their musicality taking it home with powerful horns, Cut Chemist’s flavorful beats and exciting percussion to keep the World-Wide Block Party moving!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191218T182828Z X-ACCESS:1 X-HITS:3387 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200214T200000 DTEND;TZID=America/Denver:20200214T233000 UID:B7BCB328-FE79-456E-A2BD-4558536B964B SUMMARY:Love & Amy II - Amy Winehouse Tribute DTSTAMP:20200106T011929Z DESCRIPTION:Amy Jade's Beehive Society pays homage to one of the greatest musical artists of all time: multi-GRAMMY-winning singer/songwriter Amy Winehouse. This 10-piece Salt Lake City-based juggernaut performs Amy's music with relentless energy and features Utah’s finest musicians. Founded and managed by local "bass princess" Kya Karine and musically directed by Utah saxophone legend David Halliday, Amy Jade's Beehive Society features 3 singers, 3 horn players, and a full rhythm section. The band has dazzled audiences on Utah's biggest stages and continues to musically evolve in ways that would make Amy Winehouse proud.\NAmy Jade's Beehive Society is ecstatic to return to the State Room on Valentine's Day 2020, the one year anniversary of their sold out debut at the State Room. Join the band for another unforgettable night of music in honor of the Queen of Camden, Amy Jade Winehouse. X-ALT-DESC;FMTTYPE=text/html:

Amy Jade's Beehive Society pays homage to one of the greatest musical artists of all time: multi-GRAMMY-winning singer/songwriter Amy Winehouse. This 10-piece Salt Lake City-based juggernaut performs Amy's music with relentless energy and features Utah’s finest musicians. Founded and managed by local "bass princess" Kya Karine and musically directed by Utah saxophone legend David Halliday, Amy Jade's Beehive Society features 3 singers, 3 horn players, and a full rhythm section. The band has dazzled audiences on Utah's biggest stages and continues to musically evolve in ways that would make Amy Winehouse proud.

Amy Jade's Beehive Society is ecstatic to return to the State Room on Valentine's Day 2020, the one year anniversary of their sold out debut at the State Room. Join the band for another unforgettable night of music in honor of the Queen of Camden, Amy Jade Winehouse.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200108T181737Z X-ACCESS:1 X-HITS:2513 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200215T200000 DTEND;TZID=America/Denver:20200215T233000 UID:5D3BBB22-EC71-40AF-AAD0-EBCFCA6608CD SUMMARY:The Lil Smokies DTSTAMP:20191108T221651Z DESCRIPTION:Drawing on the energy of a rock band and the Laurel Canyon songwriting of the ‘70s, The Lil Smokies are reimagining their approach to roots music on Tornillo, named for the remote Texas town where the album was recorded. Produced by Bill Reynolds (The Avett Brothers, Band of Horses), Tornillo is the band’s third studio album. Formed in Missoula, Montana, The Lil Smokies have built a national following through constant touring, they have performed at Red Rocks, LOCKN’, High Sierra, Telluride, Bourbon & Beyond and more X-ALT-DESC;FMTTYPE=text/html:

Drawing on the energy of a rock band and the Laurel Canyon songwriting of the ‘70s, The Lil Smokies are reimagining their approach to roots music on Tornillo, named for the remote Texas town where the album was recorded. Produced by Bill Reynolds (The Avett Brothers, Band of Horses), Tornillo is the band’s third studio album. Formed in Missoula, Montana, The Lil Smokies have built a national following through constant touring, they have performed at Red Rocks, LOCKN’, High Sierra, Telluride, Bourbon & Beyond and more

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200212T171731Z X-ACCESS:1 X-HITS:2255 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200217T200000 DTEND;TZID=America/Denver:20200217T233000 UID:56E459A6-0309-4C5F-BAD4-921FAEAE242D SUMMARY:North Mississippi Allstars: Up and Rolling Tour DTSTAMP:20190930T185139Z DESCRIPTION:A forgotten roll of film inspired a musical accompaniment, the North Mississippi Allstars’ new record Up and Rolling. Shot before the turn of the century, the photographs resonate with the music of four families from the Mississippi hills. The album captures the communal spirit upon which the band was founded.\NIn 1996, a photographer from Texas, Wyatt McSpadden, traveled to North Mississippi looking to photograph local musicians. Brothers Luther and Cody Dickinson had grown up just south of Memphis and cut their teeth playing experimental rock & roll together, as well as the roots repertoire pioneered by their father, Jim Dickinson, a legendary producer (Big Star, the Replacements) and session player (Rolling Stones, Bob Dylan). Their feet were firmly planted in the North Mississippi mud and music scene, and they were excited to show Wyatt around their community, to introduce him to the musical families of Otha Turner, RL Burnside and Junior Kimbrough.\NTheir first stop was Otha Turner’s farm. Then in his late eighties, he was the last living fife and drum musician in the hills—“and a friend to all,” Luther exclaims. “He looked sharp that day, still in his Sunday best and ready for a good time.” They all sat together on Otha’s fabled front porch, which was something like a classroom for the elder Dickinson brother. The two would sit for hours, the kid playing guitar while the old man made up lyrics on the spot. That’s how “Call That Gone” came into the world, decades before the Allstars recorded it for Up and Rolling.\NAfter Otha treated Wyatt to an impromptu concert featuring his family band of drummers, the fife player sent them down to Junior Kimbrough’s nightclub. They crossed the county line to see Junior and his Soul Blues Boys perform electrified, multigenerational cotton patch blues in their own unique style. Later that evening RL Burnside showed up, took the bandstand with beer in hand, and proceeded to tear the house down. “Wyatt was so smooth nobody felt he was taking photos,” Luther recalls. “No one was self-conscious or posing. Wyatt had a cloak of invisibility.”\NOnce the Peavey amps were turned off and the jukebox unplugged, Cody and Luther parted ways with the Texan. Wyatt shared a handful of the images with Otha and the Dickinsons but no one saw the remaining photographs for decades. Wyatt’s images were forgotten. The Dickinsons had other matters demanding their attention—namely, a new band they envisioned as a loose collective of local musicians who would play the community’s repertoire.\NA month after Wyatt took those photos, the North Mississippi Allstars made their Memphis debut, incorporating their father’s concept of roots music as a framework for improvisation and blending experimental/psychedelic excursions into Hill Country anthems. As Luther tells it, “after NMA first shook em’ down in Memphis, RL Burnside hired me to tour with him in ’97. A natural momentum began building up that slowly led to Cody and I hitting the road full-time. Our lives changed forever with the release of Shake Hands with Shorty in 2000. The music that rings thru the hills carried us away and became our home away from home as we began touring around the world. In orbit, we lost track of time and of ourselves.”Shake Hands with Shorty made the Allstars one of the most celebrated roots acts around. In 23 years they’ve released ten studio albums, three of which were nominated for Blues Album of the Year Grammys. (Luther has notched another four nominations in various categories on top of that.) More important, they’ve played countless shows in front of avid crowds, touring alongside Robert Plant, Patty Griffin, Mavis Staples, and John Hiatt, among many others. Says Luther, “I’m grateful to work together as a family—with Cody, the musicians we roll with and the people who support our live shows. Together, we keep this music up and rolling.”\NAll those years of touring took the Dickinson brothers far away from their North Mississippi home and the people who taught them this music. “The elders passed on in our absence—Junior, Otha, RL, our father,” Luther says. “Every time we returned home, it was less recognizable.” In 2017 Wyatt tracked the brothers down and shared those photographs with them. “The images stopped me in my tracks and blew my mind. The music that changed our lives was captured in these photographs. Cody and I wanted to set the music free and record an album to accompany these photographs illustrating what Mississippi music sounded like in 1996—and what it sounds like now. The fantasy of what music could have been on the radio that day in ’96 was the portal for the new original songs we recorded for this soundtrack. Drunk Outdoors, Up and Rolling, Bump That Mother, and Living Free sing about life in Mississippi, be it our memory, reality, or dream for the future.”\NInspired by Wyatt’s images, the Allstars returned home to their family recording studio, the Zebra Ranch, to make the record they heard in those photographs. "We trimmed back the wisteria, emptied the traps, and swept out the old barn. Firing up the tube amps and the old computers, we began conjuring up modern Mississippi music, ancient and futuristic."\NAlong with originals, they covered some of their favorite songs by these local heroes, with help from Cedric Burnside and Sharde Thomas, Otha’s granddaughter. “She was only a child when she became his apprentice and heir to the bamboo throne of fife and drum music,” says Luther. “Now she’s the Queen of the Hill Country and my favorite singing partner.” In addition to duetting with him on RL’s raunchy “Peaches,” she also sings with Luther on Otha’s “Call That Gone.” “She read over her grandfather’s lyrics and proceeded to nail it in one take. It was like she was singing from the collective soul of her family.”\NCedric Burnside, RL’s grandson and two time Grammy nominee, is featured on two tracks. "It's an honor to play with Cedric. "Out on the Road" was a highlight of the RL tour we played together in '97 and he sang his heart out on the new version."\N“When we make a record,” says Luther, “we invite the people close to us at the time to join us. Recording with the musicians we are touring with or hanging with help capture a record’s time frame.” The great Mavis Staples takes them all to church on the old spiritual “What You Gonna Do?” Jason Isbell joins to record a tune that has been in the Dickinson family for years: “Our father recorded ‘Mean Old World’ with Duane Allman and Eric Clapton during the Layla sessions. Jason invited me to record an acoustic, slide guitar duo version. Cody came up with the new arrangement and wanted to record an electric version with Jason and Duane Betts, using Mean Old World as a vehicle to lay down an epic statement about modern-day roots rock guitar.”\NAs Cody puts it, “It’s all inclusive. Everyone is invited, the bar is always open, and drinks are on the house. But it’s important to us that we stay true to the vision of Hill Country music. There is incredible talent here in North Mississippi, so I’m always learning. The best thing about being in this band this long is developing a sound and identity that is unique. That’s truly a blessing, so we do our best to keep the music honest.”\NWhile inspired by the community and music of that Sunday more than 20 years ago, Up and Rolling is the sound of modern Mississippi. Luther hopes, “the music is rooted, but spreads evasively from the kudzu jungle grown over Junior’s concrete slab and Otha’s porch boards thru the Zebra Ranch’s razor wire chain link fence. Transcending time and space, music reaches out into the dark of night like the wisteria vine, looking for free-hearted souls to latch onto and wedge into the foundations of hate, slowly tearing down walls a generation at a time.” X-ALT-DESC;FMTTYPE=text/html:

A forgotten roll of film inspired a musical accompaniment, the North Mississippi Allstars’ new record Up and Rolling. Shot before the turn of the century, the photographs resonate with the music of four families from the Mississippi hills. The album captures the communal spirit upon which the band was founded.

In 1996, a photographer from Texas, Wyatt McSpadden, traveled to North Mississippi looking to photograph local musicians. Brothers Luther and Cody Dickinson had grown up just south of Memphis and cut their teeth playing experimental rock & roll together, as well as the roots repertoire pioneered by their father, Jim Dickinson, a legendary producer (Big Star, the Replacements) and session player (Rolling Stones, Bob Dylan). Their feet were firmly planted in the North Mississippi mud and music scene, and they were excited to show Wyatt around their community, to introduce him to the musical families of Otha Turner, RL Burnside and Junior Kimbrough.

Their first stop was Otha Turner’s farm. Then in his late eighties, he was the last living fife and drum musician in the hills—“and a friend to all,” Luther exclaims. “He looked sharp that day, still in his Sunday best and ready for a good time.” They all sat together on Otha’s fabled front porch, which was something like a classroom for the elder Dickinson brother. The two would sit for hours, the kid playing guitar while the old man made up lyrics on the spot. That’s how “Call That Gone” came into the world, decades before the Allstars recorded it for Up and Rolling.

After Otha treated Wyatt to an impromptu concert featuring his family band of drummers, the fife player sent them down to Junior Kimbrough’s nightclub. They crossed the county line to see Junior and his Soul Blues Boys perform electrified, multigenerational cotton patch blues in their own unique style. Later that evening RL Burnside showed up, took the bandstand with beer in hand, and proceeded to tear the house down. “Wyatt was so smooth nobody felt he was taking photos,” Luther recalls. “No one was self-conscious or posing. Wyatt had a cloak of invisibility.”

Once the Peavey amps were turned off and the jukebox unplugged, Cody and Luther parted ways with the Texan. Wyatt shared a handful of the images with Otha and the Dickinsons but no one saw the remaining photographs for decades. Wyatt’s images were forgotten. The Dickinsons had other matters demanding their attention—namely, a new band they envisioned as a loose collective of local musicians who would play the community’s repertoire.

A month after Wyatt took those photos, the North Mississippi Allstars made their Memphis debut, incorporating their father’s concept of roots music as a framework for improvisation and blending experimental/psychedelic excursions into Hill Country anthems. As Luther tells it, “after NMA first shook em’ down in Memphis, RL Burnside hired me to tour with him in ’97. A natural momentum began building up that slowly led to Cody and I hitting the road full-time. Our lives changed forever with the release of Shake Hands with Shorty in 2000. The music that rings thru the hills carried us away and became our home away from home as we began touring around the world. In orbit, we lost track of time and of ourselves.”
Shake Hands with Shorty made the Allstars one of the most celebrated roots acts around. In 23 years they’ve released ten studio albums, three of which were nominated for Blues Album of the Year Grammys. (Luther has notched another four nominations in various categories on top of that.) More important, they’ve played countless shows in front of avid crowds, touring alongside Robert Plant, Patty Griffin, Mavis Staples, and John Hiatt, among many others. Says Luther, “I’m grateful to work together as a family—with Cody, the musicians we roll with and the people who support our live shows. Together, we keep this music up and rolling.”

All those years of touring took the Dickinson brothers far away from their North Mississippi home and the people who taught them this music. “The elders passed on in our absence—Junior, Otha, RL, our father,” Luther says. “Every time we returned home, it was less recognizable.” In 2017 Wyatt tracked the brothers down and shared those photographs with them. “The images stopped me in my tracks and blew my mind. The music that changed our lives was captured in these photographs. Cody and I wanted to set the music free and record an album to accompany these photographs illustrating what Mississippi music sounded like in 1996—and what it sounds like now. The fantasy of what music could have been on the radio that day in ’96 was the portal for the new original songs we recorded for this soundtrack. Drunk Outdoors, Up and Rolling, Bump That Mother, and Living Free sing about life in Mississippi, be it our memory, reality, or dream for the future.”

Inspired by Wyatt’s images, the Allstars returned home to their family recording studio, the Zebra Ranch, to make the record they heard in those photographs. "We trimmed back the wisteria, emptied the traps, and swept out the old barn. Firing up the tube amps and the old computers, we began conjuring up modern Mississippi music, ancient and futuristic."

Along with originals, they covered some of their favorite songs by these local heroes, with help from Cedric Burnside and Sharde Thomas, Otha’s granddaughter. “She was only a child when she became his apprentice and heir to the bamboo throne of fife and drum music,” says Luther. “Now she’s the Queen of the Hill Country and my favorite singing partner.” In addition to duetting with him on RL’s raunchy “Peaches,” she also sings with Luther on Otha’s “Call That Gone.” “She read over her grandfather’s lyrics and proceeded to nail it in one take. It was like she was singing from the collective soul of her family.”

Cedric Burnside, RL’s grandson and two time Grammy nominee, is featured on two tracks. "It's an honor to play with Cedric. "Out on the Road" was a highlight of the RL tour we played together in '97 and he sang his heart out on the new version."

“When we make a record,” says Luther, “we invite the people close to us at the time to join us. Recording with the musicians we are touring with or hanging with help capture a record’s time frame.” The great Mavis Staples takes them all to church on the old spiritual “What You Gonna Do?” Jason Isbell joins to record a tune that has been in the Dickinson family for years: “Our father recorded ‘Mean Old World’ with Duane Allman and Eric Clapton during the Layla sessions. Jason invited me to record an acoustic, slide guitar duo version. Cody came up with the new arrangement and wanted to record an electric version with Jason and Duane Betts, using Mean Old World as a vehicle to lay down an epic statement about modern-day roots rock guitar.”

As Cody puts it, “It’s all inclusive. Everyone is invited, the bar is always open, and drinks are on the house. But it’s important to us that we stay true to the vision of Hill Country music. There is incredible talent here in North Mississippi, so I’m always learning. The best thing about being in this band this long is developing a sound and identity that is unique. That’s truly a blessing, so we do our best to keep the music honest.”

While inspired by the community and music of that Sunday more than 20 years ago, Up and Rolling is the sound of modern Mississippi. Luther hopes, “the music is rooted, but spreads evasively from the kudzu jungle grown over Junior’s concrete slab and Otha’s porch boards thru the Zebra Ranch’s razor wire chain link fence. Transcending time and space, music reaches out into the dark of night like the wisteria vine, looking for free-hearted souls to latch onto and wedge into the foundations of hate, slowly tearing down walls a generation at a time.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200115T175853Z X-ACCESS:1 X-HITS:2821 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200219T200000 DTEND;TZID=America/Denver:20200219T233000 UID:9EC1A3B4-10A3-4224-9D13-8E17F8731B01 SUMMARY:MarchFourth DTSTAMP:20191218T215453Z DESCRIPTION:MarchFourth is a joy-inducing force of entertainment. The colorful explosion of brassy funk, rock, and jazz is all about the groove. This larger-than-life group of musicians and acrobats tours the country year-round, bringing a spirit of celebration wherever they go. MarchFourth is, in a word, FUN!\NWith exceptional musical quality and a visual kaleidoscope of performers, MarchFourth is a spectacle of high-energy compositions, colorful costumes, and irresistible charisma! M4 has been seen on stages from ESPN’s Espy Awards to festivals like Wakarusa, Bumbershoot, and High Sierra Music Fest, to world-class venues like The Kennedy Center and The Fillmore, and even a cultural exchange tour to China, sponsored by the US State Department.\NMarchFourth’s track “Gospel” (from their self-released album Rise Up, 2009) was featured as the closing credits theme song in the Disney/Pixar animated film, Monster’s University. Their next album Magnificent Beast was self-released in 2011, produced by fellow Portlander Steve Berlin (Los Lobos).\NFor their most recent album, Magic Number, fifteen MarchFourth musicians traveled from Portland, Oregon to New Orleans, Louisiana to record with Producer Ben Ellman (Galactic) and Engineer/Producer Mikael “Count” Eldridge (DJ Shadow, Tycho, Trombone Shorty). With local talent at the helm, the album is full of the captivating grooves and brassy swagger you’d expect from MarchFourth, plus a healthy dose of New Orleans magic, with guest appearance by Trombone Shorty, Stanton Moore (drums), and Matt Perrine (sousaphone).\N“Perfectly merging the artistic spirit of Portland with the musical spectacle of New Orleans, MarchFourth put on one of the most complete shows of any band on any stage. From rocking big band jam tunes, choreography and feats of strength that need to be seen to be believed, MarchFourth entertains on every level every second they are on the stage…or off!” ~Live for Live Music\N“From the first note to the last, the sound was pumping and the fun never stopped… It’s worth noting that there are serious musicians behind all the fun. It’s obvious these guys (and gals) have had lots of training and formal practice. Talented band geeks turned rebels.” ~USAToday\N“Just when you think you’ve heard it all, suddenly a band crosses paths with your ears and changes everything… Full of auditory goodness...” ~NYS Music\N“Mighty, Explosive, Carnivalesque Brass Band Funk” ~New York Music Daily X-ALT-DESC;FMTTYPE=text/html:

MarchFourth is a joy-inducing force of entertainment. The colorful explosion of brassy funk, rock, and jazz is all about the groove. This larger-than-life group of musicians and acrobats tours the country year-round, bringing a spirit of celebration wherever they go. MarchFourth is, in a word, FUN!

With exceptional musical quality and a visual kaleidoscope of performers, MarchFourth is a spectacle of high-energy compositions, colorful costumes, and irresistible charisma! M4 has been seen on stages from ESPN’s Espy Awards to festivals like Wakarusa, Bumbershoot, and High Sierra Music Fest, to world-class venues like The Kennedy Center and The Fillmore, and even a cultural exchange tour to China, sponsored by the US State Department.

MarchFourth’s track “Gospel” (from their self-released album Rise Up, 2009) was featured as the closing credits theme song in the Disney/Pixar animated film, Monster’s University. Their next album Magnificent Beast was self-released in 2011, produced by fellow Portlander Steve Berlin (Los Lobos).

For their most recent album, Magic Number, fifteen MarchFourth musicians traveled from Portland, Oregon to New Orleans, Louisiana to record with Producer Ben Ellman (Galactic) and Engineer/Producer Mikael “Count” Eldridge (DJ Shadow, Tycho, Trombone Shorty). With local talent at the helm, the album is full of the captivating grooves and brassy swagger you’d expect from MarchFourth, plus a healthy dose of New Orleans magic, with guest appearance by Trombone Shorty, Stanton Moore (drums), and Matt Perrine (sousaphone).

“Perfectly merging the artistic spirit of Portland with the musical spectacle of New Orleans, MarchFourth put on one of the most complete shows of any band on any stage. From rocking big band jam tunes, choreography and feats of strength that need to be seen to be believed, MarchFourth entertains on every level every second they are on the stage…or off!” ~Live for Live Music

“From the first note to the last, the sound was pumping and the fun never stopped… It’s worth noting that there are serious musicians behind all the fun. It’s obvious these guys (and gals) have had lots of training and formal practice. Talented band geeks turned rebels.” ~USAToday

“Just when you think you’ve heard it all, suddenly a band crosses paths with your ears and changes everything… Full of auditory goodness...” ~NYS Music

“Mighty, Explosive, Carnivalesque Brass Band Funk” ~New York Music Daily

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200129T190213Z X-ACCESS:1 X-HITS:2347 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200222T200000 DTEND;TZID=America/Denver:20200222T233000 UID:8DF48C43-EAE9-4CD6-BCDA-2401D2EB9ED7 SUMMARY:Honeypot Concerts Presents One Be Lo of Binary Star DTSTAMP:20200106T021856Z DESCRIPTION:Over the last Five years the team at Flower Power Productions have been putting on the Honeypot Glass Blowing and Music Festival in August at The Utah Art Alliance Art Garden and concert series across the valley highlighting the the best of the best of Utah’s ever improving musical scene and shine light on the glass blowing artists from the surrounding areas. This time they are bringing a night of Hip Hop to the The State Room to help out the less fortunate if us living on the streets. This will be a warm clothing/food/supplies gathering event for the Midvale road home shelter.\NNahshid Sulaiman (born Ralond Scruggs), better known by his stage name One Be Lo, is an alternative hip hop artist from Pontiac, Michigan. He is well respected for being one half of the rap duo Binary Star, and has released a number of well-received solo albums.He is a member of the World Champion B-boy crew, Massive Monkees X-ALT-DESC;FMTTYPE=text/html:

Over the last Five years the team at Flower Power Productions have been putting on the Honeypot Glass Blowing and Music Festival in August at The Utah Art Alliance Art Garden and concert series across the valley highlighting the the best of the best of Utah’s ever improving musical scene and shine light on the glass blowing artists from the surrounding areas. This time they are bringing a night of Hip Hop to the The State Room to help out the less fortunate if us living on the streets. This will be a warm clothing/food/supplies gathering event for the Midvale road home shelter.

Nahshid Sulaiman (born Ralond Scruggs), better known by his stage name One Be Lo, is an alternative hip hop artist from Pontiac, Michigan. He is well respected for being one half of the rap duo Binary Star, and has released a number of well-received solo albums.He is a member of the World Champion B-boy crew, Massive Monkees

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200108T181952Z X-ACCESS:1 X-HITS:1923 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200223T200000 DTEND;TZID=America/Denver:20200223T233000 UID:338A0343-6DDA-4B98-BEC5-F25433B8C710 SUMMARY:Steep Canyon Rangers DTSTAMP:20191024T205342Z DESCRIPTION:With OUT IN THE OPEN, Steep Canyon Rangers affirm their place as one of the most versatile bands in contemporary American music. The GRAMMY® Award-winning sextet has spent nearly two decades bending and shaping the bluegrass aesthetic, wedding it to elements of pop, country, and folk rock to create something original. OUT IN THE OPEN is the Rangers bravest excursion thus far, transcending bluegrass while also getting closest to the genre’s true form thanks to 3x GRAMMY® Award-winning producer Joe Henry’s traditional approach toward recording.\NSince Steep Canyon Rangers came together in 2000, they have developed a remarkable catalogue of original music that links them to the past while also demonstrating their ambitious intent to bring string-based music into contemporary relevance.\NIn July 2017, Steep Canyon Rangers arrived at Fidelitorium Recordings, an intimate studio facility built, owned, and operated by legendary producer Mitch Easter. The band soon discovered that their producer – along with engineer/mixer Jason Richmond – intended to record all six members singing and playing in a room with no overdubs. The organic process allowed SCR to work fast, tracking a dozen songs in just three-and-a-half days. Steep Canyon Rangers are easily among the hardest working bands in any genre, pulling double duty on their own and as collaborators with Steve Martin.\NOUT IN THE OPEN is an undeniable milestone on the Rangers ongoing creative journey. As they approach their second decade, Steep Canyon Rangers are still moving forward, searching for new horizons and musical vistas. X-ALT-DESC;FMTTYPE=text/html:

With OUT IN THE OPEN, Steep Canyon Rangers affirm their place as one of the most versatile bands in contemporary American music. The GRAMMY® Award-winning sextet has spent nearly two decades bending and shaping the bluegrass aesthetic, wedding it to elements of pop, country, and folk rock to create something original. OUT IN THE OPEN is the Rangers bravest excursion thus far, transcending bluegrass while also getting closest to the genre’s true form thanks to 3x GRAMMY® Award-winning producer Joe Henry’s traditional approach toward recording.

Since Steep Canyon Rangers came together in 2000, they have developed a remarkable catalogue of original music that links them to the past while also demonstrating their ambitious intent to bring string-based music into contemporary relevance.

In July 2017, Steep Canyon Rangers arrived at Fidelitorium Recordings, an intimate studio facility built, owned, and operated by legendary producer Mitch Easter. The band soon discovered that their producer – along with engineer/mixer Jason Richmond – intended to record all six members singing and playing in a room with no overdubs. The organic process allowed SCR to work fast, tracking a dozen songs in just three-and-a-half days. Steep Canyon Rangers are easily among the hardest working bands in any genre, pulling double duty on their own and as collaborators with Steve Martin.

OUT IN THE OPEN is an undeniable milestone on the Rangers ongoing creative journey. As they approach their second decade, Steep Canyon Rangers are still moving forward, searching for new horizons and musical vistas.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20191120T161159Z X-ACCESS:1 X-HITS:2514 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200229T210000 DTEND;TZID=America/Denver:20200229T233000 UID:756767E7-48C1-47B6-AE4D-F5A56731AB2B SUMMARY:Talia Keys & The Love and Big Blue Ox DTSTAMP:20200103T185149Z DESCRIPTION:Feb 29th isn’t a day that happens all the time. It certainly doesn’t always have two of the top local bands putting on a dance party. Talia Keys and The Love and Big Blue Ox will be making leap day 2020 very special! Prepare yourself for funky drumbeats, wailing guitars, soaring vocals, groovy bass lines and nasty horns! Come shake off those winter blues!\NTalia Keys & The Love\NFacebook | Instagram | Youtube | Spotify\N{youtube}2zWrHriGyRM&feature{/youtube}\NTalia Keys & The Love is a foot-stomping, jaw-dropping soul-funk-rock n’ roll band born after the charismatic front-woman, Talia Keys.\NHer killer line-up is a host of powerhouse musicians based out of Utah with songwriter Talia Keys on lead guitar and vocals, the impeccable jam band veteran Dave Brogan (ALO) on drums, Ryan Conger (Joe McQueen Quartet) rippin the keys, Josh Olsen tearin up the bass, and the incomparable Lisa Giacoletto adding soaring backing vocals.\NHaving just dropped their first album last year (We’re Here, 4/20/2018), TK and The Love is here and ready to lift your spirits, elevate your hearts and minds, and above all, get you dancing.\NBig Blue Ox\NFacebook | Instagram | Youtube | Spotify\N{youtube}x7cWepM2xSg&feature{/youtube}\NBig Blue Ox is an explosive funk juggernaut from Salt Lake City, Utah. Throwing down headbanging grooves and blistering horn lines, this band is sure to elevate the mind and get you moving. Big Blue Ox recently released their new album, Thank You, Come Again" in August 2019. X-ALT-DESC;FMTTYPE=text/html:

Feb 29th isn’t a day that happens all the time. It certainly doesn’t always have two of the top local bands putting on a dance party. Talia Keys and The Love and Big Blue Ox will be making leap day 2020 very special! Prepare yourself for funky drumbeats, wailing guitars, soaring vocals, groovy bass lines and nasty horns! Come shake off those winter blues!

Talia Keys & The Love

Facebook | Instagram | Youtube | Spotify

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Talia Keys & The Love is a foot-stomping, jaw-dropping soul-funk-rock n’ roll band born after the charismatic front-woman, Talia Keys.

Her killer line-up is a host of powerhouse musicians based out of Utah with songwriter Talia Keys on lead guitar and vocals, the impeccable jam band veteran Dave Brogan (ALO) on drums, Ryan Conger (Joe McQueen Quartet) rippin the keys, Josh Olsen tearin up the bass, and the incomparable Lisa Giacoletto adding soaring backing vocals.

Having just dropped their first album last year (We’re Here, 4/20/2018), TK and The Love is here and ready to lift your spirits, elevate your hearts and minds, and above all, get you dancing.

Big Blue Ox

Facebook | Instagram | Youtube | Spotify

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Big Blue Ox is an explosive funk juggernaut from Salt Lake City, Utah. Throwing down headbanging grooves and blistering horn lines, this band is sure to elevate the mind and get you moving. Big Blue Ox recently released their new album, Thank You, Come Again" in August 2019.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200115T205226Z X-ACCESS:1 X-HITS:2285 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200303T200000 DTEND;TZID=America/Denver:20200303T233000 UID:92664018-D845-4039-BB32-CA9C427F29F2 SUMMARY:Seratones - SHOW CANCELED DTSTAMP:20191206T204927Z DESCRIPTION:THIS SHOW HAS BEEN CANCELED\NMESSAGE FROM THE BAND:\NTo our fans and fam in Salt Lake City,\NThank you so much for your support and love over the years and for the continued support of our album Power. The title track is an anthem of defiant joy, of holding space for healing, of celebrating physical autonomy. The current attack on reproductive rights and access to abortion care has made this song all the more necessary to ring loud and clear. On March 4th, I’ll be singing Power on the Supreme Court steps, joining the Center for Reproductive rights and our allies as my hometown clinic fights for the reproductive rights of our nation. I have been a counselor at this clinic for nearly 10 years, so it means the world for me to be there. This case, June Medical Services v. Gee, is one of the most important cases of our lifetime. Unfortunately, we have to cancel our Seratones show at State Room as it is logistically impossible for me to make it to both places. I’m gutted to have to cancel this show and hope to be back soon. I look forward to seeing your faces soon and owe you all the hugs and dancing when I see you again!\NFor more info about the case visit here: https://reproductiverights.org/june-medical-services-llc-v-gee\NIn solidarity and with Love,\NA.J. Haynes\N \NAll tickets will be refunded. Due to the upcoming holiday weekend, please allow for 14 full business days for the refund to be processed. Please email box@thestateroom.com for any questions or concerns.\N----------\N“We went through a pretty dramatic shift with this record,” says Seratones frontwoman AJ Haynes. “The band lineup, the creative process, the sound: all of it changed in ways that really reflected our growth and evolution.”\NOne listen to Power, Seratones’ spectacular sophomore album, and it’s clear just how much of an evolution has taken place. Produced by Cage The Elephant guitarist Brad Shultz, the record finds the Shreveport five-piece trading in the brash proto-punk of their critically acclaimed debut for a timeless brand of gritty soul, one that takes its cues from vintage Motown and Stax even as it flirts with modern synthesizers and experimental arrangements. Haynes’ captivating voice remains front and center here, but her delivery this time around is more measured and self-assured than ever before, a beacon of confidence and clarity amidst a sea of social and political turmoil. Perhaps even more marked than the any sonic development on the record, though, is Haynes’ lyrical turn, which points her gaze inwards for the first time as she grapples with race, gender, and justice, writing with an unfiltered honesty that at once exudes strength and vulnerability, hope and despair, beauty and pain.\N“I learned to tap more into my own stories with these songs,” says Haynes. “I came to recognize that I have this lineage and these inherited experiences that are beautiful and worthy of exploration. The more personal my writing got, the more deeply I was able to connect with people.”\NSeratones have been chasing those kinds of deep connections since 2016, when they first rocketed into the national spotlight with their breakout debut, Get Gone. Rolling Stone called the album a “fitful collision of punk, soul and jazz echoing out of a shed strewn with whiskey bottles,” while Pitchfork praised the collection’s “soulful grease and punky grit,” and NPR hailed it as “lean and compact, with an impressive assortment of anthemic stompers.” The music earned the band dates on the road with artists as varied as St. Paul & The Broken Bones, Thao & The Get Down Stay Down, The Dandy Warhols, and Drive-By Truckers, along with festival slots from Hangout to Newport Folk and invitations to perform on national television and at NPR’s Tiny Desk. X-ALT-DESC;FMTTYPE=text/html:

THIS SHOW HAS BEEN CANCELED

MESSAGE FROM THE BAND:

To our fans and fam in Salt Lake City,

Thank you so much for your support and love over the years and for the continued support of our album Power. The title track is an anthem of defiant joy, of holding space for healing, of celebrating physical autonomy. The current attack on reproductive rights and access to abortion care has made this song all the more necessary to ring loud and clear. On March 4th, I’ll be singing Power on the Supreme Court steps, joining the Center for Reproductive rights and our allies as my hometown clinic fights for the reproductive rights of our nation. I have been a counselor at this clinic for nearly 10 years, so it means the world for me to be there. This case, June Medical Services v. Gee, is one of the most important cases of our lifetime. Unfortunately, we have to cancel our Seratones show at State Room as it is logistically impossible for me to make it to both places. I’m gutted to have to cancel this show and hope to be back soon. I look forward to seeing your faces soon and owe you all the hugs and dancing when I see you again!

For more info about the case visit here: https://reproductiverights.org/june-medical-services-llc-v-gee

In solidarity and with Love,

A.J. Haynes

 

All tickets will be refunded. Due to the upcoming holiday weekend, please allow for 14 full business days for the refund to be processed. Please email box@thestateroom.com for any questions or concerns.

----------

“We went through a pretty dramatic shift with this record,” says Seratones frontwoman AJ Haynes. “The band lineup, the creative process, the sound: all of it changed in ways that really reflected our growth and evolution.”

One listen to Power, Seratones’ spectacular sophomore album, and it’s clear just how much of an evolution has taken place. Produced by Cage The Elephant guitarist Brad Shultz, the record finds the Shreveport five-piece trading in the brash proto-punk of their critically acclaimed debut for a timeless brand of gritty soul, one that takes its cues from vintage Motown and Stax even as it flirts with modern synthesizers and experimental arrangements. Haynes’ captivating voice remains front and center here, but her delivery this time around is more measured and self-assured than ever before, a beacon of confidence and clarity amidst a sea of social and political turmoil. Perhaps even more marked than the any sonic development on the record, though, is Haynes’ lyrical turn, which points her gaze inwards for the first time as she grapples with race, gender, and justice, writing with an unfiltered honesty that at once exudes strength and vulnerability, hope and despair, beauty and pain.

“I learned to tap more into my own stories with these songs,” says Haynes. “I came to recognize that I have this lineage and these inherited experiences that are beautiful and worthy of exploration. The more personal my writing got, the more deeply I was able to connect with people.”

Seratones have been chasing those kinds of deep connections since 2016, when they first rocketed into the national spotlight with their breakout debut, Get Gone. Rolling Stone called the album a “fitful collision of punk, soul and jazz echoing out of a shed strewn with whiskey bottles,” while Pitchfork praised the collection’s “soulful grease and punky grit,” and NPR hailed it as “lean and compact, with an impressive assortment of anthemic stompers.” The music earned the band dates on the road with artists as varied as St. Paul & The Broken Bones, Thao & The Get Down Stay Down, The Dandy Warhols, and Drive-By Truckers, along with festival slots from Hangout to Newport Folk and invitations to perform on national television and at NPR’s Tiny Desk.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200213T221718Z X-ACCESS:1 X-HITS:1826 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200304T200000 DTEND;TZID=America/Denver:20200304T233000 UID:381B834F-3575-4B08-9CF0-DD9E5B354138 SUMMARY:Amanda Shires DTSTAMP:20191108T214651Z DESCRIPTION:“It’s all rock & roll – no golf!” is how singer/songwriter/violinist Amanda Shires describes her electrifying fifth album, To The Sunset. She’s borrowed a lyric from the track “Break Out the Champagne,” one of ten deftly crafted songs that comprise her powerful new recording. The Texas-born road warrior, new mom, and recently minted MFA in creative writing has mined a range of musical influences to reveal an Amanda Shires many didn’t know existed.\NIt’s been a jam-packed since the release of Shires’ critically hailed My Piece of Land: constant touring with her band and as a member of husband Jason Isbell’s 400 Unit; finishing her MFA; and winning the Americana Association’s 2017 Emerging Artist award. Armed with stacks of journals, she wrote a batch of new songs in a flurry of focus and solitude – in a closet at the Shires/Isbell abode. “With a two-year-old running around, there’s nowhere to hide,” Shires explains.\NShe reconvened with Land’s producer Dave Cobb (Isbell; Sturgill Simpson) at Nashville’s historic RCA Studio A. While writing such stunners as the enchanting “Parking Lot Pirouette,” haunting “Charms,” and raucous “Eve’s Daughter,” she thought about their sonics. “I explained to Dave that I wanted the songs to have atmosphere,” Shires recalls. “That the album was going to be sort of poppy, and that I was doing that to bring some sunshine into the world, cause it’s pretty dark right now.”\NShires is renowned for her carefully crafted songs. Her influences include Leonard Cohen and John Prine, the latter of whom has been a mentor. “I was talking to John Prine while I was writing this record,” says Shires, “and he was talking about how using images that actually happened to you makes the songs true. Also, if you use images that you can see daily, it’s more relatable.” Shires took his advice in such tracks as “Break Out the Champagne.” “It’s all true!” says the resilient Shires. The near-plane crash over Newfoundland, her BFF Kelly’s fears about our apocalyptic times, another friend’s heavy breakup.\NTo The Sunset, says Shires, “is meant to be a positive thing. Acknowledging your past, and at sunset, your hope for a new day. ‘To The Sunset’ sounds like a toast: This day is over, we don’t know what’s in the future, but it’s hopeful, I think.” Shires has drawn from her own past on To The Sunset – and pointed the way to her future. She has set the bar high – sonically and lyrically – and she’s jumped over it\N  X-ALT-DESC;FMTTYPE=text/html:

“It’s all rock & roll – no golf!” is how singer/songwriter/violinist Amanda Shires describes her electrifying fifth album, To The Sunset. She’s borrowed a lyric from the track “Break Out the Champagne,” one of ten deftly crafted songs that comprise her powerful new recording. The Texas-born road warrior, new mom, and recently minted MFA in creative writing has mined a range of musical influences to reveal an Amanda Shires many didn’t know existed.

It’s been a jam-packed since the release of Shires’ critically hailed My Piece of Land: constant touring with her band and as a member of husband Jason Isbell’s 400 Unit; finishing her MFA; and winning the Americana Association’s 2017 Emerging Artist award. Armed with stacks of journals, she wrote a batch of new songs in a flurry of focus and solitude – in a closet at the Shires/Isbell abode. “With a two-year-old running around, there’s nowhere to hide,” Shires explains.

She reconvened with Land’s producer Dave Cobb (Isbell; Sturgill Simpson) at Nashville’s historic RCA Studio A. While writing such stunners as the enchanting “Parking Lot Pirouette,” haunting “Charms,” and raucous “Eve’s Daughter,” she thought about their sonics. “I explained to Dave that I wanted the songs to have atmosphere,” Shires recalls. “That the album was going to be sort of poppy, and that I was doing that to bring some sunshine into the world, cause it’s pretty dark right now.”

Shires is renowned for her carefully crafted songs. Her influences include Leonard Cohen and John Prine, the latter of whom has been a mentor. “I was talking to John Prine while I was writing this record,” says Shires, “and he was talking about how using images that actually happened to you makes the songs true. Also, if you use images that you can see daily, it’s more relatable.” Shires took his advice in such tracks as “Break Out the Champagne.” “It’s all true!” says the resilient Shires. The near-plane crash over Newfoundland, her BFF Kelly’s fears about our apocalyptic times, another friend’s heavy breakup.

To The Sunset, says Shires, “is meant to be a positive thing. Acknowledging your past, and at sunset, your hope for a new day. ‘To The Sunset’ sounds like a toast: This day is over, we don’t know what’s in the future, but it’s hopeful, I think.” Shires has drawn from her own past on To The Sunset – and pointed the way to her future. She has set the bar high – sonically and lyrically – and she’s jumped over it

 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200115T205459Z X-ACCESS:1 X-HITS:3576 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200306T210000 DTEND;TZID=America/Denver:20200306T233000 UID:3410F25D-4633-4409-9E02-189D7C14FB4D SUMMARY:Yarn and Mike Dillon Band DTSTAMP:20200103T192403Z DESCRIPTION:Yarn\NFacebook | Instagram | Twitter | Youtube\NYou might expect a band that calls itself Yarn to, naturally, tend to spin a yarn or two. “that’s what we do, we tell stories, live and in the studio, truth, and fiction” singer/songwriter Blake Christiana insists. “We don’t always opt for consistency. There’s a different vibe onstage from what comes through in our recordings. There’s a difference in every show as well, you never know what you’re going to get.”\NIt was with that in mind that Yarn released a series of singles that were digitally released on the 13th of every month beginning in January 2018 and continuing throughout the year. Each “single” included an “Aside”, a “B side” and an exclusive alternate version of one of the songs. Naturally, there’s no better name for the project than “Lucky 13.” 24 of those tracks are now available on the albums, Lucky 13 Vol. 1 and Lucky 13 Vol. 2, just released on June 13, 2019.\N“These are essentially road stories,” Christiana says. “There’s an overriding theme that links these songs in a very broad sort of way, but again, the stories are not to be taken literally. The intention was to share the feeling of what it’s like to spend time traveling from city to city, with all the unlikely experiences that can be encountered along the way.\N“People always ask us to tell them road stories,” singer-guitarist Rod Hohl adds. “While this batch of songs aren’t exactly literal road stories, most deal with some degree of adventure and adversity as inspired by our tours and treks around the country. Yet like any good story, there’s an imaginative element to it as well. That’s why we’ve decided to release alternate versions of some of the tracks, to provide a glance at the oddities that exist just beyond sight...”\NThe titles of these tracks summarize the stories at a glance. Hohl describes “Sioux City,” “Road Less Traveled” and “Hurricane” as adventure stories as seen from the perspective of the road. “Too Young” re-imagines that road as an analogy, the highway of life. “Weary,” as the title implies, describes the toll taken by that seemingly endless journey. However, there’s also hope on the horizon; “Heaven in You” suggests that there is an oasis out there somewhere. “Promised Land” and “American Dream” offer a reason why one might choose to embark upon that sojourn in the first place.\NYarn has never been content to simply ride a wave and see where it takes them. Their last album, This Is the Year, was celebratory in tone and boldly optimistic. A seamless blend of vibrant, inspired, back porch melodies and narrative, descriptive lyrics, it detailed the challenges one faces when life is jolted off its bearings and, in re-evaluating relationships, tough choices must be made that sometimes skirting the rules. It was recorded in the aftermath of real-life challenges that left the band splintered and unsure of their forward trajectory.\N“We were dealing with real-life issues,” Christiana said at the time. “Broken relationships, a sense of having to regroup and put some things -- and people -- behind us. That’s what I was writing about lyrically in the new songs and it became a kind of a catharsis. Nothing was contrived. We didn’t have to relate to it in the third person. We were living these circumstances, and that gave us the impetus and inspiration to share our sentiments. Ultimately those setbacks and difficulties led to new opportunities and allowed a little light to shine through.”\NYarn’s ability to persevere ought to come as no great surprise, especially for a band that spent two years honing their chops during a Monday night residency at the famed Kenny’s Castaway in New York’s Greenwich Village. In effect, it allowed them to rehearse onstage, mostly in front of audiences that often ranged in size from five to a hundred people on any given night. Five studio albums followed -- Yarn (2007), Empty Pockets (2008), Come On In (2010), Almost Home (2012) and Shine the Light On (2013). The band then took to the road, playing upwards of 170 shows a year and sharing stages with such superstars as Dwight Yoakam, Charlie Daniels, Marty Stuart, Allison Krauss, Leon Russell, Jim Lauderdale, and The Lumineers. They performed at any number of prestigious venues -- Mountain Stage, Daytrotter, the Orange Peel in Asheville, the Fox Theater in Boulder, the 9:30 Club in D.C, South by Southwest, the Strawberry Festival, Rhythm and Roots, Meadowgrass, Floydfest and more, eventually surpassing 1,000 shows, half a million miles and performances in nearly every state. They’ve driven nonstop, made countless radio station appearances, driven broken-down RVs and watched as their van caught fire. They’ve paid their dues and then some, looking forward even as they were forced to glance behind.\NIndeed, the accolades piled up quickly along the way. They have landed on the Grammy ballot 4 times, garnered nods from the Americana Music Association, placed top five onboth Radio and Records and the AMA album charts, garnered airplay on Sirius FM, iTunes, Pandora, CNN, and CMT, and also accorded the “Download of the Day” from Rolling Stone. Shine the Light On found shared songwriting credits with John Oates (the Oates of Hall & Oates fame), and when audiences expressed their admiration, it brought the band a populist following of diehard devotees, popularly known as “the Yarmy.”\NAs odd as that might seem, it’s proof positive that the Brooklyn and Raleigh based band -- which is currently comprised of Blake Christiana, Rod Hohl, bassist Rick Bugel, and drummer Robert Bonhomme -- have made their mark, and in dealing with their emotions, scars, and circumstances, they find themselves in a position to share those experiences with others who have juggled similar sentiments.\NThen again, one needn’t take them at their word. When one unravels Yarn, it’s best to add one’s own interpretations.\NMike Dillon Band\NFacebook | Twitter | Youtube \NHow many artists have been praised a “punk rock provocateur,” “jazz vibraphone visionary,” and “percussion virtuoso” in the same sentence? There’s only one: Mike Dillon. Whether through his affiliation with artists like Les Claypool, Primus, Rickie Lee Jones, Dean Ween Group and Ani Difranco, and collaborations such as Nolatet, Garage a Trois, The Dead Kenny G's, Critters Buggin or bands he has led, including Mike Dillon Band, Mike Dillon's New Orleans Punk Rock Percussion Consortium, Billy Goat and Hairy Apes BMX, the Texas-native has set his own standard for 25 years now.\NOver the past decade, Mike Dillon has released a number of acclaimed albums, intertwining a range of influences from Zappa-esque eccentricity to Fishbone punk funk, D.C. Go-Go to Milt Jackson-influenced vibraphone majesty. Never before, however, has he recorded music so personal and committed to a sustained mood as his latest album, Functioning Broke. The recording finds Dillon solo on vibraphone and various percussion, building each track into its own minimalist, but multi-dimensional auditory landscape.\NThe current version of the Mike Dillon Band features guitarist Cliff Hines, Bassist Nathan Lambertson and a rotating cast of drummers including Claude Coleman Jr. (Ween), Simon Lott, G. Maxwell, Doug Belote and Paul Thibodeaux. With this line up, Dillon has continued exploring the connection between New Orleans street beats, Ska, funk, Hardcore and jazz. The band will release a new record in February 2017 titled, “Life is not a Football." Produced in New Orleans by Richard Maloney and Dillon with engineers Rick Nelson and Robert Mercurio, this album sounds like a Spotted Cat trad band that grew up playing Dead Kennedys and invited Captain Beefheart over for a dinner cooked by Thelonious Monk. The Mike Dillon Band has supported acts like Galactic, The Revivalists, Clutch, Primus, and Fishbone, while continuing to play music festivals and in cities across the U.S.\NIn 2016, the Gambit's Big Easy Awards named Mike Dillon "Performer of the Year" and the Mike Dillon Band "Best Punk/Metal Band" in New Orleans. Living in New Orleans for over 10 years now, when not on the road with Rickie Lee Jones, Nolatet, or the Mike Dillon Band, Mike resides in the Musician's Village.\NMike's latest release, Life Is Not A Football, released April, 2017 (Royal Potato Family) is "A recording with the Big Easy coursing through its veins and equal parts Frank Zappa and The Butthole Surfers in its DNA. Life Is Not A Football, is a no-holds-barred affair, complete with rallying cries for justice, truth-to-power political and existential rants and plenty of inside jokes. X-ALT-DESC;FMTTYPE=text/html:

Yarn

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You might expect a band that calls itself Yarn to, naturally, tend to spin a yarn or two. “that’s what we do, we tell stories, live and in the studio, truth, and fiction” singer/songwriter Blake Christiana insists. “We don’t always opt for consistency. There’s a different vibe onstage from what comes through in our recordings. There’s a difference in every show as well, you never know what you’re going to get.”

It was with that in mind that Yarn released a series of singles that were digitally released on the 13th of every month beginning in January 2018 and continuing throughout the year. Each “single” included an “Aside”, a “B side” and an exclusive alternate version of one of the songs. Naturally, there’s no better name for the project than “Lucky 13.” 24 of those tracks are now available on the albums, Lucky 13 Vol. 1 and Lucky 13 Vol. 2, just released on June 13, 2019.

“These are essentially road stories,” Christiana says. “There’s an overriding theme that links these songs in a very broad sort of way, but again, the stories are not to be taken literally. The intention was to share the feeling of what it’s like to spend time traveling from city to city, with all the unlikely experiences that can be encountered along the way.

“People always ask us to tell them road stories,” singer-guitarist Rod Hohl adds. “While this batch of songs aren’t exactly literal road stories, most deal with some degree of adventure and adversity as inspired by our tours and treks around the country. Yet like any good story, there’s an imaginative element to it as well. That’s why we’ve decided to release alternate versions of some of the tracks, to provide a glance at the oddities that exist just beyond sight...”

The titles of these tracks summarize the stories at a glance. Hohl describes “Sioux City,” “Road Less Traveled” and “Hurricane” as adventure stories as seen from the perspective of the road. “Too Young” re-imagines that road as an analogy, the highway of life. “Weary,” as the title implies, describes the toll taken by that seemingly endless journey. However, there’s also hope on the horizon; “Heaven in You” suggests that there is an oasis out there somewhere. “Promised Land” and “American Dream” offer a reason why one might choose to embark upon that sojourn in the first place.

Yarn has never been content to simply ride a wave and see where it takes them. Their last album, This Is the Year, was celebratory in tone and boldly optimistic. A seamless blend of vibrant, inspired, back porch melodies and narrative, descriptive lyrics, it detailed the challenges one faces when life is jolted off its bearings and, in re-evaluating relationships, tough choices must be made that sometimes skirting the rules. It was recorded in the aftermath of real-life challenges that left the band splintered and unsure of their forward trajectory.

“We were dealing with real-life issues,” Christiana said at the time. “Broken relationships, a sense of having to regroup and put some things -- and people -- behind us. That’s what I was writing about lyrically in the new songs and it became a kind of a catharsis. Nothing was contrived. We didn’t have to relate to it in the third person. We were living these circumstances, and that gave us the impetus and inspiration to share our sentiments. Ultimately those setbacks and difficulties led to new opportunities and allowed a little light to shine through.”

Yarn’s ability to persevere ought to come as no great surprise, especially for a band that spent two years honing their chops during a Monday night residency at the famed Kenny’s Castaway in New York’s Greenwich Village. In effect, it allowed them to rehearse onstage, mostly in front of audiences that often ranged in size from five to a hundred people on any given night. Five studio albums followed -- Yarn (2007), Empty Pockets (2008), Come On In (2010), Almost Home (2012) and Shine the Light On (2013). The band then took to the road, playing upwards of 170 shows a year and sharing stages with such superstars as Dwight Yoakam, Charlie Daniels, Marty Stuart, Allison Krauss, Leon Russell, Jim Lauderdale, and The Lumineers. They performed at any number of prestigious venues -- Mountain Stage, Daytrotter, the Orange Peel in Asheville, the Fox Theater in Boulder, the 9:30 Club in D.C, South by Southwest, the Strawberry Festival, Rhythm and Roots, Meadowgrass, Floydfest and more, eventually surpassing 1,000 shows, half a million miles and performances in nearly every state. They’ve driven nonstop, made countless radio station appearances, driven broken-down RVs and watched as their van caught fire. They’ve paid their dues and then some, looking forward even as they were forced to glance behind.

Indeed, the accolades piled up quickly along the way. They have landed on the Grammy ballot 4 times, garnered nods from the Americana Music Association, placed top five on
both Radio and Records and the AMA album charts, garnered airplay on Sirius FM, iTunes, Pandora, CNN, and CMT, and also accorded the “Download of the Day” from Rolling Stone. Shine the Light On found shared songwriting credits with John Oates (the Oates of Hall & Oates fame), and when audiences expressed their admiration, it brought the band a populist following of diehard devotees, popularly known as “the Yarmy.”

As odd as that might seem, it’s proof positive that the Brooklyn and Raleigh based band -- which is currently comprised of Blake Christiana, Rod Hohl, bassist Rick Bugel, and drummer Robert Bonhomme -- have made their mark, and in dealing with their emotions, scars, and circumstances, they find themselves in a position to share those experiences with others who have juggled similar sentiments.

Then again, one needn’t take them at their word. When one unravels Yarn, it’s best to add one’s own interpretations.

Mike Dillon Band

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How many artists have been praised a “punk rock provocateur,” “jazz vibraphone visionary,” and “percussion virtuoso” in the same sentence? There’s only one: Mike Dillon. Whether through his affiliation with artists like Les Claypool, Primus, Rickie Lee Jones, Dean Ween Group and Ani Difranco, and collaborations such as Nolatet, Garage a Trois, The Dead Kenny G's, Critters Buggin or bands he has led, including Mike Dillon Band, Mike Dillon's New Orleans Punk Rock Percussion Consortium, Billy Goat and Hairy Apes BMX, the Texas-native has set his own standard for 25 years now.

Over the past decade, Mike Dillon has released a number of acclaimed albums, intertwining a range of influences from Zappa-esque eccentricity to Fishbone punk funk, D.C. Go-Go to Milt Jackson-influenced vibraphone majesty. Never before, however, has he recorded music so personal and committed to a sustained mood as his latest album, Functioning Broke. The recording finds Dillon solo on vibraphone and various percussion, building each track into its own minimalist, but multi-dimensional auditory landscape.

The current version of the Mike Dillon Band features guitarist Cliff Hines, Bassist Nathan Lambertson and a rotating cast of drummers including Claude Coleman Jr. (Ween), Simon Lott, G. Maxwell, Doug Belote and Paul Thibodeaux. With this line up, Dillon has continued exploring the connection between New Orleans street beats, Ska, funk, Hardcore and jazz. The band will release a new record in February 2017 titled, “Life is not a Football." Produced in New Orleans by Richard Maloney and Dillon with engineers Rick Nelson and Robert Mercurio, this album sounds like a Spotted Cat trad band that grew up playing Dead Kennedys and invited Captain Beefheart over for a dinner cooked by Thelonious Monk. The Mike Dillon Band has supported acts like Galactic, The Revivalists, Clutch, Primus, and Fishbone, while continuing to play music festivals and in cities across the U.S.

In 2016, the Gambit's Big Easy Awards named Mike Dillon "Performer of the Year" and the Mike Dillon Band "Best Punk/Metal Band" in New Orleans. Living in New Orleans for over 10 years now, when not on the road with Rickie Lee Jones, Nolatet, or the Mike Dillon Band, Mike resides in the Musician's Village.

Mike's latest release, Life Is Not A Football, released April, 2017 (Royal Potato Family) is "A recording with the Big Easy coursing through its veins and equal parts Frank Zappa and The Butthole Surfers in its DNA. Life Is Not A Football, is a no-holds-barred affair, complete with rallying cries for justice, truth-to-power political and existential rants and plenty of inside jokes.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200227T182652Z X-ACCESS:1 X-HITS:2261 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200313T190000 DTEND;TZID=America/Denver:20200313T233000 UID:3CEF9125-9508-4505-8B0D-9B5F17BA6462 SUMMARY:PechaKucha Night DTSTAMP:20200218T220712Z DESCRIPTION:Let's get to the point, 20 slides X 20 seconds each. That's the format for the PechaKucha Night, a presentation style that is open, spontaneous, fun and informal. Women In Architecture celebrates Women's Month by curating an annual PechaKucha Night. We have a great line up of inspiring local women so far!\NTo our women licensing candidates:Please note, with the support of our generous sponsors we will be giving away FOUR exam fees through our NCARB Lottery that night! Must be present to apply. X-ALT-DESC;FMTTYPE=text/html:

Let's get to the point, 20 slides X 20 seconds each. That's the format for the PechaKucha Night, a presentation style that is open, spontaneous, fun and informal. Women In Architecture celebrates Women's Month by curating an annual PechaKucha Night. We have a great line up of inspiring local women so far!

To our women licensing candidates:
Please note, with the support of our generous sponsors we will be giving away FOUR exam fees through our NCARB Lottery that night! Must be present to apply.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T015428Z X-ACCESS:1 X-HITS:1256 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200315T200000 DTEND;TZID=America/Denver:20200315T233000 UID:5A750590-9C84-444F-BB1C-42297080070B SUMMARY:Jason Boland & The Stragglers DTSTAMP:20200106T230358Z DESCRIPTION:THIS SHOW HAS BEEN CANCELED. ALL TICKETS WILL BE REFUNDED.\N----\NMusic is having a moment. Listeners are crying out for something true––some meaty songs that’ll give us some comfort, even as they cut closer to the bone.\NEveryone is finally ready for the gritty, thundering country Jason Boland and the Stragglers have sharpened over almost 20+ years’ worth of selling out roomy venues and commanding stages across the nation.\N“We’re just trying to make something that we’re proud of,” lead songwriter and vocalist Boland says. “If any more people want to take notice of it, they’re welcome.”\NSince coming together in Stillwater, Oklahoma, Boland and his tight knit crew have sold more than half a million albums independently and earned a devoted following that’s swelled far beyond the band’s red dirt roots. At a Stragglers show, oil patch roughnecks, hippies, college kids, and intelligentsia all sway side-by-side like a traveling reincarnation of Austin’s Armadillo World Headquarters in its cosmic cowboy, Willie Nelson heyday.\NWhile the Stragglers draw from rock and folk, make no mistake: they traffic in unfiltered, unfettered honky-tonk, raw and lean.\NFor 2020, the band is celebrating the 20th Anniversary of their debut album Pearl Snaps with a nationwide tour where the band will play the record front to back along with favorites from their extensive catalog. The legendary record was recorded with famed producer Lloyd Maines and behind the success of songs like “Pearl Snaps” “Somewhere Down in Texas” “Proud Souls” and others it quickly became a beloved classic and still continues to be named as a major influence for many of the top artists coming out of the Texas/Oklahoma country music scene.\Nwww.thestragglers.com X-ALT-DESC;FMTTYPE=text/html:

THIS SHOW HAS BEEN CANCELED. ALL TICKETS WILL BE REFUNDED.

----

Music is having a moment. Listeners are crying out for something true––some meaty songs that’ll give us some comfort, even as they cut closer to the bone.

Everyone is finally ready for the gritty, thundering country Jason Boland and the Stragglers have sharpened over almost 20+ years’ worth of selling out roomy venues and commanding stages across the nation.

“We’re just trying to make something that we’re proud of,” lead songwriter and vocalist Boland says. “If any more people want to take notice of it, they’re welcome.”

Since coming together in Stillwater, Oklahoma, Boland and his tight knit crew have sold more than half a million albums independently and earned a devoted following that’s swelled far beyond the band’s red dirt roots. At a Stragglers show, oil patch roughnecks, hippies, college kids, and intelligentsia all sway side-by-side like a traveling reincarnation of Austin’s Armadillo World Headquarters in its cosmic cowboy, Willie Nelson heyday.

While the Stragglers draw from rock and folk, make no mistake: they traffic in unfiltered, unfettered honky-tonk, raw and lean.

For 2020, the band is celebrating the 20th Anniversary of their debut album Pearl Snaps with a nationwide tour where the band will play the record front to back along with favorites from their extensive catalog. The legendary record was recorded with famed producer Lloyd Maines and behind the success of songs like “Pearl Snaps” “Somewhere Down in Texas” “Proud Souls” and others it quickly became a beloved classic and still continues to be named as a major influence for many of the top artists coming out of the Texas/Oklahoma country music scene.

www.thestragglers.com

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T015531Z X-ACCESS:1 X-HITS:2068 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200318T200000 DTEND;TZID=America/Denver:20200318T233000 UID:09821C7C-63C1-4E8D-BD10-B3DCFF65097B SUMMARY:Futurebirds DTSTAMP:20200120T201451Z DESCRIPTION:The music is a patchwork amalgam of influences, including: twangy Southern rock (they've opened for the Drive-By Truckers), reverb-soaked psychedelia reminiscent of early My Morning Jacket or fellow Athens residents Phosphorescent, soaring guitar solos à la Neil Young and Crazy Horse, rhythmic jangle from that other Athens band, REM, multi-part vocal harmonies (which every band ought to have, dammit), and, weaving through it all, lyrical slide guitar. X-ALT-DESC;FMTTYPE=text/html:

The music is a patchwork amalgam of influences, including: twangy Southern rock (they've opened for the Drive-By Truckers), reverb-soaked psychedelia reminiscent of early My Morning Jacket or fellow Athens residents Phosphorescent, soaring guitar solos à la Neil Young and Crazy Horse, rhythmic jangle from that other Athens band, REM, multi-part vocal harmonies (which every band ought to have, dammit), and, weaving through it all, lyrical slide guitar.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200416T200149Z X-ACCESS:1 X-HITS:2143 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200319T200000 DTEND;TZID=America/Denver:20200319T233000 UID:E4B4C26E-7F72-4615-81D5-C78535AB6581 SUMMARY:Ana Popovic DTSTAMP:20191024T201853Z DESCRIPTION:The award-winning, hard-touring, guitar slinger and singer Ana Popovic is back on the road promoting her new album ‘Like It On Top’, that focuses on empowered, successful, inspiring female role models.\NLike It On Top opened #2 at the iTunes most downloaded US blues albums. The album peaked at #2 of the Billboard Top Selling blues albums chart.Recorded in Nashville, TN and produced by four-time Grammy winner Keb’ Mo’, the blues influenced album features guest appearances from Kenny Wayne Shepherd, Robben Ford and Keb’ Mo’.\NA trending theme in today’s world is women overcoming obstacles and breaking through the glass ceilings to reach the top. Like It On Top celebrates those that take initiative, develop, inspire and motivate. But it also credits the men who are motivated and enlightened enough to support women in their quest to be their best versions of themselves.\N“I hope that my music inspires others to motivate ladies all over the world to be successful, energetic, empowered women on a mission, and to motivate men to give them that chance,” Popovic says. “The majority of women need to work harder than men to prove themselves or need to cope with a feeling of constant pressure to never make a mistake and be perfect. I believe that women no longer only have the right to earn a living and to take care of themselves and their families. The time has come to step it up. Becoming the outstanding leaders of tomorrow. Corner-office ladies in business, politics, and the electric guitar!”\NMoving westAna has been moving west all her life. She fell in love with American blues as a kid, starting back home in Belgrade, Serbia (ex-Yugoslavia), then moved to the Netherlands to study at the conservatory of jazz and world-music. She lived in Amsterdam for over ten years, and then in a single-minded pursuit of her art and career, she relocated to Memphis, TN to record and work with Southern musicians. Finally, two years ago, she moved her family to Los Angeles, California where she now lives.\NCalled “one helluva a guitar-player” by Bruce Springsteen and nominated for six Blues Music Awards, Ana has appeared on the covers of Vintage Guitar and Guitar Player magazine. Her albums ‘Can You Stand The Heat’ and ‘Unconditional’ were USA Today Picks-Of-The-Week and featured on NPR Weekend Edition, who praised her “Fiery technique on the Stratocaster”. Nearly all of Ana’s albums reached the top of the Billboard Blues Charts. She and her six-piece band have toured tirelessly, sharing stages with B.B. King, Buddy Guy, Jeff Beck, Joe Bonamassa and many others. X-ALT-DESC;FMTTYPE=text/html:

The award-winning, hard-touring, guitar slinger and singer Ana Popovic is back on the road promoting her new album ‘Like It On Top’, that focuses on empowered, successful, inspiring female role models.

Like It On Top opened #2 at the iTunes most downloaded US blues albums. The album peaked at #2 of the Billboard Top Selling blues albums chart.
Recorded in Nashville, TN and produced by four-time Grammy winner Keb’ Mo’, the blues influenced album features guest appearances from Kenny Wayne Shepherd, Robben Ford and Keb’ Mo’.

A trending theme in today’s world is women overcoming obstacles and breaking through the glass ceilings to reach the top. Like It On Top celebrates those that take initiative, develop, inspire and motivate. But it also credits the men who are motivated and enlightened enough to support women in their quest to be their best versions of themselves.

“I hope that my music inspires others to motivate ladies all over the world to be successful, energetic, empowered women on a mission, and to motivate men to give them that chance,” Popovic says. “The majority of women need to work harder than men to prove themselves or need to cope with a feeling of constant pressure to never make a mistake and be perfect. I believe that women no longer only have the right to earn a living and to take care of themselves and their families. The time has come to step it up. Becoming the outstanding leaders of tomorrow. Corner-office ladies in business, politics, and the electric guitar!”

Moving west
Ana has been moving west all her life. She fell in love with American blues as a kid, starting back home in Belgrade, Serbia (ex-Yugoslavia), then moved to the Netherlands to study at the conservatory of jazz and world-music. She lived in Amsterdam for over ten years, and then in a single-minded pursuit of her art and career, she relocated to Memphis, TN to record and work with Southern musicians. Finally, two years ago, she moved her family to Los Angeles, California where she now lives.

Called “one helluva a guitar-player” by Bruce Springsteen and nominated for six Blues Music Awards, Ana has appeared on the covers of Vintage Guitar and Guitar Player magazine. Her albums ‘Can You Stand The Heat’ and ‘Unconditional’ were USA Today Picks-Of-The-Week and featured on NPR Weekend Edition, who praised her “Fiery technique on the Stratocaster”. Nearly all of Ana’s albums reached the top of the Billboard Blues Charts. She and her six-piece band have toured tirelessly, sharing stages with B.B. King, Buddy Guy, Jeff Beck, Joe Bonamassa and many others.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T015645Z X-ACCESS:1 X-HITS:2995 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200320T200000 DTEND;TZID=America/Denver:20200320T233000 UID:30FC5764-FC34-44DC-B642-2F2437D4B0A8 SUMMARY:Avi Kaplan DTSTAMP:20191104T181802Z DESCRIPTION:Avi Kaplan lives deep in the forest near the Tennessee run of the ancient Natchez Trace trail. His rural cabin is worlds away from Los Angeles, his hub for six years as he toured the world with Pentatonix. Now, surrounded by farms and forests just a stone’s throw from Nashville, the kid who grew up listening to folk music among the California Sequoias is content. “I’m finally writing the music that is in my heart,” Avi says. “It’s actually the music I’ve always written. I’ve just never had a chance to show people.”\NIn 2017, Avi stepped away from creating after years of rushing from stadium to stadium at a frenzied pace––an experience he calls “beautiful,” but one that also left him physically and artistically depleted. Since returning to music on his own terms, the songs have poured out of him, ready for foot-stomping music halls and serious listening rooms alike. He has also liberated his vocals, once so famously known as the perfect power-bass, to reveal a nuanced voice, rich, tender and abounding. Surrounded by forest and newfound artistic clarity, the result has yielded dozens and dozens of new songs. Reveling in the simplicity, “I get on my porch with my guitar, look at my trees, and write a song,” he says.\NThe songs Avi has always written and continues to write are timeless, earthy, and raw––roots music in its purest form. Avi attributes his deep connection to folk music and its authenticity to the natural environment he was surrounded by growing up. Raised just 40 minutes from Sequoia National Park, in the golden rolling hills of central California, “that music always felt right with what I was seeing,” the 29-year-old says. Avi has taken his time, and his future is wide open because of it. As he has rediscovered his own musical roots and delved deeper into the folk he’s always loved––exploring a range of sounds from soul to bluegrass––he has reconnected with himself and found yet another way to connect beautifully with others. “I am so grateful I get to do this.” Avi says. “I’m truly excited for the future.” X-ALT-DESC;FMTTYPE=text/html:

Avi Kaplan lives deep in the forest near the Tennessee run of the ancient Natchez Trace trail. His rural cabin is worlds away from Los Angeles, his hub for six years as he toured the world with Pentatonix. Now, surrounded by farms and forests just a stone’s throw from Nashville, the kid who grew up listening to folk music among the California Sequoias is content. “I’m finally writing the music that is in my heart,” Avi says. “It’s actually the music I’ve always written. I’ve just never had a chance to show people.”

In 2017, Avi stepped away from creating after years of rushing from stadium to stadium at a frenzied pace––an experience he calls “beautiful,” but one that also left him physically and artistically depleted. Since returning to music on his own terms, the songs have poured out of him, ready for foot-stomping music halls and serious listening rooms alike. He has also liberated his vocals, once so famously known as the perfect power-bass, to reveal a nuanced voice, rich, tender and abounding. Surrounded by forest and newfound artistic clarity, the result has yielded dozens and dozens of new songs. Reveling in the simplicity, “I get on my porch with my guitar, look at my trees, and write a song,” he says.

The songs Avi has always written and continues to write are timeless, earthy, and raw––roots music in its purest form. Avi attributes his deep connection to folk music and its authenticity to the natural environment he was surrounded by growing up. Raised just 40 minutes from Sequoia National Park, in the golden rolling hills of central California, “that music always felt right with what I was seeing,” the 29-year-old says.

Avi has taken his time, and his future is wide open because of it. As he has rediscovered his own musical roots and delved deeper into the folk he’s always loved––exploring a range of sounds from soul to bluegrass––he has reconnected with himself and found yet another way to connect beautifully with others. “I am so grateful I get to do this.” Avi says. “I’m truly excited for the future.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T015714Z X-ACCESS:1 X-HITS:2407 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200321T210000 DTEND;TZID=America/Denver:20200321T233000 UID:2FC0045E-C829-4E4A-BD76-DFC4F21F3BEC SUMMARY:Dead Floyd DTSTAMP:20200114T203023Z DESCRIPTION:Dancing Bears?Flying Pigs?Who is Dead Floyd and why do they keep following me around?\NDead Floyd is a celebration of the music of two of rock and roll’s greatest bands, The Grateful Dead and Pink Floyd, mashed together into one high-energy, unpredictable show. Drawing from both extensive catalogs of music, the Dead Floyd performances include early rarities to modern classics and everything in between. The love of the music of both bands inspires Dead Floyd to uniquely interpret the songs in a way that allows the music to timelessly live on and the legacy of both bands to stay alive to the next generation of fans. The excitement, creativity, and improvisation that went into both bands live shows of so many years is brought back for old and new fans to enjoy today.\NBecause the number of songs available from both bands is so large, the question that is heard at every Dead Floyd show is “What will they play next?” The unpredictability of the set list and the modern translation of classic, beloved songs bring an element of surprise to every Dead Floyd show. That is what has kept fans captivated and why their legacy as a tribute band continues to grow.\NDead Floyd is based out of Fort Collins, Colorado and, since forming in summer 2009, they have performed at renowned venues such as The Fox Theater, Aggie Theatre, Boulder Theater, Mishawaka Amphitheatre, Belly Up Aspen, and more. In addition, the band has been consistently voted one of the top tribute bands in Colorado.\NDead FloydThe members of the band draw on their roots in jazz, funk, and rock to bring a high level of musicianship to the music and close attention to detail. The band is made up of Charlie Humphreys (guitar, vocals), Josh Miller (bass, vocals), Stu Crair (drums, vocals), and Matt Goldberg (keys, synth). This group of players has combined to perform over 1000 shows across the country in various original projects including The Grippe, Musketeer Gripweed, Hot Gazpacho, The Maji, Wooleye, Holy Moses and the High Rollers, Orooni, and many more.\NThe audience response to Dead Floyd has been overwhelming for everyone involved and the fans’ love of the music pushes this project to new heights. Come to the next show and find out why… X-ALT-DESC;FMTTYPE=text/html:

Dancing Bears?
Flying Pigs?
Who is Dead Floyd and why do they keep following me around?

Dead Floyd is a celebration of the music of two of rock and roll’s greatest bands, The Grateful Dead and Pink Floyd, mashed together into one high-energy, unpredictable show. Drawing from both extensive catalogs of music, the Dead Floyd performances include early rarities to modern classics and everything in between. The love of the music of both bands inspires Dead Floyd to uniquely interpret the songs in a way that allows the music to timelessly live on and the legacy of both bands to stay alive to the next generation of fans. The excitement, creativity, and improvisation that went into both bands live shows of so many years is brought back for old and new fans to enjoy today.

Because the number of songs available from both bands is so large, the question that is heard at every Dead Floyd show is “What will they play next?” The unpredictability of the set list and the modern translation of classic, beloved songs bring an element of surprise to every Dead Floyd show. That is what has kept fans captivated and why their legacy as a tribute band continues to grow.

Dead Floyd is based out of Fort Collins, Colorado and, since forming in summer 2009, they have performed at renowned venues such as The Fox Theater, Aggie Theatre, Boulder Theater, Mishawaka Amphitheatre, Belly Up Aspen, and more. In addition, the band has been consistently voted one of the top tribute bands in Colorado.

Dead FloydThe members of the band draw on their roots in jazz, funk, and rock to bring a high level of musicianship to the music and close attention to detail. The band is made up of Charlie Humphreys (guitar, vocals), Josh Miller (bass, vocals), Stu Crair (drums, vocals), and Matt Goldberg (keys, synth). This group of players has combined to perform over 1000 shows across the country in various original projects including The Grippe, Musketeer Gripweed, Hot Gazpacho, The Maji, Wooleye, Holy Moses and the High Rollers, Orooni, and many more.

The audience response to Dead Floyd has been overwhelming for everyone involved and the fans’ love of the music pushes this project to new heights. Come to the next show and find out why…

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T015738Z X-ACCESS:1 X-HITS:2050 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200323T200000 DTEND;TZID=America/Denver:20200323T233000 UID:273DB01C-A0F2-44BF-A0B1-C11C43CB6C6C SUMMARY:ORGONE DTSTAMP:20200203T173714Z DESCRIPTION:“After two and a half years on the road, we needed to shut away the rest of the world,” recalls Sergio Rios, guitarist and engineer of Los Angeles-based band ORGŌNE. For their tenth* studio album, ORGŌNE retreated to the tranquil solitude of Joshua Tree in southern California. Ensconced in a ranch home with a recording studio for a week in November 2015, the band improvised late into the desert night, carving out tunes that would eventually become the bulk of the material on Reasons (self-released, due out January 18, 2019). The nine-song collection illuminates a band hitting its stride, capturing the raw power and refined sensibilities that defines ORGŌNE.\NFor nearly twenty years ORGŌNE (a universal life force, pronounced or-gōne) has churned out gritty funk and soul recordings and toured relentlessly across the United States and Europe. Traditionally both the studio and live iterations of the band drew on a tight-knit collective of the West Coast’s finest funk and soul musicians—although founding members Sergio Rios (guitar/engineer) and Dan Hastie (keyboards) have been constant anchors. However, since late 2013, Rios and Hastie have been joined by Dale Jennings (bass), Sam Halterman (drums), and singer/lyricist Adryon de León to form a permanent nucleus.\NEstablishing a solid core of musicians was instrumental in creating such a cohesive, tight LP. “It allowed us to develop trust and be vulnerable with each other,” says de León. From the a cappella opening of “All Good Things” to the dance floor filler “Easy Love,” Reasons packs a punch. It’s as if the listener is transported back to those sessions in Joshua Tree, staying up late and jamming with the band. As a producer, Rios shines: “I’ve learned to stop being so precious about every little detail. It’s just art. Sketch your picture and move on.”\NThat immediacy, a sense of capturing moments, saturates Reasons. Take the second cut, “Hands.” Rios’ rhythmic guitar figure kicks the tune off, perfectly syncing up with Halterman’s solid boogie beat, dense percussion, and Jennings’ fuzzed-out bass line. The verse brings down the dynamics (tom fills replace that driving beat), but de León’s urgent plea for “less talk, more action” keeps the energy high. The massive chorus drops in after sixteen simmering measures and is pure joy. Hastie’s edgy synth line perfectly complements de León’s straightforward command: “Let your hands do the work.” ORGŌNE manages to start the party and fill the dance floor, but they also dim the lights in an undeniably sexy bridge. At first, de León launches into the vocal stratosphere before coming back to Earth with delicate harmonies as the band channels late 70s Fleetwood Mac. A few half note hits later and we’re back into the glory of the chorus. In just over four minutes ORGŌNE seamlessly channels disco, boogie funk, and smooth 70s California rock.\NTrusting one another allowed the band to stretch beyond their traditional influences and summon a completely different set of musical heroes. Starting in the mid 1990s* ORGŌNE cut their teeth on instrumental pioneers from the late 60s and early 70s like The Meters and Cymande. Alternatively, Reasons looks toward the late 70s and early 80s for its sonic palette. Hastie’s synth lines evoke Bernie Worrell in the Talking Heads and the rest of the rhythm section lays down a foundation built from the likes of Prince, afro-disco icon Kiki Gyan, The Cars, and more. “It was a conscious choice to have a cohesive tone across the whole album instead of drawing from all types of eras,” Rios says. “It’s almost an interpretation of a memory of the music we all first heard when we were kids.”\NDespite the new set of influences, ORGŌNE’s classic analog sound permeates Reasons. The writing sessions in Joshua Tree kickstarted the project but recording at their home base in North Hollywood, Killion Sound, was always the plan. Back in LA, the rhythm section members laid down bass, drums, guitar, and keys to ¼” tape on their famed Tascam 388, providing a thick sonic foundation unequaled on any soul or funk records released today. De León used these raw demos to develop vocal ideas in her car while stuck in notorious LA traffic. In the past ORGŌNE relied heavily on outside collaborators for vocal and lyrical input, but on Reasons De León takes over that role comfortably. While relying on themselves to produce Reasons made the process take longer, it also provided more artistic freedom. The results were clearly worth the wait.\NDe León is front and center on Reasons, and she does not disappoint. Whether she’s evoking the deep soulfulness of Chaka Khan on “Hands” or the bedroom sweetness of Minnie Ripperton on “Whisper to Me,” de León’s versatile vocal performance firmly places her in the top echelon of soul singers today. The lyrics on Reasons—pulled from a dark brown leather journal de León has had for years—focus on relationships, self love, and politics. Musing on the 2016 election, de León searches for meaning and power within herself despite the troubled times:\NWe got fooled by the masterpieceWe’re part of his masteryI’m blind but I’m seeing thingsLooking for the light in me\NReasons is another solid step in a long and storied career. ORGŌNE’s accolades are too long to list in entirety. ORGŌNE’s live show captivates audiences and packs dance floors—whether it’s on sold out headlining tours; sharing the stage with The Roots, Al Green, Sharon Jones & the Dap-Kings, and Galactic; or appearances at fests like Bonnaroo, New Orleans Jazz Fest, High Sierra, Bear Creek, and Jam Cruise. The well-traveled band has released albums on Ubiquity, Shanachie, and Colemine Records and served as the studio band on hits like Alicia Keys’ “Teenage Love Affair” and Cee Lo Green’s Grammy-winning “Fool For You.” Critics like NPR and Jambase don’t shy away from heaping praise on a group with “irresistible funkiness and ability to transcend genre” (LA Weekly).\NAfter so many years together, the reasons to continue recording and touring, to push onward and upward, are abundantly clear to the members of ORGŌNE. “I want people who’d never thought of this kind of music to be exposed to what we’ve put our hearts, time, tears, and joy into,” states de León. “I hope that we can accompany you on whatever trials you are going through and whatever happiness you find.” Reasons is the first of a trilogy of albums to be released in 2018 and 2019. ORGŌNE will tour extensively in 2019 behind the releases. X-ALT-DESC;FMTTYPE=text/html:

“After two and a half years on the road, we needed to shut away the rest of the world,” recalls Sergio Rios, guitarist and engineer of Los Angeles-based band ORGŌNE. For their tenth* studio album, ORGŌNE retreated to the tranquil solitude of Joshua Tree in southern California. Ensconced in a ranch home with a recording studio for a week in November 2015, the band improvised late into the desert night, carving out tunes that would eventually become the bulk of the material on Reasons (self-released, due out January 18, 2019). The nine-song collection illuminates a band hitting its stride, capturing the raw power and refined sensibilities that defines ORGŌNE.

For nearly twenty years ORGŌNE (a universal life force, pronounced or-gōne) has churned out gritty funk and soul recordings and toured relentlessly across the United States and Europe. Traditionally both the studio and live iterations of the band drew on a tight-knit collective of the West Coast’s finest funk and soul musicians—although founding members Sergio Rios (guitar/engineer) and Dan Hastie (keyboards) have been constant anchors. However, since late 2013, Rios and Hastie have been joined by Dale Jennings (bass), Sam Halterman (drums), and singer/lyricist Adryon de León to form a permanent nucleus.

Establishing a solid core of musicians was instrumental in creating such a cohesive, tight LP. “It allowed us to develop trust and be vulnerable with each other,” says de León. From the a cappella opening of “All Good Things” to the dance floor filler “Easy Love,” Reasons packs a punch. It’s as if the listener is transported back to those sessions in Joshua Tree, staying up late and jamming with the band. As a producer, Rios shines: “I’ve learned to stop being so precious about every little detail. It’s just art. Sketch your picture and move on.”

That immediacy, a sense of capturing moments, saturates Reasons. Take the second cut, “Hands.” Rios’ rhythmic guitar figure kicks the tune off, perfectly syncing up with Halterman’s solid boogie beat, dense percussion, and Jennings’ fuzzed-out bass line. The verse brings down the dynamics (tom fills replace that driving beat), but de León’s urgent plea for “less talk, more action” keeps the energy high. The massive chorus drops in after sixteen simmering measures and is pure joy. Hastie’s edgy synth line perfectly complements de León’s straightforward command: “Let your hands do the work.” ORGŌNE manages to start the party and fill the dance floor, but they also dim the lights in an undeniably sexy bridge. At first, de León launches into the vocal stratosphere before coming back to Earth with delicate harmonies as the band channels late 70s Fleetwood Mac. A few half note hits later and we’re back into the glory of the chorus. In just over four minutes ORGŌNE seamlessly channels disco, boogie funk, and smooth 70s California rock.

Trusting one another allowed the band to stretch beyond their traditional influences and summon a completely different set of musical heroes. Starting in the mid 1990s* ORGŌNE cut their teeth on instrumental pioneers from the late 60s and early 70s like The Meters and Cymande. Alternatively, Reasons looks toward the late 70s and early 80s for its sonic palette. Hastie’s synth lines evoke Bernie Worrell in the Talking Heads and the rest of the rhythm section lays down a foundation built from the likes of Prince, afro-disco icon Kiki Gyan, The Cars, and more. “It was a conscious choice to have a cohesive tone across the whole album instead of drawing from all types of eras,” Rios says. “It’s almost an interpretation of a memory of the music we all first heard when we were kids.”

Despite the new set of influences, ORGŌNE’s classic analog sound permeates Reasons. The writing sessions in Joshua Tree kickstarted the project but recording at their home base in North Hollywood, Killion Sound, was always the plan. Back in LA, the rhythm section members laid down bass, drums, guitar, and keys to ¼” tape on their famed Tascam 388, providing a thick sonic foundation unequaled on any soul or funk records released today. De León used these raw demos to develop vocal ideas in her car while stuck in notorious LA traffic. In the past ORGŌNE relied heavily on outside collaborators for vocal and lyrical input, but on Reasons De León takes over that role comfortably. While relying on themselves to produce Reasons made the process take longer, it also provided more artistic freedom. The results were clearly worth the wait.

De León is front and center on Reasons, and she does not disappoint. Whether she’s evoking the deep soulfulness of Chaka Khan on “Hands” or the bedroom sweetness of Minnie Ripperton on “Whisper to Me,” de León’s versatile vocal performance firmly places her in the top echelon of soul singers today. The lyrics on Reasons—pulled from a dark brown leather journal de León has had for years—focus on relationships, self love, and politics. Musing on the 2016 election, de León searches for meaning and power within herself despite the troubled times:

We got fooled by the masterpiece
We’re part of his mastery
I’m blind but I’m seeing things
Looking for the light in me

Reasons is another solid step in a long and storied career. ORGŌNE’s accolades are too long to list in entirety. ORGŌNE’s live show captivates audiences and packs dance floors—whether it’s on sold out headlining tours; sharing the stage with The Roots, Al Green, Sharon Jones & the Dap-Kings, and Galactic; or appearances at fests like Bonnaroo, New Orleans Jazz Fest, High Sierra, Bear Creek, and Jam Cruise. The well-traveled band has released albums on Ubiquity, Shanachie, and Colemine Records and served as the studio band on hits like Alicia Keys’ “Teenage Love Affair” and Cee Lo Green’s Grammy-winning “Fool For You.” Critics like NPR and Jambase don’t shy away from heaping praise on a group with “irresistible funkiness and ability to transcend genre” (LA Weekly).

After so many years together, the reasons to continue recording and touring, to push onward and upward, are abundantly clear to the members of ORGŌNE. “I want people who’d never thought of this kind of music to be exposed to what we’ve put our hearts, time, tears, and joy into,” states de León. “I hope that we can accompany you on whatever trials you are going through and whatever happiness you find.” Reasons is the first of a trilogy of albums to be released in 2018 and 2019. ORGŌNE will tour extensively in 2019 behind the releases.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T015819Z X-ACCESS:1 X-HITS:1803 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200324T200000 DTEND;TZID=America/Denver:20200324T210000 UID:235D4E7E-B40E-4606-A50B-29CA278846CE SUMMARY:The Districts DTSTAMP:20191104T215548Z DESCRIPTION:"You Know I’m Not Going Anywhere is an unachievable promise,” says The Districts bandleader Rob Grote. “It’s about a dream for love to last forever and a yearning to postpone death. It is about wanting to escape everyday life while also craving time with one who’s present. It’s a plea to remain the same in the face of constant change, and the certainty of going nowhere fast.” Written after playing nearly 200 shows over two years in support of their 2017 album, Popular Manipulations, The Districts’ fourth full-length You Know I’m Not Going Anywhere almost never arrived.\NAs they began to contemplate a new album, Grote and his longtime bandmates Pat Cassidy (guitar), Connor Jacobus (bass), and Braden Lawrence (drums) faced a transitional period that was painful for both personal and professional reasons, and found themselves fatigued and disoriented as a group. Grote also felt dysphoric from the anxiety-provoking state of the world today, while facing a daily battle with the dire health problems of his beloved dog. The Districts were forced to rethink everything. “This album was written as an escape and as reassurance. I was falling in love with someone new and trying to juggle this desperate desire to escape with the need to show up in my life. It’s pretty damn hard to be present and completely checked out all at once,” Grote explains. “It felt like much of my world had reached such a pitch that all I could do was try to tune it out. I felt really uncertain about the future of the band and super detached from much of what I used to identify with, on a personal level and with our music. I was thinking, ‘Do I want to keep doing music?’ ‘Do I want to keep doing it in this context?’”\NGrote retreated to his bedroom and started writing with no objective other than to create. Free from expectations, and with an acoustic guitar, synthesizer, and drum machine at hand, he discovered a newfound creative freedom. “Originally, I had no intention of them even being a record. It was strictly a process of trying to connect to something outside of and larger than myself—kind of this rocky imbalance of isolating myself while trying to maintain connections as time rushed on. There was a lot of back and forth between working as a group and not feeling capable of doing that,” reflects Grote. “I ended up taking these recordings super far along, whereas normally I would almost compulsively share them with my bandmates as soon as I had an idea. This time I was sitting on them and putting work into them in a way that I hadn’t known I enjoyed doing.”\NHe ended up with a batch of 32 songs; but, these songs didn’t sound like ‘The Districts.’ Yet to his surprise, when Grote later played early demos for his bandmates, they loved them. Turns out these were Districts songs, and the Philadelphia-based band later decamped to a cabin in Red Hook, N.Y., where they recorded and produced the lion’s share of the album themselves alongside frequent collaborator Keith Abrams.\NWhile You Know I’m Not Going Anywhere builds on preceding albums, it takes an ambitious leap to a new level, exhibiting a widened sense of experimentation and expansiveness at its heart. There’s Rhodes, Mellotron, strings, samples, drum machines, tape loops, Wurlitzer, “ambient swells,” piano, synthesizers; Grote lists 12 instruments next to his name alone. Airy and understated, discordant and exuberant, and earnest all at once, You Know I’m Not Going Anywhere is the culmination of The Districts’ growth and maturation through milestones and setbacks alike.\NThe haunting, atmospheric opener “My Only Ghost” is an ode to the secrets and memories we share with the ones we’ve lost; the rapturous, pulsating “Velour and Velcro” is a love song about the unknown future we’re all riding into; and the stripped-back “Descend” deals with death and separation. The songwriting sees Grote drawing a sort of spiritual comfort from music and creativity as he worked. Despite the song’s dark undertones, the ‘nihilist disco’ of “Cheap Regrets” finds The Districts as electrifying as ever. “The act of writing a song, trying to sculpt something out of the human experience, can feel quite vain. So do the extremes of American culture, which constantly reinforces the self. The mirror reconfirms you. It's all iPhones, selfies, and mirrors,” says Grote. “This song is a criticism of the divisions that result from a self-oriented society and an attempt to transcend them, while simultaneously being an example of these very ideas. The song is the statue to the self; it is about itself.”\NCredit also to Dave Fridmann (The Flaming Lips, Spoon, MGMT), whose mix expertly layered all of the elements into a cohesive whole. That’s most obvious in the subtle, synth-laden psychedelia of album standout “Hey Jo,” which floats on plucked guitars and Grote’s airy vocals before kicking into a rousing, Wall Of Sound chorus where he tunefully repeats “Fuck my head.” The song nods to Grote favorites like Lee Hazlewood and Harry Nilsson. “All of their arrangements are surreal in a way that’s not relying on normal psychedelic things,” he says.\NPulling from the propulsive Popular Manipulations, the jagged indie rock of 2015’s A Flourish and a Spoil, and the rootsy vibe of their 2012 debut, Telephone, the band here followed their creative instincts every step of the way, resulting in their most sophisticated and adventurous record to date. “I really just needed to be myself instead of being what someone else thought I should be, whether that was like some masculine bar-band singer or… I don’t know,” Grote says, laughing. “I just want to be myself, and I want to try and do that as best as I can. This record is paradoxically the most-Districts record ever with no intention of ever being one at all. It’s about breaking free from how you’re seen, always being yourself first and holding on to who you are—but also about coming together as a whole and putting your 'self' aside. Doing all that, I’ve realized, ‘Oh, this is how I want to make music from now on!’ X-ALT-DESC;FMTTYPE=text/html:

"You Know I’m Not Going Anywhere is an unachievable promise,” says The Districts bandleader Rob Grote. “It’s about a dream for love to last forever and a yearning to postpone death. It is about wanting to escape everyday life while also craving time with one who’s present. It’s a plea to remain the same in the face of constant change, and the certainty of going nowhere fast.” Written after playing nearly 200 shows over two years in support of their 2017 album, Popular Manipulations, The Districts’ fourth full-length You Know I’m Not Going Anywhere almost never arrived.

As they began to contemplate a new album, Grote and his longtime bandmates Pat Cassidy (guitar), Connor Jacobus (bass), and Braden Lawrence (drums) faced a transitional period that was painful for both personal and professional reasons, and found themselves fatigued and disoriented as a group. Grote also felt dysphoric from the anxiety-provoking state of the world today, while facing a daily battle with the dire health problems of his beloved dog. The Districts were forced to rethink everything. “This album was written as an escape and as reassurance. I was falling in love with someone new and trying to juggle this desperate desire to escape with the need to show up in my life. It’s pretty damn hard to be present and completely checked out all at once,” Grote explains. “It felt like much of my world had reached such a pitch that all I could do was try to tune it out. I felt really uncertain about the future of the band and super detached from much of what I used to identify with, on a personal level and with our music. I was thinking, ‘Do I want to keep doing music?’ ‘Do I want to keep doing it in this context?’”

Grote retreated to his bedroom and started writing with no objective other than to create. Free from expectations, and with an acoustic guitar, synthesizer, and drum machine at hand, he discovered a newfound creative freedom. “Originally, I had no intention of them even being a record. It was strictly a process of trying to connect to something outside of and larger than myself—kind of this rocky imbalance of isolating myself while trying to maintain connections as time rushed on. There was a lot of back and forth between working as a group and not feeling capable of doing that,” reflects Grote. “I ended up taking these recordings super far along, whereas normally I would almost compulsively share them with my bandmates as soon as I had an idea. This time I was sitting on them and putting work into them in a way that I hadn’t known I enjoyed doing.”

He ended up with a batch of 32 songs; but, these songs didn’t sound like ‘The Districts.’ Yet to his surprise, when Grote later played early demos for his bandmates, they loved them. Turns out these were Districts songs, and the Philadelphia-based band later decamped to a cabin in Red Hook, N.Y., where they recorded and produced the lion’s share of the album themselves alongside frequent collaborator Keith Abrams.

While You Know I’m Not Going Anywhere builds on preceding albums, it takes an ambitious leap to a new level, exhibiting a widened sense of experimentation and expansiveness at its heart. There’s Rhodes, Mellotron, strings, samples, drum machines, tape loops, Wurlitzer, “ambient swells,” piano, synthesizers; Grote lists 12 instruments next to his name alone. Airy and understated, discordant and exuberant, and earnest all at once, You Know I’m Not Going Anywhere is the culmination of The Districts’ growth and maturation through milestones and setbacks alike.

The haunting, atmospheric opener “My Only Ghost” is an ode to the secrets and memories we share with the ones we’ve lost; the rapturous, pulsating “Velour and Velcro” is a love song about the unknown future we’re all riding into; and the stripped-back “Descend” deals with death and separation. The songwriting sees Grote drawing a sort of spiritual comfort from music and creativity as he worked. Despite the song’s dark undertones, the ‘nihilist disco’ of “Cheap Regrets” finds The Districts as electrifying as ever. “The act of writing a song, trying to sculpt something out of the human experience, can feel quite vain. So do the extremes of American culture, which constantly reinforces the self. The mirror reconfirms you. It's all iPhones, selfies, and mirrors,” says Grote. “This song is a criticism of the divisions that result from a self-oriented society and an attempt to transcend them, while simultaneously being an example of these very ideas. The song is the statue to the self; it is about itself.”

Credit also to Dave Fridmann (The Flaming Lips, Spoon, MGMT), whose mix expertly layered all of the elements into a cohesive whole. That’s most obvious in the subtle, synth-laden psychedelia of album standout “Hey Jo,” which floats on plucked guitars and Grote’s airy vocals before kicking into a rousing, Wall Of Sound chorus where he tunefully repeats “Fuck my head.” The song nods to Grote favorites like Lee Hazlewood and Harry Nilsson. “All of their arrangements are surreal in a way that’s not relying on normal psychedelic things,” he says.

Pulling from the propulsive Popular Manipulations, the jagged indie rock of 2015’s A Flourish and a Spoil, and the rootsy vibe of their 2012 debut, Telephone, the band here followed their creative instincts every step of the way, resulting in their most sophisticated and adventurous record to date. “I really just needed to be myself instead of being what someone else thought I should be, whether that was like some masculine bar-band singer or… I don’t know,” Grote says, laughing. “I just want to be myself, and I want to try and do that as best as I can. This record is paradoxically the most-Districts record ever with no intention of ever being one at all. It’s about breaking free from how you’re seen, always being yourself first and holding on to who you are—but also about coming together as a whole and putting your 'self' aside. Doing all that, I’ve realized, ‘Oh, this is how I want to make music from now on!’

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T173624Z X-ACCESS:1 X-HITS:1756 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200326T200000 DTEND;TZID=America/Denver:20200326T233000 UID:0F3CB06C-C479-4E05-8686-B9D48C2E7B1A SUMMARY:Aqueous DTSTAMP:20200111T181322Z DESCRIPTION:After forming in Buffalo in 2006, Aqueous (pronounced “ay-kwee-us”) has earned a reputation as one of the most promising improvisational rock acts in the country. Best known for their “groove rock” stylings, guitarist Mike Gantzer, guitarist/keyboardist David Loss, bassist Evan McPhaden, and drummer Rob Houk have developed a unique sound characterized by meticulous compositions and rich exploratory jams that easily transition from laidback, in-the-pocket grooves to furious, high-intensity peaks. Composed of longtime friends, over the years, Aqueous’ members have developed near-psychic abilities with one another, enabling them to stretch each song while maintaining a staggering degree of precision. In a live setting, the group’s undeniable technical prowess truly shines, making for dynamic performances that bring fans back night after night.\NWhether they’re headlining and selling out venues across the U.S. or performing stand-out sets at notable events like Summer Camp, The Peach Music Festival, Jam Cruise, and Suwannee Hulaween, it’s clear that fans across the country are clamoring to hear more from the Buffalo-based four-piece. With the hype around the group growing, Aqueous is making a huge breakout as the project enters its second decade of existence. Do yourself a favor, and discover firsthand what the buzz is all about. X-ALT-DESC;FMTTYPE=text/html:

After forming in Buffalo in 2006, Aqueous (pronounced “ay-kwee-us”) has earned a reputation as one of the most promising improvisational rock acts in the country. Best known for their “groove rock” stylings, guitarist Mike Gantzer, guitarist/keyboardist David Loss, bassist Evan McPhaden, and drummer Rob Houk have developed a unique sound characterized by meticulous compositions and rich exploratory jams that easily transition from laidback, in-the-pocket grooves to furious, high-intensity peaks. Composed of longtime friends, over the years, Aqueous’ members have developed near-psychic abilities with one another, enabling them to stretch each song while maintaining a staggering degree of precision. In a live setting, the group’s undeniable technical prowess truly shines, making for dynamic performances that bring fans back night after night.

Whether they’re headlining and selling out venues across the U.S. or performing stand-out sets at notable events like Summer Camp, The Peach Music Festival, Jam Cruise, and Suwannee Hulaween, it’s clear that fans across the country are clamoring to hear more from the Buffalo-based four-piece. With the hype around the group growing, Aqueous is making a huge breakout as the project enters its second decade of existence. Do yourself a favor, and discover firsthand what the buzz is all about.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T015853Z X-ACCESS:1 X-HITS:1313 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200327T210000 DTEND;TZID=America/Denver:20200327T233000 UID:2F413A07-19CC-4852-AD12-48F97081DB22 SUMMARY:Monophonics and Con Brio DTSTAMP:20191212T204057Z DESCRIPTION:With these two bands, you should definitely believe the hype—two of the most promising live acts in America right now will be sharing our stage for one-night-only. \NWhen the owner of the legendary STAXX Records says you’re “one of the best live bands” he’s ever seen, you’re onto something good. And that’s what Al Bell himself has said about the Monophonics—who bill themselves as Psychedelic soul from the Bay Area. \NIn their own words: “The band delivers cinematic songs with timeless hooks anchored by Kelly Finnigan’s soulful organ and powerhouse vocals. Their sound is inspired equally by classic soul, heavy funk, psychedelic rock, and classic American songwriting.”\NCon Brio is a musical direction that means “with spirit” or “with vigor.” \NYoung and with appropriately relentless energy, Con Brio is a soul-funk-R&B band that answers the question you never asked about what would happen if someone combined James Brown, Michael Jackson and Prince (may they rest in peace).\NAfter taking Austin City Limits by storm last year and generating headlines like, “The Best New Live Band In America?” and “Soulful Powerhouse Con Brio Proves ACL’s Value.” Whoa, right? No pressure, guys.\NMonophonics\NFacebook | Instagram | Twitter | Youtube | Spotify\N{youtube}MxWri--F7Hg{/youtube}\NMonophonics have risen up again from their California studio Transistor Sound to offer the world a new album via indie label giants Colemine Records. Their new record entitled It’s Only Us, due next year reflects what they see as the current direction in the world, it's an expression that leans on the theme of humanity, that strives to speak to a wide range of listeners.\NIt’s a message of unity, strength, resilience and acceptance. Often known as a group that is keen to create a heavier version of classic soul, Monophonics are back with their trademark sound while introducing a healthy dose of new and warm textures that will saturate speakers. It’s easy to hear their years of record digging and being under the influence of rare sides by Brothers of Soul, Rotary Connection or Dee Edwards.\NBay Area based psychedelic-soul band Monophonics announce their upcoming album It's Only Us out early next year on Colemine Records..\NThe first single, “Chances” is an uptempo track that glowingly walks the line between deep, northern and sweet soul. The groups formula that fans have fallen in love with time and time again, is there once again knocking on your cerebral. Sitting atop drums that would make Pete Rock turn his head, the rhythm section is anchored deep in the pocket with a bubbling bass line, quivering vibraphone, shimmery guitar and honey thick horns. It’s all the support that background singers the ‘soul mates’ and lead singer Kelly Finnigan need to exhibit why empathetic lovers should think twice about giving “so many chances.”\NCon Brio\NFacebook | Instagram | Twitter | Youtube | Spotify | Soundcloud\N{youtube}27sSxCLLM48{/youtube}\NThere’s a moment before each Con Brio show — before the backflips, the guitar solos, the buoyant horn lines over bass, drum and synth — when all seven band members come in for a huddle. It’s a way to say grace; an acknowledgment of live music as a team sport; a moment of stillness before they explode.\N“Let’s work,” they say, their heads bowed together. And then they do.\NNamed for an Italian musical direction meaning ‘with spirit,’ Con Brio is a San Francisco Bay Area band that plays soul, psych-rock and R&B as fresh and freethinking as the place they call home. With charismatic singer Ziek McCarter bringing “the dance moves, splits and all, of James Brown” (KQED) and a band that “comes across like a party punk version of Sly and the Family Stone” (Consequence of Sound), Con Brio is known to convert anyone who sees their electric live show.\NFounded in 2013 by veteran players with vastly different musical backgrounds*, the band quickly became a favorite up and down the West Coast, then across the U.S., and then overseas in places like Japan and the Netherlands. In 2016, Con Brio’s debut LP Paradise paired uplifting dance party-starters (and some psychotropic electric guitar work from Benjamin Andrews) with powerful lyrics about inequality and the Black Lives Matter movement, instantly putting the band on the map for their earnest, inspiring, and thoroughly American ethos.\NExplorer, out on July 6th, both builds on the success of Paradise and serves as a travelogue of sorts — a reflection on the two years of nearly nonstop touring that followed their first record’s success. (The band, known in the industry for their tireless work ethic, has played high-profile sets at Outside Lands, Lollapalooza, Bumbershoot, Austin City Limits, Japan’s Fuji Rock, the Montreal Jazz Festival, Australia’s Bluesfest Byron Bay, and the Netherlands’ North Sea Jazz Festival, to name just a few.)\NHaving proved themselves on an international stage, Con Brio breaks new ground on Explorer, expanding beyond raw energy and retro sounds toward a more contemporary, layered production style, all delivered with road-tested confidence.\NOn “I Wanna” — a lusty, mischievous ode to the art of catching a stranger’s eye across a crowded club — McCarter pours his voice, richer than ever, over a thick, irresistibly danceable rhythm from Jonathan Kirchner (bass) and Andrew Laubacher (drums). “Body Language” slows that theme to a simmer, with a nimble, lyrical horn line from Marcus Stephens (saxophone) and Brendan Liu (trumpet) front and center.\NSongs like “United State of Mind” and “Royal Rage,” meanwhile, reflect on America’s current political moment, urging strength and perspective in the face of cynicism and apathy. Over a cheerful guitar lick from Andrews, the former track sings the praises of travel, the ways it can make the world feel bigger and smaller all at once — and how sometimes you have to leave home to see it with fresh eyes. “Rage” is a rally cry, a call to resistance, with Laubacher’s kick drum leading the march: “Feeling the world pulling apart, where is the we in who we are?” asks McCarter. “When will it end, where do we start?’\NThen there’s Con Brio’s tendency to upend expectations: they’ve never been afraid of a little genre-bending. “Heart Shaped Box” began as a fun cover the band arranged on a whim on a rare day off on tour; within weeks it became one of the most exciting moments in the band’s live show. On the record, it’s a playful yet potent tribute, served surprisingly well by horns and a smart, slinky synth line from Patrick Glynn.\NUltimately, Explorer is a leap for Con Brio in more ways than one. It’s a big record, with plenty of joy, a few growing pains, and more questions than answers. What does it mean to be an American band traveling the world in the year 2018 with a message of hope and tolerance? The record sounds, unsurprisingly, like a band on the verge.\NWherever Explorer takes them, they go with open eyes. They’re ready to huddle up, take the stage, and get to work — where they’ve found that, night after night, the things that divide us don’t stand a chance on the dance floor. X-ALT-DESC;FMTTYPE=text/html:

With these two bands, you should definitely believe the hype—two of the most promising live acts in America right now will be sharing our stage for one-night-only. 

When the owner of the legendary STAXX Records says you’re “one of the best live bands” he’s ever seen, you’re onto something good. And that’s what Al Bell himself has said about the Monophonics—who bill themselves as Psychedelic soul from the Bay Area. 

In their own words: “The band delivers cinematic songs with timeless hooks anchored by Kelly Finnigan’s soulful organ and powerhouse vocals. Their sound is inspired equally by classic soul, heavy funk, psychedelic rock, and classic American songwriting.”

Con Brio is a musical direction that means “with spirit” or “with vigor.” 

Young and with appropriately relentless energy, Con Brio is a soul-funk-R&B band that answers the question you never asked about what would happen if someone combined James Brown, Michael Jackson and Prince (may they rest in peace).

After taking Austin City Limits by storm last year and generating headlines like, “The Best New Live Band In America?” and “Soulful Powerhouse Con Brio Proves ACL’s Value.” Whoa, right? No pressure, guys.

Monophonics

Facebook | Instagram | Twitter | Youtube | Spotify

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Monophonics have risen up again from their California studio Transistor Sound to offer the world a new album via indie label giants Colemine Records. Their new record entitled It’s Only Us, due next year reflects what they see as the current direction in the world, it's an expression that leans on the theme of humanity, that strives to speak to a wide range of listeners.

It’s a message of unity, strength, resilience and acceptance. Often known as a group that is keen to create a heavier version of classic soul, Monophonics are back with their trademark sound while introducing a healthy dose of new and warm textures that will saturate speakers. It’s easy to hear their years of record digging and being under the influence of rare sides by Brothers of Soul, Rotary Connection or Dee Edwards.

Bay Area based psychedelic-soul band Monophonics announce their upcoming album It's Only Us out early next year on Colemine Records..

The first single, “Chances” is an uptempo track that glowingly walks the line between deep, northern and sweet soul. The groups formula that fans have fallen in love with time and time again, is there once again knocking on your cerebral. Sitting atop drums that would make Pete Rock turn his head, the rhythm section is anchored deep in the pocket with a bubbling bass line, quivering vibraphone, shimmery guitar and honey thick horns. It’s all the support that background singers the ‘soul mates’ and lead singer Kelly Finnigan need to exhibit why empathetic lovers should think twice about giving “so many chances.”

Con Brio

Facebook | Instagram | Twitter | Youtube | Spotify | Soundcloud

{youtube}27sSxCLLM48{/youtube}

There’s a moment before each Con Brio show — before the backflips, the guitar solos, the buoyant horn lines over bass, drum and synth — when all seven band members come in for a huddle. It’s a way to say grace; an acknowledgment of live music as a team sport; a moment of stillness before they explode.

“Let’s work,” they say, their heads bowed together. And then they do.

Named for an Italian musical direction meaning ‘with spirit,’ Con Brio is a San Francisco Bay Area band that plays soul, psych-rock and R&B as fresh and freethinking as the place they call home. With charismatic singer Ziek McCarter bringing “the dance moves, splits and all, of James Brown” (KQED) and a band that “comes across like a party punk version of Sly and the Family Stone” (Consequence of Sound), Con Brio is known to convert anyone who sees their electric live show.

Founded in 2013 by veteran players with vastly different musical backgrounds*, the band quickly became a favorite up and down the West Coast, then across the U.S., and then overseas in places like Japan and the Netherlands. In 2016, Con Brio’s debut LP Paradise paired uplifting dance party-starters (and some psychotropic electric guitar work from Benjamin Andrews) with powerful lyrics about inequality and the Black Lives Matter movement, instantly putting the band on the map for their earnest, inspiring, and thoroughly American ethos.

Explorer, out on July 6th, both builds on the success of Paradise and serves as a travelogue of sorts — a reflection on the two years of nearly nonstop touring that followed their first record’s success. (The band, known in the industry for their tireless work ethic, has played high-profile sets at Outside Lands, Lollapalooza, Bumbershoot, Austin City Limits, Japan’s Fuji Rock, the Montreal Jazz Festival, Australia’s Bluesfest Byron Bay, and the Netherlands’ North Sea Jazz Festival, to name just a few.)

Having proved themselves on an international stage, Con Brio breaks new ground on Explorer, expanding beyond raw energy and retro sounds toward a more contemporary, layered production style, all delivered with road-tested confidence.

On “I Wanna” — a lusty, mischievous ode to the art of catching a stranger’s eye across a crowded club — McCarter pours his voice, richer than ever, over a thick, irresistibly danceable rhythm from Jonathan Kirchner (bass) and Andrew Laubacher (drums). “Body Language” slows that theme to a simmer, with a nimble, lyrical horn line from Marcus Stephens (saxophone) and Brendan Liu (trumpet) front and center.

Songs like “United State of Mind” and “Royal Rage,” meanwhile, reflect on America’s current political moment, urging strength and perspective in the face of cynicism and apathy. Over a cheerful guitar lick from Andrews, the former track sings the praises of travel, the ways it can make the world feel bigger and smaller all at once — and how sometimes you have to leave home to see it with fresh eyes. “Rage” is a rally cry, a call to resistance, with Laubacher’s kick drum leading the march: “Feeling the world pulling apart, where is the we in who we are?” asks McCarter. “When will it end, where do we start?’

Then there’s Con Brio’s tendency to upend expectations: they’ve never been afraid of a little genre-bending. “Heart Shaped Box” began as a fun cover the band arranged on a whim on a rare day off on tour; within weeks it became one of the most exciting moments in the band’s live show. On the record, it’s a playful yet potent tribute, served surprisingly well by horns and a smart, slinky synth line from Patrick Glynn.

Ultimately, Explorer is a leap for Con Brio in more ways than one. It’s a big record, with plenty of joy, a few growing pains, and more questions than answers. What does it mean to be an American band traveling the world in the year 2018 with a message of hope and tolerance? The record sounds, unsurprisingly, like a band on the verge.

Wherever Explorer takes them, they go with open eyes. They’re ready to huddle up, take the stage, and get to work — where they’ve found that, night after night, the things that divide us don’t stand a chance on the dance floor.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T020002Z X-ACCESS:1 X-HITS:2388 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200328T210000 DTEND;TZID=America/Denver:20200328T233000 UID:ACDB7417-D187-4623-9981-21DF2B483D00 SUMMARY:The Pour DTSTAMP:20200224T195634Z DESCRIPTION:THIS SHOW HAS BEEN CANCELED. ALL TICKETS WILL BE REFUNDED.\N----\NSalt Lake City based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead.\NWith nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton, and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. With their recent EP release “1984,” The Pour are undoubtedly on the move.\NMembers of The Pour have had the privilege of opening for and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic. X-ALT-DESC;FMTTYPE=text/html:

THIS SHOW HAS BEEN CANCELED. ALL TICKETS WILL BE REFUNDED.

----

Salt Lake City based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead.

With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton, and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. With their recent EP release “1984,” The Pour are undoubtedly on the move.

Members of The Pour have had the privilege of opening for and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T020026Z X-ACCESS:1 X-HITS:885 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200329T200000 DTEND;TZID=America/Denver:20200329T233000 UID:67DED15B-92E4-4D98-ACD9-57523463FB33 SUMMARY:Ross Mathews Name Drop Tour DTSTAMP:20191212T221223Z DESCRIPTION:Pretend it’s happy hour and you and I are sitting at the bar. I look amazing and, I agree with you, much thinner in person. You look good, too. Maybe it’s the candlelight maybe it’s the booze. Either way, let’s just go with it. Keep this all between you and me, and do me a favor? Don’t judge me if I name drop just a little.\NTelevision personality Ross Mathews likes telling stories. And with his Hollywood experience - from interning behind the scenes at The Tonight Show with Jay Leno to judging RuPaul’s Drag Race - he has a lot to talk about. In Name Drop, Ross dishes about moments where he goes from soaring to crashing, like that time he was invited by Barbara Walters to host The View - only to arrive on set and discover she had no idea who he was; his Christmas with the Kardashians, which should be its own national holiday; and his talk with Omarosa on Celebrity Big Brother, which, as it turns out, was just the tip of the iceberg.\NFilled with tales ranging from the horrifying to the hilarious - and with just the right “Rossipies” and cocktails to go along with them - Name Drop is every pop culture lover’s dream come true. And now, Name Drop is more even more than a book - it’s an international tour where Ross brings these stories to life on stage, plays games with the audience and so much more. X-ALT-DESC;FMTTYPE=text/html:

Pretend it’s happy hour and you and I are sitting at the bar. I look amazing and, I agree with you, much thinner in person. You look good, too. Maybe it’s the candlelight maybe it’s the booze. Either way, let’s just go with it. Keep this all between you and me, and do me a favor? Don’t judge me if I name drop just a little.

Television personality Ross Mathews likes telling stories. And with his Hollywood experience - from interning behind the scenes at The Tonight Show with Jay Leno to judging RuPaul’s Drag Race - he has a lot to talk about.
In Name Drop, Ross dishes about moments where he goes from soaring to crashing, like that time he was invited by Barbara Walters to host The View - only to arrive on set and discover she had no idea who he was; his Christmas with the Kardashians, which should be its own national holiday; and his talk with Omarosa on Celebrity Big Brother, which, as it turns out, was just the tip of the iceberg.

Filled with tales ranging from the horrifying to the hilarious - and with just the right “Rossipies” and cocktails to go along with them - Name Drop is every pop culture lover’s dream come true.
And now, Name Drop is more even more than a book - it’s an international tour where Ross brings these stories to life on stage, plays games with the audience and so much more.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200313T020054Z X-ACCESS:1 X-HITS:2236 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200401T200000 DTEND;TZID=America/Denver:20200401T233000 UID:CDA0FF70-F663-48D8-AF74-4BC00637D07C SUMMARY:Fruition DTSTAMP:20191204T222217Z DESCRIPTION:Fruition’s newest album, Broken at the Break of Day, may be hard to categorize, yet it feels complete because of their dedication to honesty as well as harmony. Influenced equally by acoustic music and rock ‘n’ roll, the Portland, Oregon-based band is composed of Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Tyler Thompson (drums). Their unmistakable vocal blend first revealed itself in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Since that time, they have opened shows for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, and at appeared at festivals like Telluride Bluegrass, Bonnaroo, and DelFest. Broken at the Break of Day follows the band’s exceptional 2019 album, Wild as the Night.\N  X-ALT-DESC;FMTTYPE=text/html:

Fruition’s newest album, Broken at the Break of Day, may be hard to categorize, yet it feels complete because of their dedication to honesty as well as harmony. Influenced equally by acoustic music and rock ‘n’ roll, the Portland, Oregon-based band is composed of Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Tyler Thompson (drums). Their unmistakable vocal blend first revealed itself in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Since that time, they have opened shows for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, and at appeared at festivals like Telluride Bluegrass, Bonnaroo, and DelFest. Broken at the Break of Day follows the band’s exceptional 2019 album, Wild as the Night.

 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200401T192421Z X-ACCESS:1 X-HITS:2062 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200403T210000 DTEND;TZID=America/Denver:20200403T233000 UID:45572F20-BAB9-498D-9CAA-F6390FFB1B9A SUMMARY:Jordan MacKampa DTSTAMP:20191209T232256Z DESCRIPTION:Like the soul greats he grew up with and the grime artists he adores, Jordan Mackampa makes music to tells truths as much as entertain. His searing songs are documents of his life as an outsider, his sound a melting pot of cultures that stretch from his birthplace in the Republic of Congo to a hip hop-obsessed childhood in north London to teen years spent immersed in indie-rock in Coventry.\NFrom his breakthrough in 2017 with the protest song "Battlecry" to this autumn’s acclaimed "What Am I", hailed a modern take on Marvin Gaye’s "What’s Going On", Jordan’s powerful message music has grown rapidly in scope and scale, soaking up new influences and becoming more complex.\NA debut album due in March, produced by Dani Castelar, best known for his work with Paolo Nutini, sees Jordan scaling fresh heights, adding sumptuous strings, gospel backing vocals and grime influences on his contemporary soul fused with his Congolese roots.\N“You’ll hear the Congolese influence across the album,” says Jordan. “It’s there in the rhythms, in the swing and syncopation that ties the tracks together. It’s a sound I’ve heard at home for as long as I can remember.\NFeaturing Nutini’s regular string players and a bevvy of brilliant backing vocalists, the album addresses subjects including Jordan’s upbringing, his struggles with his faith and, on Foreigner, a ballad that builds in to an epic immigration anthem, the racism he faced on moving to Britain from the war-torn Republic of Congo at the age of one, leaving his father and six half-siblings behind.\N“My whole life I’ve never felt like I fitted in,” says Jordan. “Growing there were very few black families. I didn’t look like anyone else. I wasn’t allowed to play with the other kids.\N“At school no one understood me because French was my first language. I learnt English very quickly, but if I spoke in English at home, my mum would tell me that I was losing touch with my culture. I felt torn between two worlds.”\NAlready his ear for music was obvious. Watching children’s TV shows, he would sing back the theme songs without missing a note, to his mother’s astonishment. By four, he was mimicking his mum singing in church and, at home, entertaining her with renditions of Motown, Michael Jackson and Whitney Houston songs.\NAt eight he was writing poetry and by 12 setting it to songs written on an acoustic guitar he’d got for Christmas. Out of his mother’s earshot, he was also falling for hip hop, sneaking in to the living room to listen to Jay-Z, Wu Tang Clan, Busta Rhymes, Missy Elliot and more.\NMoving to Coventry for secondary school when his mum got a new job, Jordan shone at music and performing arts. He joined a youth club where where he became the go-to guy to lay down vocals for local DJs and rappers and won a place to study popular music at Northampton University.\NThere he fell for indie-rock and formed and fronted his first band. Briefly he thought rock might be his calling, but in his final uni year found himself turned on to folk by James Vincent McMorrow, Ben Howard and Nick Mulvey and began making regular trips to London to perform at open-mic nights.\N“I was like a sponge soaking up all these different types of music,” says Jordan. “I didn’t think in terms of genre. I just loved being moved by music.”\N“Physics was recorded in various places, from the basement studio at Universal to a mate’s garden shed,” says Jordan. “It was folky but also influenced by me rediscovering the classic soul that my mum had played me as a kid.”\NFrom the moment Physics appeared in 2016, Jordan’s ability to connect with an audience was obvious. "Yours To Keep", the EP’s stunning centrepiece, soared on Spotify having featured on New Music Friday, and saw the newcomer compared to Michael Kiwanuka and Marvin Gaye.\NBy 2017, Jordan had moved on from acoustic singer/songwriter by fusing his folky soul with the funky rhythms of his Congolese roots and influences from both indie and grime. 2018 saw yet another leap on with the release of the stunning Cam Blackwood (George Ezra, London Grammar” produced single "One In The Same", which set a plea for human interaction in tech-obsessed times to his sunniest song to date.\NPerforming "One in The Same" at festivals resulted in a revelation – the once smartly dressed singer abandoned his suit jackets, trademark fedora and shiny shoes. In his everyday clothes – t-shirts, trainers, a now omnipresent beanie – he felt a new-found freedom on stage.\N“I call it the day I chose to change hats,” laughs Jordan. “I was at a festival in Germany and decided I didn’t want to wear a crisp, white shirt anymore. It was hot and I was tired of changing. What I realised was that I no longer needed a stage persona. I had to be the real me.\N“That goes back to my love of grime – artists like Skepta, Little Simz, Wretch 32, Ghetts, Kojey Radical... too many to mention. I love their honesty and attitude. They encouraged me to ignore what other people thought and ultimately believe in myself.\N“That gig was by far the best I’d ever played. I had never felt more comfortable on stage or more connected with a crowd. It was as though I was starting over, as a new man and a more confident musician.”\NThe new Jordan was finally ready to record his debut album, but first he had to find the right producer. Top of his wish list was Dani Castelar. At a studio in Valencia, the pair hit it off straight away.\N“We’d talk about music for hours while eating incredible tapas,” says Jordan, a long-time Nutini fan. “Dani helped me hone my sound but mostly he encouraged me to do what felt right. He taught me to ignore rules and go with my gut.”\N  X-ALT-DESC;FMTTYPE=text/html:

Like the soul greats he grew up with and the grime artists he adores, Jordan Mackampa makes music to tells truths as much as entertain. His searing songs are documents of his life as an outsider, his sound a melting pot of cultures that stretch from his birthplace in the Republic of Congo to a hip hop-obsessed childhood in north London to teen years spent immersed in indie-rock in Coventry.

From his breakthrough in 2017 with the protest song "Battlecry" to this autumn’s acclaimed "What Am I", hailed a modern take on Marvin Gaye’s "What’s Going On", Jordan’s powerful message music has grown rapidly in scope and scale, soaking up new influences and becoming more complex.

A debut album due in March, produced by Dani Castelar, best known for his work with Paolo Nutini, sees Jordan scaling fresh heights, adding sumptuous strings, gospel backing vocals and grime influences on his contemporary soul fused with his Congolese roots.

“You’ll hear the Congolese influence across the album,” says Jordan. “It’s there in the rhythms, in the swing and syncopation that ties the tracks together. It’s a sound I’ve heard at home for as long as I can remember.

Featuring Nutini’s regular string players and a bevvy of brilliant backing vocalists, the album addresses subjects including Jordan’s upbringing, his struggles with his faith and, on Foreigner, a ballad that builds in to an epic immigration anthem, the racism he faced on moving to Britain from the war-torn Republic of Congo at the age of one, leaving his father and six half-siblings behind.

“My whole life I’ve never felt like I fitted in,” says Jordan. “Growing there were very few black families. I didn’t look like anyone else. I wasn’t allowed to play with the other kids.

“At school no one understood me because French was my first language. I learnt English very quickly, but if I spoke in English at home, my mum would tell me that I was losing touch with my culture. I felt torn between two worlds.”

Already his ear for music was obvious. Watching children’s TV shows, he would sing back the theme songs without missing a note, to his mother’s astonishment. By four, he was mimicking his mum singing in church and, at home, entertaining her with renditions of Motown, Michael Jackson and Whitney Houston songs.

At eight he was writing poetry and by 12 setting it to songs written on an acoustic guitar he’d got for Christmas. Out of his mother’s earshot, he was also falling for hip hop, sneaking in to the living room to listen to Jay-Z, Wu Tang Clan, Busta Rhymes, Missy Elliot and more.

Moving to Coventry for secondary school when his mum got a new job, Jordan shone at music and performing arts. He joined a youth club where where he became the go-to guy to lay down vocals for local DJs and rappers and won a place to study popular music at Northampton University.

There he fell for indie-rock and formed and fronted his first band. Briefly he thought rock might be his calling, but in his final uni year found himself turned on to folk by James Vincent McMorrow, Ben Howard and Nick Mulvey and began making regular trips to London to perform at open-mic nights.

“I was like a sponge soaking up all these different types of music,” says Jordan. “I didn’t think in terms of genre. I just loved being moved by music.”

“Physics was recorded in various places, from the basement studio at Universal to a mate’s garden shed,” says Jordan. “It was folky but also influenced by me rediscovering the classic soul that my mum had played me as a kid.”

From the moment Physics appeared in 2016, Jordan’s ability to connect with an audience was obvious. "Yours To Keep", the EP’s stunning centrepiece, soared on Spotify having featured on New Music Friday, and saw the newcomer compared to Michael Kiwanuka and Marvin Gaye.

By 2017, Jordan had moved on from acoustic singer/songwriter by fusing his folky soul with the funky rhythms of his Congolese roots and influences from both indie and grime. 2018 saw yet another leap on with the release of the stunning Cam Blackwood (George Ezra, London Grammar” produced single "One In The Same", which set a plea for human interaction in tech-obsessed times to his sunniest song to date.

Performing "One in The Same" at festivals resulted in a revelation – the once smartly dressed singer abandoned his suit jackets, trademark fedora and shiny shoes. In his everyday clothes – t-shirts, trainers, a now omnipresent beanie – he felt a new-found freedom on stage.

“I call it the day I chose to change hats,” laughs Jordan. “I was at a festival in Germany and decided I didn’t want to wear a crisp, white shirt anymore. It was hot and I was tired of changing. What I realised was that I no longer needed a stage persona. I had to be the real me.

“That goes back to my love of grime – artists like Skepta, Little Simz, Wretch 32, Ghetts, Kojey Radical... too many to mention. I love their honesty and attitude. They encouraged me to ignore what other people thought and ultimately believe in myself.

“That gig was by far the best I’d ever played. I had never felt more comfortable on stage or more connected with a crowd. It was as though I was starting over, as a new man and a more confident musician.”

The new Jordan was finally ready to record his debut album, but first he had to find the right producer. Top of his wish list was Dani Castelar. At a studio in Valencia, the pair hit it off straight away.

“We’d talk about music for hours while eating incredible tapas,” says Jordan, a long-time Nutini fan. “Dani helped me hone my sound but mostly he encouraged me to do what felt right. He taught me to ignore rules and go with my gut.”

 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200401T192613Z X-ACCESS:1 X-HITS:11646 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200415T200000 DTEND;TZID=America/Denver:20200415T233000 UID:23AB8BEF-0A33-4DCF-A1EE-08400F110396 SUMMARY:White Denim DTSTAMP:20190930T202531Z DESCRIPTION:In his 1942 essay The Myth of Sisyphus, Camus wrote that “All great deeds and all great thoughts have a ridiculous beginning. Great works are often born on a street corner or in a restaurant's revolving door.” 15 years later Richard Wayne Penniman wrote “Wop bop a loo bop a wop bam boom”, an undeniably powerful vocalization that on any given Wednesday in any given situation, civilized or otherwise, is still fully capable of setting somebody’s stuff aflame. Over ten years and seven long players into their career, White Denim are still in the relentless pursuit of a thread - in other words, a wick.\NThe Austin,Texas band have carefully and continuously studied the greatest records ever made, but they write songs just dumb enough to drink, dance, and fight to. Theirs is a music that aims for the whole body, while equally satisfying the mind. While it has morphed, expanded, and even burst apart, White Denim’s sincere and human drive and ability to spark true rock & roll exhilaration have been unerring constants of the band’s 10-year existence.\N“White Denim are one of the best live bands you will ever see if you live to be a million. That’s not excitable hyperbole, merely a bald statement of undeniable fact...” — Time Out\N“The last great rock & roll band!” — The Guardian X-ALT-DESC;FMTTYPE=text/html:

In his 1942 essay The Myth of Sisyphus, Camus wrote that “All great deeds and all great thoughts have a ridiculous beginning. Great works are often born on a street corner or in a restaurant's revolving door.” 15 years later Richard Wayne Penniman wrote “Wop bop a loo bop a wop bam boom”, an undeniably powerful vocalization that on any given Wednesday in any given situation, civilized or otherwise, is still fully capable of setting somebody’s stuff aflame. Over ten years and seven long players into their career, White Denim are still in the relentless pursuit of a thread - in other words, a wick.

The Austin,Texas band have carefully and continuously studied the greatest records ever made, but they write songs just dumb enough to drink, dance, and fight to. Theirs is a music that aims for the whole body, while equally satisfying the mind. While it has morphed, expanded, and even burst apart, White Denim’s sincere and human drive and ability to spark true rock & roll exhilaration have been unerring constants of the band’s 10-year existence.

“White Denim are one of the best live bands you will ever see if you live to be a million. That’s not excitable hyperbole, merely a bald statement of undeniable fact...” — Time Out

“The last great rock & roll band!” — The Guardian

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200416T180506Z X-ACCESS:1 X-HITS:1809 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200417T210000 DTEND;TZID=America/Denver:20200417T233000 UID:7A03A192-8578-492F-8F0F-67DD3F595C12 SUMMARY:Ian Noe DTSTAMP:20200205T001907Z DESCRIPTION:Due to COVID-19, THIS SHOW HAS BEEN CANCELED. All ticket buyers have been contacted via email with information regarding refunds. \NIan Noe draws on the day-to-day life of Eastern Kentucky on his debut album, Between the Country. Recorded in Nashville with unhurried production by Dave Cobb, these 10 original songs introduce a number of complicated characters, diverse in their own downfalls but bound together by Noe’s singular voice.\N“I’ve always thought that Eastern Kentucky had a certain kind of sound, and I can’t really explain it any better than that,” he says. “What I was trying to do was write songs that sounded like where I was living.”\NThe lead track, “Irene (Ravin’ Bomb),” sets the tone for the album, telling the story of an alcoholic woman who fails to conceal her addiction from her family. Throughout the remaining tracks, family relationships are tested, bad decisions are inevitable, and more than a few people meet an untimely end. Titles like “Junk Town,” “Dead on the River (Rolling Down)” and “Meth Head” capture the dramatic situations faced by people in the region.\NHowever, Between the Country is not necessarily an autobiographical album. Instead, Noe absorbed these harrowing experiences through people he’s met or stories he’s heard. Not yet 30, Noe was raised as the oldest of three children in Beattyville, Kentucky, where his parents still live in the house he grew up in. His father is a longtime youth social worker, while his mother has been employed by the same local factory for more than 20 years.\NNoe learned to play guitar from his father and grandfather. As a young boy, he adored Chuck Berry’s “Johnny B. Goode” and spent years trying to emulate Berry’s way of playing guitar. Before long, Noe could pick country standards like “I Saw the Light” and “Wildwood Flower.” By his teen years, he gravitated to Bob Dylan and John Prine after discovering them through his family’s music collection. Neil Young soon became another favorite, along with Dwight Yoakam and Tom T. Hall, who hail from the same part of the state.\NNoe says, “There’s a silence about Eastern Kentucky. It’s quiet, at least where I was raised. There are a lot of places you can go and write and listen to music and not be bothered.”\NAll through his childhood, his great aunt often asked Noe if he’d written any songs yet. By 15 or 16, he decided to try. A family friend, who was also a manager at the Dairy Queen where Noe worked in high school, offered to help him book a few shows and get some songs recorded. Although Noe considers them just bedroom recordings now, the discs gave him something to sell when he started playing coffee shops and other small stages around Winchester and Lexington, Kentucky, and a little bit in Ohio.\N“For me it was a turning point just getting a few songs that I was happy with. I didn’t understand anything about making a record, or what that meant, when I was 15 or 16,” Noe admits. “It was the farthest thing from my mind, but once I got a couple of songs that I was satisfied with, I just kept going.”\NAfter high school, Noe took an office job close to home instead of enrolling in college. In his early 20s, he relocated to Louisville, hoping to get a band together and write music, but he had to constantly work odd jobs as a subcontractor to make rent. After a year, he briefly returned to the office job back home before finding work on an Eastern Kentucky oil rig – which he considers the best job he’s ever had, outside of music.\NSoaked with oil after his 12-hour shifts, Noe never once considered what a career in music would look like. Yet through a mutual acquaintance, his original songs attracted the attention of an artist manager. Impressed with his raw talent, she sent him an email of encouragement, which ultimately led to a working relationship. Since that time, Noe has opened multiple dates for kindred spirit Colter Wall, tapping into an audience that appreciates the sincerity and austerity in Noe’s original songs, too.\NNoe received another stamp of approval in February 2019 after singing at a John Prine tribute concert at the Troubadour in Los Angeles – with Prine himself in the crowd. Staged the night before the Grammys, Noe’s performance led to an offer to open three shows for his musical hero. As Noe puts it, “I’ve sat around my whole life thinking about what that would be like.”\NAlthough touring is imminent, Between the Country serves as a potent snapshot of home. The black-and-white cover photo alludes to a lyric in the title track but Noe believes it also illustrates the album as a whole. It’s the same approach that Lucinda Williams employed on her landmark 1998 album, Car Wheels on a Gravel Road, which Noe cites as one of his all-time favorites. “If you have a collection of songs where the subject matter is pretty much the same, and it’s coming from the same place, I think it’s important to have some kind of picture that reflects that. I’ve always felt that way,” he says.\NNoe now lives in Bowling Green, Kentucky, about an hour north of Nashville, where his bandmates are based. After years of writing songs alone and playing solo acoustic sets, he now prefers touring with a band, making it possible to carry the overall mood of Between the Country out on the road as well. After all, he and Cobb recorded the album live on the floor, completing the sessions in two days. Amid these uncluttered arrangements and a relaxed vibe, Noe’s evocative voice truly stands out.\N“I wanted a warm sound – that analog sound,” Noe says. “When we were getting the rough mixes going, that’s how it sounded, and that’s the direction it went in. You want people to be able to hear what you’re saying and what you’re singing about, and I think analog makes a good song stand the test of time.” X-ALT-DESC;FMTTYPE=text/html:

Due to COVID-19, THIS SHOW HAS BEEN CANCELED. All ticket buyers have been contacted via email with information regarding refunds. 

Ian Noe draws on the day-to-day life of Eastern Kentucky on his debut album, Between the Country. Recorded in Nashville with unhurried production by Dave Cobb, these 10 original songs introduce a number of complicated characters, diverse in their own downfalls but bound together by Noe’s singular voice.

“I’ve always thought that Eastern Kentucky had a certain kind of sound, and I can’t really explain it any better than that,” he says. “What I was trying to do was write songs that sounded like where I was living.”

The lead track, “Irene (Ravin’ Bomb),” sets the tone for the album, telling the story of an alcoholic woman who fails to conceal her addiction from her family. Throughout the remaining tracks, family relationships are tested, bad decisions are inevitable, and more than a few people meet an untimely end. Titles like “Junk Town,” “Dead on the River (Rolling Down)” and “Meth Head” capture the dramatic situations faced by people in the region.

However, Between the Country is not necessarily an autobiographical album. Instead, Noe absorbed these harrowing experiences through people he’s met or stories he’s heard. Not yet 30, Noe was raised as the oldest of three children in Beattyville, Kentucky, where his parents still live in the house he grew up in. His father is a longtime youth social worker, while his mother has been employed by the same local factory for more than 20 years.

Noe learned to play guitar from his father and grandfather. As a young boy, he adored Chuck Berry’s “Johnny B. Goode” and spent years trying to emulate Berry’s way of playing guitar. Before long, Noe could pick country standards like “I Saw the Light” and “Wildwood Flower.” By his teen years, he gravitated to Bob Dylan and John Prine after discovering them through his family’s music collection. Neil Young soon became another favorite, along with Dwight Yoakam and Tom T. Hall, who hail from the same part of the state.

Noe says, “There’s a silence about Eastern Kentucky. It’s quiet, at least where I was raised. There are a lot of places you can go and write and listen to music and not be bothered.”

All through his childhood, his great aunt often asked Noe if he’d written any songs yet. By 15 or 16, he decided to try. A family friend, who was also a manager at the Dairy Queen where Noe worked in high school, offered to help him book a few shows and get some songs recorded. Although Noe considers them just bedroom recordings now, the discs gave him something to sell when he started playing coffee shops and other small stages around Winchester and Lexington, Kentucky, and a little bit in Ohio.

“For me it was a turning point just getting a few songs that I was happy with. I didn’t understand anything about making a record, or what that meant, when I was 15 or 16,” Noe admits. “It was the farthest thing from my mind, but once I got a couple of songs that I was satisfied with, I just kept going.”

After high school, Noe took an office job close to home instead of enrolling in college. In his early 20s, he relocated to Louisville, hoping to get a band together and write music, but he had to constantly work odd jobs as a subcontractor to make rent. After a year, he briefly returned to the office job back home before finding work on an Eastern Kentucky oil rig – which he considers the best job he’s ever had, outside of music.

Soaked with oil after his 12-hour shifts, Noe never once considered what a career in music would look like. Yet through a mutual acquaintance, his original songs attracted the attention of an artist manager. Impressed with his raw talent, she sent him an email of encouragement, which ultimately led to a working relationship. Since that time, Noe has opened multiple dates for kindred spirit Colter Wall, tapping into an audience that appreciates the sincerity and austerity in Noe’s original songs, too.

Noe received another stamp of approval in February 2019 after singing at a John Prine tribute concert at the Troubadour in Los Angeles – with Prine himself in the crowd. Staged the night before the Grammys, Noe’s performance led to an offer to open three shows for his musical hero. As Noe puts it, “I’ve sat around my whole life thinking about what that would be like.”

Although touring is imminent, Between the Country serves as a potent snapshot of home. The black-and-white cover photo alludes to a lyric in the title track but Noe believes it also illustrates the album as a whole. It’s the same approach that Lucinda Williams employed on her landmark 1998 album, Car Wheels on a Gravel Road, which Noe cites as one of his all-time favorites. “If you have a collection of songs where the subject matter is pretty much the same, and it’s coming from the same place, I think it’s important to have some kind of picture that reflects that. I’ve always felt that way,” he says.

Noe now lives in Bowling Green, Kentucky, about an hour north of Nashville, where his bandmates are based. After years of writing songs alone and playing solo acoustic sets, he now prefers touring with a band, making it possible to carry the overall mood of Between the Country out on the road as well. After all, he and Cobb recorded the album live on the floor, completing the sessions in two days. Amid these uncluttered arrangements and a relaxed vibe, Noe’s evocative voice truly stands out.

“I wanted a warm sound – that analog sound,” Noe says. “When we were getting the rough mixes going, that’s how it sounded, and that’s the direction it went in. You want people to be able to hear what you’re saying and what you’re singing about, and I think analog makes a good song stand the test of time.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200701T184020Z X-ACCESS:1 X-HITS:1681 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200424T210000 DTEND;TZID=America/Denver:20200424T233000 UID:188F38E1-F8AD-4217-9FE7-92940397EB20 SUMMARY:A Weekend with Mokie DTSTAMP:20200302T201242Z DESCRIPTION:Utah's #1 Jam Band-Reverbnation\N"Plan on a night of dancing and partying when you see one of their shows. These guys really know how to jam" --D. Manning X-ALT-DESC;FMTTYPE=text/html:

Utah's #1 Jam Band-Reverbnation


"Plan on a night of dancing and partying when you see one of their shows. These guys really know how to jam" --D. Manning

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200410T174510Z X-ACCESS:1 X-HITS:939 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200425T210000 DTEND;TZID=America/Denver:20200425T233000 UID:751E9B23-7DF9-44EF-80DC-37D2A8B43EDC SUMMARY:A Weekend with Mokie DTSTAMP:20200302T201700Z DESCRIPTION:Utah's #1 Jam Band-Reverbnation\N"Plan on a night of dancing and partying when you see one of their shows. These guys really know how to jam" --D. Manning X-ALT-DESC;FMTTYPE=text/html:

Utah's #1 Jam Band-Reverbnation

"Plan on a night of dancing and partying when you see one of their shows. These guys really know how to jam" --D. Manning

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200410T174533Z X-ACCESS:1 X-HITS:1557 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200501T210000 DTEND;TZID=America/Denver:20200501T233000 UID:C7993668-5687-46BE-97C4-F3657D2A37C1 SUMMARY:Inner Wave DTSTAMP:20200124T233943Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200410T174630Z X-ACCESS:1 X-HITS:1261 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200502T210000 DTEND;TZID=America/Denver:20200502T233000 UID:3F025817-81FF-4310-8518-2BEB687FC9C3 SUMMARY:Roger Clyne & The Peacemakers DTSTAMP:20200219T195232Z DESCRIPTION:THIS SHOW HAS BEEN CANCELED DUE TO COVID-19. All tickets will be refunded at the point of purchase.\N-----\NBridging the gap between rock & roll, roadhouse Americana, and the music sound of the southwestern United States, Roger Clyne & The Peacemakers have carved their own path over the last 25 years. They’ve traveled the world, sent eight albums to the top of the Billboard Internet Sales Chart, launched an annual music festival in Mexico, started their own line of ultra-premium tequila and built a global community of music-lovers and peacemakers – all while remaining 100% independent.\NThe band just released their 10th studio album in 20 years - "Native Heart". Produced by Grammy winning legend Steve Berlin and mixed by Michael Brauer at the iconic Electric Ladyland, they shine new light on a band that’s built a career on trekking their own path with their own sound style of twang and taller-than-life characters of the Southwest to a rock & roll soundtrack.\NThe band’s roots run deep, sinking back to a time with The Refreshments – the hometown heroes of Phoenix during the mid-1990s, fueled by a major-label deal with Mercury Records, a popular song (”Banditos”) on American rock radio and MTV, and the unique distinction of being both the composers and performers of the theme song for the culture favorite "King of the Hill" TV show. All served to introduce Roger Clyne’s songwriting to a national audience. The Refreshments sang about Mexico, liquored-up bandits and troubadours, mixing the lore of the American Southwest with guitar muscle and pop/rock melody. Clyne deepened that sound with The Peacemakers, a roots rock band relying not on a record label for support, but on near-constant touring and a rare, genuine connection with fans.\NLast year, the band's founders, Roger Clyne & PH Naffah, appeared in a full length documentary "here's to life" about The Refreshments. Which celebrates the 20th Anniversary of the debut album, Fizzy Fuzzy Big & Buzzy. Two decades after its release, the album continues to influence a wide range of rock and country musicians, 12 of who will put their own stamp on the album’s music with an upcoming, all-star tribute album recreation of the iconic album. X-ALT-DESC;FMTTYPE=text/html:

THIS SHOW HAS BEEN CANCELED DUE TO COVID-19. All tickets will be refunded at the point of purchase.

-----

Bridging the gap between rock & roll, roadhouse Americana, and the music sound of the southwestern United States, Roger Clyne & The Peacemakers have carved their own path over the last 25 years. They’ve traveled the world, sent eight albums to the top of the Billboard Internet Sales Chart, launched an annual music festival in Mexico, started their own line of ultra-premium tequila and built a global community of music-lovers and peacemakers – all while remaining 100% independent.

The band just released their 10th studio album in 20 years - "Native Heart". Produced by Grammy winning legend Steve Berlin and mixed by Michael Brauer at the iconic Electric Ladyland, they shine new light on a band that’s built a career on trekking their own path with their own sound style of twang and taller-than-life characters of the Southwest to a rock & roll soundtrack.

The band’s roots run deep, sinking back to a time with The Refreshments – the hometown heroes of Phoenix during the mid-1990s, fueled by a major-label deal with Mercury Records, a popular song (”Banditos”) on American rock radio and MTV, and the unique distinction of being both the composers and performers of the theme song for the culture favorite "King of the Hill" TV show. All served to introduce Roger Clyne’s songwriting to a national audience. The Refreshments sang about Mexico, liquored-up bandits and troubadours, mixing the lore of the American Southwest with guitar muscle and pop/rock melody. Clyne deepened that sound with The Peacemakers, a roots rock band relying not on a record label for support, but on near-constant touring and a rare, genuine connection with fans.

Last year, the band's founders, Roger Clyne & PH Naffah, appeared in a full length documentary "here's to life" about The Refreshments. Which celebrates the 20th Anniversary of the debut album, Fizzy Fuzzy Big & Buzzy. Two decades after its release, the album continues to influence a wide range of rock and country musicians, 12 of who will put their own stamp on the album’s music with an upcoming, all-star tribute album recreation of the iconic album.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200410T174725Z X-ACCESS:1 X-HITS:1936 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200507T200000 DTEND;TZID=America/Denver:20200507T233000 UID:2916622E-E648-4C43-B114-603C59850ABB SUMMARY:Aubrie Sellers & Lillie Mae DTSTAMP:20200213T192606Z DESCRIPTION:Genre-defying artists Aubrie Sellers and Lillie Mae join forces this Spring for one of the year’s most anticipated tours, delivering spitfire performances of songs from both of their critically acclaimed catalogs. With many commonalities, including being raised in music families, around high caliber musicians, and literally growing up on the road (Lillie in an RV with her family and Aubrie on a tour bus), these women also share the respect of many of their heroes, including Ralph Stanley, Steve Earle, Buddy Miller, Chris Stapleton, Miranda Lambert, Marty Stuart, Iain Archer, Brendan Benson, Jack White, Robert Plant, and Dave Cobb, to name a few. Each has also created her own brand of on-the-fringe, “space rock country,” receiving praise from critics across genres.\NAubrie Sellers\NFacebook | Instagram | Twitter | Youtube | Spotify\N{youtube}sqgs-YOOn_A{/youtube}"I’m beyond excited to embark on this tour with Lillie Mae. Her musicianship, records, and independent spirit inspire me immensely as an artist. To come together and create a musical experience like this has been a dream of both of ours for a long time. We are so lucky to have musicians of this caliber joining us not only in our own bands, but coming together to create a remarkable opening set of their own.” - Aubrie Sellers\NLillie Mae\NFacebook | Instagram | Twitter | Youtube | Spotify\N{youtube}y9BJI05gvTw{/youtube}\N“When Aubrie asked me if I wanted to do this tour with her, I got so excited I could barely wait! I couldn’t believe it. I am such a huge fan of her songwriting, last record and new music.. and her incredible voice! I listen to her all the time, and I’m so honored to join her and her band for this tour, It’s going to be one for the books.. I’m so thrilled to be part of such a cool tour.” - Lillie Mae X-ALT-DESC;FMTTYPE=text/html:

Genre-defying artists Aubrie Sellers and Lillie Mae join forces this Spring for one of the year’s most anticipated tours, delivering spitfire performances of songs from both of their critically acclaimed catalogs.

With many commonalities, including being raised in music families, around high caliber musicians, and literally growing up on the road (Lillie in an RV with her family and Aubrie on a tour bus), these women also share the respect of many of their heroes, including Ralph Stanley, Steve Earle, Buddy Miller, Chris Stapleton, Miranda Lambert, Marty Stuart, Iain Archer, Brendan Benson, Jack White, Robert Plant, and Dave Cobb, to name a few. Each has also created her own brand of on-the-fringe, “space rock country,” receiving praise from critics across genres.

Aubrie Sellers

Facebook | Instagram | Twitter | Youtube | Spotify

{youtube}sqgs-YOOn_A{/youtube}
"I’m beyond excited to embark on this tour with Lillie Mae. Her musicianship, records, and independent spirit inspire me immensely as an artist. To come together and create a musical experience like this has been a dream of both of ours for a long time. We are so lucky to have musicians of this caliber joining us not only in our own bands, but coming together to create a remarkable opening set of their own.” - Aubrie Sellers

Lillie Mae

Facebook | Instagram | Twitter | Youtube | Spotify

{youtube}y9BJI05gvTw{/youtube}

“When Aubrie asked me if I wanted to do this tour with her, I got so excited I could barely wait! I couldn’t believe it. I am such a huge fan of her songwriting, last record and new music.. and her incredible voice! I listen to her all the time, and I’m so honored to join her and her band for this tour, It’s going to be one for the books.. I’m so thrilled to be part of such a cool tour.” - Lillie Mae

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200501T191125Z X-ACCESS:1 X-HITS:1457 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200522T200000 DTEND;TZID=America/Denver:20200522T233000 UID:E42FFC60-DF6B-483A-BBC8-AF79DD32FB3F SUMMARY:A Weekend with Pixie & The Partygrass Boys DTSTAMP:20200310T205945Z DESCRIPTION:THERE IS A FEELING OF UNBRIDLED LIFE FOUND IN THE WILD CORNERS OF OUR WORLD. IN THE EXPANSIVE POSSIBILITY OF A MOUNTAIN TOP, THE CHAOTIC FAMILIARITY OF ENDLESS FIELDS OF SNOW, THE ROAR OF THE OCEAN, OR THE SOLITARY SERENITY OF THE MOST REMOTE DESERT. IT IS IN THESE PLACES AND MOMENTS THAT PIXIE AND THE PARTYGRASS BOYS FIND INSPIRATION, CRAFTING MUSIC THAT CHANNELS THE SAME HIGHS, LOWS, AND IMPROVISATIONAL IN-BETWEENS.\NHAILED AS "THE HOTTEST BAND IN THE WASATCH" BY THE INTERMOUNTAIN ACOUSTIC MUSIC ASSOCIATION, PARTYGRASS ISN'T EXACTLY BLUEGRASS, OR NEWGRASS, OR POP, OR PUNK, OR ROCK AND ROLL. THEY FALL SOMEWHERE IN BETWEEN IT ALL, AND THAT’S EXACTLY HOW THEY LIKE IT. DRAWING INFLUENCE FROM THE BLUEGRASS ROOTS OF APPALACHIA AND TRANSPORTING IT STRAIGHT TO THE WESTERN EDGE OF THE ROCKIES, PIXIE AND THE PARTYGRASS BOYS CREATE A UNIQUELY AMERICAN SOUND. INSPIRED BY LANDSCAPES FROM COAST TO COAST, THE GROUP COMBINES CLASSICAL TRAINING WITH JAZZ, BROADWAY, POP-PUNK, AND AN UNABASHED LOVE FOR HAVING A DAMN GOOD TIME.\NPIXIE AND THE PARTYGRASS BOYS HAVE PLAYED FOR NATIONAL AUDIENCES BOTH ON TOUR AND AT MUSIC FESTIVALS INCLUDING HIGH SIERRA, DELFEST, WINTERWONDERGRASS, SAWTOOTH VALLEY GATHERING, HANGTOWN, AND ARISE, IN ADDITION TO SHARING THE STAGE WITH NAMES LIKE GRACE POTTER, BILLY STRINGS, THE LIL SMOKIES, AND THE JON STICKLEY TRIO. X-ALT-DESC;FMTTYPE=text/html:

THERE IS A FEELING OF UNBRIDLED LIFE FOUND IN THE WILD CORNERS OF OUR WORLD. IN THE EXPANSIVE POSSIBILITY OF A MOUNTAIN TOP, THE CHAOTIC FAMILIARITY OF ENDLESS FIELDS OF SNOW, THE ROAR OF THE OCEAN, OR THE SOLITARY SERENITY OF THE MOST REMOTE DESERT. IT IS IN THESE PLACES AND MOMENTS THAT PIXIE AND THE PARTYGRASS BOYS FIND INSPIRATION, CRAFTING MUSIC THAT CHANNELS THE SAME HIGHS, LOWS, AND IMPROVISATIONAL IN-BETWEENS.

HAILED AS "THE HOTTEST BAND IN THE WASATCH" BY THE INTERMOUNTAIN ACOUSTIC MUSIC ASSOCIATION, PARTYGRASS ISN'T EXACTLY BLUEGRASS, OR NEWGRASS, OR POP, OR PUNK, OR ROCK AND ROLL. THEY FALL SOMEWHERE IN BETWEEN IT ALL, AND THAT’S EXACTLY HOW THEY LIKE IT. DRAWING INFLUENCE FROM THE BLUEGRASS ROOTS OF APPALACHIA AND TRANSPORTING IT STRAIGHT TO THE WESTERN EDGE OF THE ROCKIES, PIXIE AND THE PARTYGRASS BOYS CREATE A UNIQUELY AMERICAN SOUND. INSPIRED BY LANDSCAPES FROM COAST TO COAST, THE GROUP COMBINES CLASSICAL TRAINING WITH JAZZ, BROADWAY, POP-PUNK, AND AN UNABASHED LOVE FOR HAVING A DAMN GOOD TIME.

PIXIE AND THE PARTYGRASS BOYS HAVE PLAYED FOR NATIONAL AUDIENCES BOTH ON TOUR AND AT MUSIC FESTIVALS INCLUDING HIGH SIERRA, DELFEST, WINTERWONDERGRASS, SAWTOOTH VALLEY GATHERING, HANGTOWN, AND ARISE, IN ADDITION TO SHARING THE STAGE WITH NAMES LIKE GRACE POTTER, BILLY STRINGS, THE LIL SMOKIES, AND THE JON STICKLEY TRIO.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200507T175128Z X-ACCESS:1 X-HITS:1101 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200523T200000 DTEND;TZID=America/Denver:20200523T233000 UID:83017F2F-3D7A-431A-806F-B2012638B86D SUMMARY:A Weekend with Pixie & The Partygrass Boys DTSTAMP:20200310T213039Z DESCRIPTION:THERE IS A FEELING OF UNBRIDLED LIFE FOUND IN THE WILD CORNERS OF OUR WORLD. IN THE EXPANSIVE POSSIBILITY OF A MOUNTAIN TOP, THE CHAOTIC FAMILIARITY OF ENDLESS FIELDS OF SNOW, THE ROAR OF THE OCEAN, OR THE SOLITARY SERENITY OF THE MOST REMOTE DESERT. IT IS IN THESE PLACES AND MOMENTS THAT PIXIE AND THE PARTYGRASS BOYS FIND INSPIRATION, CRAFTING MUSIC THAT CHANNELS THE SAME HIGHS, LOWS, AND IMPROVISATIONAL IN-BETWEENS.\NHAILED AS "THE HOTTEST BAND IN THE WASATCH" BY THE INTERMOUNTAIN ACOUSTIC MUSIC ASSOCIATION, PARTYGRASS ISN'T EXACTLY BLUEGRASS, OR NEWGRASS, OR POP, OR PUNK, OR ROCK AND ROLL. THEY FALL SOMEWHERE IN BETWEEN IT ALL, AND THAT’S EXACTLY HOW THEY LIKE IT. DRAWING INFLUENCE FROM THE BLUEGRASS ROOTS OF APPALACHIA AND TRANSPORTING IT STRAIGHT TO THE WESTERN EDGE OF THE ROCKIES, PIXIE AND THE PARTYGRASS BOYS CREATE A UNIQUELY AMERICAN SOUND. INSPIRED BY LANDSCAPES FROM COAST TO COAST, THE GROUP COMBINES CLASSICAL TRAINING WITH JAZZ, BROADWAY, POP-PUNK, AND AN UNABASHED LOVE FOR HAVING A DAMN GOOD TIME.\NPIXIE AND THE PARTYGRASS BOYS HAVE PLAYED FOR NATIONAL AUDIENCES BOTH ON TOUR AND AT MUSIC FESTIVALS INCLUDING HIGH SIERRA, DELFEST, WINTERWONDERGRASS, SAWTOOTH VALLEY GATHERING, HANGTOWN, AND ARISE, IN ADDITION TO SHARING THE STAGE WITH NAMES LIKE GRACE POTTER, BILLY STRINGS, THE LIL SMOKIES, AND THE JON STICKLEY TRIO. X-ALT-DESC;FMTTYPE=text/html:

THERE IS A FEELING OF UNBRIDLED LIFE FOUND IN THE WILD CORNERS OF OUR WORLD. IN THE EXPANSIVE POSSIBILITY OF A MOUNTAIN TOP, THE CHAOTIC FAMILIARITY OF ENDLESS FIELDS OF SNOW, THE ROAR OF THE OCEAN, OR THE SOLITARY SERENITY OF THE MOST REMOTE DESERT. IT IS IN THESE PLACES AND MOMENTS THAT PIXIE AND THE PARTYGRASS BOYS FIND INSPIRATION, CRAFTING MUSIC THAT CHANNELS THE SAME HIGHS, LOWS, AND IMPROVISATIONAL IN-BETWEENS.

HAILED AS "THE HOTTEST BAND IN THE WASATCH" BY THE INTERMOUNTAIN ACOUSTIC MUSIC ASSOCIATION, PARTYGRASS ISN'T EXACTLY BLUEGRASS, OR NEWGRASS, OR POP, OR PUNK, OR ROCK AND ROLL. THEY FALL SOMEWHERE IN BETWEEN IT ALL, AND THAT’S EXACTLY HOW THEY LIKE IT. DRAWING INFLUENCE FROM THE BLUEGRASS ROOTS OF APPALACHIA AND TRANSPORTING IT STRAIGHT TO THE WESTERN EDGE OF THE ROCKIES, PIXIE AND THE PARTYGRASS BOYS CREATE A UNIQUELY AMERICAN SOUND. INSPIRED BY LANDSCAPES FROM COAST TO COAST, THE GROUP COMBINES CLASSICAL TRAINING WITH JAZZ, BROADWAY, POP-PUNK, AND AN UNABASHED LOVE FOR HAVING A DAMN GOOD TIME.

PIXIE AND THE PARTYGRASS BOYS HAVE PLAYED FOR NATIONAL AUDIENCES BOTH ON TOUR AND AT MUSIC FESTIVALS INCLUDING HIGH SIERRA, DELFEST, WINTERWONDERGRASS, SAWTOOTH VALLEY GATHERING, HANGTOWN, AND ARISE, IN ADDITION TO SHARING THE STAGE WITH NAMES LIKE GRACE POTTER, BILLY STRINGS, THE LIL SMOKIES, AND THE JON STICKLEY TRIO.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200507T175149Z X-ACCESS:1 X-HITS:857 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200614T180000 DTEND;TZID=America/Denver:20200614T190000 UID:041CEC38-94A3-4480-97B0-170CD323B7E1 SUMMARY:Nikki Lane Live From the Other Side DTSTAMP:20200609T223846Z DESCRIPTION:Nikki Lane Live From the Other Side\NSunday June 14 @ 7pm CT at NoonChorus.com\NSpecial solo performance broadcast from Nikki's home. approx 60 min X-ALT-DESC;FMTTYPE=text/html:

Nikki Lane Live From the Other Side

Sunday June 14 @ 7pm CT at NoonChorus.com

Special solo performance broadcast from Nikki's home. approx 60 min

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200609T225208Z X-ACCESS:1 X-HITS:475 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200618T200000 DTEND;TZID=America/Denver:20200618T233000 UID:0CCB9D6B-5295-4FAF-B931-EBDEFCD6F91C SUMMARY:Caroline Rose DTSTAMP:20200205T182745Z DESCRIPTION:Due to COVID-19 THIS SHOW HAS BEEN CANCELED. All ticket buyers have been contacted via email with information regarding refunds.\N--------\NSuperstar - Out March 6, 2020 on New West Records\NSuperstar is an underdog story, and one not far off from Caroline Rose’s real life. After a years-long struggle to release what would ultimately become 2018’s LONER, deemed “a singular artistic statement from it’s unforgettable album art all the way down” (Pitchfork), Rose found herself in the midst of a new widespread audience, one both delightfully intrigued and perplexed about how and where to place her. That, combined with a developed set of studio skills and a challenge to “make something from nothing,” marked the beginning of Superstar. Gone are the polished Hollywood hunks and starlets of olde. Here is a shamelessly odd hero, or rather anti-hero, on a quest to become a someone.\NInspired by cult classics such as The Bitter Tears of Petra Von Kant, Mulholland Drive and the mockumentary Drop Dead Gorgeous, Superstar plays out like a film with a beginning, middle, and an open ending. In album opener “Nothing’s Impossible,” the protagonist receives a mistaken phone call from the glamorous Chateau Marmont hotel. Taking the call as a sign toward a star-studded future, they (gender neutral pronoun) leave behind everything in pursuit of a newly established destiny.\NWhat ensues is a cinematic paradox that in one moment finds them strutting down a neon strip in full Saturday Night Fever hip-swing donned in their finest threads, and the next sipping a dirty martini at the rundown apartment complex pool, dwelling on life’s unfortunate turns. It’s a narrative Rose pulled directly from the somewhat shameless desires of her own growing ambition, as well as the public breakdowns of several notable celebrities. “To me, the satire is in what we’ll do and put up with in order to be successful. I wanted to make a story out of those parts of myself that are for the most part undesirable, then inject them with steroids.”\NRose worked on the album in order of the story’s timeline, ensuring each track represented a chapter of the narrative in her head. Songs bursting with self-aggrandizement often reveal moments of vulnerability. “Feel The Way I Want” leads us with boisterous confidence through heartache by refusing to let pain get the best of us. Disguised as a Prince-infused bop, “Do You Think We’ll Last Forever?” expresses the uncertainty and anxiety that come with seeing a new partner, ending in a full blown freakout of bottled up nervous energy. The S&M-fueled love song “Freak Like Me” and the darkly comedic “Command Z” ultimately expose a fragile person coming to terms with their own humanity. Rose sings, “I looked around at all the people there / as I thought everyone we know will know will someday be dead / God, I just don’t want it to end / Undo, I’m gonna do it again”.\NRose began formulating the songs and ideas for a sequel-esque follow-up to LONER in between the band’s near-incessant touring schedule, from playing sold out headline shows across the country and beyond, to becoming fan favorites at some of the world’s biggest festivals. “Two years ago I started touring with nothing, not knowing if I’d even have a career. Then all of a sudden we were playing to hundreds of people in a town I’d never heard of. The whole thing was fascinating. It got me thinking, just how much can you build from nothing?” As a result, Superstar was written, recorded and produced by Rose in her 10’x12’ home studio, as well as on a portable rig she’d set up in green rooms while on tour.\NSuperstar is a bigger, badder, glitter-filled cinematic pop record for weirdos. “I realized at some point that I’m not going to fit into any one box, and maybe that’s a good thing. This new record is me embracing feeling like an outsider making my own path,” Rose says. One part satire, one part self-reflection, Rose’s anti-hero personifies much of what we as casual on-lookers are wont to poke fun at, dismiss or denigrate, yet deep down likely aspire to be. Someone who, whether warranted or not, refuses to let anyone dictate their own life’s narrative. X-ALT-DESC;FMTTYPE=text/html:

Due to COVID-19 THIS SHOW HAS BEEN CANCELED. All ticket buyers have been contacted via email with information regarding refunds.

--------

Superstar - Out March 6, 2020 on New West Records

Superstar is an underdog story, and one not far off from Caroline Rose’s real life. After a years-long struggle to release what would ultimately become 2018’s LONER, deemed “a singular artistic statement from it’s unforgettable album art all the way down” (Pitchfork), Rose found herself in the midst of a new widespread audience, one both delightfully intrigued and perplexed about how and where to place her. That, combined with a developed set of studio skills and a challenge to “make something from nothing,” marked the beginning of Superstar. Gone are the polished Hollywood hunks and starlets of olde. Here is a shamelessly odd hero, or rather anti-hero, on a quest to become a someone.

Inspired by cult classics such as The Bitter Tears of Petra Von Kant, Mulholland Drive and the mockumentary Drop Dead Gorgeous, Superstar plays out like a film with a beginning, middle, and an open ending. In album opener “Nothing’s Impossible,” the protagonist receives a mistaken phone call from the glamorous Chateau Marmont hotel. Taking the call as a sign toward a star-studded future, they (gender neutral pronoun) leave behind everything in pursuit of a newly established destiny.

What ensues is a cinematic paradox that in one moment finds them strutting down a neon strip in full Saturday Night Fever hip-swing donned in their finest threads, and the next sipping a dirty martini at the rundown apartment complex pool, dwelling on life’s unfortunate turns. It’s a narrative Rose pulled directly from the somewhat shameless desires of her own growing ambition, as well as the public breakdowns of several notable celebrities. “To me, the satire is in what we’ll do and put up with in order to be successful. I wanted to make a story out of those parts of myself that are for the most part undesirable, then inject them with steroids.”

Rose worked on the album in order of the story’s timeline, ensuring each track represented a chapter of the narrative in her head. Songs bursting with self-aggrandizement often reveal moments of vulnerability. “Feel The Way I Want” leads us with boisterous confidence through heartache by refusing to let pain get the best of us. Disguised as a Prince-infused bop, “Do You Think We’ll Last Forever?” expresses the uncertainty and anxiety that come with seeing a new partner, ending in a full blown freakout of bottled up nervous energy. The S&M-fueled love song “Freak Like Me” and the darkly comedic “Command Z” ultimately expose a fragile person coming to terms with their own humanity. Rose sings, “I looked around at all the people there / as I thought everyone we know will know will someday be dead / God, I just don’t want it to end / Undo, I’m gonna do it again”.

Rose began formulating the songs and ideas for a sequel-esque follow-up to LONER in between the band’s near-incessant touring schedule, from playing sold out headline shows across the country and beyond, to becoming fan favorites at some of the world’s biggest festivals. “Two years ago I started touring with nothing, not knowing if I’d even have a career. Then all of a sudden we were playing to hundreds of people in a town I’d never heard of. The whole thing was fascinating. It got me thinking, just how much can you build from nothing?” As a result, Superstar was written, recorded and produced by Rose in her 10’x12’ home studio, as well as on a portable rig she’d set up in green rooms while on tour.

Superstar is a bigger, badder, glitter-filled cinematic pop record for weirdos. “I realized at some point that I’m not going to fit into any one box, and maybe that’s a good thing. This new record is me embracing feeling like an outsider making my own path,” Rose says. One part satire, one part self-reflection, Rose’s anti-hero personifies much of what we as casual on-lookers are wont to poke fun at, dismiss or denigrate, yet deep down likely aspire to be. Someone who, whether warranted or not, refuses to let anyone dictate their own life’s narrative.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200616T204539Z X-ACCESS:1 X-HITS:1756 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200716T100000 DTEND;TZID=America/Denver:20200730T230000 UID:2DA3A35A-418F-4D96-B8C0-A45F70DDD9DB SUMMARY:Turning it Around: A Community Rebuilding Concert Series with Lucius DTSTAMP:20200713T164854Z DESCRIPTION:Lucius\NFacebook | Instagram | Twitter | Youtube\NLucius will be performing four live-streamed shows on Thursday, July 9th, 16th, 23rd, and 30th to promote local engagement and fundraising for small businesses facing financial hardship.\NA portion of ticket sales will go toward our venue's staff fund when you purchase tickets through our unique links below:\NJuly 16th: https://bit.ly/LuciusJuly16\NJuly 23rd: https://bit.ly/LuciusJuly23\NJuly 30th: https://bit.ly/LuciusJuly30\N3-day Pass: https://bit.ly/Lucius3DayPass\N\N\N\N\N\N  X-ALT-DESC;FMTTYPE=text/html:

Lucius

Facebook | Instagram | Twitter | Youtube

Lucius will be performing four live-streamed shows on Thursday, July 9th, 16th, 23rd, and 30th to promote local engagement and fundraising for small businesses facing financial hardship.

A portion of ticket sales will go toward our venue's staff fund when you purchase tickets through our unique links below:

July 16th: https://bit.ly/LuciusJuly16

July 23rd: https://bit.ly/LuciusJuly23

July 30th: https://bit.ly/LuciusJuly30

3-day Pass: https://bit.ly/Lucius3DayPass

107228583 10160648400439848 5247324232532921285 n

107212922 10160652567779848 8980674449923346625 n

Restaurants final

Record Shops final

Retail final

 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200730T155917Z X-ACCESS:1 X-HITS:831 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200811T200000 DTEND;TZID=America/Denver:20200811T233000 UID:4E307A35-164D-409B-9CA7-318137B42293 SUMMARY:Thao & the Get Down Stay Down DTSTAMP:20200304T201401Z DESCRIPTION:Due to COVID-19, THIS SHOW HAS BEEN CANCELED. All ticket buyers have been contacted via email with information regarding refunds. \NAfter 15 years of recording and performing, Thao Nguyen, of San Francisco-based band Thao & The Get Down Stay Down, was exhausted. She had been touring the band’s 2016 album A Man Alive, a critically acclaimed, bone-shaking reckoning about her relationship with her absent father. She was scoring commissions, guest-hosting the podcast Song Exploder, and exploring other paths as an artist. She bought a house with her girlfriend; they’re married now.\NIn the past 15 years, Thao has avoided being fully out in her public career, having been raised in—and deeply loving—a family and culture distanced from mainstream America’s social progress. As she confronted the division, shame, grief, and silence in her life, Thao found new ways to live in her own skin, and forced her own hand to make a new, different record. In doing so, she created a space wherein she can finally exist as her full self.\NTemple is the fifth full-length album from Thao & The Get Down Stay Down. Produced by Thao and bandmate Adam Thompson, who shares songwriting credit on five tracks, it is also their first self-produced album. Mixer Mikaelin “Blue” Bluespruce (Solange, Skepta, Carly Rae Jepsen) widens the band’s register with beat-forward mixes and immersive, lush tones.\NKaleidoscopic and danceable, grounded by Thao’s singular voice, Temple feels boldly dissonant while still highly accessible. Golden, longing pop meets punk roots. Rock draws from hip-hop, funk, and folk rhythms for intricate, danceable beats. The poetic lyrics are expansive, yet shatteringly personal, inspired in part by the work of writers like James Baldwin, Octavia Butler, and Yiyun Li.. Rage, honesty, clear-eyed regret, and optimistic wisdom run parallel, finding a new way forward. \NA temple is a place of worship and sanctuary. We spend our lives searching for temples where we can belong and be loved, but those spaces can also be a kind of confinement. Temple is an album that pushes open boundaries for a different kind of sanctuary, where you don’t have to whisper. X-ALT-DESC;FMTTYPE=text/html:

Due to COVID-19, THIS SHOW HAS BEEN CANCELED. All ticket buyers have been contacted via email with information regarding refunds. 

After 15 years of recording and performing, Thao Nguyen, of San Francisco-based band Thao & The Get Down Stay Down, was exhausted. She had been touring the band’s 2016 album A Man Alive, a critically acclaimed, bone-shaking reckoning about her relationship with her absent father. She was scoring commissions, guest-hosting the podcast Song Exploder, and exploring other paths as an artist. She bought a house with her girlfriend; they’re married now.

In the past 15 years, Thao has avoided being fully out in her public career, having been raised in—and deeply loving—a family and culture distanced from mainstream America’s social progress. As she confronted the division, shame, grief, and silence in her life, Thao found new ways to live in her own skin, and forced her own hand to make a new, different record. In doing so, she created a space wherein she can finally exist as her full self.

Temple is the fifth full-length album from Thao & The Get Down Stay Down. Produced by Thao and bandmate Adam Thompson, who shares songwriting credit on five tracks, it is also their first self-produced album. Mixer Mikaelin “Blue” Bluespruce (Solange, Skepta, Carly Rae Jepsen) widens the band’s register with beat-forward mixes and immersive, lush tones.

Kaleidoscopic and danceable, grounded by Thao’s singular voice, Temple feels boldly dissonant while still highly accessible. Golden, longing pop meets punk roots. Rock draws from hip-hop, funk, and folk rhythms for intricate, danceable beats. The poetic lyrics are expansive, yet shatteringly personal, inspired in part by the work of writers like James Baldwin, Octavia Butler, and Yiyun Li.. Rage, honesty, clear-eyed regret, and optimistic wisdom run parallel, finding a new way forward. 

A temple is a place of worship and sanctuary. We spend our lives searching for temples where we can belong and be loved, but those spaces can also be a kind of confinement. Temple is an album that pushes open boundaries for a different kind of sanctuary, where you don’t have to whisper.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20201119T212922Z X-ACCESS:1 X-HITS:1310 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200813T200000 DTEND;TZID=America/Denver:20200813T233000 UID:70180FCF-77F4-4CE9-BDFC-0B087245D343 SUMMARY:Wild Rivers DTSTAMP:20191113T215303Z DESCRIPTION:Due to COVID-19, THIS SHOW HAS BEEN CANCELED. All ticket buyers have been contacted via email with information regarding refunds.\N------\NBands share a whole lot more than just music. They encounter and endure life’s ups, downs, and everything in between as a collective. Along the way, band members grow individually and collectively. Following a year highlighted by 150-plus shows, Wild Rivers transpose personal experiences into relatable anthems woven from strands of folk, indie, rock, pop, country, and beyond. Their 2020 EP, Songs To Break Up To [Nettwerk], brings Wild Rivers—Khalid Yassein [guitar, vocals, keys], Devan Glover [vocals, bass], Andrew Oliver [lead guitar, bass], and Julien Laferrière [ drums]— closer as it also draws listeners in. “The EP was very personal for me specifically, but building it out with the band was a big step for all of us as friends,” says Khalid. “I spend 95% of my time with my bandmates. We’re a family, so we go through everything together. It’s autobiographical, but the group saw the vision and were empathetic. It went from a singular experience to everyone serving the vision tonally and musically.” Since the release of their self-titled 2016 debut, Wild Rivers consistently progressed towards this point. As of 2019, their total streams surpassed 100 million and counting. 2018’s Eighty-Eight EP garnered acclaim courtesy of Rolling Stone Country, PopMatters , Earmilk , No Depression, and more. Additionally, the band packed shows across North America and beyond, touring alongside The Paper Kites, Donavan Woods, and Jake Bugg, to name a few. In the midst of a 2018 road marathon, Khalid faced the dissolution of a long-term relationship, so he poured his heartbreak into the music. “When we began writing, the songs that spoke to us all were centered around the breakup,” he says. “We decided to lean into the theme and make the EP an exploration of the topic, what the different sides of a breakup are, and what the feelings are. These include the good and the bad, the acceptance and the sadness, and the new freedom. We wanted to write a collection of songs covering the spectrum of what you feel going through the end of a relationship.” In order to do so, the group retreated to Nashville, TN in October 2019, working out of Creative Workshop with producer Skylar Wilson (Rayland Baxter; Justin Townes Earle; Joshua Hedley). In the studio, they expanded their sonic palette by further incorporating synths, guitar effects, gang vocals, and choral harmonies. “In the past, we’ve mainly recorded in Toronto,” says Devan. “We could just hop into the studio whenever. In Nashville, we only had a limited amount of time, so we got locked in and focused on the end goal as a team. We were all staying together, so we were living and breathing the EP the whole time—which was awesome.” “Our philosophy was to take risks and do something different,” Khalid elaborates. “The whole ethos really helped in making decisions and guiding what we did. If we felt unsure, different, or vulnerable, we always chased that feeling.” By chasing it, Wild Rivers uncovered five undeniable tunes led by the first single “Thinking ‘Bout Love.” Clean guitar and a steady beat reverberate amidst a heartfelt vocal volley between Khalid and Devan. Wistful recollections of an old flame give way to gospel-style harmonies as Devan soulfully sings, “I’m just thinking ‘bout love .” “When you’re talking about breaking up or after it’s over, one person will think practically like, ‘We shouldn’t be together on paper. These are all of the reasons this relationship doesn’t make sense’,” Khalid goes on. “It’s the rational side of deciding whether or not you want the relationship. Then, there’s my side, which is romantic and naïve. I think, ‘Nothing matters, if we have love and our relationship is good.’ That’s the only future I’m thinking about. One partner thinks about the logistical hurdles; the other thinks about love. It’s the hopeless romantic versus the cold rational adult.” On the follow-up “Kinda Feels Alright,” soft strumming and delicate percussion offset candid admissions from Khalid such as, “Last year baby, I was checking in. Now, I’m crashing.” “One night, I went out on the town with my friend, got drunk, had a bunch of laughs, totally relaxed, and just experienced this amazing feeling,” he recalls. “I wasn’t sad about anything. I stopped thinking about the split. When I was walking home, something made me think of my ex, and all of these feelings came back. It turned on a dime. I realized I couldn’t focus on it anymore. I needed to get closure and get back to my life.” Elsewhere on the EP, drum machines anchor the poignantly playful “Small Talk” as a piano that once belonged to Ray Charles rings out on the bold ballad “Do or Die.” Now, as the band bring Songs To Break Up To on the road, they’ll contribute $1 from every ticket sold to Voices of Our City Choir—a San Diego-based charity working to amend the housing crisis. By opening up on Songs To Break Up To , Wild Rivers ultimately connect like never before. “We want to validate people’s feelings,” Khalid leaves off. “It’s okay to be sad; it’s okay to be happy. There’s no right way to handle something like heartache, but you can talk about it with your friends. We try to show that.” “In this collection, there’s something for everybody,” Devan concludes. “The songs span different genres and vibes. We hope there’s something that can connect with you in terms of the music and the message.” X-ALT-DESC;FMTTYPE=text/html:

Due to COVID-19, THIS SHOW HAS BEEN CANCELED. All ticket buyers have been contacted via email with information regarding refunds.

------

Bands share a whole lot more than just music. They encounter and endure life’s ups, downs, and everything in between as a collective. Along the way, band members grow individually and collectively. Following a year highlighted by 150-plus shows, Wild Rivers transpose personal experiences into relatable anthems woven from strands of folk, indie, rock, pop, country, and beyond. Their 2020 EP, Songs To Break Up To [Nettwerk], brings Wild Rivers—Khalid Yassein [guitar, vocals, keys], Devan Glover [vocals, bass], Andrew Oliver [lead guitar, bass], and Julien
Laferrière [ drums]— closer as it also draws listeners in.

“The EP was very personal for me specifically, but building it out with the band was a big step for all of us as friends,” says Khalid. “I spend 95% of my time with my bandmates. We’re a family, so we go through everything together. It’s autobiographical, but the group saw the vision and were empathetic. It went from a singular experience to everyone serving the vision tonally and musically.”

Since the release of their self-titled 2016 debut, Wild Rivers consistently progressed towards this point. As of 2019, their total streams surpassed 100 million and counting. 2018’s Eighty-Eight EP garnered acclaim courtesy of Rolling Stone Country, PopMatters , Earmilk , No Depression, and more. Additionally, the band packed shows across North America and beyond, touring alongside The Paper Kites, Donavan Woods, and Jake Bugg, to name a few.

In the midst of a 2018 road marathon, Khalid faced the dissolution of a long-term relationship, so he poured his heartbreak into the music.

“When we began writing, the songs that spoke to us all were centered around the breakup,” he says. “We decided to lean into the theme and make the EP an exploration of the topic, what the different sides of a breakup are, and what the feelings are. These include the good and the bad, the acceptance and the sadness, and the new freedom. We wanted to write a collection of songs covering the spectrum of what you feel going through the end of a relationship.”

In order to do so, the group retreated to Nashville, TN in October 2019, working out of Creative Workshop with producer Skylar Wilson (Rayland Baxter; Justin Townes Earle; Joshua Hedley). In the studio, they expanded their sonic palette by further incorporating synths, guitar effects, gang vocals, and choral harmonies.

“In the past, we’ve mainly recorded in Toronto,” says Devan. “We could just hop into the studio whenever. In Nashville, we only had a limited amount of time, so we got locked in and focused on the end goal as a team. We were all staying together, so we were living and breathing the EP the whole time—which was awesome.”

“Our philosophy was to take risks and do something different,” Khalid elaborates. “The whole ethos really helped in making decisions and guiding what we did. If we felt unsure, different, or vulnerable, we always chased that feeling.”

By chasing it, Wild Rivers uncovered five undeniable tunes led by the first single “Thinking ‘Bout
Love.” Clean guitar and a steady beat reverberate amidst a heartfelt vocal volley between
Khalid and Devan. Wistful recollections of an old flame give way to gospel-style harmonies as Devan soulfully sings, “I’m just thinking ‘bout love .”

“When you’re talking about breaking up or after it’s over, one person will think practically like, ‘We shouldn’t be together on paper. These are all of the reasons this relationship doesn’t make sense’,” Khalid goes on. “It’s the rational side of deciding whether or not you want the relationship. Then, there’s my side, which is romantic and naïve. I think, ‘Nothing matters, if we have love and our relationship is good.’ That’s the only future I’m thinking about. One partner thinks about the logistical hurdles; the other thinks about love. It’s the hopeless romantic versus the cold rational adult.”

On the follow-up “Kinda Feels Alright,” soft strumming and delicate percussion offset candid admissions from Khalid such as, “Last year baby, I was checking in. Now, I’m crashing.”

“One night, I went out on the town with my friend, got drunk, had a bunch of laughs, totally relaxed, and just experienced this amazing feeling,” he recalls. “I wasn’t sad about anything. I stopped thinking about the split. When I was walking home, something made me think of my ex, and all of these feelings came back. It turned on a dime. I realized I couldn’t focus on it anymore. I needed to get closure and get back to my life.”

Elsewhere on the EP, drum machines anchor the poignantly playful “Small Talk” as a piano that once belonged to Ray Charles rings out on the bold ballad “Do or Die.” Now, as the band bring Songs To Break Up To on the road, they’ll contribute $1 from every ticket sold to Voices of Our City Choir—a San Diego-based charity working to amend the housing crisis.

By opening up on Songs To Break Up To , Wild Rivers ultimately connect like never before.

“We want to validate people’s feelings,” Khalid leaves off. “It’s okay to be sad; it’s okay to be happy. There’s no right way to handle something like heartache, but you can talk about it with your friends. We try to show that.”

“In this collection, there’s something for everybody,” Devan concludes. “The songs span different genres and vibes. We hope there’s something that can connect with you in terms of the music and the message.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20200616T204554Z X-ACCESS:1 X-HITS:1862 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20201030T200000 DTEND;TZID=America/Denver:20201030T213000 UID:3735F58F-D8D0-438E-8E0B-2F7BC9BF0FE5 SUMMARY:KRCL Presents: Talia Keys & The Love 9th Annual Halloween Bash DTSTAMP:20201007T235104Z DESCRIPTION: \NTalia Keys and The Love invite you to our 9th Annual Halloween Bash!\NInvite your COVID circle over and stream on the big screen! We are playing a no audience show at The State Room and will be decorating like every year! This is our favorite show of the year and we can't wait to play for you!\NWear your costumes and tell your friends!\NThis year's theme is Ghosts of Halloween Past. We will be playing our favorite songs from the previous tributes as well as a set of originals.\NWe would love for you to join us!\NBand Bio\NTalia Keys & The Love is a foot-stomping, jaw-dropping soul-funk-rock n’ roll band born after the charismatic front-woman, Talia Keys. Her killer line-up is a host of powerhouse musicians based out of Utah with songwriter Talia Keys on lead guitar and vocals, Ryan Conger (Joe McQueen Quartet) rippin the keys,  the impeccable jam band veteran Dave Brogan (ALO) on drums, Josh Olsen tearin up the bass, and the incomparable Lisa Giacoletto adding soaring backing vocals.  X-ALT-DESC;FMTTYPE=text/html:

Talia 2 

Talia Keys and The Love invite you to our 9th Annual Halloween Bash!

Invite your COVID circle over and stream on the big screen! We are playing a no audience show at The State Room and will be decorating like every year! This is our favorite show of the year and we can't wait to play for you!

Wear your costumes and tell your friends!

This year's theme is Ghosts of Halloween Past. We will be playing our favorite songs from the previous tributes as well as a set of originals.

We would love for you to join us!

Band Bio

Talia Keys & The Love is a foot-stomping, jaw-dropping soul-funk-rock n’ roll band born after the charismatic front-woman, Talia Keys. Her killer line-up is a host of powerhouse musicians based out of Utah with songwriter Talia Keys on lead guitar and vocals, Ryan Conger (Joe McQueen Quartet) rippin the keys,  the impeccable jam band veteran Dave Brogan (ALO) on drums, Josh Olsen tearin up the bass, and the incomparable Lisa Giacoletto adding soaring backing vocals. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20201007T235708Z X-ACCESS:1 X-HITS:955 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:1 END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20210301 DTEND;VALUE=DATE:20210602 UID:E85DB13C-AA29-4015-848B-EAF66F4CE1FF SUMMARY:COVID-19 SHOW SCHEDULE UPDATES DTSTAMP:20210217T201033Z DESCRIPTION:The health and safety of our patrons, artists and employees is our top priority. Effective immediately, all shows at The State Room and The Commonwealth Room are postponed. We will be working diligently over the coming months to reschedule shows and ask for your patience during this time.\NPlease continue to check back here for updates:\N\NIf a show’s status is or becomes “canceled”, we will notify buyers via Eventbrite & refund options will be made available.\NIf a show’s status is listed as “postponed”, we are working hard on securing a new date. Keep your tickets handy. If at all possible, hold all refund requests until the new date is announced.\NIf a show is no longer listed on our website’s homepage, it is due to the original show date passing and the show has likely been postponed until further notice. If the show has been canceled, all ticket buyers would have been contacted via email.\N\NWe understand that the waiting period has become long and unknown. If at any time you decide you no longer wish to hold on to tickets for a new date, please send a refund request with your first & last names, show name & confirmation number to box@thestateroom.com\NIf you have any further questions, concerns and/or words of encouragement for us, please feel free to email us at box@thestateroom.com. X-ALT-DESC;FMTTYPE=text/html:

The health and safety of our patrons, artists and employees is our top priority. Effective immediately, all shows at The State Room and The Commonwealth Room are postponed. We will be working diligently over the coming months to reschedule shows and ask for your patience during this time.

Please continue to check back here for updates:

We understand that the waiting period has become long and unknown. If at any time you decide you no longer wish to hold on to tickets for a new date, please send a refund request with your first & last names, show name & confirmation number to box@thestateroom.com

If you have any further questions, concerns and/or words of encouragement for us, please feel free to email us at box@thestateroom.com.

LAST-MODIFIED:20210429T180154Z X-ACCESS:1 X-HITS:3677 X-URL:https://www.dropbox.com/sh/bfxdd5n829ddyi9/AADJP1loC_bXaV391Dmp5054a?dl=0 X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210313T183000 DTEND;TZID=America/Denver:20210327T193000 UID:6E4C2E50-850A-4430-B9C1-C47C38A99B36 SUMMARY:The Chris Smither Streaming Global Tour DTSTAMP:20210218T212324Z DESCRIPTION:Missing Chris? Here's a chance to see Chris in a performance at The Parlor Room in Northampton, MA in the comfort of your home wherever you are in the world. Each night is different: \NMarch 13th Chris will perform the record Leave the Light On in its entirety. \N\NMarch 20th will be a MASTER CLASS where Chris will break down how he plays his song(s) and also provide some commentary on how the songs came about all in conversation with special guest Peter Mulvey. A fun evening of two friends hanging out. \N\NMarch 27th will be a night of the blues. Each event has a 48-hour replay window so folks in the Pacific Northwest, Australia, UK, and EU you can watch at a time that works best for you, and also anyone can rewatch the performances again (and again and again) in that window.\N X-ALT-DESC;FMTTYPE=text/html:

Missing Chris? Here's a chance to see Chris in a performance at The Parlor Room in Northampton, MA in the comfort of your home wherever you are in the world. Each night is different: 

March 13th Chris will perform the record Leave the Light On in its entirety. 

streaming global tour 3.21 leavethelight

March 20th will be a MASTER CLASS where Chris will break down how he plays his song(s) and also provide some commentary on how the songs came about all in conversation with special guest Peter Mulvey. A fun evening of two friends hanging out. 

streaming global tour 3.21 masterclass

March 27th will be a night of the blues. Each event has a 48-hour replay window so folks in the Pacific Northwest, Australia, UK, and EU you can watch at a time that works best for you, and also anyone can rewatch the performances again (and again and again) in that window.

streaming global tour 3.21 bluesset

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210218T220414Z X-ACCESS:1 X-HITS:499 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210313T190000 DTEND;TZID=America/Denver:20210327T233000 UID:6A41719A-6619-4F92-BB54-31FB8B17C33C SUMMARY:Taj Mahal Livestream Concert Series DTSTAMP:20210304T190901Z DESCRIPTION:Taj Mahal: Livestream Concert Series from the UC Theatre\NMarch 13th | 7PM MST\N\NQuantifying Taj Mahal’s musical significance is impossible but people try anyway.  Composer, multi-instrumentalist, vocalist, multi-GRAMMY® winner, multi-Blues Music Award winner, Blues Hall of Fame member and Americana Music Association’s Lifetime Achievement award recipient Mahal is one of the most prominent and influential figures in late 20th Century blues and roots music. \NWhen Taj sought to assemble a studio band for his 1993 release Dancing’ the Blues, little did he know at the time he had created an entire “sound” that would see the Phantom Blues Band become headliners at clubs, theaters and festivals around the world.  Together and separately, the members of this two-time GRAMMY® winning group have performed with Bonnie Raitt, Stevie Ray Vaughan, Little Feat, Elton John, The Rolling Stones and many more.  Featuring Tony Braunagel (drums, percussion), Larry Fulcher (bass), Joe Sublett (saxophone), Mike Finnigan (keyborads/organ/vocals) and Jonny Lee Schell (guitar/vocals), PBB explores everything from Texas Blues to Memphis Soul.\NBritish born New Orleans funk savant Jon Cleary is a virtuosic keyboardist, profoundly expressive vocalist, distinctive songwriter and GRAMMY® winner.  His music pays homage to and proudly fills the void left behind by such Crescent City icons as Jelly Roll Morton, Fats Domino, Professor Longhair, Art Neville, James Booker and others.  He has toured the world with the likes of Taj Mahal, John Scofield, Dr. John, Bonnie Raitt, and has led his own R&B/soul group the Absolute Monster Gentlemen for over two decades now.  \NMarch 20th | 7PM MST\N\NHosted and curated by legendary blues & roots musician Taj Mahal, the Roots Rising Showcase will feature a collection of Taj’s hand-picked favorite emerging artists performing songs recorded live and exclusively for this streaming performance.  Artists include Rob Ickes & Trey Hensley, Amythyst Kiah, Annie Mack, Leyla McCalla, Piedmont Bluz Acoustic Duo, Ranky Tanky, Allison Russell and Jontavious Willis.  Expect a live solo performance from Taj as well!\NMarch 27th | 7PM MST\N\NQuantifying Taj Mahal’s musical significance is impossible but people try anyway.  Composer, multi-instrumentalist, vocalist, multi-GRAMMY® winner, multi-Blues Music Award winner, Blues Hall of Fame member and Americana Music Association’s Lifetime Achievement award recipient Mahal is one of the most prominent and influential figures in late 20th Century blues and roots music.    A GRAMMY® award winner and NPR’s inaugural Tiny Desk contest winner, Fantastic Negrito has performed at some of the biggest festivals and stages in the world.  He and Taj are mutual fans, SF East Bay neighbors and, more recently, good friends. Both men are self-taught multi-instrumentalists whose timeless music stirs the soul.  They have shared bills before but hatched the idea for a duo livestream together on the phone during the pandemic.   Utilizing a shared band, expect both separate and collaborative performances on stage.\N  X-ALT-DESC;FMTTYPE=text/html:

Taj Mahal: Livestream Concert Series from the UC Theatre

March 13th | 7PM MST

Taj Mahal MAR 13

Quantifying Taj Mahal’s musical significance is impossible but people try anyway.  Composer, multi-instrumentalist, vocalist, multi-GRAMMY® winner, multi-Blues Music Award winner, Blues Hall of Fame member and Americana Music Association’s Lifetime Achievement award recipient Mahal is one of the most prominent and influential figures in late 20th Century blues and roots music. 

When Taj sought to assemble a studio band for his 1993 release Dancing’ the Blues, little did he know at the time he had created an entire “sound” that would see the Phantom Blues Band become headliners at clubs, theaters and festivals around the world.  Together and separately, the members of this two-time GRAMMY® winning group have performed with Bonnie Raitt, Stevie Ray Vaughan, Little Feat, Elton John, The Rolling Stones and many more.  Featuring Tony Braunagel (drums, percussion), Larry Fulcher (bass), Joe Sublett (saxophone), Mike Finnigan (keyborads/organ/vocals) and Jonny Lee Schell (guitar/vocals), PBB explores everything from Texas Blues to Memphis Soul.

British born New Orleans funk savant Jon Cleary is a virtuosic keyboardist, profoundly expressive vocalist, distinctive songwriter and GRAMMY® winner.  His music pays homage to and proudly fills the void left behind by such Crescent City icons as Jelly Roll Morton, Fats Domino, Professor Longhair, Art Neville, James Booker and others.  He has toured the world with the likes of Taj Mahal, John Scofield, Dr. John, Bonnie Raitt, and has led his own R&B/soul group the Absolute Monster Gentlemen for over two decades now.  

March 20th | 7PM MST

Taj Mahal MAR 20

Hosted and curated by legendary blues & roots musician Taj Mahal, the Roots Rising Showcase will feature a collection of Taj’s hand-picked favorite emerging artists performing songs recorded live and exclusively for this streaming performance.  Artists include Rob Ickes & Trey Hensley, Amythyst Kiah, Annie Mack, Leyla McCalla, Piedmont Bluz Acoustic Duo, Ranky Tanky, Allison Russell and Jontavious Willis.  Expect a live solo performance from Taj as well!

March 27th | 7PM MST

Taj Mahal MAR 27

Quantifying Taj Mahal’s musical significance is impossible but people try anyway.  Composer, multi-instrumentalist, vocalist, multi-GRAMMY® winner, multi-Blues Music Award winner, Blues Hall of Fame member and Americana Music Association’s Lifetime Achievement award recipient Mahal is one of the most prominent and influential figures in late 20th Century blues and roots music.    A GRAMMY® award winner and NPR’s inaugural Tiny Desk contest winner, Fantastic Negrito has performed at some of the biggest festivals and stages in the world.  He and Taj are mutual fans, SF East Bay neighbors and, more recently, good friends. Both men are self-taught multi-instrumentalists whose timeless music stirs the soul.  They have shared bills before but hatched the idea for a duo livestream together on the phone during the pandemic.   Utilizing a shared band, expect both separate and collaborative performances on stage.

 

LAST-MODIFIED:20210304T190935Z X-ACCESS:1 X-HITS:413 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210915T190000 DTEND;TZID=America/Denver:20210915T233000 UID:5C1BACE2-FF1A-4DF6-ABAF-5D24F39DBA1E SUMMARY:Monophonics | Con Brio DTSTAMP:20190205T221551Z DESCRIPTION:{slider title="Monophonics" open="false"}\NFacebook | Instagram | YouTube | Spotify\NBay Area based psychedelic-soul band Monophonics have risen up again from their California studio Transistor Sound to offer the world a new album via indie label giants Colemine Records. Their new record entitled It’s Only Us, due this year reflects what they see as the current direction in the world, it’s an expression that leans on the theme of humanity, that strives to speak to a wide range of listeners.\NIt’s a message of unity, strength, resilience and acceptance. Often known as a group that is keen to create a heavier version of classic soul, Monophonics are back with their trademark sound while introducing a healthy dose of new and warm textures that will saturate speakers. It’s easy to hear their years of record digging and being under the influence of rare sides by Brothers of Soul, Rotary Connection or Dee Edwards.\N{/sliders}\N{slider title=Con Brio" open="false"}\NFacebook | Spotify | Instagram | YouTube\NNamed for an Italian musical direction meaning with spirit, Con Brio is a San Francisco Bay Area seven-piece that plays energetic soul, psych-rock and R&B that’s as fresh and freethinking as the place they call home. With charismatic singer Ziek McCarter bringing “the dance moves, splits and all, of James Brown” (KQED) and a tight, veteran band that “comes across like a party punk version of Sly and the Family Stone” (Consequence of Sound), Con Brio is known to convert anyone who sees their electric live show.\N“No one can say what’s going to happen next week, let alone next year,” says McCarter. “But we can keep doing what we do. Head out there with our eyes open. And try to create moments of love, of liberation, everywhere we go.”\N{/sliders} X-ALT-DESC;FMTTYPE=text/html:

{slider title="Monophonics" open="false"}

Facebook | Instagram | YouTube | Spotify

Bay Area based psychedelic-soul band Monophonics have risen up again from their California studio Transistor Sound to offer the world a new album via indie label giants Colemine Records. Their new record entitled It’s Only Us, due this year reflects what they see as the current direction in the world, it’s an expression that leans on the theme of humanity, that strives to speak to a wide range of listeners.

It’s a message of unity, strength, resilience and acceptance. Often known as a group that is keen to create a heavier version of classic soul, Monophonics are back with their trademark sound while introducing a healthy dose of new and warm textures that will saturate speakers. It’s easy to hear their years of record digging and being under the influence of rare sides by Brothers of Soul, Rotary Connection or Dee Edwards.

{/sliders}

{slider title=Con Brio" open="false"}

Facebook | Spotify | Instagram | YouTube

Named for an Italian musical direction meaning with spirit, Con Brio is a San Francisco Bay Area seven-piece that plays energetic soul, psych-rock and R&B that’s as fresh and freethinking as the place they call home. With charismatic singer Ziek McCarter bringing “the dance moves, splits and all, of James Brown” (KQED) and a tight, veteran band that “comes across like a party punk version of Sly and the Family Stone” (Consequence of Sound), Con Brio is known to convert anyone who sees their electric live show.

“No one can say what’s going to happen next week, let alone next year,” says McCarter. “But we can keep doing what we do. Head out there with our eyes open. And try to create moments of love, of liberation, everywhere we go.”

{/sliders}

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210612T163959Z X-ACCESS:1 X-HITS:3217 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210916T200000 DTEND;TZID=America/Denver:20210916T233000 UID:CB1F0F77-A57B-4ECA-99BF-92B270C05E5C SUMMARY:Jamestown Revival - Night 1! DTSTAMP:20210612T163518Z DESCRIPTION:The story of Jamestown Revival feels suited for the dog-eared pages of a timeless American novel.\NChapter one opens with Jonathan Clay and Zach Chance meeting in Magnolia, TX at 15-years-old. Fast friends, the duo attended college together, started Jamestown Revival, and traded their home state for Los Angeles, CA in late 2011. \NBy 2014 they released their debut album UTAH (which included the hit single ‘ California (Cast Iron Soul))’ , built a committed fan base with countless road shows, and received critical acclaim from the likes of Rolling Stone and The Wall Street Journal . They were named iTunes “Best of 2014: Singer-Songwriter Album of the Year,” graced the sound stages of Conan and The Late Late Show with Craig Ferguson , and performed at some of America’s legendary music festivals including Coachella, Austin City Limits, Bonnaroo, Bottlerock Festival, and Willie Nelson’s Fourth of July Picnic.\N“UTAH opened a lot of doors for us and put us on the road for the first time,” says Zach.“We learned how to play for a crowd and how to perform.”But when it came time to record their second album, The Education Of A WanderingMan (featuring the hit track “ Love Is A Burden ”), the band found themselves in a different place.\N“This album is like chapter two,” agrees Jonathan. “The story begins at the point where we decided to head back to Texas. We wrote many of the songs when we were entering a different phase of our lives. We settled back into Austin, and my wife and I had our first child. That was a big shift. It was all about leaving behind our last bastion of adolescence, if you will.”\NThis process resulted in The Education Of A Wandering Man looking back at the journey of the band’s past. The record chronicles the lessons learned and the experiences that color the life-lived along the way. The album is simply a continuation of Jamestown Revival’s ongoing story. “We’ll be writing and telling stories until we’re six feet under,” reveals Jonathan. “This album is just the next step on the path.” That path will see Jamestown Revival releasing a new live album (“Live At Largo at the Coronet Theatre”) this Spring, along with new music later this year. X-ALT-DESC;FMTTYPE=text/html:

The story of Jamestown Revival feels suited for the dog-eared pages of a timeless American novel.

Chapter one opens with Jonathan Clay and Zach Chance meeting in Magnolia, TX at 15-years-old. Fast friends, the duo attended college together, started Jamestown Revival, and traded their home state for Los Angeles, CA in late 2011. 

By 2014 they released their debut album UTAH (which included the hit single ‘ California (Cast Iron Soul))’ , built a committed fan base with countless road shows, and received critical acclaim from the likes of Rolling Stone and The Wall Street Journal . They were named iTunes “Best of 2014: Singer-Songwriter Album of the Year,” graced the sound stages of Conan and The Late Late Show with Craig Ferguson , and performed at some of America’s legendary music festivals including Coachella, Austin City Limits, Bonnaroo, Bottlerock Festival, and Willie Nelson’s Fourth of July Picnic.

“UTAH opened a lot of doors for us and put us on the road for the first time,” says Zach.“We learned how to play for a crowd and how to perform.”But when it came time to record their second album, The Education Of A WanderingMan (featuring the hit track “ Love Is A Burden ”), the band found themselves in a different place.

“This album is like chapter two,” agrees Jonathan. “The story begins at the point where we decided to head back to Texas. We wrote many of the songs when we were entering a different phase of our lives. We settled back into Austin, and my wife and I had our first child. That was a big shift. It was all about leaving behind our last bastion of adolescence, if you will.”

This process resulted in The Education Of A Wandering Man looking back at the journey of the band’s past. The record chronicles the lessons learned and the experiences that color the life-lived along the way. The album is simply a continuation of Jamestown Revival’s ongoing story. “We’ll be writing and telling stories until we’re six feet under,” reveals Jonathan. “This album is just the next step on the path.” That path will see Jamestown Revival releasing a new live album (“Live At Largo at the Coronet Theatre”) this Spring, along with new music later this year.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210909T204842Z X-ACCESS:1 X-HITS:4424 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210917T200000 DTEND;TZID=America/Denver:20210917T233000 UID:B16DE87B-6261-4ECD-9B18-98B7844CD015 SUMMARY:Jamestown Revival - Night 2! DTSTAMP:20210612T163518Z DESCRIPTION:The story of Jamestown Revival feels suited for the dog-eared pages of a timeless American novel.\NChapter one opens with Jonathan Clay and Zach Chance meeting in Magnolia, TX at 15-years-old. Fast friends, the duo attended college together, started Jamestown Revival, and traded their home state for Los Angeles, CA in late 2011. \NBy 2014 they released their debut album UTAH (which included the hit single ‘ California (Cast Iron Soul))’ , built a committed fan base with countless road shows, and received critical acclaim from the likes of Rolling Stone and The Wall Street Journal . They were named iTunes “Best of 2014: Singer-Songwriter Album of the Year,” graced the sound stages of Conan and The Late Late Show with Craig Ferguson , and performed at some of America’s legendary music festivals including Coachella, Austin City Limits, Bonnaroo, Bottlerock Festival, and Willie Nelson’s Fourth of July Picnic.\N“UTAH opened a lot of doors for us and put us on the road for the first time,” says Zach.“We learned how to play for a crowd and how to perform.”But when it came time to record their second album, The Education Of A WanderingMan (featuring the hit track “ Love Is A Burden ”), the band found themselves in a different place.\N“This album is like chapter two,” agrees Jonathan. “The story begins at the point where we decided to head back to Texas. We wrote many of the songs when we were entering a different phase of our lives. We settled back into Austin, and my wife and I had our first child. That was a big shift. It was all about leaving behind our last bastion of adolescence, if you will.”\NThis process resulted in The Education Of A Wandering Man looking back at the journey of the band’s past. The record chronicles the lessons learned and the experiences that color the life-lived along the way. The album is simply a continuation of Jamestown Revival’s ongoing story. “We’ll be writing and telling stories until we’re six feet under,” reveals Jonathan. “This album is just the next step on the path.” That path will see Jamestown Revival releasing a new live album (“Live At Largo at the Coronet Theatre”) this Spring, along with new music later this year. X-ALT-DESC;FMTTYPE=text/html:

The story of Jamestown Revival feels suited for the dog-eared pages of a timeless American novel.

Chapter one opens with Jonathan Clay and Zach Chance meeting in Magnolia, TX at 15-years-old. Fast friends, the duo attended college together, started Jamestown Revival, and traded their home state for Los Angeles, CA in late 2011. 

By 2014 they released their debut album UTAH (which included the hit single ‘ California (Cast Iron Soul))’ , built a committed fan base with countless road shows, and received critical acclaim from the likes of Rolling Stone and The Wall Street Journal . They were named iTunes “Best of 2014: Singer-Songwriter Album of the Year,” graced the sound stages of Conan and The Late Late Show with Craig Ferguson , and performed at some of America’s legendary music festivals including Coachella, Austin City Limits, Bonnaroo, Bottlerock Festival, and Willie Nelson’s Fourth of July Picnic.

“UTAH opened a lot of doors for us and put us on the road for the first time,” says Zach.“We learned how to play for a crowd and how to perform.”But when it came time to record their second album, The Education Of A WanderingMan (featuring the hit track “ Love Is A Burden ”), the band found themselves in a different place.

“This album is like chapter two,” agrees Jonathan. “The story begins at the point where we decided to head back to Texas. We wrote many of the songs when we were entering a different phase of our lives. We settled back into Austin, and my wife and I had our first child. That was a big shift. It was all about leaving behind our last bastion of adolescence, if you will.”

This process resulted in The Education Of A Wandering Man looking back at the journey of the band’s past. The record chronicles the lessons learned and the experiences that color the life-lived along the way. The album is simply a continuation of Jamestown Revival’s ongoing story. “We’ll be writing and telling stories until we’re six feet under,” reveals Jonathan. “This album is just the next step on the path.” That path will see Jamestown Revival releasing a new live album (“Live At Largo at the Coronet Theatre”) this Spring, along with new music later this year.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210909T204827Z X-ACCESS:1 X-HITS:1367 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210923T200000 DTEND;TZID=America/Denver:20210923T233000 UID:87C40D66-20BF-4B51-A6BF-4685046B4365 SUMMARY:Delvon Lamarr Organ Trio DTSTAMP:20210728T225929Z DESCRIPTION:Soul-jazz groove-machine Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—never would have happened without years and years of crummy gigs, and Delvon’s staunchly supportive wife, Amy Novo.\NThe story goes that Hammond b3 organist Delvon would regularly lug his 400-pound instrument from venue to venue barely breaking even to play other people’s music, and Amy just got tired of it. She fiercely believed in Delvon’s talents, and, eventually, she made an offer he couldn’t refuse: If Delvon picked the musicians, she would take care of all the business surrounding it.\N“I was watching an amazing talent being marginalized. He would be getting paid like $75 a gig and be spending $60 in gas to cart around his instrument, sometimes even renting a U-Haul. It wasn’t fair,” says the self-made music mogul who may be the first person to legally own a band. “For years, Amy had been telling me to step out from being a sideman. This was a natural move. Now, I can just play music and not worry—it’s been a welcome relief,” Delvon says.\NThe Seattle-based trio’s music is best described as “feel-good music.” DLO3 conjures the smoky 1960s jazz stylings of Jimmy Smith and Baby Face Willette, and the snappy soul strut of Booker T. & The M.G.’s, The Meters, Dr. Lonnie Smith, and Charles Earland. Within DLO3’s distinct jazz stew, are also dashes of Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s an aesthetic that only these three could muster, as these are the sounds and vibes imprinted in the trio’s DNA.\NThe band features Delvon Lamarr, a self-taught virtuosic musician with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green-style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry.\NLive, the band is telepathically musical, easing through improvisational ideas, grooves, and extended jams with silken swagger. The exhilarating live experience also showcases the band’s deep personal connection with witty between-song repartee, vignette song stories, and unpredictably dynamic flights of in-the-moment musicality. This live connection carries over into the studio and into the band’s compositional approach. Much of the band’s recorded repertoire is written on the spot, during soundchecks, on the bandstand, and in the studio. The trio’s trusted connection makes for a wellspring of soulful ideas ever-present.\NThe three-piece group started in May 2015 at Amy’s behest, and since then has issued two Billboard-charting albums and a 45. In the near future, DLO3 will be releasing a bevy of new music come fall and winter 2020.\NIt’s rare for an instrumental band playing trad jazz-inspired music to make such waves in the post-auto tune era. But the three-piece has quickly made a name for themselves through incendiary live performances, including a feature on Seattle’s KEXP’s “Local Artist Spotlight”; a live performance at Upstream Music Festival broadcast by KEXP that garnered over 7 million views; and numerous national and international tours and performances.\NOther select highlight include their debut album, Close but No Cigar, nabbing the Billboard ranks of #1 Contemporary Jazz and #3 Jazz Album, and their Live at KEXP! hitting #10 Jazz Album and #20 Heatseekers Album. Performance highlights include DLO3 appearances on Adult Swim’s “Live on Fish Center,” a Day Trotter Session, and a live recording at Paste Magazine studios. In addition, the group has performed at Montreal Jazz Festival, live on Parisian TV, and at the 71st Monaco Red Cross Ball which featured John Legend. The trio has also earned coverage from Rolling Stone (Italy), Chicago Tribune, and Seattle Times. In addition to these accolades, DLO3 also enjoys the pleasure of being part of the hip Colemine Records family, and being booked by the powerhouse Kurland Agency.\NBesides prodigious talent and a rare chemistry, one secret to DLO3’s success has been manager/den mother Amy Novo who heads up Novo Productions LLC. Amy is affectionally referred to as “Shortcake” by the band, and has been called “mafia” by some industry professionals, resulting in the modified nickname, “Shortcake Mafia.” She lives up to the image with sharp business instincts, fierce determination, almost maternal love of her band, and a charismatic and passionate approach to connecting with fans and industry professionals. Amy was born into a musical and creative family, and she has a deep appreciation and understanding of music and the artist’s way. Prior to DLO3, though, she didn’t have music biz experience, but her instincts and her strong DIY enterprising ethos have made DLO3 a global groove phenomenon.\NIt’s been a profound journey for DLO3. Years ago, Amy would hear Delvon lament about fearing being the local legend who never went anywhere. Today, through her tireless work ethic, and his bottomless talent, the power couple have taken the Delvon Lamarr Organ Trio beyond their wildest dreams. “I used to listen to the old jazz greats and think about their European travels. For years, I thought it would never happen for me, and then Miss Novo made it happen. Without her we would still be in the basement,” Delvon marvels. Amy adds: “I’m not a salesperson—I can only do something I believe in—but Delvon is so talented, and I am passionate about keeping his music alive. I fight for the artists I work with.” X-ALT-DESC;FMTTYPE=text/html:

Soul-jazz groove-machine Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—never would have happened without years and years of crummy gigs, and Delvon’s staunchly supportive wife, Amy Novo.

The story goes that Hammond b3 organist Delvon would regularly lug his 400-pound instrument from venue to venue barely breaking even to play other people’s music, and Amy just got tired of it. She fiercely believed in Delvon’s talents, and, eventually, she made an offer he couldn’t refuse: If Delvon picked the musicians, she would take care of all the business surrounding it.

“I was watching an amazing talent being marginalized. He would be getting paid like $75 a gig and be spending $60 in gas to cart around his instrument, sometimes even renting a U-Haul. It wasn’t fair,” says the self-made music mogul who may be the first person to legally own a band. “For years, Amy had been telling me to step out from being a sideman. This was a natural move. Now, I can just play music and not worry—it’s been a welcome relief,” Delvon says.

The Seattle-based trio’s music is best described as “feel-good music.” DLO3 conjures the smoky 1960s jazz stylings of Jimmy Smith and Baby Face Willette, and the snappy soul strut of Booker T. & The M.G.’s, The Meters, Dr. Lonnie Smith, and Charles Earland. Within DLO3’s distinct jazz stew, are also dashes of Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s an aesthetic that only these three could muster, as these are the sounds and vibes imprinted in the trio’s DNA.

The band features Delvon Lamarr, a self-taught virtuosic musician with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green-style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry.

Live, the band is telepathically musical, easing through improvisational ideas, grooves, and extended jams with silken swagger. The exhilarating live experience also showcases the band’s deep personal connection with witty between-song repartee, vignette song stories, and unpredictably dynamic flights of in-the-moment musicality. This live connection carries over into the studio and into the band’s compositional approach. Much of the band’s recorded repertoire is written on the spot, during soundchecks, on the bandstand, and in the studio. The trio’s trusted connection makes for a wellspring of soulful ideas ever-present.

The three-piece group started in May 2015 at Amy’s behest, and since then has issued two Billboard-charting albums and a 45. In the near future, DLO3 will be releasing a bevy of new music come fall and winter 2020.

It’s rare for an instrumental band playing trad jazz-inspired music to make such waves in the post-auto tune era. But the three-piece has quickly made a name for themselves through incendiary live performances, including a feature on Seattle’s KEXP’s “Local Artist Spotlight”; a live performance at Upstream Music Festival broadcast by KEXP that garnered over 7 million views; and numerous national and international tours and performances.

Other select highlight include their debut album, Close but No Cigar, nabbing the Billboard ranks of #1 Contemporary Jazz and #3 Jazz Album, and their Live at KEXP! hitting #10 Jazz Album and #20 Heatseekers Album. Performance highlights include DLO3 appearances on Adult Swim’s “Live on Fish Center,” a Day Trotter Session, and a live recording at Paste Magazine studios. In addition, the group has performed at Montreal Jazz Festival, live on Parisian TV, and at the 71st Monaco Red Cross Ball which featured John Legend. The trio has also earned coverage from Rolling Stone (Italy), Chicago Tribune, and Seattle Times. In addition to these accolades, DLO3 also enjoys the pleasure of being part of the hip Colemine Records family, and being booked by the powerhouse Kurland Agency.

Besides prodigious talent and a rare chemistry, one secret to DLO3’s success has been manager/den mother Amy Novo who heads up Novo Productions LLC. Amy is affectionally referred to as “Shortcake” by the band, and has been called “mafia” by some industry professionals, resulting in the modified nickname, “Shortcake Mafia.” She lives up to the image with sharp business instincts, fierce determination, almost maternal love of her band, and a charismatic and passionate approach to connecting with fans and industry professionals. Amy was born into a musical and creative family, and she has a deep appreciation and understanding of music and the artist’s way. Prior to DLO3, though, she didn’t have music biz experience, but her instincts and her strong DIY enterprising ethos have made DLO3 a global groove phenomenon.

It’s been a profound journey for DLO3. Years ago, Amy would hear Delvon lament about fearing being the local legend who never went anywhere. Today, through her tireless work ethic, and his bottomless talent, the power couple have taken the Delvon Lamarr Organ Trio beyond their wildest dreams. “I used to listen to the old jazz greats and think about their European travels. For years, I thought it would never happen for me, and then Miss Novo made it happen. Without her we would still be in the basement,” Delvon marvels. Amy adds: “I’m not a salesperson—I can only do something I believe in—but Delvon is so talented, and I am passionate about keeping his music alive. I fight for the artists I work with.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210910T185554Z X-ACCESS:1 X-HITS:2939 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210925T200000 DTEND;TZID=America/Denver:20210925T233000 UID:0F030330-AF0D-47F4-9584-5D13DF03326B SUMMARY:AJJ DTSTAMP:20210612T172123Z DESCRIPTION:Phoenix, AZ based desert trash pioneers AJJ will be embarking on a run of shows to celebrate the 10 year anniversary of Knife Man this fall. Released in 2011, Knife Man saw the band expand into a bigger, more electric sound, and includes fan favorites and live staples such as “Big Bird”. AJJ will be performing (most of) the album, as well as other songs from their fifteen plus year career. X-ALT-DESC;FMTTYPE=text/html:

Phoenix, AZ based desert trash pioneers AJJ will be embarking on a run of shows to celebrate the 10 year anniversary of Knife Man this fall. Released in 2011, Knife Man saw the band expand into a bigger, more electric sound, and includes fan favorites and live staples such as “Big Bird”. AJJ will be performing (most of) the album, as well as other songs from their fifteen plus year career.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210910T234059Z X-ACCESS:1 X-HITS:2533 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211001T190000 DTEND;TZID=America/Denver:20211001T233000 UID:2127F165-CE69-4C74-B7EA-5AF38CA41540 SUMMARY:Julian Lage DTSTAMP:20210514T132026Z DESCRIPTION:As Julian Lage set out to record his leader debut for Blue Note Records, the virtuoso guitarist reflected on the label’s storied history and the way his own music connected with it. The result is Squint, a striking new album that weds incisive, expressive songwriting with the profound interplay Lage has honed over the past few years with his deft trio featuring bassist Jorge Roeder and drummer Dave King.\N“I felt like this was an opportunity to present new music born out of the Blue Note tradition as I’ve interpreted it,” explains Lage, who previously recorded for the label on Nels Cline’s Lovers (2016), The Nels Cline 4’s Currents, Constellations (2018), and Charles Lloyd’s 8: Kindred Spirits (Live from The Lobero) (2020).\N“I absolutely love improvised music, and I've always been fascinated by singer-songwriter music. For me, the jazz that came out of Blue Note always engaged both sides of that. It had incredible improvisational vocabularies and performances, but when I think of albums from Grant Green’s Idle Moments to Joe Henderson’s Inner Urge to McCoy Tyner’s Time for Tyner with Bobby Hutcherson – all these records that I love so much also have such great songs.”\NWhen the trio took the stage of the Village Vanguard for a six-night residency in January 2020, those ideas seemed ripe enough to explore as they planned to head into the studio. When those plans were upended by the pandemic, Lage took the opportunity to retool his new songs in light of the summer’s lockdown and protests over social justice. By the time he, Roeder and King finally set foot in Nashville’s Sound Emporium in August, the tunes had taken on a deeper, darker air of mystery and searching.\N“Going into this album,” Lage recalls, “my first tactic was just to make positive, beautiful music – a beam of light from three cats who love each other. After the recording didn't happen, I started reflecting on the music’s intent. It was clearer than ever that art and music are platforms to influence and heal and facilitate conversations. It became really important to me to capture a certain sense of emotional complexity to the music, a little fuzziness. This record sits comfortably in the unknown.”\NFinding comfort in that tenuous space was also aided by the presence in the studio of two of Lage’s closest compatriots, who served as co-producers: guitarist and longtime collaborator Armand Hirsch and singer-songwriter Margaret Glaspy, Lage’s partner in life as well as music. “On one level, the combination of Margaret and Armand is just abundant support,” Lage says. “But I also have such deep respect for what they both bring to the music. They helped make sure that the essential experience was always there, that Squint never became a pursuit to make a good jazz guitar record, but to create music with a clear spiritual pulse.”\NThat goal has also become more intuitive with the evolution of the trio with Roeder and King. The bassist has been a key member of Lage’s musical family throughout the guitarist’s career, beginning with his 2009 debut, Sounding Point. King, best known as drummer for the irreverent trio The Bad Plus, is a more recent hook-up. The group made its debut with 2019’s Love Hurts, a collection of mostly cover tunes spanning the members’ diverse interests, from Ornette Coleman and Keith Jarrett to Roy Orbison and Peter Ivers.\NCrafted after two years of touring together, Squint reflects the trio’s loose but deeply attuned chemistry while tracing the threads of those wide-ranging influences into new original pieces. Lage’s lyrical writing reveals his love for early rock and blues as well as songbook standards and the bold, memorable compositions of his jazz idols. In addition to Glaspy’s keen-eared influence, he’s also sharpened his songcraft via the informal counseling of Jeff Tweedy. The Wilco frontman’s influence can be felt on vibrant, infectious songs like “Saint Rose,” an ode to Lage’s California hometown, recently beset by wildfires.\NThe intimate and meaningful connection between music and message was aided by Lage’s habit of composing by improvising along with speeches by leaders like James Baldwin and Nikki Giovanni. The cadence and clarity of their oratory guided his hands in unfamiliar ways, while the power of their words imbued a strong sense of conscience. “I found myself searching for the music that felt supportive in the presence of people that I really admire, who are teaching us,” he explains. “It was interesting how it ruled out a lot of musical mechanisms that I might habitually rely on. It taught me a lot about cadence and clarity and communication.”\NLage begins the album alone with the lovely, elegant “Etude,” a solo offering that feels both graceful and intimate. The band enters with the loping swing feel of “Boo’s Blues,” a piece that exemplifies Lage’s ability to write with his bandmates in mind while echoing his influences. “I like to imagine this music being played by the titans of bass and drums,” he says. “I'm imagining Billy Higgins, I'm imagining Art Taylor, I'm imagining Wilbur Ware, even though I’m writing explicitly for Dave and Jorge.”\NThe title track is another hybrid of influences, culled from the call and response of a Billy Higgins solo and the bounce of Lennie Tristano’s singular swing style. One of only two covers on the album, Johnny Mercer’s “Emily” is exquisitely rendered, luxuriating in its delicate melody. “Call of the Canyon,” made famous by “Singing Cowboy” Gene Autry, is its gorgeous companion piece, ending the album on a note of forlorn hope.\NBeginning with a brooding pulse from King and Roeder, “Familiar Flower” is a dedication to the great Charles Lloyd, with whom Lage has had the opportunity to play in recent years. “Charles somehow writes and arranges his songs so that the second the beat starts, you know it's his tune. His DNA is just embedded into the rhythm section. I still don't know how he does it, but I tried to write that tune so that the tone is set before I even come in.”\NThe wistful “Day and Age” is reprised from Lage’s 2015 solo album World’s Fair, while the stealthy, implacable surge of “Quiet Like a Fuse” exemplifies the music at its most atmospheric and mysterious. Despite its tenderness, “Short Form” delves equally into the unknown, lacing the sweet melody with an underlying uneasiness. “Twilight Surfer” takes rockabilly twang into starker territory.\N“We've inherited this art and all we can really do is present it with love and care and honesty,” he concludes. “Through that prism, unpredictable moments are joyous. Forget abiding by my vision. There’s a much bigger vision that we're all taking part in and celebrating. That’s a beautiful thing.” X-ALT-DESC;FMTTYPE=text/html:

As Julian Lage set out to record his leader debut for Blue Note Records, the virtuoso guitarist reflected on the label’s storied history and the way his own music connected with it. The result is Squint, a striking new album that weds incisive, expressive songwriting with the profound interplay Lage has honed over the past few years with his deft trio featuring bassist Jorge Roeder and drummer Dave King.

“I felt like this was an opportunity to present new music born out of the Blue Note tradition as I’ve interpreted it,” explains Lage, who previously recorded for the label on Nels Cline’s Lovers (2016), The Nels Cline 4’s Currents, Constellations (2018), and Charles Lloyd’s 8: Kindred Spirits (Live from The Lobero) (2020).

“I absolutely love improvised music, and I've always been fascinated by singer-songwriter music. For me, the jazz that came out of Blue Note always engaged both sides of that. It had incredible improvisational vocabularies and performances, but when I think of albums from Grant Green’s Idle Moments to Joe Henderson’s Inner Urge to McCoy Tyner’s Time for Tyner with Bobby Hutcherson – all these records that I love so much also have such great songs.”

When the trio took the stage of the Village Vanguard for a six-night residency in January 2020, those ideas seemed ripe enough to explore as they planned to head into the studio. When those plans were upended by the pandemic, Lage took the opportunity to retool his new songs in light of the summer’s lockdown and protests over social justice. By the time he, Roeder and King finally set foot in Nashville’s Sound Emporium in August, the tunes had taken on a deeper, darker air of mystery and searching.

“Going into this album,” Lage recalls, “my first tactic was just to make positive, beautiful music – a beam of light from three cats who love each other. After the recording didn't happen, I started reflecting on the music’s intent. It was clearer than ever that art and music are platforms to influence and heal and facilitate conversations. It became really important to me to capture a certain sense of emotional complexity to the music, a little fuzziness. This record sits comfortably in the unknown.”

Finding comfort in that tenuous space was also aided by the presence in the studio of two of Lage’s closest compatriots, who served as co-producers: guitarist and longtime collaborator Armand Hirsch and singer-songwriter Margaret Glaspy, Lage’s partner in life as well as music. “On one level, the combination of Margaret and Armand is just abundant support,” Lage says. “But I also have such deep respect for what they both bring to the music. They helped make sure that the essential experience was always there, that Squint never became a pursuit to make a good jazz guitar record, but to create music with a clear spiritual pulse.”

That goal has also become more intuitive with the evolution of the trio with Roeder and King. The bassist has been a key member of Lage’s musical family throughout the guitarist’s career, beginning with his 2009 debut, Sounding Point. King, best known as drummer for the irreverent trio The Bad Plus, is a more recent hook-up. The group made its debut with 2019’s Love Hurts, a collection of mostly cover tunes spanning the members’ diverse interests, from Ornette Coleman and Keith Jarrett to Roy Orbison and Peter Ivers.

Crafted after two years of touring together, Squint reflects the trio’s loose but deeply attuned chemistry while tracing the threads of those wide-ranging influences into new original pieces. Lage’s lyrical writing reveals his love for early rock and blues as well as songbook standards and the bold, memorable compositions of his jazz idols. In addition to Glaspy’s keen-eared influence, he’s also sharpened his songcraft via the informal counseling of Jeff Tweedy. The Wilco frontman’s influence can be felt on vibrant, infectious songs like “Saint Rose,” an ode to Lage’s California hometown, recently beset by wildfires.

The intimate and meaningful connection between music and message was aided by Lage’s habit of composing by improvising along with speeches by leaders like James Baldwin and Nikki Giovanni. The cadence and clarity of their oratory guided his hands in unfamiliar ways, while the power of their words imbued a strong sense of conscience. “I found myself searching for the music that felt supportive in the presence of people that I really admire, who are teaching us,” he explains. “It was interesting how it ruled out a lot of musical mechanisms that I might habitually rely on. It taught me a lot about cadence and clarity and communication.”

Lage begins the album alone with the lovely, elegant “Etude,” a solo offering that feels both graceful and intimate. The band enters with the loping swing feel of “Boo’s Blues,” a piece that exemplifies Lage’s ability to write with his bandmates in mind while echoing his influences. “I like to imagine this music being played by the titans of bass and drums,” he says. “I'm imagining Billy Higgins, I'm imagining Art Taylor, I'm imagining Wilbur Ware, even though I’m writing explicitly for Dave and Jorge.”

The title track is another hybrid of influences, culled from the call and response of a Billy Higgins solo and the bounce of Lennie Tristano’s singular swing style. One of only two covers on the album, Johnny Mercer’s “Emily” is exquisitely rendered, luxuriating in its delicate melody. “Call of the Canyon,” made famous by “Singing Cowboy” Gene Autry, is its gorgeous companion piece, ending the album on a note of forlorn hope.

Beginning with a brooding pulse from King and Roeder, “Familiar Flower” is a dedication to the great Charles Lloyd, with whom Lage has had the opportunity to play in recent years. “Charles somehow writes and arranges his songs so that the second the beat starts, you know it's his tune. His DNA is just embedded into the rhythm section. I still don't know how he does it, but I tried to write that tune so that the tone is set before I even come in.”

The wistful “Day and Age” is reprised from Lage’s 2015 solo album World’s Fair, while the stealthy, implacable surge of “Quiet Like a Fuse” exemplifies the music at its most atmospheric and mysterious. Despite its tenderness, “Short Form” delves equally into the unknown, lacing the sweet melody with an underlying uneasiness. “Twilight Surfer” takes rockabilly twang into starker territory.

“We've inherited this art and all we can really do is present it with love and care and honesty,” he concludes. “Through that prism, unpredictable moments are joyous. Forget abiding by my vision. There’s a much bigger vision that we're all taking part in and celebrating. That’s a beautiful thing.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210723T172506Z X-ACCESS:1 X-HITS:3836 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211002T210000 DTEND;TZID=America/Denver:20211002T233000 UID:305DC6C5-162B-4B20-9A80-3E9F805626F9 SUMMARY:Jordan Matthew Young & Tony Holiday DTSTAMP:20210730T024502Z DESCRIPTION:Jordan Matthew Young\NWebsite | Instagram | Spotify\N“Jordan Matthew Young comes strapped with serious guitar mojo, playing slide and electric blues in a manner that’s tasty, while maintaining raw grit. The blond-locked guitarist, balances that crunchy feel with classic rock impulses and big league vocals into a smooth southern groove.” – Kevin Curtin Austin Chronicle\NHaving recently placed third overall on season 20 of NBC’s The Voice, Jordan’s next release is highly anticipated. He resides in Austin, TX and spends most of his time touring the US and Europe with his trio.\NTony Holiday\NFront porches hold a special significance for Tony Holiday.\NNot only does he enjoy the cozy informality of making music on them, he’s done some outstanding recording on those porches too. Studios simply aren’t a necessity for the blues harmonica wailer when he’s ready to lay some sounds down for posterity. He just meets his friends on their front porches, sets up his portable recording equipment, and gets down to business without the constraints of being inside a professional studio environment. And he has some pretty impressive friends, too.\N“Alan Lomax was a big inspiration of mine,” says Tony. “I grew up on bluegrass music. I grew up with a lot of porch pickers. When I heard that story of Buddy Guy taking a piece of wire out of a screen door and nailing it to the porch and plucking on it, that was his first little idea to play music. And I realized, ‘Wow, the blues is really back on the porch too!’ The porch is kind of the place where families used to go to cool off at the end of the day, get to know each other, play music together.”\NNot long before the pandemic brought everything to a crunching halt, Tony visited a cross-section of his network of blues friends and made the exciting recordings showcased on Tony Holiday’s Porch Sessions, Vol. 2, his new all-star CD on Blue Heart Records. Blues veterans that include gritty Chicago belter Willie Buck, harpist Richard “Rip Lee” Pryor (son of the legendary Snooky Pryor), the impossible-to-categorize Watermelon Slim, and West Coast harp ace Mark Hummel are each spotlighted on a song apiece. So are next-generation standouts Jon Lawton, Ben Rice, A.J. Fullerton, Rae Gordon, the acclaimed band Southern Avenue, and harpist JD Taylor, who co-produced the set with Holiday.\NOnly one performer has the distinct honor of having two songs on the disc: the legendary Bobby Rush. Full disclosure: his recordings weren’t done on his front porch, and a boisterous crowd was on hand for the proceedings. “I facilitated that through Barbara Newman, the former president of the Blues Foundation,” says Tony. “They were celebrating Bobby for something that I can’t recall now, some big thing he did. Anyway, she knew about the porch sessions, and she had come to one and when that was going on, she said, ‘Why don’t you come down? We’re going to do this on the front stoop of the Blues Foundation!’ And it ended up being too rainy or windy, so we moved it inside. A lot of people came to see him, so that was kind of a special one.”\NPorch Sessions Vol. 2 also features the perpetually amazing Windy City guitarist Lurrie Bell, who contributes a compelling revival of “Every Day I Have The Blues.” “He came to Memphis to receive an award at the BMAs, so I caught him while he was in town,” remembers Holiday. “Lurrie was great. He had Mark Hummel on harmonica.” Tony plays harp on the album too, but only sparingly. “I’m on a handful of tracks,” he says. “I’m on ‘She’s Tough’ with Victor Wainwright, ‘Bad Bad Girl’ with Johnny Burgin. A lot of times, there were harmonica players already there.”\NOne beloved performer on the album remains especially close to Holiday’s heart: harmonica wizard James Harman, who passed away on May 23. “He was my mentor and my friend,” says Tony, who raised $50,000 for James when he fell ill with cancer. “He meant a lot to me, man. The album is dedicated to him.” Harman’s “Going To Court 2” stands as one of the many highlights on Porch Sessions Vol. 2.\NAs the title implies, Tony’s new CD is a follow-up to his 2019 CD Porch Sessions for Vizztone, which was nominated for a Blues Blast Award in the Live Album category. That release also found Holiday surrounded by a highly impressive cadre of blues talent; in addition to Harman, guitarists John Primer and Kid Ramos and harpists Charlie Musselwhite, John Nemeth, Mitch Kashmar, and Bob Corritore were among its featured stars. “The first volume, I was on most of the tracks. This one, I didn’t see the importance of me playing on every track,” notes Holiday. “I’ve just been traveling around the country the last five years or so, recording bluesmen and women on their porches. It didn’t end with the first volume. It just had more life in it. The project had more life, so we kept going.”\NIn between the two Porch Sessions collections, Holiday released Soul Service, a more conventionally recorded album featuring Tony as its sole frontman that was done at Zebra Ranch in Coldwater, Mississippi (he calls that 2020 Vizztone CD “my pandemic record”). “I used some of John Nemeth’s band,” says Tony. “I had my own band, and John Nemeth helped me. We wrote a song together, and then Ori Naftaly from Southern Avenue actually reached out to me and he produced me. Ori has been such a big supporter, and very humble, and helped me.”\NNemeth has been crucial to Tony’s musical development over the years. First off, he inadvertently inspired Holiday to switch instruments when Tony was still living in his original hometown of Salt Lake City, Utah and playing guitar. “I didn’t start playing the harmonica until I was 29,” he reveals.“I was washing dishes in a barbecue joint, and I really wasn’t playing live. This was when I was about 25. John Nemeth came through town. I’d never heard—well, I’d seen his pictures around. Anyway, I just remember the sound coming through. And I’m a butcher over there at the barbecue shop, so my apron has blood on it. I’m not really supposed to come out into the area where they’re playing music, but I couldn’t help it. So I kind of walked down the hall and peeked my head around the corner to see what that sound was. And it was him playing the harmonica. You know, I sold my guitar the next day. I’ve never played it since.”\NJust as importantly, Nemeth swayed Holiday and his guitarist, Landon Stone, to relocate to Memphis in 2018. “Memphis is a super-magical town,” says Tony. “I never even considered it. I never thought I could. I never thought I would be allowed. I don’t know what it takes for you to be welcomed to Memphis, but John Nemeth was always so kind about having us stop by his house when we passed through town, and while we were on the porch one night, he was just sitting there smoking cigars and drinking brandy. He told us that we really should move here. It’s such a great town. And he kind of convinced us to make the move, so we pulled the trigger.” When he was 13, Tony’s mother introduced him to a Best of B.B. King CD that provided him with his entrée to the blues. “She used to go to the library a lot, and she’d bring home music,” says Holiday. “I just popped it in, and then that’s when everything kind of changed.”\NAt 16, Tony got his first guitar. “My mom bought it for me to keep me out of trouble, and it didn’t work. So five years later, after I got out of trouble, I started playing a little bit in my early 20s. I joined a band. I was just the guitar player in a band at first. And then when that band broke up, I didn’t want to quit. I just started my own. That was a band called Blue Root. Jordan Young, he just placed third place on The Voice, him and I started that band.” Tony also played with a band called the Velvetones in Salt Lake City.\NEven at the height of the pandemic, Tony found a way to keep the porch vibe happening. “I was doing virtual porch sessions,” he says. Now that things are opening back up, his itinerary looks a lot more like it used to. “I was playing Beale Street a lot before the pandemic. Then during the pandemic, I kind of rearranged my show, took a step back. So I haven’t been eager to book any local stuff. I’m still working on my new show right now,” he says. “I have a band in Memphis called the Soul Service. I just travel under my name right now. I’m not on tour with that band. I’m on tour with several bands, just pickup bands.”\NWhether he’s making recordings on someone’s front porch, lighting up Beale Street with his own band, or bringing his soulful vocals and blazing harmonica to destinations nationwide, Tony Holiday remains a dedicated blues disciple.\N“I’ve been on the road for ten years,” he says. “It’s only gotten better.” X-ALT-DESC;FMTTYPE=text/html:

Jordan Matthew Young

Website | Instagram | Spotify

“Jordan Matthew Young comes strapped with serious guitar mojo, playing slide and electric blues in a manner that’s tasty, while maintaining raw grit. The blond-locked guitarist, balances that crunchy feel with classic rock impulses and big league vocals into a smooth southern groove.”
– Kevin Curtin Austin Chronicle

Having recently placed third overall on season 20 of NBC’s The Voice, Jordan’s next release is highly anticipated. He resides in Austin, TX and spends most of his time touring the US and Europe with his trio.

Tony Holiday

Front porches hold a special significance for Tony Holiday.

Not only does he enjoy the cozy informality of making music on them, he’s done some outstanding recording on those porches too. Studios simply aren’t a necessity for the blues harmonica wailer when he’s ready to lay some sounds down for posterity. He just meets his friends on their front porches, sets up his portable recording equipment, and gets down to business without the constraints of being inside a professional studio environment. And he has some pretty impressive friends, too.

“Alan Lomax was a big inspiration of mine,” says Tony. “I grew up on bluegrass music. I grew up with a lot of porch pickers. When I heard that story of Buddy Guy taking a piece of wire out of a screen door and nailing it to the porch and plucking on it, that was his first little idea to play music. And I realized, ‘Wow, the blues is really back on the porch too!’ The porch is kind of the place where families used to go to cool off at the end of the day, get to know each other, play music together.”

Not long before the pandemic brought everything to a crunching halt, Tony visited a cross-section of his network of blues friends and made the exciting recordings showcased on Tony Holiday’s Porch Sessions, Vol. 2, his new all-star CD on Blue Heart Records. Blues veterans that include gritty Chicago belter Willie Buck, harpist Richard “Rip Lee” Pryor (son of the legendary Snooky Pryor), the impossible-to-categorize Watermelon Slim, and West Coast harp ace Mark Hummel are each spotlighted on a song apiece. So are next-generation standouts Jon Lawton, Ben Rice, A.J. Fullerton, Rae Gordon, the acclaimed band Southern Avenue, and harpist JD Taylor, who co-produced the set with Holiday.

Only one performer has the distinct honor of having two songs on the disc: the legendary Bobby Rush. Full disclosure: his recordings weren’t done on his front porch, and a boisterous crowd was on hand for the proceedings.
“I facilitated that through Barbara Newman, the former president of the Blues Foundation,” says Tony. “They were celebrating Bobby for something that I can’t recall now, some big thing he did. Anyway, she knew about the porch sessions, and she had come to one and when that was going on, she said, ‘Why don’t you come down? We’re going to do this on the front stoop of the Blues Foundation!’ And it ended up being too rainy or windy, so we moved it inside. A lot of people came to see him, so that was kind of a special one.”

Porch Sessions Vol. 2 also features the perpetually amazing Windy City guitarist Lurrie Bell, who contributes a compelling revival of “Every Day I Have The Blues.” “He came to Memphis to receive an award at the BMAs, so I caught him while he was in town,” remembers Holiday. “Lurrie was great. He had Mark Hummel on harmonica.” Tony plays harp on the album too, but only sparingly. “I’m on a handful of tracks,” he says. “I’m on ‘She’s Tough’ with Victor Wainwright, ‘Bad Bad Girl’ with Johnny Burgin. A lot of times, there were harmonica players already there.”

One beloved performer on the album remains especially close to Holiday’s heart: harmonica wizard James Harman, who passed away on May 23. “He was my mentor and my friend,” says Tony, who raised $50,000 for James when he fell ill with cancer. “He meant a lot to me, man. The album is dedicated to him.” Harman’s “Going To Court 2” stands as one of the many highlights on Porch Sessions Vol. 2.

As the title implies, Tony’s new CD is a follow-up to his 2019 CD Porch Sessions for Vizztone, which was nominated for a Blues Blast Award in the Live Album category. That release also found Holiday surrounded by a highly impressive cadre of blues talent; in addition to Harman, guitarists John Primer and Kid Ramos and harpists Charlie Musselwhite, John Nemeth, Mitch Kashmar, and Bob Corritore were among its featured stars.
“The first volume, I was on most of the tracks. This one, I didn’t see the importance of me playing on every track,” notes Holiday. “I’ve just been traveling around the country the last five years or so, recording bluesmen and women on their porches. It didn’t end with the first volume. It just had more life in it. The project had more life, so we kept going.”

In between the two Porch Sessions collections, Holiday released Soul Service, a more conventionally recorded album featuring Tony as its sole frontman that was done at Zebra Ranch in Coldwater, Mississippi (he calls that 2020 Vizztone CD “my pandemic record”). “I used some of John Nemeth’s band,” says Tony. “I had my own band, and John Nemeth helped me. We wrote a song together, and then Ori Naftaly from Southern Avenue actually reached out to me and he produced me. Ori has been such a big supporter, and very humble, and helped me.”

Nemeth has been crucial to Tony’s musical development over the years. First off, he inadvertently inspired Holiday to switch instruments when Tony was still living in his original hometown of Salt Lake City, Utah and playing guitar. “I didn’t start playing the harmonica until I was 29,” he reveals.
“I was washing dishes in a barbecue joint, and I really wasn’t playing live. This was when I was about 25. John Nemeth came through town. I’d never heard—well, I’d seen his pictures around. Anyway, I just remember the sound coming through. And I’m a butcher over there at the barbecue shop, so my apron has blood on it. I’m not really supposed to come out into the area where they’re playing music, but I couldn’t help it. So I kind of walked down the hall and peeked my head around the corner to see what that sound was. And it was him playing the harmonica. You know, I sold my guitar the next day. I’ve never played it since.”

Just as importantly, Nemeth swayed Holiday and his guitarist, Landon Stone, to relocate to Memphis in 2018. “Memphis is a super-magical town,” says Tony. “I never even considered it. I never thought I could. I never thought I would be allowed. I don’t know what it takes for you to be welcomed to Memphis, but John Nemeth was always so kind about having us stop by his house when we passed through town, and while we were on the porch one night, he was just sitting there smoking cigars and drinking brandy. He told us that we really should move here. It’s such a great town. And he kind of convinced us to make the move, so we pulled the trigger.”
When he was 13, Tony’s mother introduced him to a Best of B.B. King CD that provided him with his entrée to the blues. “She used to go to the library a lot, and she’d bring home music,” says Holiday. “I just popped it in, and then that’s when everything kind of changed.”

At 16, Tony got his first guitar. “My mom bought it for me to keep me out of trouble, and it didn’t work. So five years later, after I got out of trouble, I started playing a little bit in my early 20s. I joined a band. I was just the guitar player in a band at first. And then when that band broke up, I didn’t want to quit. I just started my own. That was a band called Blue Root. Jordan Young, he just placed third place on The Voice, him and I started that band.” Tony also played with a band called the Velvetones in Salt Lake City.

Even at the height of the pandemic, Tony found a way to keep the porch vibe happening. “I was doing virtual porch sessions,” he says. Now that things are opening back up, his itinerary looks a lot more like it used to. “I was playing Beale Street a lot before the pandemic. Then during the pandemic, I kind of rearranged my show, took a step back. So I haven’t been eager to book any local stuff. I’m still working on my new show right now,” he says. “I have a band in Memphis called the Soul Service. I just travel under my name right now. I’m not on tour with that band. I’m on tour with several bands, just pickup bands.”

Whether he’s making recordings on someone’s front porch, lighting up Beale Street with his own band, or bringing his soulful vocals and blazing harmonica to destinations nationwide, Tony Holiday remains a dedicated blues disciple.

“I’ve been on the road for ten years,” he says. “It’s only gotten better.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210831T224809Z X-ACCESS:1 X-HITS:3087 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211004T200000 DTEND;TZID=America/Denver:20211004T233000 UID:611B2A59-76B6-4835-AC5E-14861C00FEB5 SUMMARY:Jade Bird DTSTAMP:20210709T223304Z DESCRIPTION:For Jade Bird, the second that lockdown lifted, there were no aimless summer days spent meeting friends in parks; no languorous evenings in pub gardens. She was headed straight back to Nashville to complete her second album -- albeit via a strict two-week quarantine in Mexico City. She allowed herself to see no more of the Mexican capital than the local store and a leg-stretching walk around the block, not wanting to jeopardise any chance of being allowed into the States to finish what she had started with Grammy-winning producer Dave Cobb (Brandi Carlile, John Prine, Lady Gaga). The highlight of her stay in Mexico was literally her boyfriend pointing out a particularly gnarly spider he spotted as he had a cigarette on the balcony. "I move on really quick," Jade explains of the urgency she felt. "My partner always says there's no in between with me whatsoever, it's on or it's off. My feeling was: I'm in it, I love these songs, I want to sing. That's why we made heaven and earth move so I could do that in that moment."\NFor Jade, moving fast was about staying connected to the music that she had written (as always), not capitalising on momentum or anyone else's idea of a career plan. She had a taste of the UK hype cycle, making the BBC's 2018 Sound Of... poll and being tipped everywhere from Vogue to Rolling Stone. Her self-titled debut album arrived a year later. Despite those early garlands, she didn't become an overnight success. "I was really glad," she says. "Musically I was not ready. Lyrically I was not ready. And mentally I was not ready." Nevertheless, Jade Bird -- as barnstorming an album as came out in 2019 -- received plaudits from the likes of Pitchfork and NPR. And it showed Jade, an obsessive at bettering her craft, how she wanted to build on the foundations she had laid. She was grateful that her label, Glassnote, was invested in letting her develop album by album. "If you lose a sense of who you are, to re-establish that is really difficult," she says of the pressures hype puts on developing artists. "And the time that it takes for you to re-evaluate your life, your sound, who you are, the UK doesn't have time for that either."\NThat mature perspective is typical of Jade, who even at 21 was wise to how young female musicians are expected to become cute ambassadors for feminism. ("I'm not sure how to do anything but what I'm doing because what I'm doing is feminism," she told the Guardian. "You don't need to wear a hashtag T-shirt.") Still, as all 21-year-olds tend to, she thought she had life pegged. A standout from her debut, Love Has All Been Done Before, looked at her mum and her grandma's respective divorces and confidently concluded that any relationship of hers would also end up doomed. She proved herself wrong: she's been with her boyfriend (he's also her guitarist) for three years. "I ended up realising I'm really happy and stable," she says.\NHer new song, Houdini, puts to bed the part of her past where she was obsessed with literal abandonment. If her debut reflected on "literally every male family member being absent, present, absent, present," she says, Different Kinds of Light reflects on what it means to stay, to love, to allow yourself to be loved. It's about "being with somebody who you adore more than the whole world that hasn't got the foundations to believe in themselves," she says. "Hasn't had people supporting them in a way that their potential can be realised, 'cause they've been crippled by the people or environments that surround them."\NJade translated these conflicted emotional states into sharply observed narrative vignettes that show her flair as a storyteller: the guy oblivious to what's in front of him, the escape artist who confesses to being "asleep at the wheel my whole damn life"; the wastrel burning through their promise. "If I had a penny for all your potential, I'd be left drowning in my mouthful of metal," Jade sings on Now Is the Time. It speaks to how quickly her writing has matured from the more polemical storytelling of her debut. "When you're young, you sit in a chaos of emotions and desperately try to write out of it," says Jade, who's still only 23. "But when you're older, you work out what's affected you and why more clearly. It's amazing what two years can do: it's like you're writing as you're watching instead of writing to see."\NDifferent Kinds of Light was properly born in a rental in upstate New York in January. (When Jade finished her day's writing in the shed and walked back to the house, there were often bear tracks in the snow.) Some came from the song-a-day project that she undertook during lockdown, which she spent with her boyfriend, her mum and grandma at home near Gatwick. In Mexico, she pushed herself to write more and found her British influences -- the Smiths, Cocteau Twins -- coming out. She used to road-test songs live; not being able to do so this year brought out a different side of her writing. One new highlight, I'm Getting Lost, "is quite a bizarre riff to jam out," says Jade, "so it helped me evolve at the same time."\NAfter a session together earlier in the year that minted their studio chemistry, Jade returned to Nashville with more new material to bring to life with Dave Cobb, though she maintained an equally monastic lifestyle, moving strictly between her apartment and the studio to protect herself and her collaborators. She and Dave had clicked in an earlier session thanks to how he treated her potent yet weathered vocals. "I love anyone who can make you sound so imperfect in a great way," she says. They let her sound find its groove, joining tough 90s alt-rock and the melodicism of Blur and Oasis at their sweetest to the taut rattle of Iggy Pop's The Passenger. "That rock element that I've been missing and deeply love," is how Jade describes it. "If I'm in the car, that's what I put on."\NThere's also the spirit of Fleetwood Mac's pop epics. Stevie Nicks' Storms inspired Different Kinds of Light's title track, written last summer while Jade toured the US with Jason Isbell and Father John Misty. "It says so much: 'did not deal with the road,' 'I have always been a storm.' There's so much in that record that breaks my whole being," she says, melting. She had experienced her own hard times on tour. Anxiety would come and go: a side-effect of being hyper-productive, as she's observed in many young women. "The problem with me is that if you push me, I tend to do well," she says. "The line where I've had enough is hard to find. I think so many artists are crippled by guilt, 'cause you know that opportunities aren't handed out every day so you end up trying to do them all. It's toxic, but it comes with the nature of the industry."\NLast summer, that blind work ethic resulted in Jade sometimes becoming physically unable to perform and having to cancel shows. It felt devastating at first. "After that tour, we went to Cornwall and I remember sitting on a rock and listening to Storms over and over and over again, crying and crying and crying, and it being really cathartic," she says. It wasn't that the skies cleared and suddenly everything was fine. "What frustrates me is that if you have a mental illness, it gets marketed like it's going to go away," says Jade. "I think it's counterproductive to a lot of families who are dealing with people with mental health illnesses, like depression -- you know you're going to love that person that way for life, you love them with it, and you'll never love them without it. That's who you are and that's why you love them."\NIn the US, Jade became part of a community of songwriters and career artists who showed her that a happier, more holistic and sustainable way of working was possible. The likes of Isbell, Sheryl Crow and Jade's friend and champion, Brandi Carlile, promote a nurturing environment, she says, and often tour with their families in tow. It was inspiring. "Especially for a young, female artist, knowing that you can be happy and do your job is really underrated," says Jade. (Also inspiring: for a truly life-affirming vision, look up footage on YouTube of Jade, Brandi and Sheryl performing 9 to 5 with Dolly Parton, Linda Perry, Maggie Rogers, Natalie Hemby, Maren Morris, Amanda Shires and more at last year's Newport Folk Festival, a vision in jewel-coloured pant suits.) Jade resents the modern idea that musicians are also expected to be marketers and businesspeople; for her, musicians are meant to be artists. She admires Brandi's longevity: "It took her six albums before she hit By the Way, I Forgive You. The work ethic! The belief!"\NHence why Jade and her partner are moving to the US -- flying out on the date of the 2020 election, no less. Plus she's young and she's never lived away from home before, bar the many months spent on the tour bus: why not? They're starting in Austin, moving in with a photographer friend, but Jade calls it "the move before the move" -- next they might go to Nashville, or Portland. Jade isn't releasing Different Kinds of Light until autumn 2021, in the hope that touring is possible again by then. (You've never heard anyone sound as unconvinced as Jade talking about how it's been to perform virtually.) "I want the album to have a moment," she says.\NIn the meantime, maybe she'll work on the punk album she's been making with iconic songwriter Linda Perry, a concept record inspired by the B-52s, the Raincoats and riot grrrl, and based on feminist author Charlotte Perkins Gilman's utopian 1915 novel, Herland, about a society composed entirely of women who can reproduce asexually. "It's in my back pocket," says Jade, brimming with excitement. "Third album, fourth album." There's no rush. The trepidation she felt about her profession on her debut has dissipated. "I never felt like I could call myself an artist -- like, we'll see. Whereas I know that's my occupation now. That's who I am, and that's incredibly reassuring." X-ALT-DESC;FMTTYPE=text/html:

For Jade Bird, the second that lockdown lifted, there were no aimless summer days spent meeting friends in parks; no languorous evenings in pub gardens. She was headed straight back to Nashville to complete her second album -- albeit via a strict two-week quarantine in Mexico City. She allowed herself to see no more of the Mexican capital than the local store and a leg-stretching walk around the block, not wanting to jeopardise any chance of being allowed into the States to finish what she had started with Grammy-winning producer Dave Cobb (Brandi Carlile, John Prine, Lady Gaga). The highlight of her stay in Mexico was literally her boyfriend pointing out a particularly gnarly spider he spotted as he had a cigarette on the balcony. "I move on really quick," Jade explains of the urgency she felt. "My partner always says there's no in between with me whatsoever, it's on or it's off. My feeling was: I'm in it, I love these songs, I want to sing. That's why we made heaven and earth move so I could do that in that moment."

For Jade, moving fast was about staying connected to the music that she had written (as always), not capitalising on momentum or anyone else's idea of a career plan. She had a taste of the UK hype cycle, making the BBC's 2018 Sound Of... poll and being tipped everywhere from Vogue to Rolling Stone. Her self-titled debut album arrived a year later. Despite those early garlands, she didn't become an overnight success. "I was really glad," she says. "Musically I was not ready. Lyrically I was not ready. And mentally I was not ready." Nevertheless, Jade Bird -- as barnstorming an album as came out in 2019 -- received plaudits from the likes of Pitchfork and NPR. And it showed Jade, an obsessive at bettering her craft, how she wanted to build on the foundations she had laid. She was grateful that her label, Glassnote, was invested in letting her develop album by album. "If you lose a sense of who you are, to re-establish that is really difficult," she says of the pressures hype puts on developing artists. "And the time that it takes for you to re-evaluate your life, your sound, who you are, the UK doesn't have time for that either."

That mature perspective is typical of Jade, who even at 21 was wise to how young female musicians are expected to become cute ambassadors for feminism. ("I'm not sure how to do anything but what I'm doing because what I'm doing is feminism," she told the Guardian. "You don't need to wear a hashtag T-shirt.") Still, as all 21-year-olds tend to, she thought she had life pegged. A standout from her debut, Love Has All Been Done Before, looked at her mum and her grandma's respective divorces and confidently concluded that any relationship of hers would also end up doomed. She proved herself wrong: she's been with her boyfriend (he's also her guitarist) for three years. "I ended up realising I'm really happy and stable," she says.

Her new song, Houdini, puts to bed the part of her past where she was obsessed with literal abandonment. If her debut reflected on "literally every male family member being absent, present, absent, present," she says, Different Kinds of Light reflects on what it means to stay, to love, to allow yourself to be loved. It's about "being with somebody who you adore more than the whole world that hasn't got the foundations to believe in themselves," she says. "Hasn't had people supporting them in a way that their potential can be realised, 'cause they've been crippled by the people or environments that surround them."

Jade translated these conflicted emotional states into sharply observed narrative vignettes that show her flair as a storyteller: the guy oblivious to what's in front of him, the escape artist who confesses to being "asleep at the wheel my whole damn life"; the wastrel burning through their promise. "If I had a penny for all your potential, I'd be left drowning in my mouthful of metal," Jade sings on Now Is the Time. It speaks to how quickly her writing has matured from the more polemical storytelling of her debut. "When you're young, you sit in a chaos of emotions and desperately try to write out of it," says Jade, who's still only 23. "But when you're older, you work out what's affected you and why more clearly. It's amazing what two years can do: it's like you're writing as you're watching instead of writing to see."

Different Kinds of Light was properly born in a rental in upstate New York in January. (When Jade finished her day's writing in the shed and walked back to the house, there were often bear tracks in the snow.) Some came from the song-a-day project that she undertook during lockdown, which she spent with her boyfriend, her mum and grandma at home near Gatwick. In Mexico, she pushed herself to write more and found her British influences -- the Smiths, Cocteau Twins -- coming out. She used to road-test songs live; not being able to do so this year brought out a different side of her writing. One new highlight, I'm Getting Lost, "is quite a bizarre riff to jam out," says Jade, "so it helped me evolve at the same time."

After a session together earlier in the year that minted their studio chemistry, Jade returned to Nashville with more new material to bring to life with Dave Cobb, though she maintained an equally monastic lifestyle, moving strictly between her apartment and the studio to protect herself and her collaborators. She and Dave had clicked in an earlier session thanks to how he treated her potent yet weathered vocals. "I love anyone who can make you sound so imperfect in a great way," she says. They let her sound find its groove, joining tough 90s alt-rock and the melodicism of Blur and Oasis at their sweetest to the taut rattle of Iggy Pop's The Passenger. "That rock element that I've been missing and deeply love," is how Jade describes it. "If I'm in the car, that's what I put on."

There's also the spirit of Fleetwood Mac's pop epics. Stevie Nicks' Storms inspired Different Kinds of Light's title track, written last summer while Jade toured the US with Jason Isbell and Father John Misty. "It says so much: 'did not deal with the road,' 'I have always been a storm.' There's so much in that record that breaks my whole being," she says, melting. She had experienced her own hard times on tour. Anxiety would come and go: a side-effect of being hyper-productive, as she's observed in many young women. "The problem with me is that if you push me, I tend to do well," she says. "The line where I've had enough is hard to find. I think so many artists are crippled by guilt, 'cause you know that opportunities aren't handed out every day so you end up trying to do them all. It's toxic, but it comes with the nature of the industry."

Last summer, that blind work ethic resulted in Jade sometimes becoming physically unable to perform and having to cancel shows. It felt devastating at first. "After that tour, we went to Cornwall and I remember sitting on a rock and listening to Storms over and over and over again, crying and crying and crying, and it being really cathartic," she says. It wasn't that the skies cleared and suddenly everything was fine. "What frustrates me is that if you have a mental illness, it gets marketed like it's going to go away," says Jade. "I think it's counterproductive to a lot of families who are dealing with people with mental health illnesses, like depression -- you know you're going to love that person that way for life, you love them with it, and you'll never love them without it. That's who you are and that's why you love them."

In the US, Jade became part of a community of songwriters and career artists who showed her that a happier, more holistic and sustainable way of working was possible. The likes of Isbell, Sheryl Crow and Jade's friend and champion, Brandi Carlile, promote a nurturing environment, she says, and often tour with their families in tow. It was inspiring. "Especially for a young, female artist, knowing that you can be happy and do your job is really underrated," says Jade. (Also inspiring: for a truly life-affirming vision, look up footage on YouTube of Jade, Brandi and Sheryl performing 9 to 5 with Dolly Parton, Linda Perry, Maggie Rogers, Natalie Hemby, Maren Morris, Amanda Shires and more at last year's Newport Folk Festival, a vision in jewel-coloured pant suits.) Jade resents the modern idea that musicians are also expected to be marketers and businesspeople; for her, musicians are meant to be artists. She admires Brandi's longevity: "It took her six albums before she hit By the Way, I Forgive You. The work ethic! The belief!"

Hence why Jade and her partner are moving to the US -- flying out on the date of the 2020 election, no less. Plus she's young and she's never lived away from home before, bar the many months spent on the tour bus: why not? They're starting in Austin, moving in with a photographer friend, but Jade calls it "the move before the move" -- next they might go to Nashville, or Portland. Jade isn't releasing Different Kinds of Light until autumn 2021, in the hope that touring is possible again by then. (You've never heard anyone sound as unconvinced as Jade talking about how it's been to perform virtually.) "I want the album to have a moment," she says.

In the meantime, maybe she'll work on the punk album she's been making with iconic songwriter Linda Perry, a concept record inspired by the B-52s, the Raincoats and riot grrrl, and based on feminist author Charlotte Perkins Gilman's utopian 1915 novel, Herland, about a society composed entirely of women who can reproduce asexually. "It's in my back pocket," says Jade, brimming with excitement. "Third album, fourth album." There's no rush. The trepidation she felt about her profession on her debut has dissipated. "I never felt like I could call myself an artist -- like, we'll see. Whereas I know that's my occupation now. That's who I am, and that's incredibly reassuring."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210916T024104Z X-ACCESS:1 X-HITS:1755 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211009T200000 DTEND;TZID=America/Denver:20211009T233000 UID:8502584F-4F5A-4443-B1AC-D0DB3257118A SUMMARY:Deep Sea Diver DTSTAMP:20210706T154823Z DESCRIPTION:The third full-length from Deep Sea Diver, Impossible Weight is a work of sublime highs and mesmerizing lows, its restless intensity both unsettling and transcendent. For bandleader Jessica Dobson, the album’s sonic and emotional expanse stems from a period of sometimes-brutal self-examination—a process that began not long after the Seattle-based four-piece finished touring for their acclaimed sophomore effort Secrets.\N“We went into the studio pretty quickly after the tour ended, and I sort of hit a wall where I was feeling very detached from making music, and unable to find joy in it,” says the vocalist/multi-instrumentalist, whose bandmates include her husband Peter Mansen (drums), Garrett Gue (bass), and Elliot Jackson (guitar, synth). “I realized I had to try to rediscover my voice as a songwriter, and figure out the vocabulary for what I needed to say on this album.”\NAs she stepped back from the studio, Dobson focused on dealing with the depression she’d been struggling with, and soon started volunteering for Aurora Commons (a drop-in center for unhoused people, most of whom are drug-dependent and engage in street-survival-based sex work). “I spent a lot of time with the women who frequent the Commons, and it taught me a new depth of empathy,” she says. “They’re people who don’t have the luxury of going back to a home at the end of the day and hiding behind those four walls, so they’re sort of forced to be vulnerable with what their needs are. Talking with them and listening to them really freed me up to start writing about things I’d never written about before in my songs.”\NCo-produced by Dobson and Andy D. Park (Pedro the Lion, Ruler) and mainly recorded at Seattle’s Studio X and The Hall of Justice, Impossible Weight brings that emotional excavation to a more grandiose sound than Deep Sea Diver has ever attempted. Along with revealing the limitless imagination of Dobson’s guitar work—a prodigious talent she’s previously shown in playing lead guitar for artists like Beck and The Shins—the album’s lush textures and mercurial arrangements more fully illuminate the power of her vocals. “’I’d never produced a record before and I started out with low expectations for myself, but at some point I realized, ‘I can do this,’” Dobson recalls. “I decided to completely trust my voice and make really bold decisions in all my production calls—just push everything to the absolute outer edges.”\NOn the title track to Impossible Weight, Deep Sea Diver prove the incredible precision of those instincts. Featuring guest vocals from Sharon Van Etten, “Impossible Weight” unfolds in radiant grooves and frenetic fits of guitar, its lyrics presenting a bit of wisdom extracted from Dobson’s time at Aurora Commons. “In the past I’d often tell myself, ‘This other person is going through something worse than I am, so their pain weighs more,’” she says. “‘Impossible Weight’ is about finding more compassion for yourself, instead of discrediting your pain in that way.”\NThe luminous opening track to Impossible Weight, “Shattering the Hourglass” makes for a perfect introduction to the album’s sonic complexity, beginning in intimate reflection before shifting into a wildly sprawling anthem. But despite its kinetic orchestration, the song’s dynamics never overshadow its central lyric: “You don’t have to be strong enough.” “I wrote that one the same week my friend and former bandmate Richard Swift was spending his last days in hospice because of complications from alcoholism,” notes Dobson, referring to the beloved singer/songwriter/producer, also known for his work with The Shins. “I was thinking about how everyone’s facing some kind of battle, and how I wish we could all talk more openly about these things. I wish we could give ourselves that license to fall apart, so that others can help carry us to a better place.”\NIn her commitment to radical vulnerability, Dobson lays her own needs bare on songs like “Lights Out”: a defiant yet strangely delicate track that takes on a thrilling momentum as she cycles through an entire world of moods, her voice careening from growling to tender. “‘Lights Out’ was written around the time I hit that wall when we first started working on the record; it’s about fumbling through the darkness and knowing I damn well need help getting out,” she says. Meanwhile, on “Wishing,” Deep Sea Diver deliver a stormy and psych-leaning number sparked from Dobson’s viewing of a documentary on Nina Simone. “She had a husband who was physically and emotionally abusive to her, and it made me think about the idea of being under the thumb of someone else, and not knowing how to get in control of your life again,” Dobson says. “I have a tendency to try to resolve the narrative by the time I get to the end of the song, but for that one I didn’t—which felt right, because that’s what life is like.”\NOn “Eyes Are Red (Don’t Be Afraid),” Impossible Weight reaches its glorious climax, a seven-minute epic that builds to an instrumental breakdown centered on Dobson’s beautifully unhinged guitar work. Not only a triumphant turning point in her musicianship and production approach, “Eyes Are Red (Don’t Be Afraid)” marks a major leap in Dobson’s songwriting. “Lyrically that’s the most uncomfortable song for me on the album,” she says, noting that the track was partly inspired by Christine Blasey Ford’s testimony against Brett Kavanaugh and the collective trauma endured by women everywhere. “There’s so much anger and frustration in it, and it made sense to express that in plainspoken lyrics. I ended up with these phrases that are almost like mantras: ‘Don’t be afraid. Don’t be ashamed.’ A lot of my musical heroes tend to be very poetic, but sometimes there’s so much more meaning in saying things simply.”\NFor Dobson, redefining the limits of her artistry goes hand-in-hand with certain identity issues she faced during the making of Impossible Weight. “I was adopted and just recently met my birth mother, and found out that I’m half-Mexican and half-Jewish,” she explains. “Discovering my heritage and learning things about myself that I never knew before really fed into that question of ‘Where do I belong?’” At the same time, Dobson restored the sense of possibility she felt in first embarking on her music career, which included landing a deal at Atlantic Records at the age of 19. “I think being signed at such a young age messed me up in terms of the expectations I put on myself,” she says. “Somewhere along the way I lost confidence in my own vision, but after making this record I feel a much larger freedom to go in whatever direction I want with my music.”\NWith the release of Impossible Weight, Dobson hopes that others might reclaim a similar sense of freedom in their emotional lives. “Especially right now when the world is in disarray and there’s so much fear, I want this record to give people room to feel whatever they need to feel,” she says. “I hope it helps them recognize that it’s okay to fall apart, and that they’re meant to let others in instead of trying to work through everything on their own. Because the point is that the impossible weight isn’t yours to carry alone—that’s why it’s impossible.” X-ALT-DESC;FMTTYPE=text/html:

The third full-length from Deep Sea Diver, Impossible Weight is a work of sublime highs and mesmerizing lows, its restless intensity both unsettling and transcendent. For bandleader Jessica Dobson, the album’s sonic and emotional expanse stems from a period of sometimes-brutal self-examination—a process that began not long after the Seattle-based four-piece finished touring for their acclaimed sophomore effort Secrets.

“We went into the studio pretty quickly after the tour ended, and I sort of hit a wall where I was feeling very detached from making music, and unable to find joy in it,” says the vocalist/multi-instrumentalist, whose bandmates include her husband Peter Mansen (drums), Garrett Gue (bass), and Elliot Jackson (guitar, synth). “I realized I had to try to rediscover my voice as a songwriter, and figure out the vocabulary for what I needed to say on this album.”

As she stepped back from the studio, Dobson focused on dealing with the depression she’d been struggling with, and soon started volunteering for Aurora Commons (a drop-in center for unhoused people, most of whom are drug-dependent and engage in street-survival-based sex work). “I spent a lot of time with the women who frequent the Commons, and it taught me a new depth of empathy,” she says. “They’re people who don’t have the luxury of going back to a home at the end of the day and hiding behind those four walls, so they’re sort of forced to be vulnerable with what their needs are. Talking with them and listening to them really freed me up to start writing about things I’d never written about before in my songs.”

Co-produced by Dobson and Andy D. Park (Pedro the Lion, Ruler) and mainly recorded at Seattle’s Studio X and The Hall of Justice, Impossible Weight brings that emotional excavation to a more grandiose sound than Deep Sea Diver has ever attempted. Along with revealing the limitless imagination of Dobson’s guitar work—a prodigious talent she’s previously shown in playing lead guitar for artists like Beck and The Shins—the album’s lush textures and mercurial arrangements more fully illuminate the power of her vocals. “’I’d never produced a record before and I started out with low expectations for myself, but at some point I realized, ‘I can do this,’” Dobson recalls. “I decided to completely trust my voice and make really bold decisions in all my production calls—just push everything to the absolute outer edges.”

On the title track to Impossible Weight, Deep Sea Diver prove the incredible precision of those instincts. Featuring guest vocals from Sharon Van Etten, “Impossible Weight” unfolds in radiant grooves and frenetic fits of guitar, its lyrics presenting a bit of wisdom extracted from Dobson’s time at Aurora Commons. “In the past I’d often tell myself, ‘This other person is going through something worse than I am, so their pain weighs more,’” she says. “‘Impossible Weight’ is about finding more compassion for yourself, instead of discrediting your pain in that way.”

The luminous opening track to Impossible Weight, “Shattering the Hourglass” makes for a perfect introduction to the album’s sonic complexity, beginning in intimate reflection before shifting into a wildly sprawling anthem. But despite its kinetic orchestration, the song’s dynamics never overshadow its central lyric: “You don’t have to be strong enough.” “I wrote that one the same week my friend and former bandmate Richard Swift was spending his last days in hospice because of complications from alcoholism,” notes Dobson, referring to the beloved singer/songwriter/producer, also known for his work with The Shins. “I was thinking about how everyone’s facing some kind of battle, and how I wish we could all talk more openly about these things. I wish we could give ourselves that license to fall apart, so that others can help carry us to a better place.”

In her commitment to radical vulnerability, Dobson lays her own needs bare on songs like “Lights Out”: a defiant yet strangely delicate track that takes on a thrilling momentum as she cycles through an entire world of moods, her voice careening from growling to tender. “‘Lights Out’ was written around the time I hit that wall when we first started working on the record; it’s about fumbling through the darkness and knowing I damn well need help getting out,” she says. Meanwhile, on “Wishing,” Deep Sea Diver deliver a stormy and psych-leaning number sparked from Dobson’s viewing of a documentary on Nina Simone. “She had a husband who was physically and emotionally abusive to her, and it made me think about the idea of being under the thumb of someone else, and not knowing how to get in control of your life again,” Dobson says. “I have a tendency to try to resolve the narrative by the time I get to the end of the song, but for that one I didn’t—which felt right, because that’s what life is like.”

On “Eyes Are Red (Don’t Be Afraid),” Impossible Weight reaches its glorious climax, a seven-minute epic that builds to an instrumental breakdown centered on Dobson’s beautifully unhinged guitar work. Not only a triumphant turning point in her musicianship and production approach, “Eyes Are Red (Don’t Be Afraid)” marks a major leap in Dobson’s songwriting. “Lyrically that’s the most uncomfortable song for me on the album,” she says, noting that the track was partly inspired by Christine Blasey Ford’s testimony against Brett Kavanaugh and the collective trauma endured by women everywhere. “There’s so much anger and frustration in it, and it made sense to express that in plainspoken lyrics. I ended up with these phrases that are almost like mantras: ‘Don’t be afraid. Don’t be ashamed.’ A lot of my musical heroes tend to be very poetic, but sometimes there’s so much more meaning in saying things simply.”

For Dobson, redefining the limits of her artistry goes hand-in-hand with certain identity issues she faced during the making of Impossible Weight. “I was adopted and just recently met my birth mother, and found out that I’m half-Mexican and half-Jewish,” she explains. “Discovering my heritage and learning things about myself that I never knew before really fed into that question of ‘Where do I belong?’” At the same time, Dobson restored the sense of possibility she felt in first embarking on her music career, which included landing a deal at Atlantic Records at the age of 19. “I think being signed at such a young age messed me up in terms of the expectations I put on myself,” she says. “Somewhere along the way I lost confidence in my own vision, but after making this record I feel a much larger freedom to go in whatever direction I want with my music.”

With the release of Impossible Weight, Dobson hopes that others might reclaim a similar sense of freedom in their emotional lives. “Especially right now when the world is in disarray and there’s so much fear, I want this record to give people room to feel whatever they need to feel,” she says. “I hope it helps them recognize that it’s okay to fall apart, and that they’re meant to let others in instead of trying to work through everything on their own. Because the point is that the impossible weight isn’t yours to carry alone—that’s why it’s impossible.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211005T214215Z X-ACCESS:1 X-HITS:1488 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211014T200000 DTEND;TZID=America/Denver:20211014T233000 UID:4E4DFED2-6AE2-4E92-A401-13C6EC9619E5 SUMMARY:Thumpasaurus DTSTAMP:20210823T214108Z DESCRIPTION:Los Angeles-based Thumpasaurus are a gang of five superbly skilled young American musicians taking hugely divergent influences and channeling them into something uniquely Thumpasaurian.\NThumpasaurus offer up their own unique punk/funk stew wherein, hidden in plain sight and sound, you’ll find traces of Zappa, Beefheart, James Chance, Funkadelic/Parliament, Morphine, Devo, Talking Heads and Prince, as well as some rocking heavy metal, free jazz, musical theatre and even some light opera references thrown in for good measure.\NLead singer and guitarist Lucas Tamaren’s alter ego, Sensei Boland, recently achieved web notoriety by challenging the world to bring him something he can’t karate chop. A promotional meme for “Mental Karate” resulted in Buzzfeed picking up on the video & the band’s music being shared by the likes of Alt-J, Shakey Graves, and Rob Thomas amongst others. See here: http://whatichopped.com\NAfter a sold-out 12 show run at the Edinburgh Fringe Festival, Thump opened their 2018 with an at-capacity play at the Echo, as well as support for KNOWER’s sold-out shows in LA (Lodge Room) and SF (Brick & Mortar). For their first-ever headliner at the Bootleg Theater on April 1st, the band packed 200+ people in to witness the live debut of their original rock opera, Where Does The Love Go?, complete with a 20-person choir. Seriously. Thump teased the opera in physical cd-only format at the show.\NAdditionally, 2018 has seen the band record an EP with legendary house producer, Dirtybird’s Justin Jay. Consisting primarily of remixed Thump songs, the EP is out on Jay’s Fantastic Voyage label and was premiered by Annie Mack on BBC Radio 1. The music has already been played by massive DJ’s in the house and techno scene across the country, including at an EatsEverything’s headlining set at Ultra Festival in Miami. Members of the band were special guests on Justin’s tour in May supporting the EP release. In June, the band supported WAVVES at the FigFest festival in downtown LA.\NThe band released their self-produced debut album, The Book Of Thump, in July 2019, with new singles and videos coming soon, plus their biggest-ever headlining show at the Troubadour in LA. Followed by a return to Scotland for the Fringe Festival with a brand new headlining residency, as well as the debut of their rock opera, and in October are set to take up the legendary mantle of resident band at the Echo for 5 straight Mondays.\NThumpasaurus has received radio play from tastemaker stations such as KCRW (Wayne’s World) and BBC Radio 1 (Space Barn) as well as BBC Radio Scotland (You Are So Pretty, Dance Like It’s Your Life, Mental Karate).\NThumpasaurus will be releasing a new record in 2021.\NThink. Dance. Smile. Feel. Thumpasaurus are about to come into your life and make you do all of the above. Go see, go hear – you’ll never feel more alive. Long may you Thump. X-ALT-DESC;FMTTYPE=text/html:

Los Angeles-based Thumpasaurus are a gang of five superbly skilled young American musicians taking hugely divergent influences and channeling them into something uniquely Thumpasaurian.

Thumpasaurus offer up their own unique punk/funk stew wherein, hidden in plain sight and sound, you’ll find traces of Zappa, Beefheart, James Chance, Funkadelic/Parliament, Morphine, Devo, Talking Heads and Prince, as well as some rocking heavy metal, free jazz, musical theatre and even some light opera references thrown in for good measure.

Lead singer and guitarist Lucas Tamaren’s alter ego, Sensei Boland, recently achieved web notoriety by challenging the world to bring him something he can’t karate chop. A promotional meme for “Mental Karate” resulted in Buzzfeed picking up on the video & the band’s music being shared by the likes of Alt-J, Shakey Graves, and Rob Thomas amongst others. See here: http://whatichopped.com

After a sold-out 12 show run at the Edinburgh Fringe Festival, Thump opened their 2018 with an at-capacity play at the Echo, as well as support for KNOWER’s sold-out shows in LA (Lodge Room) and SF (Brick & Mortar). For their first-ever headliner at the Bootleg Theater on April 1st, the band packed 200+ people in to witness the live debut of their original rock opera, Where Does The Love Go?, complete with a 20-person choir. Seriously. Thump teased the opera in physical cd-only format at the show.

Additionally, 2018 has seen the band record an EP with legendary house producer, Dirtybird’s Justin Jay. Consisting primarily of remixed Thump songs, the EP is out on Jay’s Fantastic Voyage label and was premiered by Annie Mack on BBC Radio 1. The music has already been played by massive DJ’s in the house and techno scene across the country, including at an EatsEverything’s headlining set at Ultra Festival in Miami. Members of the band were special guests on Justin’s tour in May supporting the EP release. In June, the band supported WAVVES at the FigFest festival in downtown LA.

The band released their self-produced debut album, The Book Of Thump, in July 2019, with new singles and videos coming soon, plus their biggest-ever headlining show at the Troubadour in LA. Followed by a return to Scotland for the Fringe Festival with a brand new headlining residency, as well as the debut of their rock opera, and in October are set to take up the legendary mantle of resident band at the Echo for 5 straight Mondays.

Thumpasaurus has received radio play from tastemaker stations such as KCRW (Wayne’s World) and BBC Radio 1 (Space Barn) as well as BBC Radio Scotland (You Are So Pretty, Dance Like It’s Your Life, Mental Karate).

Thumpasaurus will be releasing a new record in 2021.

Think. Dance. Smile. Feel. Thumpasaurus are about to come into your life and make you do all of the above. Go see, go hear – you’ll never feel more alive. Long may you Thump.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210929T173640Z X-ACCESS:1 X-HITS:1887 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211015T210000 DTEND;TZID=America/Denver:20211015T233000 UID:1F7D58F7-4D87-4A76-ADEC-C0331F2FD796 SUMMARY:Kris Lager Band DTSTAMP:20210920T183953Z DESCRIPTION:Kris Lager is a one-of-a-kind songwriter, guitarist, singer, keyboardist, and entertainer. An intense and charismatic performer who has traveled across the country honing his craft over the last two decades . He has developed a unique 'Celebrate Life' message and mantra that emanates with every performance. A message that creates a congregation of dancing, singing, and clapping people with smiles on their faces at every show.\NMany of his peers are calling him: "One of the most gifted songwriters of his generation."\NWorld renowned musician Andy Frasco recently called Kris "His favorite songwriter!" on his 'World Saving Podcast' and said a lot of the songs for which he has built his 'positive' foundation on were written by Kris. Legendary Rock 'n' Roll Producer, who has mixed two of Kris' albums, Jim Gaines (Santana, SRV, Van Morrison, Steve Miller) says Kris has "A great voice and great songs!" Paste Magazine calls the music "The kind of toe-tapping rhythm that sometimes you just need to make it through a day."\NA Lincoln native based out of Omaha, Nebraska, Kris and his band have built a reputation as a hardworking Independant band refusing to play by industry rules or pander for awards and accolades. They just hit the road and the stage with an intense purpose of uplifting and engaging audiences while delivering a flavorful gumbo of feel good rhythms and soulful songs.\NNew album: 'Blues Lover'\NIt seems like a lot of folks have gotten rather nostalgic throughout this past year and a half of the pandemic and it is safe to say Kris Lager has too. He found himself going back to his blues roots; back to where he started when he first picked up a guitar.\NHis first stage experiences were at a weekly Blues Jam at Duggan's Pub in Lincoln, Nebraska and also playing at the world famous Zoo Bar. Kris Frequently played alongside Nebraska Blues legends such as Magic Slim, Lil' Slim, Baby Jason, and Sean Benjamin. All of them nurturing and inspiring his love for blues music.\N"I've never released a straight up blues record before and I thought.. you know what? I'm gonna go for it. I'm gonna record these songs that I've been playing for twenty years and just have some fun." said Kris. Eight of his most beloved blues songs as well as two original tunes comprise the new album 'Blues Lover'.\NThere's two Albert King tracks, a Shuggie Otis tune as well as Buddy Guy, Paul Butterfield, Shawn Holt, Snooky Pryor, and Blind Lemon Jefferson covers on the recording rounded out by two original songs: 'I Just Want To See You happy' and 'Back Home To The Blues' co-written by Mark Ryan.\NThe album was recorded and mixed by Kris Lager himself at his studio 'The Conduit' and released on his label 'Fervent Ameba Records'. The first of many self-produced recordings according to Kris. All songs were recorded live straight to tape using his legendary Tascam 388 tape machine. "This recording was exactly the sound I was going after. A squishy analog sound that gives the listener an old school vibe. A vibe that I really dig as a blues lover and I think other blues lovers will too. With the help of Doug Van Sloun from Focus Mastering I believe we achieved a great sounding recording." exclaims Kris.\NScooby Sha Bo Bo AKA John Fairchild\NKris’ longtime musical partner and drummer of the group John Fairchild AKA Scooby Sha Bo Bo is featured on the new 'Blues Lover' album (as well as all of KLB's recordings since 2004). In fact, Kris and John just celebrated 17 years of touring and recording together as of Labor Day 2021.\NScooby brings a funky/ hiphop flare to Kris' rootsy compositions, and of course a Kris Lager Band set isn't complete without a funky drum break where Scooby makes up a freestyle off of the top of his head dropping an original beatbox to go with it. It is definitely a rare sight to be seen and heard, especially in the blues/ jam band/ soul/ funk world. X-ALT-DESC;FMTTYPE=text/html:

Kris Lager is a one-of-a-kind songwriter, guitarist, singer, keyboardist, and entertainer. An intense and charismatic performer who has traveled across the country honing his craft over the last two decades . He has developed a unique 'Celebrate Life' message and mantra that emanates with every performance. A message that creates a congregation of dancing, singing, and clapping people with smiles on their faces at every show.

Many of his peers are calling him: "One of the most gifted songwriters of his generation."

World renowned musician Andy Frasco recently called Kris "His favorite songwriter!" on his 'World Saving Podcast' and said a lot of the songs for which he has built his 'positive' foundation on were written by Kris. Legendary Rock 'n' Roll Producer, who has mixed two of Kris' albums, Jim Gaines (Santana, SRV, Van Morrison, Steve Miller) says Kris has "A great voice and great songs!" Paste Magazine calls the music "The kind of toe-tapping rhythm that sometimes you just need to make it through a day."

A Lincoln native based out of Omaha, Nebraska, Kris and his band have built a reputation as a hardworking Independant band refusing to play by industry rules or pander for awards and accolades. They just hit the road and the stage with an intense purpose of uplifting and engaging audiences while delivering a flavorful gumbo of feel good rhythms and soulful songs.

New album: 'Blues Lover'

It seems like a lot of folks have gotten rather nostalgic throughout this past year and a half of the pandemic and it is safe to say Kris Lager has too. He found himself going back to his blues roots; back to where he started when he first picked up a guitar.

His first stage experiences were at a weekly Blues Jam at Duggan's Pub in Lincoln, Nebraska and also playing at the world famous Zoo Bar. Kris Frequently played alongside Nebraska Blues legends such as Magic Slim, Lil' Slim, Baby Jason, and Sean Benjamin. All of them nurturing and inspiring his love for blues music.

"I've never released a straight up blues record before and I thought.. you know what? I'm gonna go for it. I'm gonna record these songs that I've been playing for twenty years and just have some fun." said Kris. Eight of his most beloved blues songs as well as two original tunes comprise the new album 'Blues Lover'.

There's two Albert King tracks, a Shuggie Otis tune as well as Buddy Guy, Paul Butterfield, Shawn Holt, Snooky Pryor, and Blind Lemon Jefferson covers on the recording rounded out by two original songs: 'I Just Want To See You happy' and 'Back Home To The Blues' co-written by Mark Ryan.

The album was recorded and mixed by Kris Lager himself at his studio 'The Conduit' and released on his label 'Fervent Ameba Records'. The first of many self-produced recordings according to Kris. All songs were recorded live straight to tape using his legendary Tascam 388 tape machine. "This recording was exactly the sound I was going after. A squishy analog sound that gives the listener an old school vibe. A vibe that I really dig as a blues lover and I think other blues lovers will too. With the help of Doug Van Sloun from Focus Mastering I believe we achieved a great sounding recording." exclaims Kris.

Scooby Sha Bo Bo AKA John Fairchild

Kris’ longtime musical partner and drummer of the group John Fairchild AKA Scooby Sha Bo Bo is featured on the new 'Blues Lover' album (as well as all of KLB's recordings since 2004). In fact, Kris and John just celebrated 17 years of touring and recording together as of Labor Day 2021.

Scooby brings a funky/ hiphop flare to Kris' rootsy compositions, and of course a Kris Lager Band set isn't complete without a funky drum break where Scooby makes up a freestyle off of the top of his head dropping an original beatbox to go with it. It is definitely a rare sight to be seen and heard, especially in the blues/ jam band/ soul/ funk world.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20210929T191947Z X-ACCESS:1 X-HITS:1366 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211016T200000 DTEND;TZID=America/Denver:20211016T233000 UID:828F1F14-EF5A-4CF4-B849-B78D365E8C63 SUMMARY:Delta Rae DTSTAMP:20210709T204447Z DESCRIPTION:Six-piece band Delta Rae hails from Durham, NC. Liz Hopkins and Brittany Holljes front the robust group with sultry harmonies rounded out by Holljes' brothers Eric (vocals, piano) and Ian (vocals, guitar) as well as Mike McKee (drums) and Grant Emerson (bass). The band chose their moniker from a mythical story the Holljes siblings' mother wrote about a Southern girl of the same name who summons the Greek gods to earth. Headlining over 100 shows each year and a regular on the festival circuit since forming in 2009, Delta Rae's larger-than-life performances have earned coveted spots at Bonnaroo, Tortuga Music Festival, Austin City Limits, Hangout Fest, VOODOO, and Lollapalooza. They have received national attention with features in NPR, Washington Post, and New York Times in addition to multiple late-night performances and inclusion in Forbes' 30 Under 30 list. X-ALT-DESC;FMTTYPE=text/html:

Six-piece band Delta Rae hails from Durham, NC. Liz Hopkins and Brittany Holljes front the robust group with sultry harmonies rounded out by Holljes' brothers Eric (vocals, piano) and Ian (vocals, guitar) as well as Mike McKee (drums) and Grant Emerson (bass). The band chose their moniker from a mythical story the Holljes siblings' mother wrote about a Southern girl of the same name who summons the Greek gods to earth. Headlining over 100 shows each year and a regular on the festival circuit since forming in 2009, Delta Rae's larger-than-life performances have earned coveted spots at Bonnaroo, Tortuga Music Festival, Austin City Limits, Hangout Fest, VOODOO, and Lollapalooza. They have received national attention with features in NPR, Washington Post, and New York Times in addition to multiple late-night performances and inclusion in Forbes' 30 Under 30 list.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211015T225412Z X-ACCESS:1 X-HITS:2003 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211023T200000 DTEND;TZID=America/Denver:20211023T233000 UID:653DA210-3DA2-4158-A84D-4B77DC0755B9 SUMMARY:Josh Kelley DTSTAMP:20191209T170232Z DESCRIPTION:“In a door frame of this lived-in home there is a pen hanging from a string, there lies the tale of a husband and a wife steady growing up their family,“ singer-songwriter Josh Kelley sings on “Busy Making Memories,” a deeply personal excerpt from his new album, I Sing. It’s no secret -- and, in fact, quite apparent -- that he’s a family man through and through. “I wrote ‘Busy Making Memories’ on January 1, sitting in my morning coffee chair watching my kids bounce, spin and play around me, and the music just happened. It was if someone else was writing it through me,” he says. “I have voice notes on my phone as proof of the creative process, but still it felt like I wasn’t in control. It was truly a wild experience that, to this day, I have a hard time wrapping my head around. I went to the studio and started producing, and it was an effortless process. I wish all of them could be that way.” Since the release of his last album of original material, 2016’s New Lane Road, Josh and his wife welcomed their third child; within the 10 songs on I Sing, Kelley paints a picture of a man who has found his place in life nestled deep into the small mountain town they call home. “My family brings me so much joy,” he says. “For the most part, family is what connects every song on this album -– my every day with my wife. Watching my kids grow up is just amazing and inspiring.” Josh creates most of his music in a barn on his property that he’s converted into a studio. He produced and engineered the entirety of his new project himself; he’s been self-producing music since he was 15-years-old, and really dug into engineering and mixing when he moved to Los Angeles in 2002. He also plays 15 different instruments. “My recording process has changed over the years,” he says. “I used to start a song and then begin the production process before the song was even finished. Now that I’m older I’ve changed my ways, and I make sure all of the structure, tempo, and lyrics are perfect. Then I drive over to my studio and try to wrap my head around how the song should live in people’s ears. It’s better for me to finish the song musically and lyrically before ever turning anything else on.” On I Sing, Kelley solidifies himself as a talented vocalist and lyricist while tapping into the details of an everyday family. He’s watching his kids develop their own personalities and continuing to find new reasons to love his wife after close to 15 years together. He’s missing it all when he’s away from them. He says, outside of his family, the one other constant in his daily life is singing. Writing I Sing began with “Love Her Boy,” a smooth and soulful number that finds Josh delving into different uses for the phrase. He started experimenting with wordplay, which carries throughout the album. “I was trying to write a totally different song on a plane back home from a Colorado festival,” he says, explaining that he wrote the title down and filed it away for a writing session he had the next day. “I brought the idea of ‘love her boy’ to the session. The different uses within the song create an oronym, two phrases that sound the same but mean different things. I think it’s a clever angle, and we had so much fun bringing it to life.” “We Don’t Need The Money” finds Josh and co-writer Eric Kertes reversing their usual roles to create a funky groove; “Back To You” begs for a sing-along; “If That’s Alright” continues the theme. “You Can Count On Me,” with a cameo on background vocals from his daughters, takes its sonic inspiration from Bill Withers and Shuggie Otis. It was written with Alen Chang. “I was only a melody man and co-lyricist -- we talked about people in our lives that needed our support and what we would say to them if we were brave enough to say it,” Josh says. “I showed up to Alen’s house, and after describing the concept, he had the idea in his head within minutes. On this rare occasion, I was only a melody man and co-lyricist. The song was done by dinner time.” “You And I,” written with Nashville songwriter Dustin Christensen, slows things down with an ode to an all-consuming kind of love. “I can’t imagine my life without my person because we have created this safe place that is sometimes almost unbearable to leave,” Josh says. “I Want You Tonight,” “Because I Love You” and “Loves You Like Me” are straight-up love songs. “I’m a sucker for these and I’ll keep writing them till the day I float away,” Josh says. Growing up in Augusta, Georgia, Josh absorbed R&B, soul, and vintage country, while also developing an affinity for classic rock. His musical family would often sit around their piano creating songs. When he was 12, his older brother accidentally left his guitar at home when he headed back to college -- a month later, he was covering Led Zeppelin songs. The rest is history. “My sister’s husband, Kris, taught me different scales on the guitar and introduced me to Stevie Ray Vaughan,” he says. “I lost my mind on playing the blues for many years because of him. I learned from many of these songs that simple musical progressions lent room for more complicated and beautiful melodies.” During their early teens, Josh and his younger brother Charles (now one-third of Lady Antebellum) formed a band, Inside Blue, whose self-released album gained local radio airplay and caught the attention of soul legend James Brown. Josh released his solo debut,Changing Faces, while attending the University of Mississippi. He then signed a record deal with Hollywood Records, which released his 2003 mainstream debut For the Ride Home. He found a Top Five single with “Amazing,” and his second album Almost Honest, included the Top Ten single “Only You.” Josh later released four independent albums — Just Say the Word, Special Company, Backwoods and To Remember — between 2006 and 2008. He released Georgia Clay in 2011 with MCA Nashville, and 2015’s New Lane Road with Sugar Hill Records. In 2017 he independently released an album of covers, titled Under the Covers, Vol. 1, and a holiday album, Christmas Traditions. He has appeared on “The Ellen Degeneres Show,” “Good Morning America,” “The Tonight Show with Jay Leno,” “Live with Regis & Kelly” and “Last Call with Carson Daly,” and his songs have been featured on such shows as “Smallville,” “Scrubs,” “Brothers and Sisters” and MTV’s “The Hills.” Josh also wrote and performed the theme song for the TV sitcom “Mike and Molly,” scored the feature film Home Sweet Hell, and created the theme song for TV’s Golf Channel. “I will never stop creating music – it is in my blood and it is what I was put on this earth to do,” he says. Josh Kelley launched his artist career in 2001 out of his college dorm room that propelled him into the industry with his hit song “Amazing”. It was the most played song of the year on pop radio and topped the charts at number 5. Since then Josh has toured with some of music’s biggest names including Taylor Swift, Dave Matthews Band, and Lady Antebellum. Josh has been in his studio for the past two years developing new music and his new record set to release in June of 2020. All of the songs to be released on the project were written by Josh and he also 2020 plans also include a US Spring tour to be followed by a 3 week European tour in the fall. The next chapter of Josh Kelley will be a further testament of the artist and songwriter he truly is. X-ALT-DESC;FMTTYPE=text/html:

“In a door frame of this lived-in home there is a pen hanging from a string, there lies the tale of a husband and a wife steady growing up their family,“ singer-songwriter Josh Kelley sings on “Busy Making Memories,” a deeply personal excerpt from his new album, I Sing. It’s no secret -- and, in fact, quite apparent -- that he’s a family man through and through.

“I wrote ‘Busy Making Memories’ on January 1, sitting in my morning coffee chair watching my kids bounce, spin and play around me, and the music just happened. It was if someone else was writing it through me,” he says. “I have voice notes on my phone as proof of the creative process, but still it felt like I wasn’t in control. It was truly a wild experience that, to this day, I have a hard time wrapping my head around. I went to the studio and started producing, and it was an effortless process. I wish all of them could be that way.”

Since the release of his last album of original material, 2016’s New Lane Road, Josh and his wife welcomed their third child; within the 10 songs on I Sing, Kelley paints a picture of a man who has found his place in life nestled deep into the small mountain town they call home.

“My family brings me so much joy,” he says. “For the most part, family is what connects every song on this album -– my every day with my wife. Watching my kids grow up is just amazing and inspiring.”

Josh creates most of his music in a barn on his property that he’s converted into a studio. He produced and engineered the entirety of his new project himself; he’s been self-producing music since he was 15-years-old, and really dug into engineering and mixing when he moved to Los Angeles in 2002. He also plays 15 different instruments.

“My recording process has changed over the years,” he says. “I used to start a song and then begin the production process before the song was even finished. Now that I’m older I’ve changed my ways, and I make sure all of the structure, tempo, and lyrics are perfect. Then I drive over to my studio and try to wrap my head around how the song should live in people’s ears. It’s better for me to finish the song musically and lyrically before ever turning anything else on.”

On I Sing, Kelley solidifies himself as a talented vocalist and lyricist while tapping into the details of an everyday family. He’s watching his kids develop their own personalities and continuing to find new reasons to love his wife after close to 15 years together. He’s missing it all when he’s away from them. He says, outside of his family, the one other constant in his daily life is singing.

Writing I Sing began with “Love Her Boy,” a smooth and soulful number that finds Josh delving into different uses for the phrase. He started experimenting with wordplay, which carries throughout the album.

“I was trying to write a totally different song on a plane back home from a Colorado festival,” he says, explaining that he wrote the title down and filed it away for a writing session he had the next day. “I brought the idea of ‘love her boy’ to the session. The different uses within the song create an oronym, two phrases that sound the same but mean different things. I think it’s a clever angle, and we had so much fun bringing it to life.”

“We Don’t Need The Money” finds Josh and co-writer Eric Kertes reversing their usual roles to create a funky groove; “Back To You” begs for a sing-along; “If That’s Alright” continues the theme.

“You Can Count On Me,” with a cameo on background vocals from his daughters, takes its sonic inspiration from Bill Withers and Shuggie Otis. It was written with Alen Chang. “I was only a melody man and co-lyricist -- we talked about people in our lives that needed our support and what we would say to them if we were brave enough to say it,” Josh says. “I showed up to Alen’s house, and after describing the concept, he had the idea in his head within minutes. On this rare occasion, I was only a melody man and co-lyricist. The song was done by dinner time.”

“You And I,” written with Nashville songwriter Dustin Christensen, slows things down with an ode to an all-consuming kind of love. “I can’t imagine my life without my person because we have created this safe place that is sometimes almost unbearable to leave,” Josh says.

“I Want You Tonight,” “Because I Love You” and “Loves You Like Me” are straight-up love songs. “I’m a sucker for these and I’ll keep writing them till the day I float away,” Josh says.

Growing up in Augusta, Georgia, Josh absorbed R&B, soul, and vintage country, while also developing an affinity for classic rock. His musical family would often sit around their piano creating songs. When he was 12, his older brother accidentally left his guitar at home when he headed back to college -- a month later, he was covering Led Zeppelin songs. The rest is history.

“My sister’s husband, Kris, taught me different scales on the guitar and introduced me to Stevie Ray Vaughan,” he says. “I lost my mind on playing the blues for many years because of him. I learned from many of these songs that simple musical progressions lent room for more complicated and beautiful melodies.”

During their early teens, Josh and his younger brother Charles (now one-third of Lady Antebellum) formed a band, Inside Blue, whose self-released album gained local radio airplay and caught the attention of soul legend James Brown. Josh released his solo debut,Changing Faces, while attending the University of Mississippi. He then signed a record deal with Hollywood Records, which released his 2003 mainstream debut For the Ride Home. He found a Top Five single with “Amazing,” and his second album Almost Honest, included the Top Ten single “Only You.”

Josh later released four independent albums — Just Say the Word, Special Company, Backwoods and To Remember — between 2006 and 2008. He released Georgia Clay in 2011 with MCA Nashville, and 2015’s New Lane Road with Sugar Hill Records. In 2017 he independently released an album of covers, titled Under the Covers, Vol. 1, and a holiday album, Christmas Traditions.

He has appeared on “The Ellen Degeneres Show,” “Good Morning America,” “The Tonight Show with Jay Leno,” “Live with Regis & Kelly” and “Last Call with Carson Daly,” and his songs have been featured on such shows as “Smallville,” “Scrubs,” “Brothers and Sisters” and MTV’s “The Hills.” Josh also wrote and performed the theme song for the TV sitcom “Mike and Molly,” scored the feature film Home Sweet Hell, and created the theme song for TV’s Golf Channel.

“I will never stop creating music – it is in my blood and it is what I was put on this earth to do,” he says.

Josh Kelley launched his artist career in 2001 out of his college dorm room that propelled him into the industry with his hit song “Amazing”. It was the most played song of the year on pop radio and topped the charts at number 5. Since then Josh has toured with some of music’s biggest names including Taylor Swift, Dave Matthews Band, and Lady Antebellum. Josh has been in his studio for the past two years developing new music and his new record set to release in June of 2020. All of the songs to be released on the project were written by Josh and he also 2020 plans also include a US Spring tour to be followed by a 3 week European tour in the fall. The next chapter of Josh Kelley will be a further testament of the artist and songwriter he truly is.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211015T225429Z X-ACCESS:1 X-HITS:6555 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211025T200000 DTEND;TZID=America/Denver:20211025T233000 UID:D40C3D1B-2809-4D46-AD4D-29AEC75D8B1B SUMMARY:Todd Snider DTSTAMP:20200128T190352Z DESCRIPTION:One morning near the end of August, Todd Snider was relaxing with a visitor on the back porch of his house just outside Nashville, drinking coffee and shooting the breeze while his dog, Cowboy Jim, took a nap nearby. After awhile, Snider said to his guest, "I've got an album's worth of songs, and I think the songs are telling me to make a folk record."\NThis was a surprising bit of news considering he had spent the last six years making rock albums of one kind or another. But Snider was feeling as if he had "maybe drifted too far from the shore." He was feeling the pull to start over, to go back to what he was doing when he first began, to return to his roots as a folksinger.\NIf Snider needed any further evidence that was the direction he should pursue, he got it a half hour later. Back inside his home office, he checked his email and had one from his manager informing him he had just received an offer to play the 2019 Newport Folk Festival, an event he had never done.\NSnider mentioned he had been listening to Woody Guthrie's Library of Congress Recordings, then crossed the room to the turntable and put the needle down on side one of the record. "Woody Guthrie sometimes gets me reset on why you do a song, instead of how," Snider explains of the man who has long been a touchstone for him. "When I was young, there was something about him that made me want to do it. So once or twice a year, I'll go back to him, I'll go back to the source."\NGuthrie famously had the words "This machine kills fascists" printed on his guitar, and on several of the songs on Snider's new album, Cash Cabin Sessions, Vol. 3, he squarely aims his guitar at the creeping fascism he sees in America. He had been wanting to make a political record since 2016, and although only half the songs lean in that direction, there is one constant throughout the album: a man, his guitar, and the truth.\N* * * * *\NSnider has long been recognized as one of his generation's most gifted and engaging songwriters, so it's no surprise he has returned with a brilliant set of songs -- and make no mistake, Cash Cabin Sessions, Vol. 3 contains some of his best work as a writer. But what really jumps out on the album is Snider's growth as a musician and vocalist. He plays all the instruments on the record, and his guitar work and harmonica playing are nothing short of exceptional; not only full of feeling, but highly skilled. In regards to his guitar playing on the record, Snider says he wanted to take everything he's learned over the past 30 years and play the way he used to play really well.\NAs far as his vocals on the album are concerned, Snider is singing with more confidence than ever, a confidence born in part from his time with Hard Working Americans doing nothing but sing. His stirring vocal performances range from slurring blues mumble to Dylanesque talking blues to gravely, honest ache.\NOf the five songs on which Snider serves up his humorous brand of socio-political commentary, three are performed in the talking blues style: "Talking Reality Television Blues," a hilariously accurate short history of television; "The Blues on Banjo," a bad case of the blues caused by the sorry state of everything from the crooked international monetary-military-industrial complex to the spineless politicians who serve it and which references "Blue Suede Shoes," Richard Lewis, and Townes Van Zandt; and "A Timeless Response to Current Events," a brilliant bit of wordplay on which he calls bullshit on faux patriotism, crooked capitalism, and lying politicians. Jason Isbell and Amanda Shires contributed backing vocals on the latter two songs.\NThere are two other songs on the album featuring Snider's socio-political points of view: "Just Like Overnight," about the surprising inevitability of change, and "Framed," written from the point of view of the framed "first dollar bill" in a bar, a point of view that shows doing the right thing doesn't pay.\NThere also are three songs with a music theme. If not for the events that led to the writing of one of those songs,"The Ghost of Johnny Cash," there almost certainly would be no Cash Cabin Sessions, Vol. 3. After a visit to Cash Cabin Studio for a Loretta Lynn session in 2015 where she recorded a song they cowrote, Snider began having a recurring dream about the studio that featured the Man in Black himself. The dream led him to book time at the studio and ultimately inspired him to write "The Ghost of Johnny Cash," which tells the story of Loretta Lynn dancing with Cash's ghost outside the studio in the middle of the night. As he did on much of the record, Snider played the century-old Martin that had long been Johnny Cash's favorite instrument on that song.\NSnider paid tribute to Cash's longtime friend and confidante in another of the music-themed songs, "Cowboy Jack Clement's Waltz." Inspired by the iconic record man's oft-quoted maxims regarding the art of recording, the song achingly laments Clement's passing, while touchingly celebrating his legacy.\NThe album opens with the other song with a music theme, "Working on a Song." It's an existential exercise, a song Snider wrote about writing a song called "Where Do I Go Now That I'm Gone," an idea he actually has been working on for thirty years, but which remains unfinished.\NThere are also two songs that are personal in nature: "Watering Flowers in the Rain," which was inspired by a former associate of Snider's whose nickname was "Elvis," and "Like a Force of Nature," a philosophical reflection on the orbital nature of friendships. Isbell also added harmony vocals to "Like a Force of Nature."\NIf Snider is anything, he is a true artist, and he reminds us of that on Cash Cabin Sessions, Vol. 3. At a point in time when the world has never been more complicated and confusing, with people getting louder and louder, Snider did a 180, went back to his roots as a folksinger, to a simpler, quieter form of expression; and it might be what the world is waiting to hear: just a man, his guitar, and the truth. X-ALT-DESC;FMTTYPE=text/html:

One morning near the end of August, Todd Snider was relaxing with a visitor on the back porch of his house just outside Nashville, drinking coffee and shooting the breeze while his dog, Cowboy Jim, took a nap nearby. After awhile, Snider said to his guest, "I've got an album's worth of songs, and I think the songs are telling me to make a folk record."

This was a surprising bit of news considering he had spent the last six years making rock albums of one kind or another. But Snider was feeling as if he had "maybe drifted too far from the shore." He was feeling the pull to start over, to go back to what he was doing when he first began, to return to his roots as a folksinger.

If Snider needed any further evidence that was the direction he should pursue, he got it a half hour later. Back inside his home office, he checked his email and had one from his manager informing him he had just received an offer to play the 2019 Newport Folk Festival, an event he had never done.

Snider mentioned he had been listening to Woody Guthrie's Library of Congress Recordings, then crossed the room to the turntable and put the needle down on side one of the record. "Woody Guthrie sometimes gets me reset on why you do a song, instead of how," Snider explains of the man who has long been a touchstone for him. "When I was young, there was something about him that made me want to do it. So once or twice a year, I'll go back to him, I'll go back to the source."

Guthrie famously had the words "This machine kills fascists" printed on his guitar, and on several of the songs on Snider's new album, Cash Cabin Sessions, Vol. 3, he squarely aims his guitar at the creeping fascism he sees in America. He had been wanting to make a political record since 2016, and although only half the songs lean in that direction, there is one constant throughout the album: a man, his guitar, and the truth.

* * * * *

Snider has long been recognized as one of his generation's most gifted and engaging songwriters, so it's no surprise he has returned with a brilliant set of songs -- and make no mistake, Cash Cabin Sessions, Vol. 3 contains some of his best work as a writer. But what really jumps out on the album is Snider's growth as a musician and vocalist. He plays all the instruments on the record, and his guitar work and harmonica playing are nothing short of exceptional; not only full of feeling, but highly skilled. In regards to his guitar playing on the record, Snider says he wanted to take everything he's learned over the past 30 years and play the way he used to play really well.

As far as his vocals on the album are concerned, Snider is singing with more confidence than ever, a confidence born in part from his time with Hard Working Americans doing nothing but sing. His stirring vocal performances range from slurring blues mumble to Dylanesque talking blues to gravely, honest ache.

Of the five songs on which Snider serves up his humorous brand of socio-political commentary, three are performed in the talking blues style: "Talking Reality Television Blues," a hilariously accurate short history of television; "The Blues on Banjo," a bad case of the blues caused by the sorry state of everything from the crooked international monetary-military-industrial complex to the spineless politicians who serve it and which references "Blue Suede Shoes," Richard Lewis, and Townes Van Zandt; and "A Timeless Response to Current Events," a brilliant bit of wordplay on which he calls bullshit on faux patriotism, crooked capitalism, and lying politicians. Jason Isbell and Amanda Shires contributed backing vocals on the latter two songs.

There are two other songs on the album featuring Snider's socio-political points of view: "Just Like Overnight," about the surprising inevitability of change, and "Framed," written from the point of view of the framed "first dollar bill" in a bar, a point of view that shows doing the right thing doesn't pay.

There also are three songs with a music theme. If not for the events that led to the writing of one of those songs,"The Ghost of Johnny Cash," there almost certainly would be no Cash Cabin Sessions, Vol. 3. After a visit to Cash Cabin Studio for a Loretta Lynn session in 2015 where she recorded a song they cowrote, Snider began having a recurring dream about the studio that featured the Man in Black himself. The dream led him to book time at the studio and ultimately inspired him to write "The Ghost of Johnny Cash," which tells the story of Loretta Lynn dancing with Cash's ghost outside the studio in the middle of the night. As he did on much of the record, Snider played the century-old Martin that had long been Johnny Cash's favorite instrument on that song.

Snider paid tribute to Cash's longtime friend and confidante in another of the music-themed songs, "Cowboy Jack Clement's Waltz." Inspired by the iconic record man's oft-quoted maxims regarding the art of recording, the song achingly laments Clement's passing, while touchingly celebrating his legacy.

The album opens with the other song with a music theme, "Working on a Song." It's an existential exercise, a song Snider wrote about writing a song called "Where Do I Go Now That I'm Gone," an idea he actually has been working on for thirty years, but which remains unfinished.

There are also two songs that are personal in nature: "Watering Flowers in the Rain," which was inspired by a former associate of Snider's whose nickname was "Elvis," and "Like a Force of Nature," a philosophical reflection on the orbital nature of friendships. Isbell also added harmony vocals to "Like a Force of Nature."

If Snider is anything, he is a true artist, and he reminds us of that on Cash Cabin Sessions, Vol. 3. At a point in time when the world has never been more complicated and confusing, with people getting louder and louder, Snider did a 180, went back to his roots as a folksinger, to a simpler, quieter form of expression; and it might be what the world is waiting to hear: just a man, his guitar, and the truth.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211018T174953Z X-ACCESS:1 X-HITS:4568 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211026T200000 DTEND;TZID=America/Denver:20211026T233000 UID:E4778552-F456-46CE-968C-B1AEC3EC9B4E SUMMARY:Birdtalker DTSTAMP:20210728T223856Z DESCRIPTION:Birdtalker is a group of five friends on a journey, choosing curiosity in the face of change, and making music to attempt to make sense of it all. They hope you’ll come along for the ride.\NOn their new album, the Nashville-based indie-folk five piece explore how to navigate the unknown, learning to let go, and embrace uncertainty. Reflecting on the writing phase, co-lead singer Dani says she was “trying on different philosophies and different ways to cope with change” through the lyrics, “as I was working through the process of finding my center.” Birdtalker was started in 2012 by couple Dani and Zack Green, when they began writing songs together, which led to the official debut of the band in 2015. The current lineup includes Brian Seligman on guitars, Jesse Baker on bass, and Chris Wilson on drums.\NThe initial songs Zack and Dani wrote together were about processing their own personal falling out with religion. Both of their upbringings were deeply steeped in Christianty, but each of them found that the more they questioned and examined the worldview they were taught, the more it unraveled. Five years later, after the initial confusion and turmoil of leaving everything behind, they are now on the other side of that mountain of grief, with clear skies and endless possibilities. “The sting of the anger and fear is gone,” Explains Zack. “This new era is about being present for life’s journey, accepting that there isn't a way to know exactly what to do, but the key is discovering what your navigation system is, knowing your meaning maker and where you come from as an individual.”\NDani agrees, saying “This album is about figuring out how to find your way in spite of being unsure, and also the feelings of loss that come with letting go of the old ways. When you plug your life’s navigation back into your own gut, how scary and great that feels at the same time.” The pair are no longer looking back, but now looking ahead to forge their own path to meaning. Birdtalker had already planned to spend 2020 writing and recording their second full length album, so when the pandemic put a halt to live music, they were prepared to stay put and dig in. Zack and Dani wrote most of the songs together, and then brought them to Jesse, Brian, and Chris to craft their parts and contribute to the vision of each song. Whereas the unexpected success of their 2017 song “Heavy” left them writing and releasing their first album One with a sense of urgency, this new album finds the band much more comfortable in their own skin, with a crystal-clear vision. You can hear this in the expanded sonic palette across the album, and creatively confident songwriting. “This record feels much more spacious, explorative, and curious. We felt very connected to ourselves and the creative process. We went in with no expectations, we just wanted it to feel good and to have fun.” Says Zack.\NThe lead single from the album, “Old Sob Story,” exemplifies this newfound creative freedom. Brazenly marching into new distortion-soaked sonic territory, it’s full of bravado and sass. “Lyrically, it’s got a ‘fuck this I’m tired of myself’ vibe, just done with the old and ready for the new. It feels like an echo of ‘Heavy,’ but instead of being sensitive and melodramatic, we’re very open-handed and unabashed, almost silly. It’s about getting out of the head and into the body and a deeper sense of knowing.”\NAnother cornerstone of the record is the breezy duet “Tides,” where Dani and Zack trade verses and serenely harmonize together, speaking about learning how to find balance in their relationship as they evolve together. Tying in with the greater philosophical themes of the album, this song can also be applied to how we relate with the world around us, that learning to exist in this dance, this constant movement, is how we get to “higher ground.”\N“Apes in a Daydream” is the last song that was written and appropriately, it closes out the album. The song came about unintentionally when the band was almost done recording. When Zack brought it to the studio he realized that “it almost tells the story of the whole record” and they had to add this one more song. “It feels like the conclusion to this journey, where we’ve found a way to be ok with not knowing the way. The song provides a comforting voice, guiding the listener not to look outside themself for direction, but to use their heart and their joy as a compass.”\NBirdtalker have cultivated a special connection with their listeners through their blend of pulsing indie folk, honest lyrics, and breathtaking harmonies. They released their debut album One in 2018 via Sensibility Recordings/Tone Tree Music. The album featured their breakout single “Heavy,” which has now amassed over 76 million streams on Spotify alone. One was met with widespread critical acclaim including Billboard, American Songwriter, NPR’s World Cafe, Folk Alley, and Relix. NPR Music named it “a beautiful record,” while Rolling Stone called it “infectious and sprightly.” The release also led to the band’s debut performance on the world-famous Grand Ole Opry later that year.\NNow after signing with new management, Sawyer & Garner, and NYC-based indie label AntiFragile Music, Birdtalker is ready to delight our ears with their most raw and immersive music yet with the self-titled album and US tour coming in Fall 2021. X-ALT-DESC;FMTTYPE=text/html:

Birdtalker is a group of five friends on a journey, choosing curiosity in the face of change, and making music to attempt to make sense of it all. They hope you’ll come along for the ride.

On their new album, the Nashville-based indie-folk five piece explore how to navigate the unknown, learning to let go, and embrace uncertainty. Reflecting on the writing phase, co-lead singer Dani says she was “trying on different philosophies and different ways to cope with change” through the lyrics, “as I was working through the process of finding my center.” Birdtalker was started in 2012 by couple Dani and Zack Green, when they began writing songs together, which led to the official debut of the band in 2015. The current lineup includes Brian Seligman on guitars, Jesse Baker on bass, and Chris Wilson on drums.

The initial songs Zack and Dani wrote together were about processing their own personal falling out with religion. Both of their upbringings were deeply steeped in Christianty, but each of them found that the more they questioned and examined the worldview they were taught, the more it unraveled. Five years later, after the initial confusion and turmoil of leaving everything behind, they are now on the other side of that mountain of grief, with clear skies and endless possibilities. “The sting of the anger and fear is gone,” Explains Zack. “This new era is about being present for life’s journey, accepting that there isn't a way to know exactly what to do, but the key is discovering what your navigation system is, knowing your meaning maker and where you come from as an individual.”

Dani agrees, saying “This album is about figuring out how to find your way in spite of being unsure, and also the feelings of loss that come with letting go of the old ways. When you plug your life’s navigation back into your own gut, how scary and great that feels at the same time.” The pair are no longer looking back, but now looking ahead to forge their own path to meaning. Birdtalker had already planned to spend 2020 writing and recording their second full length album, so when the pandemic put a halt to live music, they were prepared to stay put and dig in. Zack and Dani wrote most of the songs together, and then brought them to Jesse, Brian, and Chris to craft their parts and contribute to the vision of each song. Whereas the unexpected success of their 2017 song “Heavy” left them writing and releasing their first album One with a sense of urgency, this new album finds the band much more comfortable in their own skin, with a crystal-clear vision. You can hear this in the expanded sonic palette across the album, and creatively confident songwriting. “This record feels much more spacious, explorative, and curious. We felt very connected to ourselves and the creative process. We went in with no expectations, we just wanted it to feel good and to have fun.” Says Zack.

The lead single from the album, “Old Sob Story,” exemplifies this newfound creative freedom. Brazenly marching into new distortion-soaked sonic territory, it’s full of bravado and sass. “Lyrically, it’s got a ‘fuck this I’m tired of myself’ vibe, just done with the old and ready for the new. It feels like an echo of ‘Heavy,’ but instead of being sensitive and melodramatic, we’re very open-handed and unabashed, almost silly. It’s about getting out of the head and into the body and a deeper sense of knowing.”

Another cornerstone of the record is the breezy duet “Tides,” where Dani and Zack trade verses and serenely harmonize together, speaking about learning how to find balance in their relationship as they evolve together. Tying in with the greater philosophical themes of the album, this song can also be applied to how we relate with the world around us, that learning to exist in this dance, this constant movement, is how we get to “higher ground.”

“Apes in a Daydream” is the last song that was written and appropriately, it closes out the album. The song came about unintentionally when the band was almost done recording. When Zack brought it to the studio he realized that “it almost tells the story of the whole record” and they had to add this one more song. “It feels like the conclusion to this journey, where we’ve found a way to be ok with not knowing the way. The song provides a comforting voice, guiding the listener not to look outside themself for direction, but to use their heart and their joy as a compass.”

Birdtalker have cultivated a special connection with their listeners through their blend of pulsing indie folk, honest lyrics, and breathtaking harmonies. They released their debut album One in 2018 via Sensibility Recordings/Tone Tree Music. The album featured their breakout single “Heavy,” which has now amassed over 76 million streams on Spotify alone. One was met with widespread critical acclaim including Billboard, American Songwriter, NPR’s World Cafe, Folk Alley, and Relix. NPR Music named it “a beautiful record,” while Rolling Stone called it “infectious and sprightly.” The release also led to the band’s debut performance on the world-famous Grand Ole Opry later that year.

Now after signing with new management, Sawyer & Garner, and NYC-based indie label AntiFragile Music, Birdtalker is ready to delight our ears with their most raw and immersive music yet with the self-titled album and US tour coming in Fall 2021.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211018T201808Z X-ACCESS:1 X-HITS:1918 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211102T200000 DTEND;TZID=America/Denver:20211102T233000 UID:A52CEB88-446D-4AC4-9C3B-8601EB504BC2 SUMMARY:Brandy Clark DTSTAMP:20200103T204756Z DESCRIPTION:RE-SCHEDULED DATE!!\N---- \NThe Nashville, Tennessee based Clark received her first of an impressive six career GRAMMY nominations in 2013 in the Best Country Song category for co-writing the Miranda Lambert No. 1 hit "Mama's Broken Heart." Her talent as a storyteller has quickly propelled her into critical acclaim as one of Nashville's best tunesmiths. Subsequently writing songs for Sheryl Crow, The Band Perry, Reba McEntire, LeAnn Rimes, Billy Currington, Darius Rucker, and Kacey Musgraves to name a few.\NIn 2013, Brandy independently released her own debut album, 12 Stories, which was embraced by music lovers and critics alike and was subsequently nominated for two GRAMMYs, including Best New Artist and Best Country Album. 12 Stories went on to be named "Best Album of 2013" by The Boston Globe, New York Magazine, NPR, The New York Post, and more. Brandy also won the 2014 CMA Song of the Year Award for "Follow Your Arrow," which she co-wrote with Shane McAnally and Kacey Musgraves, and was also nominated for a CMA New Artist Of The Year that same year.\N2016 brought the release of her sophomore album, Big Day In A Small Town, which also garnered two GRAMMY nominations for Best Country Album and Best Country Solo Performance ("Love Can Go To Hell") and once again topped critics' "Best of " lists including NPR, Rolling Stone, Entertainment Weekly, Billboard, among others thus cementing Clark as one of country music's most talented artists, beloved by fans, critics, and fellow entertainers alike. Famed music critic and author, Ann Powers, calls Clark "a storyteller of the highest caliber."\NThis past year Clark has been honing her craft on the road playing with the likes of Willie Nelson, Brandi Carlile, Dwight Yoakam and Sugarland. X-ALT-DESC;FMTTYPE=text/html:

RE-SCHEDULED DATE!!

---- 

The Nashville, Tennessee based Clark received her first of an impressive six career GRAMMY nominations in 2013 in the Best Country Song category for co-writing the Miranda Lambert No. 1 hit "Mama's Broken Heart." Her talent as a storyteller has quickly propelled her into critical acclaim as one of Nashville's best tunesmiths. Subsequently writing songs for Sheryl Crow, The Band Perry, Reba McEntire, LeAnn Rimes, Billy Currington, Darius Rucker, and Kacey Musgraves to name a few.

In 2013, Brandy independently released her own debut album, 12 Stories, which was embraced by music lovers and critics alike and was subsequently nominated for two GRAMMYs, including Best New Artist and Best Country Album. 12 Stories went on to be named "Best Album of 2013" by The Boston Globe, New York Magazine, NPR, The New York Post, and more. Brandy also won the 2014 CMA Song of the Year Award for "Follow Your Arrow," which she co-wrote with Shane McAnally and Kacey Musgraves, and was also nominated for a CMA New Artist Of The Year that same year.

2016 brought the release of her sophomore album, Big Day In A Small Town, which also garnered two GRAMMY nominations for Best Country Album and Best Country Solo Performance ("Love Can Go To Hell") and once again topped critics' "Best of " lists including NPR, Rolling Stone, Entertainment Weekly, Billboard, among others thus cementing Clark as one of country music's most talented artists, beloved by fans, critics, and fellow entertainers alike. Famed music critic and author, Ann Powers, calls Clark "a storyteller of the highest caliber."

This past year Clark has been honing her craft on the road playing with the likes of Willie Nelson, Brandi Carlile, Dwight Yoakam and Sugarland.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211027T162209Z X-ACCESS:1 X-HITS:5792 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211119T210000 DTEND;TZID=America/Denver:20211119T233000 UID:631ADAEA-E138-4B86-9D82-DEB604F1713A SUMMARY:Jeremy McComb DTSTAMP:20211015T195319Z DESCRIPTION:Good things come to those who wait, but luck favors the bold. And for Jeremy McComb, the balance comes natural.\NA country-rock storyteller epitomizing “been there and done that,” McComb has explored nearly every facet of the entertainment industry, all on his own terms. From radio programming to tour managing Larry the Cable Guy, releasing four albums, growing an international fanbase and hitting the Billboard charts, he’s written songs for projects selling over 6 Million copies … including a Grammy-nominated soundtrack (Blue Collar Comedy Tour – One for the Road).\NNewly signed with Average Joes Entertainment, McComb is back with an all-new album and the beginning of a new creative chapter – the bold steps following years of DIY diligence.\N“I look around, and I always dreamed of living the life that I’m living right now,” McComb says. “Everybody talks about the 10,000 hours of mastering a craft, and I’m closer to 40,000. But over the last few years everything I’ve learned has started connecting. We got the coals of the fire going, and now we’re pouring a big ol’ can of gasoline on it.”\NProudly independent in both spirit and style, McComb was born in Idaho as a sixth-generation musician. Music is in his DNA, and there’s never been anything else he wanted to do – but he’s a distinct branch on the family tree. Obsessed with artists who share a gift for storytelling (and little else), he found inspiration in everything from Jim Croce to Tom Petty, and now bridges the canyons between country, rock and folk.\NThese days McComb spends over 200 days a year on tour, just as happy in a honky tonk as an amphitheater and backed by a band of spirit-brothers. Wrapping each song in context and electrifying frontier-rock energy, his nightly connection with fans develops faster than a Polaroid, and he calls life on the road his first love. But with his adventurous new album, he brings the show to fans.\NBorn largely from a tour of Sweden and a fateful writing session in the home of literary icon Leo Tolstoy (author of War and Peace), the project happened by “accident” … and is now reenergizing McComb’s career.\N“It was one of those things where I finally got right in my head,” he explains. “I quit drinking a few years back, got healthy and added a lot of life philosophy to what I do. It’s just living better than I’ve ever lived, feeling better than I’ve ever felt, and doing all those things put me in such a good place it opened up a whole creative realm for me. We ended up in Leo Tolstoy’s house overlooking the Baltic Sea outside Stockholm, writing on a granite rock for five days, and that’s where the record came from.”\NSensing something special, McComb returned home to Nashville and immediately hit the studio, capturing the results with producer Nick Gibbens. A close group of friends and the same healthy vibe that inspired the project joined them, and it ended up being more invigorating than anything before.\N“It’s kind of a genre-less approach, but I think the main vein is storytelling,” he says. “My whole career has been built on jumping through windows as they open, so we just started jumping through windows and seeing where it took us.”\NFirst single, “Cotton’s Getting High,” sets the tone. A barn-burning twang rocker built for the anything-goes festival crowd, it was written by Luke Laird, Josh Osborne and Shane McAnally, lighting the fuse on McComb’s next chapter with the wry hook “More than just the cotton’s gettin’ high.”\N“Sometimes you just get the feel that in a live setting, this song would smoke. And it kills, we’re having so much fun with it,” he says.\NLikewise, “Last Man Standing” sways with cinematic resilience – the musical equivalent of a Tarantino flick (with a planned sequel promising all-star cast members) – and the swampy grunge of “Withdrawals” is the song that started it all. Co-written with Dan Olsen and Linnea Lundgren on Tolstoy’s rock, it now features an intoxicating vocal from Nashville favorite Jonell Mosser, all about the can’t-get-enough-addiction of lust.\NBut McComb’s storytelling obsession is best heard elsewhere – and perhaps better than ever before. The nostalgic “Under Glass,” for instance, packs a lifetime of memory into just over three minutes, inspired by an old basketball team photo of his friend and co-writer, Rick Huckaby. After hearing what each player went on to do with his life, McComb was overcome.\N“I was like ‘Isn’t it amazing that the only place where all of you live together anymore is right here under this glass?’” he says of the epiphany. “That moment is still alive in that picture. Everybody’s still fine and happy. But the only place that’s true is under glass.”\NMeanwhile, “13 Steps” tells a darker tale. A death-row ballad in the vein of bleak classics like Johnny Cash’s “25 Minutes to Go,” it’s written from the perspective of an inmate after McComb got a rare tour of Folsom State Prison. Combining the actual process used to execute 93 inmates and the story of one still-incarcerated man on the inside, it’s a chilling saga co-written once again with Olsen.\N“There’s 13 cells, and as people got hung, you would move up to the next cell,” McComb explains. “Then another cell, until you got to the end and it was your turn. They take you up 13 steps to a platform, and hang you with a noose that had 13 knots on it, so [my friend] asked me, ‘Do you know why everything in here is 13?’ I had no idea, but he said ‘It’s 12 for the jury and one for the judge. So every one of these steps symbolizes a person who sent you to die.’ It blew my mind.”\NTaken together, that song and the rest of his new work mark another step for McComb as well, sourced from the travels of a modern-day wanderer and outlaw poet. But even after 40,000 hours, it still feels like a step into the unknown – and that’s something that never gets old.\N“The feeling of forward momentum? Every night getting on the bus and leaving, waking up and not knowing where I’m at? I can never get enough of it,” he says. “There’s something therapeutic in that for me, and my hope would be this project encourages people to come back out and keep seeing shows – especially after everything that’s trying to disconnect us from each other. We need that connection.” X-ALT-DESC;FMTTYPE=text/html:

Good things come to those who wait, but luck favors the bold. And for Jeremy McComb, the balance comes natural.

A country-rock storyteller epitomizing “been there and done that,” McComb has explored nearly every facet of the entertainment industry, all on his own terms. From radio programming to tour managing Larry the Cable Guy, releasing four albums, growing an international fanbase and hitting the Billboard charts, he’s written songs for projects selling over 6 Million copies … including a Grammy-nominated soundtrack (Blue Collar Comedy Tour – One for the Road).

Newly signed with Average Joes Entertainment, McComb is back with an all-new album and the beginning of a new creative chapter – the bold steps following years of DIY diligence.

“I look around, and I always dreamed of living the life that I’m living right now,” McComb says. “Everybody talks about the 10,000 hours of mastering a craft, and I’m closer to 40,000. But over the last few years everything I’ve learned has started connecting. We got the coals of the fire going, and now we’re pouring a big ol’ can of gasoline on it.”

Proudly independent in both spirit and style, McComb was born in Idaho as a sixth-generation musician. Music is in his DNA, and there’s never been anything else he wanted to do – but he’s a distinct branch on the family tree. Obsessed with artists who share a gift for storytelling (and little else), he found inspiration in everything from Jim Croce to Tom Petty, and now bridges the canyons between country, rock and folk.

These days McComb spends over 200 days a year on tour, just as happy in a honky tonk as an amphitheater and backed by a band of spirit-brothers. Wrapping each song in context and electrifying frontier-rock energy, his nightly connection with fans develops faster than a Polaroid, and he calls life on the road his first love. But with his adventurous new album, he brings the show to fans.

Born largely from a tour of Sweden and a fateful writing session in the home of literary icon Leo Tolstoy (author of War and Peace), the project happened by “accident” … and is now reenergizing McComb’s career.

“It was one of those things where I finally got right in my head,” he explains. “I quit drinking a few years back, got healthy and added a lot of life philosophy to what I do. It’s just living better than I’ve ever lived, feeling better than I’ve ever felt, and doing all those things put me in such a good place it opened up a whole creative realm for me. We ended up in Leo Tolstoy’s house overlooking the Baltic Sea outside Stockholm, writing on a granite rock for five days, and that’s where the record came from.”

Sensing something special, McComb returned home to Nashville and immediately hit the studio, capturing the results with producer Nick Gibbens. A close group of friends and the same healthy vibe that inspired the project joined them, and it ended up being more invigorating than anything before.

“It’s kind of a genre-less approach, but I think the main vein is storytelling,” he says. “My whole career has been built on jumping through windows as they open, so we just started jumping through windows and seeing where it took us.”

First single, “Cotton’s Getting High,” sets the tone. A barn-burning twang rocker built for the anything-goes festival crowd, it was written by Luke Laird, Josh Osborne and Shane McAnally, lighting the fuse on McComb’s next chapter with the wry hook “More than just the cotton’s gettin’ high.”

“Sometimes you just get the feel that in a live setting, this song would smoke. And it kills, we’re having so much fun with it,” he says.

Likewise, “Last Man Standing” sways with cinematic resilience – the musical equivalent of a Tarantino flick (with a planned sequel promising all-star cast members) – and the swampy grunge of “Withdrawals” is the song that started it all. Co-written with Dan Olsen and Linnea Lundgren on Tolstoy’s rock, it now features an intoxicating vocal from Nashville favorite Jonell Mosser, all about the can’t-get-enough-addiction of lust.

But McComb’s storytelling obsession is best heard elsewhere – and perhaps better than ever before. The nostalgic “Under Glass,” for instance, packs a lifetime of memory into just over three minutes, inspired by an old basketball team photo of his friend and co-writer, Rick Huckaby. After hearing what each player went on to do with his life, McComb was overcome.

“I was like ‘Isn’t it amazing that the only place where all of you live together anymore is right here under this glass?’” he says of the epiphany. “That moment is still alive in that picture. Everybody’s still fine and happy. But the only place that’s true is under glass.”

Meanwhile, “13 Steps” tells a darker tale. A death-row ballad in the vein of bleak classics like Johnny Cash’s “25 Minutes to Go,” it’s written from the perspective of an inmate after McComb got a rare tour of Folsom State Prison. Combining the actual process used to execute 93 inmates and the story of one still-incarcerated man on the inside, it’s a chilling saga co-written once again with Olsen.

“There’s 13 cells, and as people got hung, you would move up to the next cell,” McComb explains. “Then another cell, until you got to the end and it was your turn. They take you up 13 steps to a platform, and hang you with a noose that had 13 knots on it, so [my friend] asked me, ‘Do you know why everything in here is 13?’ I had no idea, but he said ‘It’s 12 for the jury and one for the judge. So every one of these steps symbolizes a person who sent you to die.’ It blew my mind.”

Taken together, that song and the rest of his new work mark another step for McComb as well, sourced from the travels of a modern-day wanderer and outlaw poet. But even after 40,000 hours, it still feels like a step into the unknown – and that’s something that never gets old.

“The feeling of forward momentum? Every night getting on the bus and leaving, waking up and not knowing where I’m at? I can never get enough of it,” he says. “There’s something therapeutic in that for me, and my hope would be this project encourages people to come back out and keep seeing shows – especially after everything that’s trying to disconnect us from each other. We need that connection.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211022T160427Z X-ACCESS:1 X-HITS:944 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211203T210000 DTEND;TZID=America/Denver:20211203T233000 UID:421EAA8A-6399-463A-ADB4-9522645BACCF SUMMARY:The Pour DTSTAMP:20210922T204708Z DESCRIPTION:Salt Lake City-based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead.\NWith nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton, and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. With their recent EP release “1984,” The Pour are undoubtedly on the move.\NMembers of The Pour have had the privilege of opening for and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic. X-ALT-DESC;FMTTYPE=text/html:

Salt Lake City-based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead.

With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton, and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. With their recent EP release “1984,” The Pour are undoubtedly on the move.

Members of The Pour have had the privilege of opening for and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211018T213549Z X-ACCESS:1 X-HITS:1886 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211204T210000 DTEND;TZID=America/Denver:20211204T233000 UID:8CFDE83E-3CCF-41C2-8B55-03E6994A4514 SUMMARY:The Mother Hips DTSTAMP:20210913T225143Z DESCRIPTION:The Mother Hips\NHope. Warmth. Companionship. Few things in this world can conjure up such sensations quite like the sight of a glowing lantern in a darkened window.\N“The glowing lantern is a universal symbol for sanctuary,” says Mother Hips co-founder Tim Bluhm. “That’s what we wanted this album to be: a warm safe place to get in out of the dark cold night.”\NWritten and recorded through the heart of the COVID-19 pandemic, Glowing Lantern is indeed a work of great comfort, even as it grapples with the profound anxiety of these troubling and uncertain times. The songs here are weighty, abstract ruminations wrapped in unflagging optimism, bittersweet streams of consciousness delivered with a jaunty confidence in better days to come. Bluhm and fellow co-founder Greg Loiacono produced the album themselves, and the juxtaposition of darkness and light in their stark lyrics and buoyant arrangements reflect a tension familiar to anyone who’s ever struggled to find their footing or make sense of the inexplicable. At the heart of it all, though, is a distinct sense of camaraderie, a feeling of closeness and brotherhood that the band has ironically only come to rediscover as a result of the past year of isolation and lockdowns. Glowing Lantern is as collaborative a record as The Mother Hips have ever made, and it’s impossible not to feel the joy, gratitude, and friendship radiating out of it like a beacon in the night.\N“In some ways, making this record brought us right back to the early days when Tim and I used to live together,” says Loiacono. “It brought us back to the roots of what this band was all about.”\NFounded nearly 30 years ago while Bluhm and Loiacono were still just students at Chico State, The Mother Hips caught their first big break before they’d even graduated from college, when legendary producer and industry icon Rick Rubin signed the band to his American Recordings label. In the decades to come, the group would go on to release ten critically acclaimed studio albums and cement themselves as architects of a new breed of California rock and soul, one equally informed by the breezy harmonies of the Beach Boys, the funky roots of The Band, and the psychedelic Americana of Buffalo Springfield. Hailed by the San Francisco Chronicle as “one of the Bay Area’s most beloved live outfits,” the group’s headline and festival performances became the stuff of legend and helped earn them dates with everyone from Johnny Cash and Wilco to Lucinda Williams and The Black Crowes. Rolling Stone called the band “divinely inspired,” while Pitchfork praised their “rootsy mix of 70’s rock and power pop,” and The New Yorker lauded their ability to “sing it sweet and play it dirty.”\NAfter a lengthy hiatus and a variety of side projects and solo pursuits, the band returned to something close to normal following the release of their most recent LP, 2018’s Chorus, which Paste declared “finds them still fully ablaze, the ragged melodies and determined stride still intact.” By that point, the Hips had found a long-term label home in Blue Rose Music, landed on a permanent lineup with the addition of bassist Brian Rashap—who joined Bluhm, Loiacono, and drummer John Hofer on the road—and mapped out extensive tour dates for 2020. Then, the coronavirus hit.\N“Suddenly we weren’t playing any shows, which was pretty unusual for us,” says Bluhm. “At a certain point, we realized that this wasn’t going to be over anytime soon and we’d better start thinking about our next album.”\NWith COVID-19 limiting indoor get-togethers, Bluhm and Loiacono began meeting up outside for regular treks through the California hills. Avid outdoorsman, the pair would hike a few miles, stop somewhere scenic, and then play each other whatever new song ideas they’d captured recently on their phones. If a tune resonated, it advanced to the next round, which found the two sitting down with guitars and working through the nitty gritty details of the music.\N“When we first started the band, we wrote everything together,” says Loiacono, “but as we got older and were on the road more and not living together, it became more of an independent process where we’d kind of add our touches to each other’s songs at the end in the studio. With this album, though, we had so much time together that we were able to get back to really integrating both of our instincts and sensibilities into the architecture of every single track from the start.”\NWhen it came time to cut the album, the band headed to 25th Street Recording in Oakland, where they spent a week laying down raw, loose performances live on the floor. While Bluhm and Loiacono were both seasoned veterans in the studio, the sessions marked their first time helming a Mother Hips record without an outside producer, and the experience was a liberating one.\N“Without a third voice in the mix, we could work harder and faster and more directly,” says Bluhm. “If there’s an idea on this album, it came from one of us.”\N“It reminded me of when Tim had a four track in his dorm room,” adds Loiacono, who spent several subsequent weeks recording vocals and mixing the album with Bluhm at home. “It was all very pure.”\NTake a listen to album opener “Sunset Blues” and you’ll get the idea. Fueled by elastic guitars and a tight groove, it’s an infectious slice of effervescent country funk, but dig a bit beneath the playful surface and you’ll find lyrics that suggest a pervasive unease. “There’s too much to lose,” Bluhm and Loiacono sing in octaves. “Me and you with the sunset blues.”\N“With everyone either trapped together or forced to stay apart, I think the pandemic made relationships in general feel a lot more intense for people,” says Bluhm. “That definitely came through in the music.”\NThough a pair of tracks here pre-date the pandemic (the swaggering “Song In A Can” first came to life back in the late 1990s, and a lush take on David Ruffin’s “I Don’t Want To Drive You Away” marks the first cover featured on a Mother Hips album), the vast majority of the record bears the emotional imprint of the past year in one form or another. The blistering “Clay Mask Clown” channels the towering rock and roll of The Who as it faces down doubt and anxiety head-on, while the cinematic “What Happened To You” wrestles with change and uncertainty, and the Gene Clark-esque “Green Linen” contemplates distance and loneliness. Even more feel-good tracks like the rousing lead single “Looking At Long Days” and earnest “For Staying Here” are laced with melancholy, as is sweeping album closer “I Wish The Wind,” which features Bluhm and Loiacono singing in harmony throughout. Yet Glowing Lantern is by no means a downbeat record; in fact, it’s just the opposite. By embracing the feelings of doubt and apprehension that have defined our world of late and wrapping them in lifted, communal performances, the band has managed to craft a sonic invitation to lay down our burdens, a reminder that even at our lowest, we’re never alone.\N“I think the pandemic made it easier for me to see just how much music really means to people,” reflects Bluhm. “It can be easy to take it for granted, but when it all goes away, you’re reminded how important it is, how comforting it can be in difficult times.”\NAfter all, no matter how dark things may get, if there’s music, there’s hope, there’s warmth, there’s companionship. Just look for the glowing lantern. X-ALT-DESC;FMTTYPE=text/html:

The Mother Hips

Hope. Warmth. Companionship. Few things in this world can conjure up such sensations quite like the sight of a glowing lantern in a darkened window.

“The glowing lantern is a universal symbol for sanctuary,” says Mother Hips co-founder Tim Bluhm. “That’s what we wanted this album to be: a warm safe place to get in out of the dark cold night.”

Written and recorded through the heart of the COVID-19 pandemic, Glowing Lantern is indeed a work of great comfort, even as it grapples with the profound anxiety of these troubling and uncertain times. The songs here are weighty, abstract ruminations wrapped in unflagging optimism, bittersweet streams of consciousness delivered with a jaunty confidence in better days to come. Bluhm and fellow co-founder Greg Loiacono produced the album themselves, and the juxtaposition of darkness and light in their stark lyrics and buoyant arrangements reflect a tension familiar to anyone who’s ever struggled to find their footing or make sense of the inexplicable. At the heart of it all, though, is a distinct sense of camaraderie, a feeling of closeness and brotherhood that the band has ironically only come to rediscover as a result of the past year of isolation and lockdowns. Glowing Lantern is as collaborative a record as The Mother Hips have ever made, and it’s impossible not to feel the joy, gratitude, and friendship radiating out of it like a beacon in the night.

“In some ways, making this record brought us right back to the early days when Tim and I used to live together,” says Loiacono. “It brought us back to the roots of what this band was all about.”

Founded nearly 30 years ago while Bluhm and Loiacono were still just students at Chico State, The Mother Hips caught their first big break before they’d even graduated from college, when legendary producer and industry icon Rick Rubin signed the band to his American Recordings label. In the decades to come, the group would go on to release ten critically acclaimed studio albums and cement themselves as architects of a new breed of California rock and soul, one equally informed by the breezy harmonies of the Beach Boys, the funky roots of The Band, and the psychedelic Americana of Buffalo Springfield. Hailed by the San Francisco Chronicle as “one of the Bay Area’s most beloved live outfits,” the group’s headline and festival performances became the stuff of legend and helped earn them dates with everyone from Johnny Cash and Wilco to Lucinda Williams and The Black Crowes. Rolling Stone called the band “divinely inspired,” while Pitchfork praised their “rootsy mix of 70’s rock and power pop,” and The New Yorker lauded their ability to “sing it sweet and play it dirty.”

After a lengthy hiatus and a variety of side projects and solo pursuits, the band returned to something close to normal following the release of their most recent LP, 2018’s Chorus, which Paste declared “finds them still fully ablaze, the ragged melodies and determined stride still intact.” By that point, the Hips had found a long-term label home in Blue Rose Music, landed on a permanent lineup with the addition of bassist Brian Rashap—who joined Bluhm, Loiacono, and drummer John Hofer on the road—and mapped out extensive tour dates for 2020. Then, the coronavirus hit.

“Suddenly we weren’t playing any shows, which was pretty unusual for us,” says Bluhm. “At a certain point, we realized that this wasn’t going to be over anytime soon and we’d better start thinking about our next album.”

With COVID-19 limiting indoor get-togethers, Bluhm and Loiacono began meeting up outside for regular treks through the California hills. Avid outdoorsman, the pair would hike a few miles, stop somewhere scenic, and then play each other whatever new song ideas they’d captured recently on their phones. If a tune resonated, it advanced to the next round, which found the two sitting down with guitars and working through the nitty gritty details of the music.

“When we first started the band, we wrote everything together,” says Loiacono, “but as we got older and were on the road more and not living together, it became more of an independent process where we’d kind of add our touches to each other’s songs at the end in the studio. With this album, though, we had so much time together that we were able to get back to really integrating both of our instincts and sensibilities into the architecture of every single track from the start.”

When it came time to cut the album, the band headed to 25th Street Recording in Oakland, where they spent a week laying down raw, loose performances live on the floor. While Bluhm and Loiacono were both seasoned veterans in the studio, the sessions marked their first time helming a Mother Hips record without an outside producer, and the experience was a liberating one.

“Without a third voice in the mix, we could work harder and faster and more directly,” says Bluhm. “If there’s an idea on this album, it came from one of us.”

“It reminded me of when Tim had a four track in his dorm room,” adds Loiacono, who spent several subsequent weeks recording vocals and mixing the album with Bluhm at home. “It was all very pure.”

Take a listen to album opener “Sunset Blues” and you’ll get the idea. Fueled by elastic guitars and a tight groove, it’s an infectious slice of effervescent country funk, but dig a bit beneath the playful surface and you’ll find lyrics that suggest a pervasive unease. “There’s too much to lose,” Bluhm and Loiacono sing in octaves. “Me and you with the sunset blues.”

“With everyone either trapped together or forced to stay apart, I think the pandemic made relationships in general feel a lot more intense for people,” says Bluhm. “That definitely came through in the music.”

Though a pair of tracks here pre-date the pandemic (the swaggering “Song In A Can” first came to life back in the late 1990s, and a lush take on David Ruffin’s “I Don’t Want To Drive You Away” marks the first cover featured on a Mother Hips album), the vast majority of the record bears the emotional imprint of the past year in one form or another. The blistering “Clay Mask Clown” channels the towering rock and roll of The Who as it faces down doubt and anxiety head-on, while the cinematic “What Happened To You” wrestles with change and uncertainty, and the Gene Clark-esque “Green Linen” contemplates distance and loneliness. Even more feel-good tracks like the rousing lead single “Looking At Long Days” and earnest “For Staying Here” are laced with melancholy, as is sweeping album closer “I Wish The Wind,” which features Bluhm and Loiacono singing in harmony throughout. Yet Glowing Lantern is by no means a downbeat record; in fact, it’s just the opposite. By embracing the feelings of doubt and apprehension that have defined our world of late and wrapping them in lifted, communal performances, the band has managed to craft a sonic invitation to lay down our burdens, a reminder that even at our lowest, we’re never alone.

“I think the pandemic made it easier for me to see just how much music really means to people,” reflects Bluhm. “It can be easy to take it for granted, but when it all goes away, you’re reminded how important it is, how comforting it can be in difficult times.”

After all, no matter how dark things may get, if there’s music, there’s hope, there’s warmth, there’s companionship. Just look for the glowing lantern.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211204T043716Z X-ACCESS:1 X-HITS:2307 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211211T200000 DTEND;TZID=America/Denver:20211211T233000 UID:01451070-B23B-4E5B-8454-0CA7DAF48B79 SUMMARY:Jerry Joseph DTSTAMP:20211102T212218Z DESCRIPTION:Jerry Joseph is a musician who lives in Portland Oregon, but he’s often gone. He’s been inducted into the Oregon Music Hall of Fame but is still rather obscure to a lot of people. He plays well over 150 shows a year in the usual places. Across America. Sometimes in Europe, Mexico, and Central America. Then there’s these other places he plays—Lebanon, Israel, Kurdish Iraq, India, and Afghanistan. All over the Middle East, often in war zones and refugee camps.\NIn addition to his touring, Jerry has set up a non-profit called Nomad Music Foundation that acts as a sort of School of Rock for displaced teenagers in areas of conflict. So far, he has taken guitars and taught lessons in camps in Kabul, Afghanistan, and Sulaymaniyah and Dahuk, both in Kurdish Iraq. These life-changing missions have been written up in Rolling Stone, Relix, and PBS News Hour.\NOh yeah, and he’s really fucking great.\NA triple threat—someone who works at the highest levels as a songwriter, singer, and player. Jason Isbell, who kinda personifies such, recently tweeted about triple threats and listed Jerry Joseph (along with Richard Thompson and St. Vincent) among the greatest examples of that phenomenon.\NMost likely, if you know who Jerry is, you agree, but there’s also a big chance that you don’t. His talent, drive, work ethic, amazing body of work, and flat out badass-ness make him one of the most underrated and tragically overlooked artists alive today. He deserves better, and I’m hoping to help shine a light on who and what Jerry Joseph is and why you should listen to what he’s doing and saying.\NFirst off, there’s the body of work. Jerry Joseph has been playing shows and making records since the 80s, first in a band called Little Women that at one point looked destined to be huge, but this is a crazy business and sometimes things just don’t go as planned. By the 90s Jerry was struggling with addiction while also creating the beginnings of a vast body of work as a solo artist and burning up the road backed by a mighty band called The Jackmormons. They built a considerable following in the great Northwest. Many of Jerry’s songs were recorded by the band Widespread Panic, and there are many people who know of Jerry through that connection. Later, after getting clean, Jerry toured and made some albums as part of Stockholm Syndrome, a sort of supergroup he formed with Panic bassist David Schools, who himself is an incredible musician. Much of Jerry’s following in the so-called jam band circles is through his affiliation with these bands.\NMusical taste is a funny thing. People who are into one or another genre of music often don’t pay much attention to musicians who fall outside of those forms. The age of streaming and the internet have broadened things considerably, but there is still a form of segregation that occurs across various boundaries, often accompanied by derision for stylistic forms outside certain circles. I have spent much of my life rebelling against this way of listening, while sometimes still being as guilty as anyone about this exact thing. I’ve always been drawn to songwriters and the writerly aspects of music, and with some glaring exceptions, there has always been a disconnect between the so-called jam music scene and the so-called singer/songwriter genre. The fact that Jerry is a writer’s writer who has been mostly known in “jammy” circles has always made him somewhat an anomaly.\NI have also always been partial to punk rock, yet there has always been a wall separating punk bands from jam bands, even though Black Flag, The National, Sonic Youth, and many of the legendary punk bands through the years have always proclaimed themselves massive Grateful Dead fans. I know Jerry Joseph to be a die-hard fan of all kinds of music across many genres, and there have been seeds of those many genres in most of his many records. Underneath it all, to me, he’s always been a punk rocker at the core.\NJerry, to me is a cult figure who could, in some alternate reality, have easily been one of the biggest stars in the world. One of the greatest live performers I have ever seen and long one of my favorite songwriters. I can’t hear the chorus of San Acacia without picturing Jerry singing it in front of 100,000 screaming fans, in a soccer stadium in Brazil. In the pouring rain. With everyone singing along. X-ALT-DESC;FMTTYPE=text/html:

Jerry Joseph is a musician who lives in Portland Oregon, but he’s often gone. He’s been inducted into the Oregon Music Hall of Fame but is still rather obscure to a lot of people. He plays well over 150 shows a year in the usual places. Across America. Sometimes in Europe, Mexico, and Central America. Then there’s these other places he plays—Lebanon, Israel, Kurdish Iraq, India, and Afghanistan. All over the Middle East, often in war zones and refugee camps.

In addition to his touring, Jerry has set up a non-profit called Nomad Music Foundation that acts as a sort of School of Rock for displaced teenagers in areas of conflict. So far, he has taken guitars and taught lessons in camps in Kabul, Afghanistan, and Sulaymaniyah and Dahuk, both in Kurdish Iraq. These life-changing missions have been written up in Rolling Stone, Relix, and PBS News Hour.

Oh yeah, and he’s really fucking great.

A triple threat—someone who works at the highest levels as a songwriter, singer, and player. Jason Isbell, who kinda personifies such, recently tweeted about triple threats and listed Jerry Joseph (along with Richard Thompson and St. Vincent) among the greatest examples of that phenomenon.

Most likely, if you know who Jerry is, you agree, but there’s also a big chance that you don’t. His talent, drive, work ethic, amazing body of work, and flat out badass-ness make him one of the most underrated and tragically overlooked artists alive today. He deserves better, and I’m hoping to help shine a light on who and what Jerry Joseph is and why you should listen to what he’s doing and saying.

First off, there’s the body of work. Jerry Joseph has been playing shows and making records since the 80s, first in a band called Little Women that at one point looked destined to be huge, but this is a crazy business and sometimes things just don’t go as planned. By the 90s Jerry was struggling with addiction while also creating the beginnings of a vast body of work as a solo artist and burning up the road backed by a mighty band called The Jackmormons. They built a considerable following in the great Northwest. Many of Jerry’s songs were recorded by the band Widespread Panic, and there are many people who know of Jerry through that connection. Later, after getting clean, Jerry toured and made some albums as part of Stockholm Syndrome, a sort of supergroup he formed with Panic bassist David Schools, who himself is an incredible musician. Much of Jerry’s following in the so-called jam band circles is through his affiliation with these bands.

Musical taste is a funny thing. People who are into one or another genre of music often don’t pay much attention to musicians who fall outside of those forms. The age of streaming and the internet have broadened things considerably, but there is still a form of segregation that occurs across various boundaries, often accompanied by derision for stylistic forms outside certain circles. I have spent much of my life rebelling against this way of listening, while sometimes still being as guilty as anyone about this exact thing. I’ve always been drawn to songwriters and the writerly aspects of music, and with some glaring exceptions, there has always been a disconnect between the so-called jam music scene and the so-called singer/songwriter genre. The fact that Jerry is a writer’s writer who has been mostly known in “jammy” circles has always made him somewhat an anomaly.

I have also always been partial to punk rock, yet there has always been a wall separating punk bands from jam bands, even though Black Flag, The National, Sonic Youth, and many of the legendary punk bands through the years have always proclaimed themselves massive Grateful Dead fans. I know Jerry Joseph to be a die-hard fan of all kinds of music across many genres, and there have been seeds of those many genres in most of his many records. Underneath it all, to me, he’s always been a punk rocker at the core.

Jerry, to me is a cult figure who could, in some alternate reality, have easily been one of the biggest stars in the world. One of the greatest live performers I have ever seen and long one of my favorite songwriters. I can’t hear the chorus of San Acacia without picturing Jerry singing it in front of 100,000 screaming fans, in a soccer stadium in Brazil. In the pouring rain. With everyone singing along.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211105T162248Z X-ACCESS:1 X-HITS:1596 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211218T210000 DTEND;TZID=America/Denver:20211218T220000 UID:455BDEAE-2BE7-4EAA-83D0-EFFE868BCA0E SUMMARY:Jeff Crosby and Triggers & Slips DTSTAMP:20211015T201124Z DESCRIPTION:Jeff Crosby\NBorn and raised in a sleepy mountain town in Northern Idaho, singer-songwriter Jeff Crosby has managed to delineate the sometimes amorphous genre of "Americana", package it perfectly, and deliver it to his listeners time and again.\NHis songs present almost as pages ripped out of an intimately personal diary, detailing the rugged beauty of what it means to have loved, lost and kept on the move. There seems to be no shortage of inspiration as Crosby is one of the last few "troubadours" that truly lives the life he sings about.\NAfter dropping out of school at 17 to pursue touring full-time with a band on the west coast, he's made his living by permanently staying on the road - night after night, show after show, from load-in until the last drink is poured.\NFor five years, Crosby hung his hat in a little shoebox apartment off Sunset Boulevard in Los Angeles, giving up coffee to pay rent and running around with "The Homeless and the Dreamers" (a title of a song he wrote paying homage to that time). After a chance encounter in the city, he met and befriended a music editor for the critically-acclaimed television show Sons of Anarchy and subsequently had two songs featured on the program.\NAmid treading the scene in L.A. while he was home and touring across the U.S. with his band (and later with Widespread Panic song-writer Jerry Joseph), Crosby had managed to travel abroad to several countries including the United Kingdom, Iceland, Mexico, Colombia and Nicaragua. All of these countries offered experiences that lent themselves to the songs in his newest record, Postcards from Magdalena.\NThe record was produced and engineered in Portland, OR by Gregg Williams (Dandy Worhals, Blitzen Trapper, Pete Droge, Jesse Malin) and Geoff Piller in Nashville, TN. It has been distributed worldwide with an emphasis in Europe, due to the partnership with At the Helm Records in the U.K. and Blue Rose Records, based in Germany.\NIt was lauded by some overseas, including this praise from Mike Davies from Folk Radio UK: "There’s many an artist out there mining America’s rich musical history and shaping it into their own experiences and observations; Crosby may well be one of the best.”\NNow based in Nashville, Jeff continues to tour and share his stories with America at large, offering up a sort of mirror so that it might better see itself. What happens now, only the fates can know. All that is certain is that it will surely be Beautiful and Strange.\NTriggers & Slips\NTRIGGERS & SLIPS MUSIC IS STEEPED IN THE PSYCHOLOGY OF RELATIONSHIPS. LIKE SO MUCH GREAT COUNTRY MUSIC THAT CAME BEFORE, THEIRS ORIGINATES IN PERSONAL MISTAKES AND A STEPPED ON HEART. WHILE THE MUSIC IS A BLEND THAT’S NOT QUITE COUNTRY AND NOT QUITE ROCK N’ ROLL, FANS OF BOTH TYPES OF MUSIC HAVE COME TO LOVE THEIR SOUND. LED BY SINGER-SONGWRITER MORGAN SNOW, WHOSE VOICE HAS BEEN DESCRIBED AS “PURE SOUL,” WITH HINTS OF FAMILIARITY, HAUNTING AND POWERFUL WITH NO COMPARISON TO PINPOINT. IT IS THE ONE THING YOU WON’T FORGET. HIS SONGS WILL “HIT YOU IN THE GUT.” SOME WILL HURT, SOME WILL MAKE YOU LAUGH AT HIM OR YOURSELF, BUT WHAT IS SHARED FROM NIGHT TO NIGHT AFTER THE SHOW IS A CONNECTION, A NEW RELATIONSHIP WAITING TO BE REVISITED AND REKINDLED TIME AND TIME AGAIN. X-ALT-DESC;FMTTYPE=text/html:

Jeff Crosby

Born and raised in a sleepy mountain town in Northern Idaho, singer-songwriter Jeff Crosby has managed to delineate the sometimes amorphous genre of "Americana", package it perfectly, and deliver it to his listeners time and again.

His songs present almost as pages ripped out of an intimately personal diary, detailing the rugged beauty of what it means to have loved, lost and kept on the move. There seems to be no shortage of inspiration as Crosby is one of the last few "troubadours" that truly lives the life he sings about.

After dropping out of school at 17 to pursue touring full-time with a band on the west coast, he's made his living by permanently staying on the road - night after night, show after show, from load-in until the last drink is poured.

For five years, Crosby hung his hat in a little shoebox apartment off Sunset Boulevard in Los Angeles, giving up coffee to pay rent and running around with "The Homeless and the Dreamers" (a title of a song he wrote paying homage to that time). After a chance encounter in the city, he met and befriended a music editor for the critically-acclaimed television show Sons of Anarchy and subsequently had two songs featured on the program.

Amid treading the scene in L.A. while he was home and touring across the U.S. with his band (and later with Widespread Panic song-writer Jerry Joseph), Crosby had managed to travel abroad to several countries including the United Kingdom, Iceland, Mexico, Colombia and Nicaragua. All of these countries offered experiences that lent themselves to the songs in his newest record, Postcards from Magdalena.

The record was produced and engineered in Portland, OR by Gregg Williams (Dandy Worhals, Blitzen Trapper, Pete Droge, Jesse Malin) and Geoff Piller in Nashville, TN. It has been distributed worldwide with an emphasis in Europe, due to the partnership with At the Helm Records in the U.K. and Blue Rose Records, based in Germany.

It was lauded by some overseas, including this praise from Mike Davies from Folk Radio UK: "There’s many an artist out there mining America’s rich musical history and shaping it into their own experiences and observations; Crosby may well be one of the best.”

Now based in Nashville, Jeff continues to tour and share his stories with America at large, offering up a sort of mirror so that it might better see itself. What happens now, only the fates can know. All that is certain is that it will surely be Beautiful and Strange.

Triggers & Slips

TRIGGERS & SLIPS MUSIC IS STEEPED IN THE PSYCHOLOGY OF RELATIONSHIPS. LIKE SO MUCH GREAT COUNTRY MUSIC THAT CAME BEFORE, THEIRS ORIGINATES IN PERSONAL MISTAKES AND A STEPPED ON HEART. WHILE THE MUSIC IS A BLEND THAT’S NOT QUITE COUNTRY AND NOT QUITE ROCK N’ ROLL, FANS OF BOTH TYPES OF MUSIC HAVE COME TO LOVE THEIR SOUND. LED BY SINGER-SONGWRITER MORGAN SNOW, WHOSE VOICE HAS BEEN DESCRIBED AS “PURE SOUL,” WITH HINTS OF FAMILIARITY, HAUNTING AND POWERFUL WITH NO COMPARISON TO PINPOINT. IT IS THE ONE THING YOU WON’T FORGET. HIS SONGS WILL “HIT YOU IN THE GUT.” SOME WILL HURT, SOME WILL MAKE YOU LAUGH AT HIM OR YOURSELF, BUT WHAT IS SHARED FROM NIGHT TO NIGHT AFTER THE SHOW IS A CONNECTION, A NEW RELATIONSHIP WAITING TO BE REVISITED AND REKINDLED TIME AND TIME AGAIN.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211026T174447Z X-ACCESS:1 X-HITS:1937 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211231T210000 DTEND;TZID=America/Denver:20211231T213000 UID:4687AB33-604D-4877-8DA0-2C1935990158 SUMMARY:Lyrics Born — CANCELED DTSTAMP:20211105T161028Z DESCRIPTION:We regrettably announce that due to positive COVID testing within our touring party, we are forced to cancel our NYE show in Salt Lake City at the State Room. Refunds will be available at the point of purchase. Be safe everyone!  X-ALT-DESC;FMTTYPE=text/html:

We regrettably announce that due to positive COVID testing within our touring party, we are forced to cancel our NYE show in Salt Lake City at the State Room. Refunds will be available at the point of purchase. Be safe everyone! 

LAST-MODIFIED:20211230T210838Z X-ACCESS:1 X-HITS:1930 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220114T210000 DTEND;TZID=America/Denver:20220114T233000 UID:407F039B-361A-4435-A3C5-A2724E1B0696 SUMMARY:Petty Theft DTSTAMP:20211020T221137Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211029T234612Z X-ACCESS:1 X-HITS:1979 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220126T200000 DTEND;TZID=America/Denver:20220126T233000 UID:1A4C7D42-C3A9-48A8-A244-5B4E7E3BFA2A SUMMARY:Mike Zito DTSTAMP:20211108T232357Z DESCRIPTION:Mike Zito is one of the most lauded artists in the contemporary blues arena today and rightfully so, but for him, the thing that counts the most is maintaining his honesty, authenticity and integrity. Those are the qualities that have steered Zito’s career since the beginning and continue to define every effort he’s offered since.\N“I have nothing to hide; it seems my honesty is what people relate to most,” he once told Vintage Guitar magazine. “Anders (Osborne) told me early on, ‘If you don’t believe what you’re singing, you’ll never be a good singer.’ I try not to write fluff; I try to make every word count.”\NNaturally, patience and perseverance have been Zito’s stock and trade since the beginning. He began playing guitar at the age of five, and by the time he reached his late teens, he was already a fixture on the local St. Louis music scene. He initially released his music independently and then signed with Eclecto Groove Records in 2008. “Pearl River,” the title track of his 2009 album for the label, won Song of the Year at the Blues Music Awards and marked his first collaboration with Cyril Neville, with whom he’d later work in the Royal Southern Brotherhood. A steady succession of critically acclaimed albums followed, culminating in 2011’s Greyhound, which was nominated for Best Rock Blues Album at that year’s Blue Music Awards ceremony in Memphis. Two years later, he signed with Ruf Records and released Gone to Texas, the story of how he gained his sobriety, offered an emotional homage to the state that left an indelible imprint on his entire life. It also marked the debut of his band, The Wheel.\NFrom 2010 to 2014, Zito also played an integral role in the super group of sorts, Royal Southern Brotherhood. The group released two albums and a DVD, Songs from the Road – Live in Germany, winner of the year’s Blues Music Award for Best DVD. He also made his mark behind the boards by producing albums for Samantha Fish, Albert Castiglia, Ally Venable, Jeremiah Johnson, Jimmy Carpenter, and many others.\NMeanwhile, the accolades kept coming. His album, Make Blues Not War, debuted on the Billboard Blues Album Chart at number one and garnered him recognition as the 2018 Rock Blues Artist of the Year at the Blues Music Awards. First Class Life followed suit, also entering the charts at number one. Alternate Root magazine insisted that “The First Class Life that Mike Zito titles his upcoming album can be heard in the sweet sound of Blue Soul rising like heat waves from his guitar and his vocal.” American Blues Scene said, “Mike Zito’s return to the blues is, in a word, triumphant!” No Depression declared, “Once again, Zito has delivered the goods, a first class package with no postage due.”\NMike Zito’s last CD, Quarantine Blues, was recorded during the heart of the coronavirus pandemic and served as a healing love letter to his fans around the world that heralded better days ahead if we’d all just stick together. His album prior to that was a tribute to fellow St. Louis native and rock ‘n’ roll legend, Chuck Berry, and featured an array of guest guitarists ranging from Joe Bonamassa, Walter Trout and Eric Gales, to Robben Ford, Luther Dickinson and Sonny Landreth, as well as Berry’s own grandson. In June 2021, Mike Zito was awarded two Blues Music Awards at The Blues Foundation’s 42nd Blues Music Awards in Memphis, TN. Zito won BMAs in the categories of Blues Rock Artist as well as Blues Rock Album of the Year for Mike Zito and Friends – Rock ‘n’ Roll: A Tribute to Chuck Berry\NMike Zito’s new album, Resurrection, dropped on July 16th via Gulf Coast Records and Hillside Global. The new disc was produced by the celebrated Grammy-winner David Z, best known for his long-standing work with Prince, and who has contributed to albums by Etta James, Billy Idol, BoDeans, Buddy Guy and John Mayall, among many others.\N“I have songs in me and musical ideas all of the time,” volunteers Mike Zito about the new album’s genesis. “I write what I can, when I can and try to save it all for posterity. Some of the songs are just songs and they don’t always have meaning for me, and some of them become very personal. For me to sing songs and feel them with real emotion, they need to be somewhat personal. Even songs I did not write, I need to feel they explain a part of my thinking or how I am feeling about love, sex, life, death, the world…. Resurrection is an album of feelings, emotions, and is very personal. The title track is how I once almost lost my love, but it came back stronger than ever. I have had this song in me for years, but it only makes sense now to share it with the world. After the year we have had on planet Earth, I believe we all need a rebirth. This rebirth has given me an opportunity to be who I want to be musically and artistically.” X-ALT-DESC;FMTTYPE=text/html:

Mike Zito is one of the most lauded artists in the contemporary blues arena today and rightfully so, but for him, the thing that counts the most is maintaining his honesty, authenticity and integrity. Those are the qualities that have steered Zito’s career since the beginning and continue to define every effort he’s offered since.

“I have nothing to hide; it seems my honesty is what people relate to most,” he once told Vintage Guitar magazine. “Anders (Osborne) told me early on, ‘If you don’t believe what you’re singing, you’ll never be a good singer.’ I try not to write fluff; I try to make every word count.”

Naturally, patience and perseverance have been Zito’s stock and trade since the beginning. He began playing guitar at the age of five, and by the time he reached his late teens, he was already a fixture on the local St. Louis music scene. He initially released his music independently and then signed with Eclecto Groove Records in 2008. “Pearl River,” the title track of his 2009 album for the label, won Song of the Year at the Blues Music Awards and marked his first collaboration with Cyril Neville, with whom he’d later work in the Royal Southern Brotherhood. A steady succession of critically acclaimed albums followed, culminating in 2011’s Greyhound, which was nominated for Best Rock Blues Album at that year’s Blue Music Awards ceremony in Memphis. Two years later, he signed with Ruf Records and released Gone to Texas, the story of how he gained his sobriety, offered an emotional homage to the state that left an indelible imprint on his entire life. It also marked the debut of his band, The Wheel.

From 2010 to 2014, Zito also played an integral role in the super group of sorts, Royal Southern Brotherhood. The group released two albums and a DVD, Songs from the Road – Live in Germany, winner of the year’s Blues Music Award for Best DVD. He also made his mark behind the boards by producing albums for Samantha Fish, Albert Castiglia, Ally Venable, Jeremiah Johnson, Jimmy Carpenter, and many others.

Meanwhile, the accolades kept coming. His album, Make Blues Not War, debuted on the Billboard Blues Album Chart at number one and garnered him recognition as the 2018 Rock Blues Artist of the Year at the Blues Music Awards. First Class Life followed suit, also entering the charts at number one. Alternate Root magazine insisted that “The First Class Life that Mike Zito titles his upcoming album can be heard in the sweet sound of Blue Soul rising like heat waves from his guitar and his vocal.” American Blues Scene said, “Mike Zito’s return to the blues is, in a word, triumphant!” No Depression declared, “Once again, Zito has delivered the goods, a first class package with no postage due.”

Mike Zito’s last CD, Quarantine Blues, was recorded during the heart of the coronavirus pandemic and served as a healing love letter to his fans around the world that heralded better days ahead if we’d all just stick together. His album prior to that was a tribute to fellow St. Louis native and rock ‘n’ roll legend, Chuck Berry, and featured an array of guest guitarists ranging from Joe Bonamassa, Walter Trout and Eric Gales, to Robben Ford, Luther Dickinson and Sonny Landreth, as well as Berry’s own grandson. In June 2021, Mike Zito was awarded two Blues Music Awards at The Blues Foundation’s 42nd Blues Music Awards in Memphis, TN. Zito won BMAs in the categories of Blues Rock Artist as well as Blues Rock Album of the Year for Mike Zito and Friends – Rock ‘n’ Roll: A Tribute to Chuck Berry

Mike Zito’s new album, Resurrection, dropped on July 16th via Gulf Coast Records and Hillside Global. The new disc was produced by the celebrated Grammy-winner David Z, best known for his long-standing work with Prince, and who has contributed to albums by Etta James, Billy Idol, BoDeans, Buddy Guy and John Mayall, among many others.

“I have songs in me and musical ideas all of the time,” volunteers Mike Zito about the new album’s genesis. “I write what I can, when I can and try to save it all for posterity. Some of the songs are just songs and they don’t always have meaning for me, and some of them become very personal. For me to sing songs and feel them with real emotion, they need to be somewhat personal. Even songs I did not write, I need to feel they explain a part of my thinking or how I am feeling about love, sex, life, death, the world…. Resurrection is an album of feelings, emotions, and is very personal. The title track is how I once almost lost my love, but it came back stronger than ever. I have had this song in me for years, but it only makes sense now to share it with the world. After the year we have had on planet Earth, I believe we all need a rebirth. This rebirth has given me an opportunity to be who I want to be musically and artistically.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211124T001955Z X-ACCESS:1 X-HITS:2486 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220127T200000 DTEND;TZID=America/Denver:20220127T233000 UID:20E61FA4-BC47-49BB-AFBC-99E5DFC61089 SUMMARY:Livingston Taylor — CANCELED DTSTAMP:20211129T213753Z DESCRIPTION:Livingston Taylor picked up his first guitar at the age of 13, which began a 50-year career that has encompassed performance, songwriting, and teaching. Born in Boston and raised in North Carolina, Livingston is the fourth child in a very musical family that includes Alex, James, Kate, and Hugh. Livingston recorded his first record at the age of 18 and has continued to create well-crafted, introspective, and original songs that have earned him listeners worldwide.\NFrom top-40 hits “I Will Be in Love with You” and “I’ll Come Running,” to “I Can Dream of You” and “Boatman,” the last two recorded by his brother James, Livingston’s creative output has continued unabated. His musical knowledge has inspired a varied repertoire, and he is equally at home with a range of musical genres—folk, pop, gospel, jazz—and from upbeat storytelling and touching ballads to full orchestra performances.\NLivingston has never stopped performing since those early coffeehouse days, shared the stage with major artists such as Joni Mitchell, Linda Ronstadt, Fleetwood Mac, Jimmy Buffett, and Jethro Tull, and he maintains a busy concert schedule, touring internationally. He is a natural performer, peppering his shows with personal stories, anecdotes and ineffable warmth that connect him to his fans. His relaxed on-stage presence belies the depth of his musical knowledge, and fans might just as often be treated to a classic Gershwin or something from the best of Broadway.\NLivingston is a full professor at Berklee College of Music, where he has taught a Stage Performance course since 1989. He teaches young artists invaluable lessons learned over the course of an extensive career on the road; the course is consistently voted the most popular at the College. His high-selling book, Stage Performance, released in 2011 offers those lessons to anyone who is interested in elevating their presentation standards to professional standards.\NLivingston's 50th year of making music was celebrated by Boston Mayor Marty Walsh and Massachusetts Governor Charlie Baker, both declaring January 18, 2017 "Livingston Taylor Day". X-ALT-DESC;FMTTYPE=text/html:

Livingston Taylor picked up his first guitar at the age of 13, which began a 50-year career that has encompassed performance, songwriting, and teaching. Born in Boston and raised in North Carolina, Livingston is the fourth child in a very musical family that includes Alex, James, Kate, and Hugh. Livingston recorded his first record at the age of 18 and has continued to create well-crafted, introspective, and original songs that have earned him listeners worldwide.

From top-40 hits “I Will Be in Love with You” and “I’ll Come Running,” to “I Can Dream of You” and “Boatman,” the last two recorded by his brother James, Livingston’s creative output has continued unabated. His musical knowledge has inspired a varied repertoire, and he is equally at home with a range of musical genres—folk, pop, gospel, jazz—and from upbeat storytelling and touching ballads to full orchestra performances.

Livingston has never stopped performing since those early coffeehouse days, shared the stage with major artists such as Joni Mitchell, Linda Ronstadt, Fleetwood Mac, Jimmy Buffett, and Jethro Tull, and he maintains a busy concert schedule, touring internationally. He is a natural performer, peppering his shows with personal stories, anecdotes and ineffable warmth that connect him to his fans. His relaxed on-stage presence belies the depth of his musical knowledge, and fans might just as often be treated to a classic Gershwin or something from the best of Broadway.

Livingston is a full professor at Berklee College of Music, where he has taught a Stage Performance course since 1989. He teaches young artists invaluable lessons learned over the course of an extensive career on the road; the course is consistently voted the most popular at the College. His high-selling book, Stage Performance, released in 2011 offers those lessons to anyone who is interested in elevating their presentation standards to professional standards.

Livingston's 50th year of making music was celebrated by Boston Mayor Marty Walsh and Massachusetts Governor Charlie Baker, both declaring January 18, 2017 "Livingston Taylor Day".

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220124T164427Z X-ACCESS:1 X-HITS:1342 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220130T200000 DTEND;TZID=America/Denver:20220130T203000 UID:5C195B36-6894-446D-9E4D-4C408E77F0E4 SUMMARY:Suzanne Santo DTSTAMP:20211203T172326Z DESCRIPTION:Suzanne Santo has never been afraid to blur the lines. A tireless creator, she's built her sound in the grey area between Americana, Southern-gothic soul, and forward-thinking rock & roll. It's a sound that nods to her past — a childhood spent in the Rust Belt; a decade logged as a member of the L.A.-based duo HoneyHoney; the acclaimed solo album, Ruby Red, that launched a new phase of her career in 2017; and the world tour that took her from Greece to Glastonbury as a member of Hozier's band — while still exploring new territory. With Yard Sale, Santo boldly moves forward, staking her claim once again as an Americana innovator. It's an album inspired by the past, written by an artist who's only interested in the here-and-now. And for Suzanne Santo, the here-and-now sounds pretty good.\NYard Sale, her second release as a solo artist, finds Santo in transition. She began writing the album while touring the globe with Hozier — a gig that utilized her strengths not only as a vocalist and multi-instrumentalist, but as a road warrior, too. "We never stopped," she says of the year-long trek, which often found her pulling double-duty as Hozier's opening act and bandmate. "Looking back, I can recognize how much of a game-changer it was. It raised my musicianship to a new level. It truly reshaped my career."\NSongs like "Fall For That" were written between band rehearsals, with Santo holing herself up in a farmhouse on the rural Irish coast. Others were finished during bus rides, backstage writing sessions, and hotel stays. Grateful for the experience but eager to return to her solo career, she finished her run with Hozier, joining the band for one final gig — a milestone performance at Glastonbury, with 60,000 fans watching — before flying home to Los Angeles. Within three days, she was back in the studio, working with producer John Spiker on the most compelling album of her career.\NSanto didn't remain in Los Angeles for very long. Things had changed since she released 2017's Ruby Red, an album produced by Butch Walker and hailed by Rolling Stone for its "expansion of her Americana roots." She'd split up with her longtime partner. Her old band, HoneyHoney, was on hiatus. Feeling lonely in her own home, Santo infused songs like "Common Sense" and "Idiot" with achingly gorgeous melodies and woozy melancholia. She then got the hell out, moving to Austin — a city whose fingerprints are all over Yard Sale, thanks to appearances by hometown heroes like Shakey Graves and Gary Clark Jr. — and falling in love all over again. Throughout it all, Santo continued writing songs, filling Yard Sale with the ups and downs of a life largely spent on the run.\N"I moved so much, both emotionally and physically, while making this record," she says. "I dropped my band, joined a world tour, came back home, went through a heartbreak, moved across the country, and fell in love with someone else. I just kept marching forward. Throughout that experience, there was this emotional unpacking of sorts. A shedding of baggage. I've gotten good at knowing what I need to keep holding onto and what I don't."\NIf yard sales represent a homeowner's purging of old possessions in order to clear up some much-needed room, then Yard Sale marks the moment where Suzanne Santo makes peace with her past and embraces a better, bolder present. Musically, she's at the top of her game, writing her own string arrangements and singing each song an agile, acrobatic voice. On "Since I've Had Your Love," she bridges the gap between indie-rock and neo-soul, punctuating the song's middle stretch with a cinematic violin solo. She mixes gospel influences with a deconstructed R&B beat on "Over and Over Again," recounts some hard-learned lessons with the folk-rock anthem "Mercy," and drapes "Bad Beast" with layers of spacey, atmospheric electric guitar. Shakey Graves contributes to "Afraid of Heights," a rainy-day ballad driven forward by a metronomic drum pattern, and Gary Clark Jr. punctuates the guitar-driven "Fall For That" with fiery fretwork.\N"This is like one of those yard sales where there's something for everybody," Santo says. "You want a crockpot or a racquetball paddle? A duvet cover? I've got it." On a more serious note, she adds, "But I've also gotten into the emotional concept of what a yard sale really is, too. This record is about the things I've left behind and the things I've holding onto. I was broken up with while writing the record. I fell in love again while writing the record. And I learned to fearlessly follow my gut, in all places of my life, while making this record."\NYou can't blame Suzanne Santo from looking back once in awhile. Raised in Parma, OH, she was scouted as a model and actress at 14 years old, spent her summer vacations working in locations like Tokyo, and later moved to New York City, where she attended the Professional Children's School alongside classmates like Jack Antonoff and Scarlett Johansson. Moving to Los Angeles in her late teens, she formed HoneyHoney and released three albums with the duo, working with top-shelf Americana labels like Lost Highway and Rounder Records along the way. Working with Butch Walker on 2017's Ruby Red resulted in an offer to join Walker's touring band, followed one year later by a similar request from Hozier.\N"It's a rollercoaster, and I've been strapped in pretty good," she says. "I've been riding it out." X-ALT-DESC;FMTTYPE=text/html:

Suzanne Santo has never been afraid to blur the lines. A tireless creator, she's built her sound in the grey area between Americana, Southern-gothic soul, and forward-thinking rock & roll. It's a sound that nods to her past — a childhood spent in the Rust Belt; a decade logged as a member of the L.A.-based duo HoneyHoney; the acclaimed solo album, Ruby Red, that launched a new phase of her career in 2017; and the world tour that took her from Greece to Glastonbury as a member of Hozier's band — while still exploring new territory. With Yard Sale, Santo boldly moves forward, staking her claim once again as an Americana innovator. It's an album inspired by the past, written by an artist who's only interested in the here-and-now. And for Suzanne Santo, the here-and-now sounds pretty good.

Yard Sale, her second release as a solo artist, finds Santo in transition. She began writing the album while touring the globe with Hozier — a gig that utilized her strengths not only as a vocalist and multi-instrumentalist, but as a road warrior, too. "We never stopped," she says of the year-long trek, which often found her pulling double-duty as Hozier's opening act and bandmate. "Looking back, I can recognize how much of a game-changer it was. It raised my musicianship to a new level. It truly reshaped my career."

Songs like "Fall For That" were written between band rehearsals, with Santo holing herself up in a farmhouse on the rural Irish coast. Others were finished during bus rides, backstage writing sessions, and hotel stays. Grateful for the experience but eager to return to her solo career, she finished her run with Hozier, joining the band for one final gig — a milestone performance at Glastonbury, with 60,000 fans watching — before flying home to Los Angeles. Within three days, she was back in the studio, working with producer John Spiker on the most compelling album of her career.

Santo didn't remain in Los Angeles for very long. Things had changed since she released 2017's Ruby Red, an album produced by Butch Walker and hailed by Rolling Stone for its "expansion of her Americana roots." She'd split up with her longtime partner. Her old band, HoneyHoney, was on hiatus. Feeling lonely in her own home, Santo infused songs like "Common Sense" and "Idiot" with achingly gorgeous melodies and woozy melancholia. She then got the hell out, moving to Austin — a city whose fingerprints are all over Yard Sale, thanks to appearances by hometown heroes like Shakey Graves and Gary Clark Jr. — and falling in love all over again. Throughout it all, Santo continued writing songs, filling Yard Sale with the ups and downs of a life largely spent on the run.

"I moved so much, both emotionally and physically, while making this record," she says. "I dropped my band, joined a world tour, came back home, went through a heartbreak, moved across the country, and fell in love with someone else. I just kept marching forward. Throughout that experience, there was this emotional unpacking of sorts. A shedding of baggage. I've gotten good at knowing what I need to keep holding onto and what I don't."

If yard sales represent a homeowner's purging of old possessions in order to clear up some much-needed room, then Yard Sale marks the moment where Suzanne Santo makes peace with her past and embraces a better, bolder present. Musically, she's at the top of her game, writing her own string arrangements and singing each song an agile, acrobatic voice. On "Since I've Had Your Love," she bridges the gap between indie-rock and neo-soul, punctuating the song's middle stretch with a cinematic violin solo. She mixes gospel influences with a deconstructed R&B beat on "Over and Over Again," recounts some hard-learned lessons with the folk-rock anthem "Mercy," and drapes "Bad Beast" with layers of spacey, atmospheric electric guitar. Shakey Graves contributes to "Afraid of Heights," a rainy-day ballad driven forward by a metronomic drum pattern, and Gary Clark Jr. punctuates the guitar-driven "Fall For That" with fiery fretwork.

"This is like one of those yard sales where there's something for everybody," Santo says. "You want a crockpot or a racquetball paddle? A duvet cover? I've got it." On a more serious note, she adds, "But I've also gotten into the emotional concept of what a yard sale really is, too. This record is about the things I've left behind and the things I've holding onto. I was broken up with while writing the record. I fell in love again while writing the record. And I learned to fearlessly follow my gut, in all places of my life, while making this record."

You can't blame Suzanne Santo from looking back once in awhile. Raised in Parma, OH, she was scouted as a model and actress at 14 years old, spent her summer vacations working in locations like Tokyo, and later moved to New York City, where she attended the Professional Children's School alongside classmates like Jack Antonoff and Scarlett Johansson. Moving to Los Angeles in her late teens, she formed HoneyHoney and released three albums with the duo, working with top-shelf Americana labels like Lost Highway and Rounder Records along the way. Working with Butch Walker on 2017's Ruby Red resulted in an offer to join Walker's touring band, followed one year later by a similar request from Hozier.

"It's a rollercoaster, and I've been strapped in pretty good," she says. "I've been riding it out."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211217T201345Z X-ACCESS:1 X-HITS:1485 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220201T200000 DTEND;TZID=America/Denver:20220201T233000 UID:A5FDB1BC-70F0-4A16-834A-90219C7EB9B9 SUMMARY:Augustana DTSTAMP:20210709T210725Z DESCRIPTION:Dan Layus has fronted Augustana as its singer and primary songwriter since its formation in 2002. Building a dedicated following of fans off the backbone of hits like "Boston," "Sweet and Low" and "Steal Your Heart."\NThe most recent LP release AUGUSTANA-LIVE (RECORDED FROM A LIVESTREAM EVENT) was recorded live in December of 2020 and released in March of 2021. The concert recording was a long-awaited arrival for fans of the band, who'd never released a live album until that point. In a solo performance setting, Dan Layus plays through some of the most well-loved music from the groups catalogue in a chronological order. The concert is intimate and authentic, nuanced and powerful. He makes the songs feel experienced and lived in, and cements a moment into a recording that mirrors what he's done on stages across the world for so many years. X-ALT-DESC;FMTTYPE=text/html:

Dan Layus has fronted Augustana as its singer and primary songwriter since its formation in 2002. Building a dedicated following of fans off the backbone of hits like "Boston," "Sweet and Low" and "Steal Your Heart."

The most recent LP release AUGUSTANA-LIVE (RECORDED FROM A LIVESTREAM EVENT) was recorded live in December of 2020 and released in March of 2021. The concert recording was a long-awaited arrival for fans of the band, who'd never released a live album until that point. In a solo performance setting, Dan Layus plays through some of the most well-loved music from the groups catalogue in a chronological order. The concert is intimate and authentic, nuanced and powerful. He makes the songs feel experienced and lived in, and cements a moment into a recording that mirrors what he's done on stages across the world for so many years.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220126T222619Z X-ACCESS:1 X-HITS:2083 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220212T210000 DTEND;TZID=America/Denver:20220212T233000 UID:8033FF9D-D20B-495E-809F-04E3F3D2BFA3 SUMMARY:Hell's Belles DTSTAMP:20211122T165316Z DESCRIPTION:HELL'S BELLES are first and foremost dedicated AC/DC fanatics. This is what we all have in common. We're all part of a huge community of devotees to one of the greatest rock-n-roll bands in the world. This is who we all are, and this is what HELL'S BELLES strives to deliver with mechanical precision and passionate fury. Endorsed by Angus Young himself (Blender Magazine, 2003), HELL'S BELLES are the closest one can get without actually moving to Australia and joining AC/DC's road crew.\NHELL'S BELLES are indeed ALL female, all the way to their rock-n-roll cores, all the lime and without exception. Representing for a whole new generation of women that won't be intimidated, HELL'S BELLES actively encourage our legions of lady fans to stand up and be counted, and collaborate with women musicians and causes as a part of the mission towards rock and roll inclusion. Not some down-your-throat feminism, but a proactive support and action spirit towards the continued march towards balancing of the gender scales.\NThe thousands of shows HELL'S BELLES have played around the world, including Jordan, Singapore, Japan, Canada, and the good ol' USA (including Alaska), have become legendary nights of epic proportions. Consistently sexy and sold-out shows - there's not a HELL'S BELLES audience that hasn't been blown away by the raw power, attention to AC/DC details, and undeniable appeal that these bad ass belles deliver with undying devotion. From the Angus stripping “Bad Boy Boogie" to “Dirty Deeds" to "TNT", not to mention AC/DC's landmark hits "Highway to Hell", "Thunderstruck", and "Back in Black". The marathon set lists change to include a fresh variety of classics, but the perfection and passion of the show never dies.\NIt's an all out rock-n-roll assault that leaves you both satisfied and begging for more. And, more you'll get as HELL'S BELLES keep conquering new cities, new states, and new countries. They'll be in your back yard bringing AC/DC in sound and spirit to you with their new recording VOL. II, so you can always count on taking a little piece of HELL'S BELLES home with ya.HELL'S BELLES - committed, ferocious, meticulous women rock musicians delivering authentic AC/DC to the unbelievably supportive and wicked awesome fans. All day and all night long, all over the world, pitch perfect AC/ DC delivered with a highly charged vigor. X-ALT-DESC;FMTTYPE=text/html:

HELL'S BELLES are first and foremost dedicated AC/DC fanatics. This is what we all have in common. We're all part of a huge community of devotees to one of the greatest rock-n-roll bands in the world. This is who we all are, and this is what HELL'S BELLES strives to deliver with mechanical precision and passionate fury. Endorsed by Angus Young himself (Blender Magazine, 2003), HELL'S BELLES are the closest one can get without actually moving to Australia and joining AC/DC's road crew.


HELL'S BELLES are indeed ALL female, all the way to their rock-n-roll cores, all the lime and without exception. Representing for a whole new generation of women that won't be intimidated, HELL'S BELLES actively encourage our legions of lady fans to stand up and be counted, and collaborate with women musicians and causes as a part of the mission towards rock and roll inclusion. Not some down-your-throat feminism, but a proactive support and action spirit towards the continued march towards balancing of the gender scales.

The thousands of shows HELL'S BELLES have played around the world, including Jordan, Singapore, Japan, Canada, and the good ol' USA (including Alaska), have become legendary nights of epic proportions. Consistently sexy and sold-out shows - there's not a HELL'S BELLES audience that hasn't been blown away by the raw power, attention to AC/DC details, and undeniable appeal that these bad ass belles deliver with undying devotion. From the Angus stripping “Bad Boy Boogie" to “Dirty Deeds" to "TNT", not to mention AC/DC's landmark hits "Highway to Hell", "Thunderstruck", and "Back in Black". The marathon set lists change to include a fresh variety of classics, but the perfection and passion of the show never dies.

It's an all out rock-n-roll assault that leaves you both satisfied and begging for more. And, more you'll get as HELL'S BELLES keep conquering new cities, new states, and new countries. They'll be in your back yard bringing AC/DC in sound and spirit to you with their new recording VOL. II, so you can always count on taking a little piece of HELL'S BELLES home with ya.
HELL'S BELLES - committed, ferocious, meticulous women rock musicians delivering authentic AC/DC to the unbelievably supportive and wicked awesome fans. All day and all night long, all over the world, pitch perfect AC/ DC delivered with a highly charged vigor.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220201T010625Z X-ACCESS:1 X-HITS:2546 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220215T200000 DTEND;TZID=America/Denver:20220215T233000 UID:15E3D0BE-7E88-41EA-8EBA-6A1A88498F4C SUMMARY:California Guitar Trio + Montreal Guitar Trio DTSTAMP:20200211T180156Z DESCRIPTION:DUE TO COVID-19, THIS SHOW HAS BEEN RESCHEDULED FOR FEBRUARY 15, 2022.\N------\NCGT+MG3 features all six virtuoso guitarists from California Guitar Trio (CGT) and Montreal Guitar Trio (MG3). Representing four countries (Japan, Canada, Belgium, and US), they fuse over 40 years of combined performing experience into one unique six-by-6-string ‘phenomensemble’. In a pleasantly surprising way, CGT's steel stringed-guitars blend naturally with MG3's nylon-stringed guitars, as each trios fret boards chase the others' original compositions and new arrangements of progressive rock, world, jazz and classical music.\NCalifornia Guitar Trio\NFacebook | Instagram | Twitter | Youtube \N{youtube}HSsBUX1fcew{/youtube}\NThe universe of guitar knows no boundaries for The California Guitar Trio. Since 1991, the group has enthralled listeners with a singular sound that fearlessly crisscrosses genres. The trio’s questing spirit drives it to explore the intersections between rock, jazz, classical, and world music. It even throws in the occasional surf or spaghetti Western tune for good measure.\NComprised of Bert Lams, Hideyo Moriya and Paul Richards, the group has established a unique, personal connection with audiences. In addition to dazzling musicianship and interplay, The California Guitar Trio's (CGT) shows are full of captivating stories and humor that enable concertgoers to feel like they're part of the music, not just spectators. In fact, the group’s goal is to transcend their instruments, so people focus on the music first, and its considerable technical prowess a distant second.\NCGT's 15 albums, streamed over 59 million times on Pandora, offer diverse snapshots of the group’s mercurial muse. The trio’s most recent release Komorebi showcases its acoustic side, with beautiful lush originals and innovative cover arrangements of Beatles, Beach Boys and more. Other highlights include Masterworks and album of classical works, with expansive takes on Bach, Beethoven, Arvo Pärt, and Schubert. Andromeda, which combines their many influences into a visionary album of original material; CG3+2, an exploration of kinetic rock territory in collaboration with bassist Tony Levin and drummer Pat Mastelotto; and Echoes, which re-imagines timeless material by artists such as Mike Oldfield, Penguin Café Orchestra, Pink Floyd, and Queen.\NThe trio’s output has made a major global impact, having served as the soundtrack for Olympics coverage, and programs on CNN, CBS, NBC, and ESPN. They have fans in high places too: NASA used their music to wake the crew aboard the Space Shuttle Endeavour.\NCGT's lineup is truly the sum of its distinct parts: A Utah native now residing in Los Angeles, Paul Richards immersed himself in rock, blues, jazz, and folk during his early days and while attending The University of Utah’s jazz guitar program. Bert Lams, originally from Belgium, graduated from the prestigious Royal Conservatory of Music in Brussels, specializing in classical guitar. Tokyo-born Hideyo Moriya began his guitar journey with surf music and British rock, before relocating to Boston to study at Berklee.\NAll three felt the call to push themselves to the limit by enrolling in Robert Fripp’s challenging Guitar Craft courses, where they first met in 1987. They went on to tour together as part of Fripp’s League of Crafty Guitarists, before forming the California Guitar Trio in Los Angeles four years later.\NRecently, the trio expanded its collaborative possibilities by working within a six-guitar format with the Montreal Guitar Trio. During these groundbreaking, highly-entertaining shows, the acts perform inventive arrangements of each other’s repertoire, and new music for guitar sextet.\N25 years and 1,800+ gigs later, the CGT remains intensely committed to explore, evolve and communicate a wide-ranging musical worldview.\N \NMontreal Guitar Trio\NFacebook | Instagram | Twitter | Youtube \N{youtube}MniL8ez6NVc{/youtube}\NDescribed by the CBC as the "hottest" guitar ensemble in Canada, MG3 has quickly established itself as a force to be reckoned with, as well as an interactive force in various musical forms. For over 15 years, the trio's virtuosity, rigour, creativity and impressive stage presence – where humour and interacting with the public go hand in hand – have been winning over audiences around the world. The trio, composed of guitarists Marc Morin, Sébastien Dufour and Glenn Lévesque, has given hundreds of concerts in some of the most prestigious venues across North America, Europe, New Zealand and Australia, including the BB King Blues Club in New York, the Rundetårnet in Copenhagen, and the legendary Concertgebouw in Amsterdam.\NThroughout the years, the trio has collaborated and shared the stage with world-renowned ensembles and artists, such as the Orchestre symphonique de Québec, Jorane et Solorazaf. Their most memorable collaboration to date was, without a doubt, with the California Guitar Trio (CGT), when both ensembles joined forces to give an unforgettable concert, brilliantly performing some of the greatest rock classics from Queen, The Beatles, a few "spaghetti western" themes by Ennio Morricone, as well as some of their original compositions. Starting in the fall of 2010, the sextet has toured across Canada and the United States, performing in over 100 cities.\NWinner of the 2011 Opus Award for "concert of the year" in the Jazz / World Music category, MG3 has released six albums. Der Prinz, under the Analekta label, has been launched in February 2014, during the 15th edition of the MONTRÉAL EN LUMIÈRE Festival.\N  X-ALT-DESC;FMTTYPE=text/html:

DUE TO COVID-19, THIS SHOW HAS BEEN RESCHEDULED FOR FEBRUARY 15, 2022.

------

CGT+MG3 features all six virtuoso guitarists from California Guitar Trio (CGT) and Montreal Guitar Trio (MG3). Representing four countries (Japan, Canada, Belgium, and US), they fuse over 40 years of combined performing experience into one unique six-by-6-string ‘phenomensemble’. In a pleasantly surprising way, CGT's steel stringed-guitars blend naturally with MG3's nylon-stringed guitars, as each trios fret boards chase the others' original compositions and new arrangements of progressive rock, world, jazz and classical music.

California Guitar Trio

Facebook | Instagram | Twitter | Youtube 

{youtube}HSsBUX1fcew{/youtube}

The universe of guitar knows no boundaries for The California Guitar Trio. Since 1991, the group has enthralled listeners with a singular sound that fearlessly crisscrosses genres. The trio’s questing spirit drives it to explore the intersections between rock, jazz, classical, and world music. It even throws in the occasional surf or spaghetti Western tune for good measure.

Comprised of Bert Lams, Hideyo Moriya and Paul Richards, the group has established a unique, personal connection with audiences. In addition to dazzling musicianship and interplay, The California Guitar Trio's (CGT) shows are full of captivating stories and humor that enable concertgoers to feel like they're part of the music, not just spectators. In fact, the group’s goal is to transcend their instruments, so people focus on the music first, and its considerable technical prowess a distant second.

CGT's 15 albums, streamed over 59 million times on Pandora, offer diverse snapshots of the group’s mercurial muse. The trio’s most recent release Komorebi showcases its acoustic side, with beautiful lush originals and innovative cover arrangements of Beatles, Beach Boys and more. Other highlights include Masterworks and album of classical works, with expansive takes on Bach, Beethoven, Arvo Pärt, and Schubert. Andromeda, which combines their many influences into a visionary album of original material; CG3+2, an exploration of kinetic rock territory in collaboration with bassist Tony Levin and drummer Pat Mastelotto; and Echoes, which re-imagines timeless material by artists such as Mike Oldfield, Penguin Café Orchestra, Pink Floyd, and Queen.

The trio’s output has made a major global impact, having served as the soundtrack for Olympics coverage, and programs on CNN, CBS, NBC, and ESPN. They have fans in high places too: NASA used their music to wake the crew aboard the Space Shuttle Endeavour.

CGT's lineup is truly the sum of its distinct parts: A Utah native now residing in Los Angeles, Paul Richards immersed himself in rock, blues, jazz, and folk during his early days and while attending The University of Utah’s jazz guitar program. Bert Lams, originally from Belgium, graduated from the prestigious Royal Conservatory of Music in Brussels, specializing in classical guitar. Tokyo-born Hideyo Moriya began his guitar journey with surf music and British rock, before relocating to Boston to study at Berklee.

All three felt the call to push themselves to the limit by enrolling in Robert Fripp’s challenging Guitar Craft courses, where they first met in 1987. They went on to tour together as part of Fripp’s League of Crafty Guitarists, before forming the California Guitar Trio in Los Angeles four years later.

Recently, the trio expanded its collaborative possibilities by working within a six-guitar format with the Montreal Guitar Trio. During these groundbreaking, highly-entertaining shows, the acts perform inventive arrangements of each other’s repertoire, and new music for guitar sextet.

25 years and 1,800+ gigs later, the CGT remains intensely committed to explore, evolve and communicate a wide-ranging musical worldview.

 

Montreal Guitar Trio

Facebook | Instagram | Twitter | Youtube 

{youtube}MniL8ez6NVc{/youtube}

Described by the CBC as the "hottest" guitar ensemble in Canada, MG3 has quickly established itself as a force to be reckoned with, as well as an interactive force in various musical forms. For over 15 years, the trio's virtuosity, rigour, creativity and impressive stage presence – where humour and interacting with the public go hand in hand – have been winning over audiences around the world. The trio, composed of guitarists Marc Morin, Sébastien Dufour and Glenn Lévesque, has given hundreds of concerts in some of the most prestigious venues across North America, Europe, New Zealand and Australia, including the BB King Blues Club in New York, the Rundetårnet in Copenhagen, and the legendary Concertgebouw in Amsterdam.

Throughout the years, the trio has collaborated and shared the stage with world-renowned ensembles and artists, such as the Orchestre symphonique de Québec, Jorane et Solorazaf. Their most memorable collaboration to date was, without a doubt, with the California Guitar Trio (CGT), when both ensembles joined forces to give an unforgettable concert, brilliantly performing some of the greatest rock classics from Queen, The Beatles, a few "spaghetti western" themes by Ennio Morricone, as well as some of their original compositions. Starting in the fall of 2010, the sextet has toured across Canada and the United States, performing in over 100 cities.

Winner of the 2011 Opus Award for "concert of the year" in the Jazz / World Music category, MG3 has released six albums. Der Prinz, under the Analekta label, has been launched in February 2014, during the 15th edition of the MONTRÉAL EN LUMIÈRE Festival.

 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20211117T200012Z X-ACCESS:1 X-HITS:6185 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220218T210000 DTEND;TZID=America/Denver:20220218T233000 UID:432F3767-2238-4E9B-AE54-92AD04C62B08 SUMMARY:Zachary Williams of The Lone Bellow DTSTAMP:20211214T012821Z DESCRIPTION:ZACHARY WILLIAMS DIRTY CAMARO BIO by Marc Menchaca\NI heard Zachary Williams play for the first time in 2006. A good friend of mine invited me to his show at Rockwood Music Hall. I found myself in a small room packed shoulder to shoulder with a bunch of other eager listeners. Rockwood started in 2005 as an artist’s room; it expanded in step with Zach’s career incidentally or not, and it still is a place where people flock to listen to music as opposed to a bar where music is secondary. Thanks to everything good for that place and especially for providing a sanctuary for Zach. He commands your attention on stage, and it was, in my opinion, the place where he got the ears he deserved. Needless to say, after seeing Zach play upwards of two hundred shows over fifteen years, I became an early fan of his.\NHis stories come through him with such conviction and beauty that you can’t escape the impact of his writing and his voice, which is informed by those vulnerable parts of a soul-baring the most of oneself. I remember telling his wife Stacy after the second or third time seeing him at Rockwood that I’d never smiled so much watching someone on stage. His pure joy in his art was blinding. I also remember telling her that I couldn’t wait because something was going to “hit”. And it did. The Lone Bellow came together and more and more ears caught on. But in hindsight, I misspoke. Zach’s music was hitting in the beginning just as it’s still hitting now...it’s just sometimes hard to see the journey’s process working when you’re in it or witnessing it. One always thinks the next one is going to do it when in reality the one now IS doing it.\NFifteen years later I am proud to say I have a friendship I’ll take to my last day, and from it comes music that makes my cheeks hurt, wakes my spirits and changes the rhythm of my day. Dirty Camaro makes your heart do the dance. From soulful crooning about relationships that yearn for transformation and missing pieces to ones that speak of adoration and a love that is anchored in the depths that only love can explain, to everyday happenstance that puts a smile on your face and a laugh in your belly...just listen and let it have you. Because it will. And if you were to ask me, I’d point to influences of the late great John Prine and Guy Clark, Springsteen and Chris Smithers. You’ll find a church where everyone speaks the same language no matter who you are and you won’t want to leave. X-ALT-DESC;FMTTYPE=text/html:

ZACHARY WILLIAMS DIRTY CAMARO BIO by Marc Menchaca

I heard Zachary Williams play for the first time in 2006. A good friend of mine invited me to his show at Rockwood Music Hall. I found myself in a small room packed shoulder to shoulder with a bunch of other eager listeners. Rockwood started in 2005 as an artist’s room; it expanded in step with Zach’s career incidentally or not, and it still is a place where people flock to listen to music as opposed to a bar where music is secondary. Thanks to everything good for that place and especially for providing a sanctuary for Zach. He commands your attention on stage, and it was, in my opinion, the place where he got the ears he deserved. Needless to say, after seeing Zach play upwards of two hundred shows over fifteen years, I became an early fan of his.

His stories come through him with such conviction and beauty that you can’t escape the impact of his writing and his voice, which is informed by those vulnerable parts of a soul-baring the most of oneself. I remember telling his wife Stacy after the second or third time seeing him at Rockwood that I’d never smiled so much watching someone on stage. His pure joy in his art was blinding. I also remember telling her that I couldn’t wait because something was going to “hit”. And it did. The Lone Bellow came together and more and more ears caught on. But in hindsight, I misspoke. Zach’s music was hitting in the beginning just as it’s still hitting now...it’s just sometimes hard to see the journey’s process working when you’re in it or witnessing it. One always thinks the next one is going to do it when in reality the one now IS doing it.

Fifteen years later I am proud to say I have a friendship I’ll take to my last day, and from it comes music that makes my cheeks hurt, wakes my spirits and changes the rhythm of my day. Dirty Camaro makes your heart do the dance. From soulful crooning about relationships that yearn for transformation and missing pieces to ones that speak of adoration and a love that is anchored in the depths that only love can explain, to everyday happenstance that puts a smile on your face and a laugh in your belly...just listen and let it have you. Because it will. And if you were to ask me, I’d point to influences of the late great John Prine and Guy Clark, Springsteen and Chris Smithers. You’ll find a church where everyone speaks the same language no matter who you are and you won’t want to leave.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220218T184427Z X-ACCESS:1 X-HITS:1827 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220219T200000 DTEND;TZID=America/Denver:20220219T210000 UID:24EC47BF-AF40-4061-87CC-5620A2FC3852 SUMMARY:The Weather Station DTSTAMP:20210608T150529Z DESCRIPTION:BIOGRAPHY\NIgnorance, the forthcoming album by the The Weather Station, begins enigmatically; a hissing hi hat, a stuttering drum beat. A full minute passes before the entry of Tamara Lindeman’s voice, gentle, conversational, intoning; “I never believed in the robber”. A jagged music builds, with stabbing strings, saxophone, and several layers of percussion, and the song undulates through five minutes of growing tension, seesawing between just two chords. Once again, Toronto songwriter Tamara Lindeman has remade what The Weather Station sounds like; once again, she has used the occasion of a new record to create a new sonic landscape, tailor-made to express an emotional idea. Ignorance, Lindeman’s debut for Mississippi label Fat Possum Records, is sensuous, ravishing, as hi fi a record as Lindeman has ever made, breaking into pure pop at moments, at others a dense wilderness of notes; a deeply rhythmic, deeply painful record that feels more urgent, more clear than her work ever has.\NOn the cover, Lindeman lays in the woods, wearing a hand made suit covered in mirrors. She was struck by the compulsion to build a mirror suit on tour one summer, assembling it in a hotel room in PEI and at a friend’s place in Halifax. “I used to be an actor, now I’m a performer” she says. In those roles, she points out, she often finds herself to be the subject of projection, reflecting back the ideas and emotions of others. On the album, she sings of trying to wear the world as a kind of ill fitting, torn garment, dangerously cold; “it does not keep me warm / I cannot ever seem to fasten it” and of walking the streets in it, so disguised, so exposed. Photographed by visual artist Jeff Bierk in midday, the cover purposefully calls to mind Renaissance paintings; with rich blacks and deep colour, and an incongruous blue sky glimpsed through the trees.\NThe title of the album, Ignorance, feels confrontational, calling to mind perhaps wilful ignorance, but Lindeman insists she meant it in a different context. In 1915 Virginia Woolfe wrote: “the future is dark, which is the best thing a future can be, I think.” Written amidst the brutal first world war, the darkness of the future connoted for Woolfe a not knowing, which by definition holds a sliver of hope; the possibility for something, somewhere, to change. In french, the verb ignorer connotes a humble, unashamed not knowing, and it is this ignorance Lindeman refers to here; the blank space at an intersection of hope and despair, a darkness that does not have to be dark.\NEmerging out of Toronto’s vibrant folk scene, Lindeman debuted a moody, introspective sound with her independently released East EP in 2008. Her LP The Line followed in 2009, expanding on an earthy, lyrical style, driven by her distinctive fingerpicked guitar and banjo parts. For the next Weather Station release, Lindeman worked with friend and collaborator Daniel Romano, signing with his You’ve Changed Records label to release the critically acclaimed follow-up, All of It Was Mine, in 2011. Though the album was only released in Canada, it gained wider exposure for the Weather Station, leading to several North American tours with acts like Bahamas, Basia Bulat, and Timber Timbre, as well as a tour of Japan. In addition to collaborative guest appearances on releases by Doug Paisley, Siskiyou, and Field Report, Lindeman earned a SOCAN Songwriting Prize nomination in 2013 for a co-write with Steven Lambke of the Constantines. After the release of 2014’s What Am I Going to Do with Everything I Know EP, she signed with North Carolina label Paradise of Bachelors and traveled to Paris to record her third LP, Loyalty. Loyalty (2015) was the first Weather Station album to receive both American and European release, and consequently became somewhat of a critical breakout album. Lindeman followed up in 2017 with an eponymously titled LP that saw an expansion of the Weather Station sound into more rock-oriented territory. Now in 2020, Lindeman leads us into her brilliant and bold new sound, beginning with the release of ‘Robber’ – an electrifying taste of what to expect on Ignorance, due out February 5th. X-ALT-DESC;FMTTYPE=text/html:
BIOGRAPHY

Ignorance, the forthcoming album by the The Weather Station, begins enigmatically; a hissing hi hat, a stuttering drum beat. A full minute passes before the entry of Tamara Lindeman’s voice, gentle, conversational, intoning; “I never believed in the robber”. A jagged music builds, with stabbing strings, saxophone, and several layers of percussion, and the song undulates through five minutes of growing tension, seesawing between just two chords. Once again, Toronto songwriter Tamara Lindeman has remade what The Weather Station sounds like; once again, she has used the occasion of a new record to create a new sonic landscape, tailor-made to express an emotional idea. Ignorance, Lindeman’s debut for Mississippi label Fat Possum Records, is sensuous, ravishing, as hi fi a record as Lindeman has ever made, breaking into pure pop at moments, at others a dense wilderness of notes; a deeply rhythmic, deeply painful record that feels more urgent, more clear than her work ever has.

On the cover, Lindeman lays in the woods, wearing a hand made suit covered in mirrors. She was struck by the compulsion to build a mirror suit on tour one summer, assembling it in a hotel room in PEI and at a friend’s place in Halifax. “I used to be an actor, now I’m a performer” she says. In those roles, she points out, she often finds herself to be the subject of projection, reflecting back the ideas and emotions of others. On the album, she sings of trying to wear the world as a kind of ill fitting, torn garment, dangerously cold; “it does not keep me warm / I cannot ever seem to fasten it” and of walking the streets in it, so disguised, so exposed. Photographed by visual artist Jeff Bierk in midday, the cover purposefully calls to mind Renaissance paintings; with rich blacks and deep colour, and an incongruous blue sky glimpsed through the trees.

The title of the album, Ignorance, feels confrontational, calling to mind perhaps wilful ignorance, but Lindeman insists she meant it in a different context. In 1915 Virginia Woolfe wrote: “the future is dark, which is the best thing a future can be, I think.” Written amidst the brutal first world war, the darkness of the future connoted for Woolfe a not knowing, which by definition holds a sliver of hope; the possibility for something, somewhere, to change. In french, the verb ignorer connotes a humble, unashamed not knowing, and it is this ignorance Lindeman refers to here; the blank space at an intersection of hope and despair, a darkness that does not have to be dark.

Emerging out of Toronto’s vibrant folk scene, Lindeman debuted a moody, introspective sound with her independently released East EP in 2008. Her LP The Line followed in 2009, expanding on an earthy, lyrical style, driven by her distinctive fingerpicked guitar and banjo parts. For the next Weather Station release, Lindeman worked with friend and collaborator Daniel Romano, signing with his You’ve Changed Records label to release the critically acclaimed follow-up, All of It Was Mine, in 2011. Though the album was only released in Canada, it gained wider exposure for the Weather Station, leading to several North American tours with acts like Bahamas, Basia Bulat, and Timber Timbre, as well as a tour of Japan. In addition to collaborative guest appearances on releases by Doug Paisley, Siskiyou, and Field Report, Lindeman earned a SOCAN Songwriting Prize nomination in 2013 for a co-write with Steven Lambke of the Constantines. After the release of 2014’s What Am I Going to Do with Everything I Know EP, she signed with North Carolina label Paradise of Bachelors and traveled to Paris to record her third LP, Loyalty. Loyalty (2015) was the first Weather Station album to receive both American and European release, and consequently became somewhat of a critical breakout album. Lindeman followed up in 2017 with an eponymously titled LP that saw an expansion of the Weather Station sound into more rock-oriented territory. Now in 2020, Lindeman leads us into her brilliant and bold new sound, beginning with the release of ‘Robber’ – an electrifying taste of what to expect on Ignorance, due out February 5th.

LAST-MODIFIED:20220218T184600Z X-ACCESS:1 X-HITS:3493 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220220T203000 DTEND;TZID=America/Denver:20220220T233000 UID:5C476F8E-0C48-4EF7-91F1-A8535BA82DB9 SUMMARY:Eric Krasno & Son Little DTSTAMP:20211108T205206Z DESCRIPTION:Eric Krasno\NVery few things last forever. Family does though. In the face of trauma, trials, and tribulations, it weathers every storm. Eric Krasno consecrates, commends, and celebrates the permanence of family on his fourth full-length solo offering, Always. The Soulive and Lettuce co-founder, singer, multi-instrumentalist, and two-time GRAMMY® Award-winning songwriter-producer defines himself as not only an artist, but also as a husband, father, and man across these ten tracks with inimitable instrumentation, eloquent songcraft, and raw honesty.\N“Before 2020, I was having a good time, but I wasn’t grounded at all,” he explains. “I was going from gig to gig. I was always running around without a purpose. During the last year, I found my people in terms of my wife and son. I’ve created a family who will always be there for me. That’s what the album is about.”\NA dynamic career thus far positioned him to present such an everlasting vision. Something of a musical journeyman, his extensive catalog comprises three solo albums, four Lettuce albums, twelve Soulive albums, and production and/or songwriting for Norah Jones, Robert Randolph, Pretty Lights, Talib Kweli, 50 Cent, Aaron Neville, and Allen Stone. As a dynamic performer, he’s shared stages with Rolling Stones, Dave Matthews Band, John Mayer, and The Roots. Out of seven nominations, he picked up two GRAMMY® Awards for his role as a songwriter and guitarist on Tedeschi Trucks Band’s Revelator and guitarist on Derek Trucks Band’ Already Free. In 2019, he served up Telescope under the KRAZ moniker. The cinematic concept album earned widespread acclaim from the likes of Relix and Salon who hailed it as “a timely New York story.”\NAs the Global Pandemic irrevocably changed the world’s plans, he found himself thinking a lot and writing just as much. At the suggestion of old Lettuce bandmate Adam Deitch, he followed musician and producer Otis McDonald on social media. They conversed online until Otis asked him to contribute to the SongAid performance series. Bob Dylan’s “The Man In Me” had recently taken on a deeper significance for Eric, so they covered the tune in support of NAACP and uncorked instant creative chemistry.“During the past two years, my wife and I got married, bought a house, and had a baby,” he recalls. “When she was pregnant, I kept hearing ‘The Man In Me’. I had heard the song many times before, but it had never quite hit me the way it was hitting me. I recorded it with just acoustic guitar and vocals, and I loved what Otis did to it. He sent it back to me, and I thought, ‘This is exactly how I want to make my next record’. I wanted it to sound like a band but knock like a hip-hop record. We didn’t even have to talk about it. We were going to do the album.”\NThe initial sessions took place virtually, but as life took on some semblance of normalcy, Eric ventured up to the Bay Area’s legendary Hyde Street Studios famous for 2Pac, Grateful Dead, and Digital Underground to record face-to-face. Even though “90% of the record happened online,” they managed to tap into a shared spirit as co-producers. They also formed Eric Krasno & The Assembly with Otis on bass, Wil Blades on keys and organ, Curtis Kelly on drums, and James VIII on guitar and vocals.\N“My goal was for this to feel like a band record, and I ended up with a great band,” he smiles. “You’ll hear a lot of guitar harmony or what I like to call ‘guit-harmony’,” he laughs.\NOn the first single “So Cold,” an icy beat bolts down the groove as Eric’s soulful intonation cools the tense riff. In the wake of a hummable hook, a bluesy guitar solo takes hold as each bend wails.\N“It’s about a relationship,” he explains. “This girl takes out her anger on other people, and the guy is trying to get to the bottom of what’s wrong and why she’s so cold. You’re trying to leave dark things behind and move into a more positive place. It has a hopeful tone because I’ve gotten past it.”\NHead-nodding handclaps, horns from Jazz Mafia, and a funkified bass line drive “Lost Myself” as the track spirals out into a wah-drenched lead.“It seems negative, but it’s not,” he observes. “It’s about losing your ego when you find someone who works for you. It’s the funkiest track on the album.”\NThen, there’s “Leave Me Alone.” The up-tempo song hinges on an unshakable bounce with a catchy hook that “addresses people who love gossip.” The opener “Silence” leans into a laidback pocket before unspooling another simmering solo. He wrote the heartfelt “Hold Tight” about the birth of his son, while the finale “Always With You” also pays homage to his family.\N“The first verse was about meeting my wife,” he says. “The second is about how we created a child during this dark time in history. Something beautiful came out of it.”\NIn the end, Eric welcomes everyone to be a part of his family on Always.“If you take away a message of love and the Always concept, that’s great,” he leaves off. “Most of all, I want to put you in a happy place. In the past, I personally just felt like I was a guitarist, songwriter, and a producer. Now, I feel like a fully formed artist.” X-ALT-DESC;FMTTYPE=text/html:

Eric Krasno

Very few things last forever. Family does though. In the face of trauma, trials, and tribulations, it weathers every storm. Eric Krasno consecrates, commends, and celebrates the permanence of family on his fourth full-length solo offering, Always. The Soulive and Lettuce co-founder, singer, multi-instrumentalist, and two-time GRAMMY® Award-winning songwriter-producer defines himself as not only an artist, but also as a husband, father, and man across these ten tracks with inimitable instrumentation, eloquent songcraft, and raw honesty.

“Before 2020, I was having a good time, but I wasn’t grounded at all,” he explains. “I was going from gig to gig. I was always running around without a purpose. During the last year, I found my people in terms of my wife and son. I’ve created a family who will always be there for me. That’s what the album is about.”

A dynamic career thus far positioned him to present such an everlasting vision. Something of a musical journeyman, his extensive catalog comprises three solo albums, four Lettuce albums, twelve Soulive albums, and production and/or songwriting for Norah Jones, Robert Randolph, Pretty Lights, Talib Kweli, 50 Cent, Aaron Neville, and Allen Stone. As a dynamic performer, he’s shared stages with Rolling Stones, Dave Matthews Band, John Mayer, and The Roots. Out of seven nominations, he picked up two GRAMMY® Awards for his role as a songwriter and guitarist on Tedeschi Trucks Band’s Revelator and guitarist on Derek Trucks Band’ Already Free. In 2019, he served up Telescope under the KRAZ moniker. The cinematic concept album earned widespread acclaim from the likes of Relix and Salon who hailed it as “a timely New York story.”

As the Global Pandemic irrevocably changed the world’s plans, he found himself thinking a lot and writing just as much. At the suggestion of old Lettuce bandmate Adam Deitch, he followed musician and producer Otis McDonald on social media. They conversed online until Otis asked him to contribute to the SongAid performance series. Bob Dylan’s “The Man In Me” had recently taken on a deeper significance for Eric, so they covered the tune in support of NAACP and uncorked instant creative chemistry.
“During the past two years, my wife and I got married, bought a house, and had a baby,” he recalls. “When she was pregnant, I kept hearing ‘The Man In Me’. I had heard the song many times before, but it had never quite hit me the way it was hitting me. I recorded it with just acoustic guitar and vocals, and I loved what Otis did to it. He sent it back to me, and I thought, ‘This is exactly how I want to make my next record’. I wanted it to sound like a band but knock like a hip-hop record. We didn’t even have to talk about it. We were going to do the album.”

The initial sessions took place virtually, but as life took on some semblance of normalcy, Eric ventured up to the Bay Area’s legendary Hyde Street Studios famous for 2Pac, Grateful Dead, and Digital Underground to record face-to-face. Even though “90% of the record happened online,” they managed to tap into a shared spirit as co-producers. They also formed Eric Krasno & The Assembly with Otis on bass, Wil Blades on keys and organ, Curtis Kelly on drums, and James VIII on guitar and vocals.

“My goal was for this to feel like a band record, and I ended up with a great band,” he smiles. “You’ll hear a lot of guitar harmony or what I like to call ‘guit-harmony’,” he laughs.

On the first single “So Cold,” an icy beat bolts down the groove as Eric’s soulful intonation cools the tense riff. In the wake of a hummable hook, a bluesy guitar solo takes hold as each bend wails.

“It’s about a relationship,” he explains. “This girl takes out her anger on other people, and the guy is trying to get to the bottom of what’s wrong and why she’s so cold. You’re trying to leave dark things behind and move into a more positive place. It has a hopeful tone because I’ve gotten past it.”

Head-nodding handclaps, horns from Jazz Mafia, and a funkified bass line drive “Lost Myself” as the track spirals out into a wah-drenched lead.
“It seems negative, but it’s not,” he observes. “It’s about losing your ego when you find someone who works for you. It’s the funkiest track on the album.”

Then, there’s “Leave Me Alone.” The up-tempo song hinges on an unshakable bounce with a catchy hook that “addresses people who love gossip.” The opener “Silence” leans into a laidback pocket before unspooling another simmering solo. He wrote the heartfelt “Hold Tight” about the birth of his son, while the finale “Always With You” also pays homage to his family.

“The first verse was about meeting my wife,” he says. “The second is about how we created a child during this dark time in history. Something beautiful came out of it.”

In the end, Eric welcomes everyone to be a part of his family on Always.
“If you take away a message of love and the Always concept, that’s great,” he leaves off. “Most of all, I want to put you in a happy place. In the past, I personally just felt like I was a guitarist, songwriter, and a producer. Now, I feel like a fully formed artist.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220218T184756Z X-ACCESS:1 X-HITS:1396 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220224T200000 DTEND;TZID=America/Denver:20220224T233000 UID:F42415F8-8C2A-4458-B0C5-32B4FB468A11 SUMMARY:Molly Tuttle & Golden Highway DTSTAMP:20211117T011552Z DESCRIPTION:Molly Tuttle & Golden Highway—her brand new band of bluegrass virtuosos featuring mandolinist Dominick Leslie, banjoist Kyle Tuttle, fiddle player Bronwyn Keith-Hynes, and bassist Shelby Means—will tour the United States in 2022 in support of Tuttle’s forthcoming Nonesuch Records debut.\NAn award-winning guitarist and songwriter, native Californian Molly Tuttle continues to push her songwriting in new directions and transcend musical boundaries. Since moving to Nashville in 2015, she has worked with many of her peers and heroes in the Americana, folk, and bluegrass communities, winning Instrumentalist of the Year at the 2018 Americana Music Awards. Tuttle’s 2019 debut album, When You're Ready, received critical acclaim, with NPR Music praising its “handsomely crafted melodies that gently insinuate themselves into the memory,” and the Wall Street Journal lauding Tuttle’s “genre-boundary-crossing comfort and emotional preparedness,” calling the record an “invigorating, mature and attention-grabbing first album.”\NTuttle’s accolades also include Folk Alliance International’s honor for Song of the Year for “You Didn’t Call My Name,” from her 2017 Rise EP, and consecutive trophies for the International Bluegrass Music Association’s Guitar Player of the Year; she was the first woman in the history of the IBMA to win that honor.\NDuring the pandemic, Tuttle recorded a covers album, …but i'd rather be with you, which was released in August 2020. The record, which features guest vocals from Dawes’ Taylor Goldsmith and Old Crow Medicine Show’s Ketch Secor, includes songs by musicians ranging from FKA Twigs to Cat Stevens, Rancid to Karen Dalton, and The National to The Rolling Stones. The New Yorker’s Jay Ruttenberg, in praising her rendition of the Stones’ “She’s a Rainbow,” says: “In Tuttle’s reading, the song uses a bluegrass spirit to look to the past—and a feminist allegiance to peek at the future.” X-ALT-DESC;FMTTYPE=text/html:

Molly Tuttle & Golden Highway—her brand new band of bluegrass virtuosos featuring mandolinist Dominick Leslie, banjoist Kyle Tuttle, fiddle player Bronwyn Keith-Hynes, and bassist Shelby Means—will tour the United States in 2022 in support of Tuttle’s forthcoming Nonesuch Records debut.

An award-winning guitarist and songwriter, native Californian Molly Tuttle continues to push her songwriting in new directions and transcend musical boundaries. Since moving to Nashville in 2015, she has worked with many of her peers and heroes in the Americana, folk, and bluegrass communities, winning Instrumentalist of the Year at the 2018 Americana Music Awards. Tuttle’s 2019 debut album, When You're Ready, received critical acclaim, with NPR Music praising its “handsomely crafted melodies that gently insinuate themselves into the memory,” and the Wall Street Journal lauding Tuttle’s “genre-boundary-crossing comfort and emotional preparedness,” calling the record an “invigorating, mature and attention-grabbing first album.”

Tuttle’s accolades also include Folk Alliance International’s honor for Song of the Year for “You Didn’t Call My Name,” from her 2017 Rise EP, and consecutive trophies for the International Bluegrass Music Association’s Guitar Player of the Year; she was the first woman in the history of the IBMA to win that honor.

During the pandemic, Tuttle recorded a covers album, …but i'd rather be with you, which was released in August 2020. The record, which features guest vocals from Dawes’ Taylor Goldsmith and Old Crow Medicine Show’s Ketch Secor, includes songs by musicians ranging from FKA Twigs to Cat Stevens, Rancid to Karen Dalton, and The National to The Rolling Stones. The New Yorker’s Jay Ruttenberg, in praising her rendition of the Stones’ “She’s a Rainbow,” says: “In Tuttle’s reading, the song uses a bluegrass spirit to look to the past—and a feminist allegiance to peek at the future.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220220T021427Z X-ACCESS:1 X-HITS:3181 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220225T210000 DTEND;TZID=America/Denver:20220225T233000 UID:D50CFBFF-C9B4-465C-B6CD-5281A0F4ADC8 SUMMARY:The Band of Heathens DTSTAMP:20211117T014353Z DESCRIPTION:With their professional lives on hold during the pandemic, The Band of Heathens found a year-long creative workaround. Every Tuesday night, the five-piece group came together via Zoom from their respective homes – from L.A. to Asheville - to host the Good Time Supper Club, a ninety-minute variety program.\N“It was nice to be able to use music as a connective thread and something that's healing,” says guitarist-vocalist Ed Jurdi. “We were doing it for ourselves, but the greatest benefit was how it created this community for us to hang out with our fans.”\NGuitarist-vocalist and fellow founding member Gordy Quist agrees. “The show was like a release, where we all connected and forgot about the stuff going on around us. At some point, we decided to bring in guests for an interview, and that turned into 'Hey, let's pre-record a music video of a cover song with each of them.'”\NThat segment of the show, called Remote Transmissions, became a much-anticipated fan favorite each week. And it is now the title of their latest album, featuring covers of ten classic songs with guest vocals by the likes of Margo Price, Ray Wylie Hubbard and Charlie Starr.\NIt's just the latest innovative move for The Band Of Heathens, who over the last fifteen years have released nine acclaimed albums of roots rock originals, played festivals like Bonnaroo and South by Southwest, and toured the world many times over (Rolling Stone calls them “a smoking live band”), all while remaining that rarest of birds – a truly independent group. X-ALT-DESC;FMTTYPE=text/html:

With their professional lives on hold during the pandemic, The Band of Heathens found a year-long creative workaround. Every Tuesday night, the five-piece group came together via Zoom from their respective homes – from L.A. to Asheville - to host the Good Time Supper Club, a ninety-minute variety program.

“It was nice to be able to use music as a connective thread and something that's healing,” says guitarist-vocalist Ed Jurdi. “We were doing it for ourselves, but the greatest benefit was how it created this community for us to hang out with our fans.”

Guitarist-vocalist and fellow founding member Gordy Quist agrees. “The show was like a release, where we all connected and forgot about the stuff going on around us. At some point, we decided to bring in guests for an interview, and that turned into 'Hey, let's pre-record a music video of a cover song with each of them.'”

That segment of the show, called Remote Transmissions, became a much-anticipated fan favorite each week. And it is now the title of their latest album, featuring covers of ten classic songs with guest vocals by the likes of Margo Price, Ray Wylie Hubbard and Charlie Starr.

It's just the latest innovative move for The Band Of Heathens, who over the last fifteen years have released nine acclaimed albums of roots rock originals, played festivals like Bonnaroo and South by Southwest, and toured the world many times over (Rolling Stone calls them “a smoking live band”), all while remaining that rarest of birds – a truly independent group.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA\; 195 W 2100 S\, South Salt Lake\, Utah 84190\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220224T165539Z X-ACCESS:1 X-HITS:2284 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220226T200000 DTEND;TZID=America/Denver:20220226T223000 UID:09809808-9D80-4AEF-BACA-6073A4328A79 SUMMARY:John Craigie DTSTAMP:20211206T202055Z DESCRIPTION:A lot of life can happen over the course of one record. Lyrics immortalize those characters, exploits, and memories. On his 2020 Asterisk The Universe, John Craigie awkwardly encounters previous flames, mistakes a Catholic School custodian as a saint (and prays to him anyway), pays tribute to modern-day revolutionaries, and explores what it all means to live in the 21st century where infinite possibility does not necessarily equate infinite understanding. He soundtracks these stories with a score of smoked-out soul, tender folk, and American songbook eloquence billowing right from the heart of California. Progressing once more, the interplay of live drums and bass hold the music in the pocket as it simultaneously emanates an acoustic campfire glow.\NWith these ten tunes, his journey unfolds in between organic instrumentation and lyrical observation. “As with any album, I want the lyrics to be heard, first and foremost,” he exclaims. “This is pretty similar to other versions of who I’ve been and who I am. It’s just one with a fresh batch of songs I’ll add to my setlist and new stories to tell from the road.”\NThose stories from the road have endeared Craigie to the devoted fans he has earned, song by song, show by show since 2009. A Craigie performance is not just a music show, it’s a collective experience. Craigie shines by telling candid stories, humorous anecdotes, and leaving everything on the stage. Fiercely independent, Craigie prolifically unveiled one highly personal album after another while logging enough miles on the road to give The Grateful Dead a run for their money. Venues got bigger and bigger as audiences clamored for more. Capturing that electric feeling on 2016’s Capricorn In Retrograde… Just Kidding… Live in Portland, Craigie wound up on Jack Johnson’s car stereo on a road trip up the coast. Thoroughly impressed by what he heard, Johnson took Craigie on tour during the summer of 2017.\N2017 would be a watershed year for Craigie. From No Rain, No Rose, “I Am California '' [feat. Gregory Alan Isakov] eclipsed 4.5 million Spotify streams followed by “Highway Blood” [feat. Shook Twins, Gregory Alan Isakov] with 3.5 million Spotify streams. Additionally, he performed everywhere from High Sierra Music Festival, Strawberry Music Festival, and Kate Wolf Music Festival to Burning Man and Summer Camp Festival. He attracted the admiration of not-so secret admires a la Chuck Norris, while earning acclaim from No Depression, SF Weekly, AXS, Seattle Times The Portland Tribune, and The Stranger who christened him, “the lovechild of John Prine and Mitch Hedberg.” 2018’s Scarecrow was originally plotted as a “vinyl only” release, but the diehard fanbase wasn’t having it. An onslaught of emails and social media messages demanded Craigie shared the music online. It appeared on DSPs shortly thereafter.\NFollowing the tour in support of No Rain, No Rose, Craigie dug into a different well of inspiration.“I’d been listening to a lot more hip-hop and soul on the trip, and I found myself writing songs that had very simple chord structures and repetitive rhythms,” he recalls. “In a lot of those tunes, you hear old samples from Bill Withers, Al Green, and Nina Simone. I knew those artists’ talents were far beyond my own, but they still influenced the structure of what I was doing. I even thought about doing a sample-based album, yet I knew live was going to be the best. I wanted to record in a similar way to No Rain, No Rose in a room with all of my friends.”\NThis time, the room would be in the Bodega, CA—home of The Rainbow Girls. Opening up the creative ecosystem, he welcomed a bunch of buddies: Matt Goff [drums, Marty O’Reilly], Ben Berry [bass, Old Soul Orchestra], Jamie Coffis [keys, The Coffis Brothers], Lorenzo Loera [organ, The California Honeydrops], Niko Daoussis [guitar, The Shook Twins], and, of course, The Rainbow Girls—into the fold.\N“Their house is an old cabin built on a few acres out in the Northern California coastal fields,” he says. “We were all able to sequester ourselves there and get really absorbed into the process. Sessions would start in the late afternoon and go until about two or three in the morning. We’d all eat together and breathe the songs. The album is strongly influenced by California and California musicians. My roots are always coastal California. It was great to be so close to the ocean when recording and surrounded by local talent. We ate California food, drank California wine, and smoked California weed.”\NA rumbling bass growls at the beginning of the first single “Part Wolf” as Craigie slips into soulful rasp with a confession, “I got that America meanness,” over swells of organ and simmering cymbals. Laughter in the cabin gives way to the delicate nostalgia of “Nomads.” Rustling acoustic guitar, warm piano, and harmonica wails ebb and flow under a prayer, “Oh Christopher, please bless these nomads.”\N“It’s a standard tribute to all of my traveling friends and musicians who have the same lifestyle as I do,” he continues. “The chorus comes from my Catholic school days. I remember learning how Saint Christopher was the patron saint of travelers. We were to pray to him before going on any big trips. My family went on a weekend trip to San Diego, and I prayed to Christopher. Being young and not very smart, I assumed the teacher referred to people living in our community,” he laughs. “Amongst the workers at our school, there was a trash collector named Christopher who emptied the trash cans. So, I prayed to him. The trip was a success, and we all made it home safely. When I learned about my ignorance, I still found myself praying to the old janitor.”\NWith a powerhouse vocal performance, “Climb Up” delivers an homage to “activists like Alexandria Ocasio-Cortez and Greta Thunberg who have known the best way to make change is to involve oneself in the system and literally ‘climb up’ the ranks until it’s possible to make changes yourself.” Then, there’s “Don’t Ask.” His sardonic sense of humor shines through as he details “how awkward and funny chance run-ins with exes can be.” The Rainbow Girls lend their wistful harmonies to “Used It All Up,” taking center stage and covering Craigie with “an old-time sound.”\NTo accompany each respective single release prior to the rollout, Craigie cut his own takes on a handful of personal favorites. These span everything from Flaming Lips’ “Ego Tripping at the Gates of Hell” and Blaze Foley’s “Oval Room” to Nina Simone’s “To Love Somebody.”\NHe adds, “I knew Asterisk the Universe was going to be a single LP, but I wanted to capture the magic again of the late-night covers we were doing. So, I thought it might be cool to release a B-side for each single to make them special like my heroes used to in the past.”\NIn the end, Craigie’s story unfolds like never before on Asterisk The Universe.\N“I think the songs have a pleasant flow to them,” he leaves off. “I hope it brings them back for future listens.” X-ALT-DESC;FMTTYPE=text/html:

A lot of life can happen over the course of one record. Lyrics immortalize those characters, exploits, and memories. On his 2020 Asterisk The Universe, John Craigie awkwardly encounters previous flames, mistakes a Catholic School custodian as a saint (and prays to him anyway), pays tribute to modern-day revolutionaries, and explores what it all means to live in the 21st century where infinite possibility does not necessarily equate infinite understanding. He soundtracks these stories with a score of smoked-out soul, tender folk, and American songbook eloquence billowing right from the heart of California. Progressing once more, the interplay of live drums and bass hold the music in the pocket as it simultaneously emanates an acoustic campfire glow.

With these ten tunes, his journey unfolds in between organic instrumentation and lyrical observation. “As with any album, I want the lyrics to be heard, first and foremost,” he exclaims. “This is pretty similar to other versions of who I’ve been and who I am. It’s just one with a fresh batch of songs I’ll add to my setlist and new stories to tell from the road.”

Those stories from the road have endeared Craigie to the devoted fans he has earned, song by song, show by show since 2009. A Craigie performance is not just a music show, it’s a collective experience. Craigie shines by telling candid stories, humorous anecdotes, and leaving everything on the stage. Fiercely independent, Craigie prolifically unveiled one highly personal album after another while logging enough miles on the road to give The Grateful Dead a run for their money. Venues got bigger and bigger as audiences clamored for more. Capturing that electric feeling on 2016’s Capricorn In Retrograde… Just Kidding… Live in Portland, Craigie wound up on Jack Johnson’s car stereo on a road trip up the coast. Thoroughly impressed by what he heard, Johnson took Craigie on tour during the summer of 2017.

2017 would be a watershed year for Craigie. From No Rain, No Rose, “I Am California '' [feat. Gregory Alan Isakov] eclipsed 4.5 million Spotify streams followed by “Highway Blood” [feat. Shook Twins, Gregory Alan Isakov] with 3.5 million Spotify streams. Additionally, he performed everywhere from High Sierra Music Festival, Strawberry Music Festival, and Kate Wolf Music Festival to Burning Man and Summer Camp Festival. He attracted the admiration of not-so secret admires a la Chuck Norris, while earning acclaim from No Depression, SF Weekly, AXS, Seattle Times The Portland Tribune, and The Stranger who christened him, “the lovechild of John Prine and Mitch Hedberg.” 2018’s Scarecrow was originally plotted as a “vinyl only” release, but the diehard fanbase wasn’t having it. An onslaught of emails and social media messages demanded Craigie shared the music online. It appeared on DSPs shortly thereafter.

Following the tour in support of No Rain, No Rose, Craigie dug into a different well of inspiration.
“I’d been listening to a lot more hip-hop and soul on the trip, and I found myself writing songs that had very simple chord structures and repetitive rhythms,” he recalls. “In a lot of those tunes, you hear old samples from Bill Withers, Al Green, and Nina Simone. I knew those artists’ talents were far beyond my own, but they still influenced the structure of what I was doing. I even thought about doing a sample-based album, yet I knew live was going to be the best. I wanted to record in a similar way to No Rain, No Rose in a room with all of my friends.”

This time, the room would be in the Bodega, CA—home of The Rainbow Girls. Opening up the creative ecosystem, he welcomed a bunch of buddies: Matt Goff [drums, Marty O’Reilly], Ben Berry [bass, Old Soul Orchestra], Jamie Coffis [keys, The Coffis Brothers], Lorenzo Loera [organ, The California Honeydrops], Niko Daoussis [guitar, The Shook Twins], and, of course, The Rainbow Girls—into the fold.

“Their house is an old cabin built on a few acres out in the Northern California coastal fields,” he says. “We were all able to sequester ourselves there and get really absorbed into the process. Sessions would start in the late afternoon and go until about two or three in the morning. We’d all eat together and breathe the songs. The album is strongly influenced by California and California musicians. My roots are always coastal California. It was great to be so close to the ocean when recording and surrounded by local talent. We ate California food, drank California wine, and smoked California weed.”

A rumbling bass growls at the beginning of the first single “Part Wolf” as Craigie slips into soulful rasp with a confession, “I got that America meanness,” over swells of organ and simmering cymbals. Laughter in the cabin gives way to the delicate nostalgia of “Nomads.” Rustling acoustic guitar, warm piano, and harmonica wails ebb and flow under a prayer, “Oh Christopher, please bless these nomads.”

“It’s a standard tribute to all of my traveling friends and musicians who have the same lifestyle as I do,” he continues. “The chorus comes from my Catholic school days. I remember learning how Saint Christopher was the patron saint of travelers. We were to pray to him before going on any big trips. My family went on a weekend trip to San Diego, and I prayed to Christopher. Being young and not very smart, I assumed the teacher referred to people living in our community,” he laughs. “Amongst the workers at our school, there was a trash collector named Christopher who emptied the trash cans. So, I prayed to him. The trip was a success, and we all made it home safely. When I learned about my ignorance, I still found myself praying to the old janitor.”

With a powerhouse vocal performance, “Climb Up” delivers an homage to “activists like Alexandria Ocasio-Cortez and Greta Thunberg who have known the best way to make change is to involve oneself in the system and literally ‘climb up’ the ranks until it’s possible to make changes yourself.” Then, there’s “Don’t Ask.” His sardonic sense of humor shines through as he details “how awkward and funny chance run-ins with exes can be.” The Rainbow Girls lend their wistful harmonies to “Used It All Up,” taking center stage and covering Craigie with “an old-time sound.”

To accompany each respective single release prior to the rollout, Craigie cut his own takes on a handful of personal favorites. These span everything from Flaming Lips’ “Ego Tripping at the Gates of Hell” and Blaze Foley’s “Oval Room” to Nina Simone’s “To Love Somebody.”

He adds, “I knew Asterisk the Universe was going to be a single LP, but I wanted to capture the magic again of the late-night covers we were doing. So, I thought it might be cool to release a B-side for each single to make them special like my heroes used to in the past.”

In the end, Craigie’s story unfolds like never before on Asterisk The Universe.

“I think the songs have a pleasant flow to them,” he leaves off. “I hope it brings them back for future listens.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220223T192652Z X-ACCESS:1 X-HITS:3309 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220303T200000 DTEND;TZID=America/Denver:20220303T233000 UID:3D091F4B-25EB-4EFC-B523-6FCBED6EC111 SUMMARY:Steve Poltz DTSTAMP:20211213T231922Z DESCRIPTION:This is the story of Steve Poltz. Some people start life with a plan. Not Steve. He opens himself up to the universe in a way most of us will never be loose enough to achieve, and the universe responds with a wink, a seemingly bottomless well of inspiration, and the talent to truly connect with an audience. While 2021 could have found him adrift, faced with a tour moratorium the likes of which he hadn’t experienced in decades, it opened a door — literally, his friend Oliver Wood of The Wood Brother’s door — to creating an exuberant, thoughtful batch of songs that celebrate life in all of its stages. The resulting album is called Stardust & Satellites [Red House / Compass Records]. “I just make stuff up,” he exclaims, quipping, “it sounded good to say that.” Steve is the sort of prolific writer and collaborator who downplays what seems like a non-stop geyser of creativity. “I have no rhyme or reason for what I do. It’s all magic. I go by instinct. It just felt right, so I went with it.” The “it” in question is one of those serendipitous situations that were created by the pandemic. Steve, a road dog and performance junkie who regularly spends 300+ days a year on the road, bringing it to the people, should’ve been on tour last year. Esteemed Nashville roots rockers The Wood Brothers (Chris Wood being a former neighbor to Steve), also should’ve been on tour. Stuck in Nashville, Steve often joined the Wood Brothers for outdoor socially distant hangs, and, on a whim, decided to record one song with Oliver Wood and Jano Rix. They cut “Frenemy,” a wistful, “keep your friends close and your enemies even closer” song that made it clear to all involved that they’d stumbled onto something special. With no studio clock ticking, no schedule or deadlines to meet, the companionship and ability to collaborate with like-minded musicians added a joyful diversion to what was a boring-ass year. Musically, the sky was the limit, and the group of musicians and friends embarked on a musical experience that found cast and crew reaching toward the stratosphere with Stardust & Satellites, which Oliver and Jano Rix of The Wood Brothers produced. The album begins with the lithe fingerpicking of “Wrong Town,” an anthem summing up the life of an itinerant songwriter/performer, where he declares, “The truth is I have no plan at all,” going on to cite Emmylou Harris and Don Was as his style icons. It’s a “pleased to meet me” sort of song, and it was written to greet the audience at the Telluride Bluegrass Festival in 2019. “I wanted to write an opening song,” Steve recalls.“I sat down with fellow Nashville songwriter Anthony da Costa, and ‘Wrong Town’ just appeared.” But even gonzo guys have their moments where the cycle of life seems to be almost too much to bear. “Conveyor Belt” is a heartfelt song, a song that could only be written at a certain point in one’s life, and that point is when you’re saying goodbye to your parents and addressing your own mortality. Steve explains, "My mom passed away, and then a few years later my dad crossed over. I started thinking that I was next on the conveyor belt in a factory on the wheel of time. Next thing I know, I grabbed my guitar and this song appeared to me like a gift. It didn’t exist and then voila, there it was. I feel lucky to be a conduit." The song is written over a gentle, repetitive melody that moves along with the inevitability of ye old sands of time. For fans, it’s a different side of Steve, using a voice and a new solemnity for a song that touches a universal nerve. On one of the last nights of the recording sessions, Steve locked himself up in his writing room and within an hour, had conjured the catchy, effervescent “Can O’ Pop,” destined to be the radio single. “Jano from The Wood Brothers was leaving the studio, and I asked him to give me a beat, and I told him I’d write a song with the beat he gave me,” recalls Steve. The exuberant, syncopated groove seems to bubble up as Steve admits, in his best mid-period Dylan, “I want to feel the fizzy rhythm with you.” “Hey, Everyone loves a can of pop” he cracks. Among other highlights, “It’s Baseball Season” seesaws on a sunny acoustic guitar as he pays homage to America’s favorite pastime. Poltz is a true fan, and the song’s laid-back, relaxed vibe speaks of carefree days at the ballpark. Steve even pays tribute to legendary baseball announcer Ernie Harwell. With a cult following that includes fellow musicians, regular folks and festival goers who stumble onto his performances, there’s no common denominator to Steve’s fans. Born in Halifax, Nova Scotia and raised in San Diego, CA Steve toured and recorded with San Diego cult favorites The Rugburns (they still play annual sold-out reunion shows). But it was through his creative partnership with Jewel that he vaulted into the national spotlight; co-writing her multiplatinum Billboard Hot 100-busting smash, “You Were Meant For Me,” and continues to work with her to this day. Over the years, the Nashville-based troubadour has built a fascinating solo catalog, earmarked by his debut, One Left Shoe, Dreamhouse, Folk Singer, and 2019’s Shine On. No Depression crowned him, "A sardonic provocateur with a lighthearted acoustic-driven wit, suggesting at times a sunnier, less psychedelic Todd Snider, or maybe a less wan, washed Jackson Brown,” while the Associated Press dubbed him "part busker, part Iggy Pop and part Robin Williams, a freewheeling folkie with a quick wit and big heart.” Among other collaborations, GRAMMY-winning bluegrass phenom Billy Strings tapped him to co-write “Leaders” on 2021’s Renewal and he’s co-written with Molly Tuttle, Sierra Hull, Nicki Bluhm, Oliver Wood and even Mojo Nixon. He’s resumed his tour schedule, and when he comes to your town, he’ll say, as he does every night, “This is the best show I’ve ever played.” And hell, maybe it just is. Ultimately, Steve never needed a plan. He’s something of a natural, after all. X-ALT-DESC;FMTTYPE=text/html:

This is the story of Steve Poltz.

Some people start life with a plan. Not Steve. He opens himself up to the universe in a way most of us will never be loose enough to achieve, and the universe responds with a wink, a seemingly bottomless well of inspiration, and the talent to truly connect with an audience. While 2021 could have found him adrift, faced with a tour moratorium the likes of which he hadn’t experienced in decades, it opened a door — literally, his friend Oliver Wood of The Wood Brother’s door — to creating an exuberant, thoughtful batch of songs that celebrate life in all of its stages.

The resulting album is called Stardust & Satellites [Red House / Compass Records].

“I just make stuff up,” he exclaims, quipping, “it sounded good to say that.” Steve is the sort of prolific writer and collaborator who downplays what seems like a non-stop geyser of creativity. “I have no rhyme or reason for what I do. It’s all magic. I go by instinct. It just felt right, so I went with it.”

The “it” in question is one of those serendipitous situations that were created by the pandemic. Steve, a road dog and performance junkie who regularly spends 300+ days a year on the road, bringing it to the people, should’ve been on tour last year. Esteemed Nashville roots rockers The Wood Brothers (Chris Wood being a former neighbor to Steve), also should’ve been on tour. Stuck in Nashville, Steve often joined the Wood Brothers for outdoor socially distant hangs, and, on a whim, decided to record one song with Oliver Wood and Jano Rix.

They cut “Frenemy,” a wistful, “keep your friends close and your enemies even closer” song that made it clear to all involved that they’d stumbled onto something special. With no studio clock ticking, no schedule or deadlines to meet, the companionship and ability to collaborate with like-minded musicians added a joyful diversion to what was a boring-ass year. Musically, the sky was the limit, and the group of musicians and friends embarked on a musical experience that found cast and crew reaching toward the stratosphere with Stardust & Satellites, which Oliver and Jano Rix of The Wood Brothers produced.

The album begins with the lithe fingerpicking of “Wrong Town,” an anthem summing up the life of an itinerant songwriter/performer, where he declares, “The truth is I have no plan at all,” going on to cite Emmylou Harris and Don Was as his style icons. It’s a “pleased to meet me” sort of song, and it was written to greet the audience at the Telluride Bluegrass Festival in 2019. “I wanted to write an opening song,” Steve recalls.“I sat down with fellow Nashville songwriter Anthony da Costa, and ‘Wrong Town’ just appeared.”

But even gonzo guys have their moments where the cycle of life seems to be almost too much to bear. “Conveyor Belt” is a heartfelt song, a song that could only be written at a certain point in one’s life, and that point is when you’re saying goodbye to your parents and addressing your own mortality. Steve explains, "My mom passed away, and then a few years later my dad crossed over. I started thinking that I was next on the conveyor belt in a factory on the wheel of time. Next thing I know, I grabbed my guitar and this song appeared to me like a gift. It didn’t exist and then voila, there it was. I feel lucky to be a conduit."

The song is written over a gentle, repetitive melody that moves along with the inevitability of ye old sands of time. For fans, it’s a different side of Steve, using a voice and a new solemnity for a song that touches a universal nerve.

On one of the last nights of the recording sessions, Steve locked himself up in his writing room and within an hour, had conjured the catchy, effervescent “Can O’ Pop,” destined to be the radio single.

“Jano from The Wood Brothers was leaving the studio, and I asked him to give me a beat, and I told him I’d write a song with the beat he gave me,” recalls Steve. The exuberant, syncopated groove seems to bubble up as Steve admits, in his best mid-period Dylan, “I want to feel the fizzy rhythm with you.”

“Hey, Everyone loves a can of pop” he cracks.

Among other highlights, “It’s Baseball Season” seesaws on a sunny acoustic guitar as he pays homage to America’s favorite pastime. Poltz is a true fan, and the song’s laid-back, relaxed vibe speaks of carefree days at the ballpark. Steve even pays tribute to legendary baseball announcer Ernie Harwell.

With a cult following that includes fellow musicians, regular folks and festival goers who stumble onto his performances, there’s no common denominator to Steve’s fans. Born in Halifax, Nova Scotia and raised in San Diego, CA Steve toured and recorded with San Diego cult favorites The Rugburns (they still play annual sold-out reunion shows). But it was through his creative partnership with Jewel that he vaulted into the national spotlight; co-writing her multiplatinum Billboard Hot 100-busting smash, “You Were Meant For Me,” and continues to work with her to this day.

Over the years, the Nashville-based troubadour has built a fascinating solo catalog, earmarked by his debut, One Left Shoe, Dreamhouse, Folk Singer, and 2019’s Shine On. No Depression crowned him, "A sardonic provocateur with a lighthearted acoustic-driven wit, suggesting at times a sunnier, less psychedelic Todd Snider, or maybe a less wan, washed Jackson Brown,” while the Associated Press dubbed him "part busker, part Iggy Pop and part Robin Williams, a freewheeling folkie with a quick wit and big heart.”

Among other collaborations, GRAMMY-winning bluegrass phenom Billy Strings tapped him to co-write “Leaders” on 2021’s Renewal and he’s co-written with Molly Tuttle, Sierra Hull, Nicki Bluhm, Oliver Wood and even Mojo Nixon.

He’s resumed his tour schedule, and when he comes to your town, he’ll say, as he does every night, “This is the best show I’ve ever played.” And hell, maybe it just is.

Ultimately, Steve never needed a plan.
He’s something of a natural, after all.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220228T221548Z X-ACCESS:1 X-HITS:1472 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220308T200000 DTEND;TZID=America/Denver:20220308T233000 UID:81591714-F80E-45AE-930D-E990DF6666D8 SUMMARY:Robert Earl Keen — Night 1! DTSTAMP:20211129T222006Z DESCRIPTION:It’s not always easy to sum up a career — let alone a life’s ambition — so succinctly, but those five words from Robert Earl Keen’s calling-card anthem just about do it. You can complete the lyric with the next five words — the ones routinely shouted back at Keen by thousands of fans a night (“and the party never ends!”) — just to punctuate the point with a flourish, but it’s the part about the journey that gets right to the heart of what makes Keen tick. Some people take up a life of playing music with the goal of someday reaching a destination of fame and fortune; but from the get-go, Keen just wanted to write and sing his own songs, and to keep writing and singing them for as long as possible.\NOver time, Robert Earl Keen has recorded 19 albums and has thousands of shows under his belt and still no end in sight. From his humble beginnings on the folk scene, he has blazed a peer, critic and fan-based trail that’s earned him living legend (not to mention pioneer) status in the Americana music world. Although he has never been known to wear his Texas heart on his sleeve, he has long been regarded as one of the state’s finest (not to mention top drawing) true singer/songwriter. Keen remains as committed to and inspired by his muse as ever. REK has led his road savvy band from coast to coast where they have carved out a place in the Americana pantheon alongside writers/performers Steve Earle, Willie Nelson, George Strait, Miranda Lambert and Eric Church among others.\NIt isn’t always easy being Robert Earl Keen, but somebody’s got to do it. And now more than ever he is up to the task and loving every minute of it. X-ALT-DESC;FMTTYPE=text/html:

It’s not always easy to sum up a career — let alone a life’s ambition — so succinctly, but those five words from Robert Earl Keen’s calling-card anthem just about do it. You can complete the lyric with the next five words — the ones routinely shouted back at Keen by thousands of fans a night (“and the party never ends!”) — just to punctuate the point with a flourish, but it’s the part about the journey that gets right to the heart of what makes Keen tick. Some people take up a life of playing music with the goal of someday reaching a destination of fame and fortune; but from the get-go, Keen just wanted to write and sing his own songs, and to keep writing and singing them for as long as possible.

Over time, Robert Earl Keen has recorded 19 albums and has thousands of shows under his belt and still no end in sight. From his humble beginnings on the folk scene, he has blazed a peer, critic and fan-based trail that’s earned him living legend (not to mention pioneer) status in the Americana music world. Although he has never been known to wear his Texas heart on his sleeve, he has long been regarded as one of the state’s finest (not to mention top drawing) true singer/songwriter. Keen remains as committed to and inspired by his muse as ever. REK has led his road savvy band from coast to coast where they have carved out a place in the Americana pantheon alongside writers/performers Steve Earle, Willie Nelson, George Strait, Miranda Lambert and Eric Church among others.

It isn’t always easy being Robert Earl Keen, but somebody’s got to do it. And now more than ever he is up to the task and loving every minute of it.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220303T215255Z X-ACCESS:1 X-HITS:3164 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220309T200000 DTEND;TZID=America/Denver:20220309T233000 UID:EB4512AC-63A3-4198-98E5-2C6CC1CE5600 SUMMARY:Robert Earl Keen — Night 2! DTSTAMP:20211129T222309Z DESCRIPTION:It’s not always easy to sum up a career — let alone a life’s ambition — so succinctly, but those five words from Robert Earl Keen’s calling-card anthem just about do it. You can complete the lyric with the next five words — the ones routinely shouted back at Keen by thousands of fans a night (“and the party never ends!”) — just to punctuate the point with a flourish, but it’s the part about the journey that gets right to the heart of what makes Keen tick. Some people take up a life of playing music with the goal of someday reaching a destination of fame and fortune; but from the get-go, Keen just wanted to write and sing his own songs, and to keep writing and singing them for as long as possible.\NOver time, Robert Earl Keen has recorded 19 albums and has thousands of shows under his belt and still no end in sight. From his humble beginnings on the folk scene, he has blazed a peer, critic and fan-based trail that’s earned him living legend (not to mention pioneer) status in the Americana music world. Although he has never been known to wear his Texas heart on his sleeve, he has long been regarded as one of the state’s finest (not to mention top drawing) true singer/songwriter. Keen remains as committed to and inspired by his muse as ever. REK has led his road savvy band from coast to coast where they have carved out a place in the Americana pantheon alongside writers/performers Steve Earle, Willie Nelson, George Strait, Miranda Lambert and Eric Church among others.\NIt isn’t always easy being Robert Earl Keen, but somebody’s got to do it. And now more than ever he is up to the task and loving every minute of it. X-ALT-DESC;FMTTYPE=text/html:

It’s not always easy to sum up a career — let alone a life’s ambition — so succinctly, but those five words from Robert Earl Keen’s calling-card anthem just about do it. You can complete the lyric with the next five words — the ones routinely shouted back at Keen by thousands of fans a night (“and the party never ends!”) — just to punctuate the point with a flourish, but it’s the part about the journey that gets right to the heart of what makes Keen tick. Some people take up a life of playing music with the goal of someday reaching a destination of fame and fortune; but from the get-go, Keen just wanted to write and sing his own songs, and to keep writing and singing them for as long as possible.

Over time, Robert Earl Keen has recorded 19 albums and has thousands of shows under his belt and still no end in sight. From his humble beginnings on the folk scene, he has blazed a peer, critic and fan-based trail that’s earned him living legend (not to mention pioneer) status in the Americana music world. Although he has never been known to wear his Texas heart on his sleeve, he has long been regarded as one of the state’s finest (not to mention top drawing) true singer/songwriter. Keen remains as committed to and inspired by his muse as ever. REK has led his road savvy band from coast to coast where they have carved out a place in the Americana pantheon alongside writers/performers Steve Earle, Willie Nelson, George Strait, Miranda Lambert and Eric Church among others.

It isn’t always easy being Robert Earl Keen, but somebody’s got to do it. And now more than ever he is up to the task and loving every minute of it.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220303T215314Z X-ACCESS:1 X-HITS:2043 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220312T210000 DTEND;TZID=America/Denver:20220312T220000 UID:2FF273F7-0622-43C9-AD57-2B1BBE48E73C SUMMARY:The Pour DTSTAMP:20220202T012931Z DESCRIPTION:Salt Lake City-based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead. With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. Members of The Pour have had the privilege of opening for, and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic. X-ALT-DESC;FMTTYPE=text/html:

Salt Lake City-based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead. With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. Members of The Pour have had the privilege of opening for, and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220228T221816Z X-ACCESS:1 X-HITS:1545 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220317T200000 DTEND;TZID=America/Denver:20220317T233000 UID:733DEC50-C3EB-4536-8707-71A21F2AB5BF SUMMARY:Patrick Droney DTSTAMP:20211004T191547Z DESCRIPTION:Growing up in South Jersey, Patrick Droney’s career began with a bang, at age 13 he won a Robert Johnson New Generation Award as “Best Young Blues Guitarist” and began sharing stages with the likes of B.B. King, James Brown, The Roots, Taj Mahal, Macy Gray, and Elvis Costello. Droney became enamored of New York City at an early age, gigging frequently in esteemed Manhattan clubs and eventually attending the Clive Davis Institute of Recorded Music at NYU. He moved to LA and signed a publishing deal, and in 2018 relocated to Nashville to craft a self-titled EP, also making his TV debut on Late Night with Seth Meyers, performing at Barclays Center for Tidal X, and seeing his song “High Hope” featured on Grey’s Anatomy. After signing to Warner Records in 2019, he appeared at Bonnaroo and ACL, collaborated with Kygo, and recently reached the 75 million streams milestone. To craft his full-length debut, Droney pulled inspiration from his life experiences living in multiple places around the country with nods to both his musical heroes and current influences like The National and Bon Iver. With a résumé that reads like a dream, and after extensive touring and playing onstage with some of the all-time legends of blues, pop, rock, and soul, Droney's STATE OF THE HEART released in May with a DELUXE version available now. X-ALT-DESC;FMTTYPE=text/html:

Growing up in South Jersey, Patrick Droney’s career began with a bang, at age 13 he won a Robert Johnson New Generation Award as “Best Young Blues Guitarist” and began sharing stages with the likes of B.B. King, James Brown, The Roots, Taj Mahal, Macy Gray, and Elvis Costello. Droney became enamored of New York City at an early age, gigging frequently in esteemed Manhattan clubs and eventually attending the Clive Davis Institute of Recorded Music at NYU. He moved to LA and signed a publishing deal, and in 2018 relocated to Nashville to craft a self-titled EP, also making his TV debut on Late Night with Seth Meyers, performing at Barclays Center for Tidal X, and seeing his song “High Hope” featured on Grey’s Anatomy. After signing to Warner Records in 2019, he appeared at Bonnaroo and ACL, collaborated with Kygo, and recently reached the 75 million streams milestone. To craft his full-length debut, Droney pulled inspiration from his life experiences living in multiple places around the country with nods to both his musical heroes and current influences like The National and Bon Iver. With a résumé that reads like a dream, and after extensive touring and playing onstage with some of the all-time legends of blues, pop, rock, and soul, Droney's STATE OF THE HEART released in May with a DELUXE version available now.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220228T221832Z X-ACCESS:1 X-HITS:2176 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220323T200000 DTEND;TZID=America/Denver:20220323T233000 UID:0A7EB2B2-E550-464E-B5BC-6D94142F5BA8 SUMMARY:Neal Francis & The Main Squeeze DTSTAMP:20211027T222215Z DESCRIPTION:Neal Francis\NFacebook | Twitter | Instagram | YouTube | Spotify\NOn his new album In Plain Sight, Neal Francis offers up a body of work both strangely enchanted and painfully self-aware, unfolding in songs sparked from Greek myths and frenzied dreams and late-night drives in the depths of summer delirium. True to its charmed complexity, the singer/songwriter/pianist’s second full-length came to life over the course of a tumultuous year spent living in a possibly haunted church in Chicago. The result: a portrait of profound upheaval and weary resilience, presented in a kaleidoscopic sound that’s endlessly absorbing.\NThe follow-up to Francis’s 2019 debut Changes—a New Orleans-R&B-leaning effort that landed on best-of-the-year lists from the likes of KCRW, KEXP, and The Current, and saw him hailed as “the reincarnation of Allen Toussaint” by BBC Radio 6—In Plain Sight was written and recorded almost entirely at the church, a now-defunct congregation called St. Peter’s UCC. Despite not identifying as religious, Francis took a music-ministry job at the church in 2017 at the suggestion of a friend. After breaking up with his longtime girlfriend while on tour in fall 2019, he returned to his hometown and found himself with no place to stay, then headed to St. Peter’s and asked to move into the parsonage. “I thought I’d only stay a few months but it turned into over a year, and I knew I had to do something to take advantage of this miraculous gift of a situation,” he says.\NMixed by Grammy Award-winner Dave Fridmann (HAIM, Spoon, The Flaming Lips, Tame Impala), In Plain Sight finds Francis again joining forces with Changes producer and analog obsessive Sergio Rios (a guitarist/engineer known for his work with CeeLo Green and Alicia Keys). Like its predecessor, the album spotlights Francis’s refined yet free-spirited performance on piano, an instrument he took up at the age of four. “From a very early age, I was playing late into the night in a very stream-of-consciousness kind of way,” he says, naming everything from ragtime to gospel soul to The Who among his formative influences. With a prodigy-like gift for piano, Francis sat in with a dozen different blues acts in Chicago clubs as a teenager, and helmed a widely beloved instrumental funk band called The Heard before going solo. Along with earning lavish acclaim (including a glowing review from Bob Lefsetz, who declared: “THIS IS THE FUTURE OF THE MUSIC BUSINESS!”), Changes led to such triumphs as performing live on KCRW’s “Morning Becomes Eclectic,” sharing the stage with members of The Meters at the New Orleans Jazz & Heritage Festival, and touring with such acts as Lee Fields & The Expressions and Black Pumas.\NRecorded entirely on tape with his bandmates Kellen Boersma (guitar), Mike Starr (bass), and Collin O’Brien (drums), In Plain Sight bears a lush and dreamlike quality, thanks in large part to Francis’s restless experimentation with a stash of analog synths lent by his friends in his early days at the church. “My sleep schedule flipped and I’d stay up all night working on songs in this very feverish way,” he says. “I just needed so badly to get completely lost in something.” In a move partly inspired by Led Zeppelin’s Houses of the Holy, In Plain Sight takes its title from a track Francis ended up scrapping from the album. “It’s a song about my breakup and the circumstances that led to me living in the church, where I’m owning up to all my problems within my relationships and my sobriety,” says Francis, whose first full-length chronicles his struggles with addiction. “It felt like the right title for this record, since so much of it is about coming to the understanding that I continue to suffer because of those problems. It’s about acknowledging that and putting it out in the open in order to mitigate the suffering and try to work on it, instead of trying to hide everything.”\NThe opulent opening track to In Plain Sight, “Alameda Apartments” makes for a majestic introduction to the album’s unveiling of Francis’s inner demons. “I started writing that song maybe six years ago, before I got sober,” he says. “I was going through another breakup and getting kicked out of my place, and I had a nightmare about moving into an art-deco apartment that was haunted, where the walls were all shifting around.” A prime showcase for Francis’s piano work, “Alameda Apartments” simulates that dream state in its untethered melodies, luminous grooves, and lyrics that drift from despair to detached curiosity (e.g., “It remains to be seen if the ghosts are all right”). “The craziest thing is that I’d never encountered the name ‘Alameda’ in any time in my life prior to that dream,” says Francis. “It’s bizarre that I even remembered it, especially since you don’t dream very often when you’re getting fucked up.”\NOn “Problems,” In Plain Sight eases into a brighter and breezier mood, with Francis mining inspiration from early-’70s Sly & the Family Stone and the glistening soft rock of Mirage-era Fleetwood Mac. But in a stark contrast to the track’s radiant synth and rapturous harmonies, “Problems” centers on Francis’s exacting introspection. “It’s about being half-in and half-out of a relationship, and how untenable that is,” he says. “I wrote it at a time when I really couldn’t maintain a relationship, because I had too many issues with myself that needed to be addressed.”\NGraced with a smoldering slide-guitar solo from the legendary Derek Trucks, “Can’t Stop the Rain” arrives as the first unabashedly hopeful moment on In Plain Sight. “I wrote that with my buddy David Shaw, who came up with the refrain and this idea that even though life’s going to throw all this shit at you, there’s still so many things to be grateful for,” says Francis. Propelled by the track’s cascading piano lines and wildly soaring vocals, that refrain takes on an unlikely anthemic power as Francis shares a bit of gently expressed encouragement: “You can’t stop the rain/It’s always coming down/It’s always gonna fall/But you’re not gonna drown.”\NOn the guitar-heavy and glorious “Prometheus,” Francis nods to the Greek myth of the Titan god who stole fire from Mount Olympus and gave it to the humans. As punishment, Prometheus spent eternity chained to a rock as an eagle visited each day to peck out his liver—which then grew back overnight, only to be eaten again the following day in a neverending cycle of torment. “That song came from the lowest ebb of quarantine, when Chicago was literally on fire,” Francis says. “It came to me while I was driving around all these abandoned streets in the middle of the night, and turned into a song about facing my problems with addiction and feeling like I’m chained to this set of compulsions.” Threaded with plainspoken confession (“It’s not in my nature to try to do better”), the track features a sprawling synth arrangement informed by the many hours Francis spent playing the St. Peter’s pipe organ. “I call that section of the song ‘The Pope,’” he says. “It’s this grand, powerful entry that’s sort of sinister, and then it just drops away.”\NBy the end of his surreal and sometimes eerie experience of living at the church—“I’m convinced that the stairway leading to the choir loft where I used to practice is haunted,” he notes—Francis had found his musicality undeniably elevated. “Because I was forced into this almost monastic existence and was alone so much of the time, I could play as often and as long as I wanted,” he says. “I ended up becoming such a better pianist, a better writer, a better reader of music.” Dedicated to a woman named Lil (the de facto leader of the St. Peter’s congregation), In Plain Sight ultimately reveals the possibility of redemption and transformation even as your world falls apart.“When I started the process of writing these songs, I was so emotionally out-of-sorts and really kind of hopeless that I’d be able to come up with anything,” says Francis. “But then I sat down and started working, and embraced whatever inspiration came my way. Sometimes it felt like beating my head against a wall, but I tried to trust that it would lead somewhere. The whole thing was like a weird dream—this very strange time of terrible, wonderful isolation.” X-ALT-DESC;FMTTYPE=text/html:

Neal Francis

Facebook | Twitter | Instagram | YouTube | Spotify

On his new album In Plain Sight, Neal Francis offers up a body of work both strangely enchanted and painfully self-aware, unfolding in songs sparked from Greek myths and frenzied dreams and late-night drives in the depths of summer delirium. True to its charmed complexity, the singer/songwriter/pianist’s second full-length came to life over the course of a tumultuous year spent living in a possibly haunted church in Chicago. The result: a portrait of profound upheaval and weary resilience, presented in a kaleidoscopic sound that’s endlessly absorbing.

The follow-up to Francis’s 2019 debut Changes—a New Orleans-R&B-leaning effort that landed on best-of-the-year lists from the likes of KCRW, KEXP, and The Current, and saw him hailed as “the reincarnation of Allen Toussaint” by BBC Radio 6—In Plain Sight was written and recorded almost entirely at the church, a now-defunct congregation called St. Peter’s UCC. Despite not identifying as religious, Francis took a music-ministry job at the church in 2017 at the suggestion of a friend. After breaking up with his longtime girlfriend while on tour in fall 2019, he returned to his hometown and found himself with no place to stay, then headed to St. Peter’s and asked to move into the parsonage. “I thought I’d only stay a few months but it turned into over a year, and I knew I had to do something to take advantage of this miraculous gift of a situation,” he says.

Mixed by Grammy Award-winner Dave Fridmann (HAIM, Spoon, The Flaming Lips, Tame Impala), In Plain Sight finds Francis again joining forces with Changes producer and analog obsessive Sergio Rios (a guitarist/engineer known for his work with CeeLo Green and Alicia Keys). Like its predecessor, the album spotlights Francis’s refined yet free-spirited performance on piano, an instrument he took up at the age of four. “From a very early age, I was playing late into the night in a very stream-of-consciousness kind of way,” he says, naming everything from ragtime to gospel soul to The Who among his formative influences. With a prodigy-like gift for piano, Francis sat in with a dozen different blues acts in Chicago clubs as a teenager, and helmed a widely beloved instrumental funk band called The Heard before going solo. Along with earning lavish acclaim (including a glowing review from Bob Lefsetz, who declared: “THIS IS THE FUTURE OF THE MUSIC BUSINESS!”), Changes led to such triumphs as performing live on KCRW’s “Morning Becomes Eclectic,” sharing the stage with members of The Meters at the New Orleans Jazz & Heritage Festival, and touring with such acts as Lee Fields & The Expressions and Black Pumas.

Recorded entirely on tape with his bandmates Kellen Boersma (guitar), Mike Starr (bass), and Collin O’Brien (drums), In Plain Sight bears a lush and dreamlike quality, thanks in large part to Francis’s restless experimentation with a stash of analog synths lent by his friends in his early days at the church. “My sleep schedule flipped and I’d stay up all night working on songs in this very feverish way,” he says. “I just needed so badly to get completely lost in something.” In a move partly inspired by Led Zeppelin’s Houses of the Holy, In Plain Sight takes its title from a track Francis ended up scrapping from the album. “It’s a song about my breakup and the circumstances that led to me living in the church, where I’m owning up to all my problems within my relationships and my sobriety,” says Francis, whose first full-length chronicles his struggles with addiction. “It felt like the right title for this record, since so much of it is about coming to the understanding that I continue to suffer because of those problems. It’s about acknowledging that and putting it out in the open in order to mitigate the suffering and try to work on it, instead of trying to hide everything.”

The opulent opening track to In Plain Sight, “Alameda Apartments” makes for a majestic introduction to the album’s unveiling of Francis’s inner demons. “I started writing that song maybe six years ago, before I got sober,” he says. “I was going through another breakup and getting kicked out of my place, and I had a nightmare about moving into an art-deco apartment that was haunted, where the walls were all shifting around.” A prime showcase for Francis’s piano work, “Alameda Apartments” simulates that dream state in its untethered melodies, luminous grooves, and lyrics that drift from despair to detached curiosity (e.g., “It remains to be seen if the ghosts are all right”). “The craziest thing is that I’d never encountered the name ‘Alameda’ in any time in my life prior to that dream,” says Francis. “It’s bizarre that I even remembered it, especially since you don’t dream very often when you’re getting fucked up.”

On “Problems,” In Plain Sight eases into a brighter and breezier mood, with Francis mining inspiration from early-’70s Sly & the Family Stone and the glistening soft rock of Mirage-era Fleetwood Mac. But in a stark contrast to the track’s radiant synth and rapturous harmonies, “Problems” centers on Francis’s exacting introspection. “It’s about being half-in and half-out of a relationship, and how untenable that is,” he says. “I wrote it at a time when I really couldn’t maintain a relationship, because I had too many issues with myself that needed to be addressed.”

Graced with a smoldering slide-guitar solo from the legendary Derek Trucks, “Can’t Stop the Rain” arrives as the first unabashedly hopeful moment on In Plain Sight. “I wrote that with my buddy David Shaw, who came up with the refrain and this idea that even though life’s going to throw all this shit at you, there’s still so many things to be grateful for,” says Francis. Propelled by the track’s cascading piano lines and wildly soaring vocals, that refrain takes on an unlikely anthemic power as Francis shares a bit of gently expressed encouragement: “You can’t stop the rain/It’s always coming down/It’s always gonna fall/But you’re not gonna drown.”

On the guitar-heavy and glorious “Prometheus,” Francis nods to the Greek myth of the Titan god who stole fire from Mount Olympus and gave it to the humans. As punishment, Prometheus spent eternity chained to a rock as an eagle visited each day to peck out his liver—which then grew back overnight, only to be eaten again the following day in a neverending cycle of torment. “That song came from the lowest ebb of quarantine, when Chicago was literally on fire,” Francis says. “It came to me while I was driving around all these abandoned streets in the middle of the night, and turned into a song about facing my problems with addiction and feeling like I’m chained to this set of compulsions.” Threaded with plainspoken confession (“It’s not in my nature to try to do better”), the track features a sprawling synth arrangement informed by the many hours Francis spent playing the St. Peter’s pipe organ. “I call that section of the song ‘The Pope,’” he says. “It’s this grand, powerful entry that’s sort of sinister, and then it just drops away.”

By the end of his surreal and sometimes eerie experience of living at the church—“I’m convinced that the stairway leading to the choir loft where I used to practice is haunted,” he notes—Francis had found his musicality undeniably elevated. “Because I was forced into this almost monastic existence and was alone so much of the time, I could play as often and as long as I wanted,” he says. “I ended up becoming such a better pianist, a better writer, a better reader of music.” Dedicated to a woman named Lil (the de facto leader of the St. Peter’s congregation), In Plain Sight ultimately reveals the possibility of redemption and transformation even as your world falls apart.“When I started the process of writing these songs, I was so emotionally out-of-sorts and really kind of hopeless that I’d be able to come up with anything,” says Francis. “But then I sat down and started working, and embraced whatever inspiration came my way. Sometimes it felt like beating my head against a wall, but I tried to trust that it would lead somewhere. The whole thing was like a weird dream—this very strange time of terrible, wonderful isolation.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220320T205104Z X-ACCESS:1 X-HITS:2463 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220324T200000 DTEND;TZID=America/Denver:20220324T233000 UID:B8192CC9-D7D0-4E09-9D5E-E7ECBAA7A163 SUMMARY:W.I.T.C.H. DTSTAMP:20210713T212447Z DESCRIPTION:W.I.T.C.H. (We Intend To Cause Havoc) were the biggest rock band in Zambia in the 1970s and spearheaded a new genre dubbed Zamrock, fusing influences that ranged from the Rolling Stones to Black Sabbath and James Brown and mixing them with traditional African rhythms and bush village songs. At the peak of their popularity, the band often needed police to keep fans at bay while their lead singer Jagari - whose name is an Africanisation of Mick Jagger’s - riled up crowds by stage diving from balconies and dancing manically as the WITCH’s blend of psychedelic rock and African rhythms permeated the surrounding atmosphere.\NJagari is the charismatic sole surviving original member of the band. As Zambia’s economy stagnated and the country buckled under the AIDS crisis, WITCH fell apart. Jagari retreated to a life of quasi-anonymity as a university music professor before being wrongfully arrested during Zambia’s toughest hour. Now a man in his 60s, he spends his time mining gemstones hoping to strike it rich, until very recently the band being just a nostalgic memory of his youth.\NLargely unknown outside of their home country, WITCH finally got the exposure they deserved when Now Again Records reissued their entire discography in 2012. This allowed Jagari to play outside Africa for the first time and for a new generation of fans to discover his music. In 2016 he began a collaboration with Dutch musicians Jacco Gardner and Nic Mauskoviç, and together with them, in September 2017 WITCH headed out on its extremely successful first-ever European Tour.\NIn the Fall of 2019, WITCH embarked on their first North American tour, including a well-received performance at Desert Daze.\NThe band will be returning to the U.S. & Canada, Spring 2022. Look out for the award-winning documentary, which will be released in North America on July 13th. X-ALT-DESC;FMTTYPE=text/html:

W.I.T.C.H. (We Intend To Cause Havoc) were the biggest rock band in Zambia in the 1970s and spearheaded a new genre dubbed Zamrock, fusing influences that ranged from the Rolling Stones to Black Sabbath and James Brown and mixing them with traditional African rhythms and bush village songs. At the peak of their popularity, the band often needed police to keep fans at bay while their lead singer Jagari - whose name is an Africanisation of Mick Jagger’s - riled up crowds by stage diving from balconies and dancing manically as the WITCH’s blend of psychedelic rock and African rhythms permeated the surrounding atmosphere.

Jagari is the charismatic sole surviving original member of the band. As Zambia’s economy stagnated and the country buckled under the AIDS crisis, WITCH fell apart. Jagari retreated to a life of quasi-anonymity as a university music professor before being wrongfully arrested during Zambia’s toughest hour. Now a man in his 60s, he spends his time mining gemstones hoping to strike it rich, until very recently the band being just a nostalgic memory of his youth.

Largely unknown outside of their home country, WITCH finally got the exposure they deserved when Now Again Records reissued their entire discography in 2012. This allowed Jagari to play outside Africa for the first time and for a new generation of fans to discover his music. In 2016 he began a collaboration with Dutch musicians Jacco Gardner and Nic Mauskoviç, and together with them, in September 2017 WITCH headed out on its extremely successful first-ever European Tour.

In the Fall of 2019, WITCH embarked on their first North American tour, including a well-received performance at Desert Daze.

The band will be returning to the U.S. & Canada, Spring 2022. Look out for the award-winning documentary, which will be released in North America on July 13th.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220228T221950Z X-ACCESS:1 X-HITS:3672 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220326T210000 DTEND;TZID=America/Denver:20220326T233000 UID:3EBE265E-F4C8-4CC2-9790-E5EAAACB6089 SUMMARY:The Wild Feathers DTSTAMP:20220203T192239Z DESCRIPTION:By the end of 2019, The Wild Feathers had enough. They’d been through the wringer of big hopes and major label realities. Instead of becoming a music biz sob story, the band knew they had one option to succeed: blow everything up and do things their way.\NAnd they did.\NAhead of Medium Rarities, an odd-and-ends collection that was released last year, the group went through unreleased tracks and ended up self-producing three new songs in relaxed sessions that were fun and spontaneous. While in the studio, each member agreed that they didn’t need the high life and fancy workspaces in order to succeed. Rather than relying on others, The Wild Feathers kept things in-house, producing themselves, which was a part of the hard-scrabble work ethic that got them their success in the first place.\NIt brought the Nashville-based group closer. The Wild Feathers decided to keep a tighter ship, not only with input on their career but sonically as well.\NWhat could have ended things, liberated them.\NThey figured out new ways to chart out and work on songs in a fuller, efficient manner. Armed with newfound confidence and a brand new attentive team surrounding them, the quintet were ready to dive in headfirst. The new approach’s success is confirmed on Alvarado, The Wild Feathers’ latest album that’s perhaps the strongest work in the band’s catalog to date.\NThe positive vibes and energy of this time can be heard on the album’s title track. “Alvarado” is a song the band has had in their back pocket for almost a decade. While they were going through some of the recordings that would comprise Medium Rarities, they rediscovered the eight-year-old uptempo rocker and couldn’t let it fade into the dustbin of lost songs. It also set the overall vibe and tone for what was to come.\NIn December of 2020, the group hunkered down in a small cabin northwest of Nashville to chip away at a bunch of new songs they worked on during the pandemic. Using the confidence gained from self-producing the new songs found on Medium Rarities, they spent a week together hammering out material. For the first time without a fancy studio, the band were confident and calm during the process, which cohesively allowed the sound to be exactly what they felt like instead of having to answer otherwise. Knocking out 14 songs in just four days, they bonded over barbecues and beers and there was a warmness that hadn’t been present since their early days. It is reflected in the laid-back nature of the songs on Alvarado.\NThe collaboration and intricate layering of instrumentation, as well as the lyrical matter, on Alvarado showcases The Wild Feathers’ growth as songwriters and burgeoning producers. Without pressure and the newfound confidence to write and produce their own material, The Wild Feathers have done what’s usually a difficult task for a band at this stage of their career: evolve and produce some of their best work to date.\NIf they’ve learned nothing else from their odyssey, no obstacle will stop The Wild Feathers from getting to where they want to go. X-ALT-DESC;FMTTYPE=text/html:

By the end of 2019, The Wild Feathers had enough. They’d been through the wringer of big hopes and major label realities. Instead of becoming a music biz sob story, the band knew they had one option to succeed: blow everything up and do things their way.

And they did.

Ahead of Medium Rarities, an odd-and-ends collection that was released last year, the group went through unreleased tracks and ended up self-producing three new songs in relaxed sessions that were fun and spontaneous. While in the studio, each member agreed that they didn’t need the high life and fancy workspaces in order to succeed. Rather than relying on others, The Wild Feathers kept things in-house, producing themselves, which was a part of the hard-scrabble work ethic that got them their success in the first place.

It brought the Nashville-based group closer. The Wild Feathers decided to keep a tighter ship, not only with input on their career but sonically as well.

What could have ended things, liberated them.

They figured out new ways to chart out and work on songs in a fuller, efficient manner. Armed with newfound confidence and a brand new attentive team surrounding them, the quintet were ready to dive in headfirst. The new approach’s success is confirmed on Alvarado, The Wild Feathers’ latest album that’s perhaps the strongest work in the band’s catalog to date.

The positive vibes and energy of this time can be heard on the album’s title track. “Alvarado” is a song the band has had in their back pocket for almost a decade. While they were going through some of the recordings that would comprise Medium Rarities, they rediscovered the eight-year-old uptempo rocker and couldn’t let it fade into the dustbin of lost songs. It also set the overall vibe and tone for what was to come.

In December of 2020, the group hunkered down in a small cabin northwest of Nashville to chip away at a bunch of new songs they worked on during the pandemic. Using the confidence gained from self-producing the new songs found on Medium Rarities, they spent a week together hammering out material. For the first time without a fancy studio, the band were confident and calm during the process, which cohesively allowed the sound to be exactly what they felt like instead of having to answer otherwise. Knocking out 14 songs in just four days, they bonded over barbecues and beers and there was a warmness that hadn’t been present since their early days. It is reflected in the laid-back nature of the songs on Alvarado.

The collaboration and intricate layering of instrumentation, as well as the lyrical matter, on Alvarado showcases The Wild Feathers’ growth as songwriters and burgeoning producers. Without pressure and the newfound confidence to write and produce their own material, The Wild Feathers have done what’s usually a difficult task for a band at this stage of their career: evolve and produce some of their best work to date.

If they’ve learned nothing else from their odyssey, no obstacle will stop The Wild Feathers from getting to where they want to go.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220316T154341Z X-ACCESS:1 X-HITS:1004 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220327T200000 DTEND;TZID=America/Denver:20220327T233000 UID:FDE0C006-3056-4EF2-81CE-C432A54B0908 SUMMARY:Con Brio DTSTAMP:20220117T235303Z DESCRIPTION:Named for an Italian musical direction meaning with spirit, Con Brio is a San Francisco Bay Area seven-piece that plays energetic soul, psych-rock and R&B that’s as fresh and freethinking as the place they call home. With a tight, veteran band that “comes across like a party punk version of Sly and the Family Stone” (Consequence of Sound), Con Brio is known to convert anyone who sees their electric live show.\NThe band’s sophomore LP, Explorer (out July 6th, 2018 on Transistor), represents an impressive leap for the group PopMatters has called “the best new live band in America.” The album is a travelogue of sorts, written over the course of two years and one presidential election — all while the band was touring the globe (Japan, France, Australia, the Netherlands) and fielding questions about our leaders, our choices, our guns.\NWhile Paradise spoke about inequality, turning a mirror on America in 2016, Explorer looks outward, urging hope in the face of cynicism, but ultimately presenting more questions than answers: What does it mean to represent America abroad during a time of unprecedented volatility at home?\NHaving proved themselves on an international stage (as well as at U.S. festivals like Bonnaroo, Lollapalooza, Outside Lands and Austin City Limits), Con Brio also breaks new sonic ground on Explorer, expanding beyond raw energy and retro sounds toward a layered, contemporary production style. It’s a big record, with plenty of joy and more than a few growing pains. It sounds, unsurprisingly, like a band on the verge. X-ALT-DESC;FMTTYPE=text/html:

Named for an Italian musical direction meaning with spirit, Con Brio is a San Francisco Bay Area seven-piece that plays energetic soul, psych-rock and R&B that’s as fresh and freethinking as the place they call home. With a tight, veteran band that “comes across like a party punk version of Sly and the Family Stone” (Consequence of Sound), Con Brio is known to convert anyone who sees their electric live show.

The band’s sophomore LP, Explorer (out July 6th, 2018 on Transistor), represents an impressive leap for the group PopMatters has called “the best new live band in America.” The album is a travelogue of sorts, written over the course of two years and one presidential election — all while the band was touring the globe (Japan, France, Australia, the Netherlands) and fielding questions about our leaders, our choices, our guns.

While Paradise spoke about inequality, turning a mirror on America in 2016, Explorer looks outward, urging hope in the face of cynicism, but ultimately presenting more questions than answers: What does it mean to represent America abroad during a time of unprecedented volatility at home?

Having proved themselves on an international stage (as well as at U.S. festivals like Bonnaroo, Lollapalooza, Outside Lands and Austin City Limits), Con Brio also breaks new sonic ground on Explorer, expanding beyond raw energy and retro sounds toward a layered, contemporary production style. It’s a big record, with plenty of joy and more than a few growing pains. It sounds, unsurprisingly, like a band on the verge.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220321T212413Z X-ACCESS:1 X-HITS:1142 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220330T200000 DTEND;TZID=America/Denver:20220330T233000 UID:B742BFCE-A4CF-4295-881C-89B8EA336CF7 SUMMARY:Talbott Brothers DTSTAMP:20211123T181308Z DESCRIPTION:The Talbott Brothers are an alternative—indie-pop duo that combine honest songwriting with down-to-earth messages that prove to be prevalent in today’s world. Originally from Imperial, Nebraska, they now call Portland, Oregon home. The duo comes back to the stage nationally in 2022 with the full band that will spotlight an evolving new sound on stage. Single releases from the Fall of 2021 – ‘Burned’ and ‘Open Sky’ with the Feb. 8, 2022 release of ‘Heavy Love’ are a window into their newest album ‘Letters’ (Release Mar. 1, 2022). The Talbott Brothers have garnered national press over the past several years. Billboard defines their music as “captivating with haunting brotherly harmonies.” Rolling Stone defines their music as “cinematic folk-rock for open highways, widescreen skies and the limitless reach of the American Heartland.” They’ve shared the stage with the likes of Johnnyswim and ZZ Ward as well as performed at music festivals like Mile of Music, Northwest String Summit, and The Rock Boat. X-ALT-DESC;FMTTYPE=text/html:

The Talbott Brothers are an alternative—indie-pop duo that combine honest songwriting with down-to-earth messages that prove to be prevalent in today’s world. Originally from Imperial, Nebraska, they now call Portland, Oregon home.

The duo comes back to the stage nationally in 2022 with the full band that will spotlight an evolving new sound on stage. Single releases from the Fall of 2021 – ‘Burned’ and ‘Open Sky’ with the Feb. 8, 2022 release of ‘Heavy Love’ are a window into their newest album ‘Letters’ (Release Mar. 1, 2022).

The Talbott Brothers have garnered national press over the past several years. Billboard defines their music as “captivating with haunting brotherly harmonies.” Rolling Stone defines their music as “cinematic folk-rock for open highways, widescreen skies and the limitless reach of the American Heartland.”

They’ve shared the stage with the likes of Johnnyswim and ZZ Ward as well as performed at music festivals like Mile of Music, Northwest String Summit, and The Rock Boat.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220228T222141Z X-ACCESS:1 X-HITS:1565 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220331T200000 DTEND;TZID=America/Denver:20220331T233000 UID:E39B45C2-B93C-4C43-98E3-14CAD97665C2 SUMMARY:Baroness DTSTAMP:20210928T201430Z DESCRIPTION:As the band did on the first leg of the special performances, Baroness is giving fans thepower to create their setlist. “Your Baroness – An Intimate Evening with Baroness”ticket purchasers will be provided with a link to cast their vote for the ten songs theywant to hear at the show. Baroness’s entire catalog will be fair game with no song off-limits. Voting will close one week prior to each performance.\NAfter being forced to miss a handful of shows on the initial leg of the tour, Baroness hasrescheduled as many of those shows as possible: Salt Lake City, Denver, Lawrenceand St. Louis. The band will use the fan-voted setlist from the postponed Novemberdates for the first set of the evening, and give new ticket purchasers the opportunity toselect the slate of songs played during the second performance of the evening.\N“I cannot remember any moment in the history of this band where we’ve been moreexcited to tour than we are today,” said Baroness vocalist/guitarist John Baizley uponthe launch of the tour. “In many ways, this upcoming tour feels similar to the very firstBaroness tour in 2003: we don’t know what to expect, we’re through sitting on thesidelines, and we can’t wait to climb onstage. During the past two years we’ve tried tokeep ourselves as busy as possible: writing, recording and rehearsing insofar as thepandemic would allow. Throughout that time, one fact has become increasingly clear…We are built as a live/touring band. The most powerful and important aspects of musicreveal themselves only through shared experience. Baroness’ music is designed to beshared; our audience has always been the final and most important member of theband. Quite simply, it doesn’t feel right without YOU! We’ve started counting down thehours in anticipation of that first blissful moment when the lights dim and the room fallssilent, when we can once again commune with our audience. We’ve missed you alldearly and we’re really excited to see the setlists you all design for us. There’s neverbeen a better time to put the trust and control of our music in your capable hands.Electric or acoustic, sung or screamed, from the EPs to the LPs: we’re busy preparingfor everything from those 6 or 7 hours of recorded music. Furthermore, we thought thepandemic had stolen from us the opportunity to play Gold & Grey in front of Americanaudiences and we look forward to playing those songs for you as well. Finally, we’rereally thrilled to have the opportunity to play up close and personal in some venues wehaven’t typically played in recent years. It feels so good to share all of this news withyou, we’ve missed this more than we can possibly explain. We hope to see you allsoon!”\NIn addition to picking the band’s setlist, every attendee will also receive a free, limited-edition Your Baroness tour poster print, to be picked up at the merch booth the night ofthe show. X-ALT-DESC;FMTTYPE=text/html:

As the band did on the first leg of the special performances, Baroness is giving fans the
power to create their setlist. “Your Baroness – An Intimate Evening with Baroness”
ticket purchasers will be provided with a link to cast their vote for the ten songs they
want to hear at the show. Baroness’s entire catalog will be fair game with no song off-limits. Voting will close one week prior to each performance.


After being forced to miss a handful of shows on the initial leg of the tour, Baroness has
rescheduled as many of those shows as possible: Salt Lake City, Denver, Lawrence
and St. Louis. The band will use the fan-voted setlist from the postponed November
dates for the first set of the evening, and give new ticket purchasers the opportunity to
select the slate of songs played during the second performance of the evening.

“I cannot remember any moment in the history of this band where we’ve been more
excited to tour than we are today,” said Baroness vocalist/guitarist John Baizley upon
the launch of the tour. “In many ways, this upcoming tour feels similar to the very first
Baroness tour in 2003: we don’t know what to expect, we’re through sitting on the
sidelines, and we can’t wait to climb onstage. During the past two years we’ve tried to
keep ourselves as busy as possible: writing, recording and rehearsing insofar as the
pandemic would allow. Throughout that time, one fact has become increasingly clear…
We are built as a live/touring band. The most powerful and important aspects of music
reveal themselves only through shared experience. Baroness’ music is designed to be
shared; our audience has always been the final and most important member of the
band. Quite simply, it doesn’t feel right without YOU! We’ve started counting down the
hours in anticipation of that first blissful moment when the lights dim and the room falls
silent, when we can once again commune with our audience. We’ve missed you all
dearly and we’re really excited to see the setlists you all design for us. There’s never
been a better time to put the trust and control of our music in your capable hands.
Electric or acoustic, sung or screamed, from the EPs to the LPs: we’re busy preparing
for everything from those 6 or 7 hours of recorded music. Furthermore, we thought the
pandemic had stolen from us the opportunity to play Gold & Grey in front of American
audiences and we look forward to playing those songs for you as well. Finally, we’re
really thrilled to have the opportunity to play up close and personal in some venues we
haven’t typically played in recent years. It feels so good to share all of this news with
you, we’ve missed this more than we can possibly explain. We hope to see you all
soon!”


In addition to picking the band’s setlist, every attendee will also receive a free, limited-
edition Your Baroness tour poster print, to be picked up at the merch booth the night of
the show.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220228T222209Z X-ACCESS:1 X-HITS:3610 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220402T210000 DTEND;TZID=America/Denver:20220402T220000 UID:73E2D917-71EC-49F4-BF40-9E3EF0238494 SUMMARY:Talia Keys DTSTAMP:20220131T235843Z DESCRIPTION:Talia Keys is a "musical powerhouse" and is known for sourcing energies reminiscent of the bluesy rawness of Janis Joplin and the fire of Jimi Hendrix. Groovin' on that old soul vibe with new school sounds, described by Katie Bain as "blistering." Having been "struck by her talent, stage presence, and refreshing candor." - Insomniac: Best of Electric Forest\NTalia Keys & The Love is a foot-stomping, jaw-dropping soul-funk-rock n’ roll heavy hitting five-member band. Having dropped their first album, We're Here on 4/20/2018, they're back in 2021 with brand new music!\NJoin us for a night of music from the new album, old favorites and special guests The Omega Horns and Zaza Historia VanDyke. X-ALT-DESC;FMTTYPE=text/html:

Talia Keys is a "musical powerhouse" and is known for sourcing energies reminiscent of the bluesy rawness of Janis Joplin and the fire of Jimi Hendrix. Groovin' on that old soul vibe with new school sounds, described by Katie Bain as "blistering." Having been "struck by her talent, stage presence, and refreshing candor." - Insomniac: Best of Electric Forest

Talia Keys & The Love is a foot-stomping, jaw-dropping soul-funk-rock n’ roll heavy hitting five-member band. Having dropped their first album, We're Here on 4/20/2018, they're back in 2021 with brand new music!

Join us for a night of music from the new album, old favorites and special guests The Omega Horns and Zaza Historia VanDyke.

LAST-MODIFIED:20220228T222237Z X-ACCESS:1 X-HITS:1143 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220405T200000 DTEND;TZID=America/Denver:20220405T233000 UID:BFFFCD46-CEFE-460D-9E00-8B2834823057 SUMMARY:Del Amitri DTSTAMP:20211206T195208Z DESCRIPTION:Almost two decades on from their last album, Del Amitri easily remember the good old days, when a Glasgow indie band "who never really cut it as Orange Juice and Josef K copyists, which is kinda what we were" became, in effect, overnight successes.\NSuddenly, after a still-born first album (1985's Del Amitri), with 1989's Waking Hours, hit single 'Nothing Ever Happens' propelled them to sharing a Top of the Pops stage with Phil Collins, then in the imperial phase of his solo career, newcomer Sinead O'Connor singing 'Nothing Compares 2 U,' and the premier of Public Enemy's 'Welcome to the Terrordome' video.\NTwo years later, Del Amitri were still regulars on the nation's favourite chart show. Promoting 1992 hit 'Always The Last to Know,' the band appeared on an episode alongside an En Vogue video ('My Lovin'), Shakespears Sister ('I Don't Care') and, performing smash US hit 'Jump,' adolescent rap duo Kriss Kross, they of the backwards-jeans.\N"I remember hearing their manager shouting at someone from the BBC," says guitarist Iain Harvie, "complaining about the sound: 'Even that fucking Scottish rock band sound better than my guys!'"\NDel Amitri also remember the other side of the good old days. That happens when being successful enough to bag a stadium support with one of the biggest bands in the world isn't quite enough success to insulate you from the indignity of a breakfast TV outside-broadcast from Blackpool and being upstaged by a dancing omelette.\N"We did a gig with REM in Cardiff Arms Park, third on the bill with Belly and The Cranberries," begins singer/guitarist Justin Currie. "And REM were mingling round the catering area after and invited us to their aftershow. We're like: 'Oh yes! We're going to get to party with REM!'"\NAlas...\N"Oh no -- we had to get on the bus at midnight, drive through the night to Blackpool, sit outside the beach on the tour bus, waiting on the 5.30am call-time, then got put in a Portakabin, ignored for three hours. What the fuck are we doing here? We could still be partying with REM!\N"Then at three minutes to nine, Danni Minogue comes in and yells at us to get onstage! So we get up there -- as the credits are rolling -- and it's chaos. There's a Nolan Sister, all these kids waving inflatable toys, us miming, in front of a dancing chicken and egg -- I still don't know who came on first -- waving kitchen utensils. Then Frank Carson comes on just as we're about to down tools. He spots how pissed off I was, so starts dancing behind me, occasionally leaning into my ear going: 'You're a wanker! You're a wanker!'"\N"It was a travesty," Harvie laughs ruefully. "But at least our tour manager enjoyed it -- he was at the side of the stage, pissing himself laughing."\NStill, "the Dels" had the last laugh. In America the song they were promoting on TVam, 1995's 'Roll To Me,' hit Number 10 on the Billboard Hot 10. It became a soundtrack favourite (everything from Family Guy to one-boy-and-his-dolphin "abomination" Flipper) and US jukebox staple that resonates (and generates royalties) to this day.\NEqually, selling six million copies of half-a-dozen studio albums between that mid-Eighties debut and 2002's Can You Do Me Good? does a great job of enabling you to, firstly, laugh about the cheap digs of Northern Irish comedians and, secondly, quit while you're ahead.\NWhich is exactly what Currie and Harvie, the consistent core of the band since 1982, did after that sixth album.\N"Iain and I took a hiatus after 2002 because we'd been dropped by Mercury and we thought: 'Well, that's a bit of a milestone -- we've had major deals since our late teens,'" relates Currie. "So it felt like a good moment to take a bit of time off. And I just did anything that was offered -- a bit of jazz singing with a big band, a bit with a folk-orchestra..."\N"Ha, I missed that one!" chips in Harvie. "I spent a time as a record producer. I did three or four albums with Rough Trade, then worked with a young band from Berwick-upon-Tweed, then tour-managed them a bit, then worked in studios. So I'd drifted off the other way, which I quite enjoyed. But then the bottom started falling out of the studio industry as well, as bands started recording themselves. Which just started to make me miss our band."\NCurrie similarly oscillated between feeling disgruntled and... gruntled?\N"I did four solo albums," the frontman says, "and some touring, including one on my own which I absolutely hated. You can't look round at anyone and go: 'Well, this is weird.' And you're meant to be a raconteur when you do solo shows, and I can't do any of that. Then, after, you're standing in the dressing room on your own. There's no one to talk to! It's horrible. So, aye, I really missed the band, too."\NIn 2014 and again in 2018, Currie, Harvie and their band embarked on sell-out UK reunion tours. But by the time of the second run, the appeal of playing solely songs from the past began to pall slightly.\N"It's great fun doing those gigs," says Currie, "but if there's not something current you're really happy with, you start to feel like a human jukebox. Which is great but you wouldn't want to do that too many times. You start to feel dead inside."\NHeading into the 2018 tour, Harvie suggested they try their hand at some new songs. Currie had been writing solo songs, "but they're all dirges, which you can get away with solo," the singer admits cheerfully. But as it has been a long time since he'd written songs with the band in mind, he took himself off to a borrowed cottage on the Isle of Lewis and started writing songs that would suit a two-guitar set-up.\NDown south, Harvie was writing, too. The pair realised that, without forcing it, they had created a bunch of songs that sounded "very Del Amitri."\NBy the time 2019 came around, those songs had turned into the core of a very Del Amitri album and a new deal with Cooking Vinyl. Then, the night before lockdown in March this year, recording of that album was completed.\NFatal Mistakes is their first collection of new songs in 18 years, it was recorded "pretty much live" in three quicksmart weeks with producer Dan Austin (Biffy Clyro, You Me At Seven), and it's the brilliant sound of a 35-years-young recording band settling into what they do best: melodic rock songs with lyrical bite, soulful comfort, heart-swelling uplift and the occasional just-the-right-side-of-gnarly guitar solo.\NFirst out of the traps was the instantly hooky You Can't Go Back, performed on that 2018 tour, the opening track on the album and pegged as one of the lead singles for the album. It's a song about embracing reality -- ever pithily self-aware, Del Amitri are always the first to know if something sounds or feels wrong or crass.\N"It's very open about the fact that we've moved on and it's not the same thing," observes Harvie, even as he's somehow managing to still rock the same luxurious locks as he did on the sleeve of Waking Hours, "and how the audience have moved along with us."\N"And it works as a love song, too," adds Currie, equally still no slouch in the hair department. "I like lyrics that double-up like that."\NThe band's intent to record like a "proper five-piece rock band" -- by plugging in amps rather than booting up laptops -- is there to hear in the excellently and pithily titled Musicians and Beer. It's a proper driving rock tune, with crunchy riffs courtesy of Kris Dollimore and the jolting line: "At least Muddy Waters can't fuck with your kids."\N"That was written on the piano, funnily enough," explains Currie. "But I had the title for a while, and I thought it would amuse all the musicians we know. And I like the idea that we have some purpose in the world: actually, you do need musicians and beer in your life -- especially this year!\N"And those are both things that fundamentalist religious people hate. I come from a family, on my dad's side, of fundamentalist Christians who don't allow organs in church, or harmony, because that's decadent. And there are obviously still strains of that in the world."\N"It's our anti-Caliphate song," adds Harvie, "although we don't want an ISIS fatwa... It could help the publicity, mind."\NIn counterpoint is the skeletal, aching Lonely, a song that echoes with emptiness and is flecked with CSNY-style harmonies.\N"Not the kind of thing we've done before," says Harvie. "I wrote that not thinking it would work -- it's the most fragile way you could write a song, just playing chords on the acoustic guitar as quietly as possible. And that created space for the lyrics."\NThen there's It's Feelings, another big tune that's classic Del Amitri, with Currie's soulful tap-room rasp reverberating down the years.\N"Iain wrote that music," says the singer, "it was the last thing we did, and I just thought it felt very sunny, so I just wrote some really sweet lyrics. It has a wee bit of that Cure, New Order-y vibe -- it drives along in a Nineties alternative radio lane. And that lightness really balanced out the darkness elsewhere in the album."\NCue the mordant, Neil Young-ish I'm So Scared of Dying. "For the mix we gave Dan references like Everybody Knows This Is Nowhere," says Currie, "which are quite brittle, quite toppy records. You don't hear that so often anymore because in a digital world it's easy to make things sound warm and comfortable. We wanted this to be spiky."\NAnd cue, too, the what-a-state-of-the-nation lament Close Your Eyes and Think of England. A classic Dels ballad, the creative spark was lit for Currie during a solo tour of Brexit Britain as he pondered the state of English nationalism ("and also, 'Scotland' didn't scan"). There's similar lyrical ambition in the near-eight-minute, two-chord wonder that is album closer Nation of Caners. Harvie remembers with a chuckle Currie coming into the studio in Warwickshire with "five pages of closely-written lyrics."\N"I just fancied having a long, quite political song," shrugs the lyricist, "and I just wanted to write about the madness we're living in right now."\N"And once we learnt to play it, we just did it as a groove -- and, again, we don't really do groove-based things," observes Harvie. "It was heading towards The Fall or Can. And we played it completely live, all eight minutes of it. I think that's about take five."\NNow that they're back, Del Amitri aren't rushing -- they've waited 18 years, after all. Songs from Fatal Mistakes will be rolled out over the coming months and into 2021, ahead of (they hope) a full UK tour.\NWhat does it mean for a band to come back after so long away? It means embracing your past to create a new sound for a fresh tomorrow.\N"Once I'd got my head round the idea of not sounding like the band we were then, I was much less paranoid!" admits Currie with a laugh. "You're never gonna recreate that energy of when you're 20. So you have to do what we're doing now."\NThat, Iain Harvie elaborates, means "shorter songs, with no big rambling guitar solos. We don't need that big bollocks swagger that you felt you had to pull out when you were on the Rolling Stones' stage at Wembley, or whatever other stupid things you ended up doing. It's just us, and the songs, all of it played by all five of us -- no guest players or session guys. We've never done that before!" he marvels. "So it's a clean sheet, a new album, from a new band. It felt really free to make it."\N"You know, when we made Waking Hours," reflects Justin Currie by way of conclusion, "we knew there was no one else at the time who was doing that: a classic rock-pop record, very song-based, but with guitar solos and proper melodic performances. And it occurred to us a couple of years ago that, again, in Britain there's a space for this. No band of any generation are doing this. So this feels like the right time."\NRight time, right place, right band: Del Amitri are back and ready to rock with Fatal Mistakes. Although if you want to book them for a breakfast TV slot, they may have some questions. X-ALT-DESC;FMTTYPE=text/html:

Almost two decades on from their last album, Del Amitri easily remember the good old days, when a Glasgow indie band "who never really cut it as Orange Juice and Josef K copyists, which is kinda what we were" became, in effect, overnight successes.

Suddenly, after a still-born first album (1985's Del Amitri), with 1989's Waking Hours, hit single 'Nothing Ever Happens' propelled them to sharing a Top of the Pops stage with Phil Collins, then in the imperial phase of his solo career, newcomer Sinead O'Connor singing 'Nothing Compares 2 U,' and the premier of Public Enemy's 'Welcome to the Terrordome' video.

Two years later, Del Amitri were still regulars on the nation's favourite chart show. Promoting 1992 hit 'Always The Last to Know,' the band appeared on an episode alongside an En Vogue video ('My Lovin'), Shakespears Sister ('I Don't Care') and, performing smash US hit 'Jump,' adolescent rap duo Kriss Kross, they of the backwards-jeans.

"I remember hearing their manager shouting at someone from the BBC," says guitarist Iain Harvie, "complaining about the sound: 'Even that fucking Scottish rock band sound better than my guys!'"

Del Amitri also remember the other side of the good old days. That happens when being successful enough to bag a stadium support with one of the biggest bands in the world isn't quite enough success to insulate you from the indignity of a breakfast TV outside-broadcast from Blackpool and being upstaged by a dancing omelette.

"We did a gig with REM in Cardiff Arms Park, third on the bill with Belly and The Cranberries," begins singer/guitarist Justin Currie. "And REM were mingling round the catering area after and invited us to their aftershow. We're like: 'Oh yes! We're going to get to party with REM!'"

Alas...

"Oh no -- we had to get on the bus at midnight, drive through the night to Blackpool, sit outside the beach on the tour bus, waiting on the 5.30am call-time, then got put in a Portakabin, ignored for three hours. What the fuck are we doing here? We could still be partying with REM!

"Then at three minutes to nine, Danni Minogue comes in and yells at us to get onstage! So we get up there -- as the credits are rolling -- and it's chaos. There's a Nolan Sister, all these kids waving inflatable toys, us miming, in front of a dancing chicken and egg -- I still don't know who came on first -- waving kitchen utensils. Then Frank Carson comes on just as we're about to down tools. He spots how pissed off I was, so starts dancing behind me, occasionally leaning into my ear going: 'You're a wanker! You're a wanker!'"

"It was a travesty," Harvie laughs ruefully. "But at least our tour manager enjoyed it -- he was at the side of the stage, pissing himself laughing."

Still, "the Dels" had the last laugh. In America the song they were promoting on TVam, 1995's 'Roll To Me,' hit Number 10 on the Billboard Hot 10. It became a soundtrack favourite (everything from Family Guy to one-boy-and-his-dolphin "abomination" Flipper) and US jukebox staple that resonates (and generates royalties) to this day.

Equally, selling six million copies of half-a-dozen studio albums between that mid-Eighties debut and 2002's Can You Do Me Good? does a great job of enabling you to, firstly, laugh about the cheap digs of Northern Irish comedians and, secondly, quit while you're ahead.

Which is exactly what Currie and Harvie, the consistent core of the band since 1982, did after that sixth album.

"Iain and I took a hiatus after 2002 because we'd been dropped by Mercury and we thought: 'Well, that's a bit of a milestone -- we've had major deals since our late teens,'" relates Currie. "So it felt like a good moment to take a bit of time off. And I just did anything that was offered -- a bit of jazz singing with a big band, a bit with a folk-orchestra..."

"Ha, I missed that one!" chips in Harvie. "I spent a time as a record producer. I did three or four albums with Rough Trade, then worked with a young band from Berwick-upon-Tweed, then tour-managed them a bit, then worked in studios. So I'd drifted off the other way, which I quite enjoyed. But then the bottom started falling out of the studio industry as well, as bands started recording themselves. Which just started to make me miss our band."

Currie similarly oscillated between feeling disgruntled and... gruntled?

"I did four solo albums," the frontman says, "and some touring, including one on my own which I absolutely hated. You can't look round at anyone and go: 'Well, this is weird.' And you're meant to be a raconteur when you do solo shows, and I can't do any of that. Then, after, you're standing in the dressing room on your own. There's no one to talk to! It's horrible. So, aye, I really missed the band, too."

In 2014 and again in 2018, Currie, Harvie and their band embarked on sell-out UK reunion tours. But by the time of the second run, the appeal of playing solely songs from the past began to pall slightly.

"It's great fun doing those gigs," says Currie, "but if there's not something current you're really happy with, you start to feel like a human jukebox. Which is great but you wouldn't want to do that too many times. You start to feel dead inside."

Heading into the 2018 tour, Harvie suggested they try their hand at some new songs. Currie had been writing solo songs, "but they're all dirges, which you can get away with solo," the singer admits cheerfully. But as it has been a long time since he'd written songs with the band in mind, he took himself off to a borrowed cottage on the Isle of Lewis and started writing songs that would suit a two-guitar set-up.

Down south, Harvie was writing, too. The pair realised that, without forcing it, they had created a bunch of songs that sounded "very Del Amitri."

By the time 2019 came around, those songs had turned into the core of a very Del Amitri album and a new deal with Cooking Vinyl. Then, the night before lockdown in March this year, recording of that album was completed.

Fatal Mistakes is their first collection of new songs in 18 years, it was recorded "pretty much live" in three quicksmart weeks with producer Dan Austin (Biffy Clyro, You Me At Seven), and it's the brilliant sound of a 35-years-young recording band settling into what they do best: melodic rock songs with lyrical bite, soulful comfort, heart-swelling uplift and the occasional just-the-right-side-of-gnarly guitar solo.

First out of the traps was the instantly hooky You Can't Go Back, performed on that 2018 tour, the opening track on the album and pegged as one of the lead singles for the album. It's a song about embracing reality -- ever pithily self-aware, Del Amitri are always the first to know if something sounds or feels wrong or crass.

"It's very open about the fact that we've moved on and it's not the same thing," observes Harvie, even as he's somehow managing to still rock the same luxurious locks as he did on the sleeve of Waking Hours, "and how the audience have moved along with us."

"And it works as a love song, too," adds Currie, equally still no slouch in the hair department. "I like lyrics that double-up like that."

The band's intent to record like a "proper five-piece rock band" -- by plugging in amps rather than booting up laptops -- is there to hear in the excellently and pithily titled Musicians and Beer. It's a proper driving rock tune, with crunchy riffs courtesy of Kris Dollimore and the jolting line: "At least Muddy Waters can't fuck with your kids."

"That was written on the piano, funnily enough," explains Currie. "But I had the title for a while, and I thought it would amuse all the musicians we know. And I like the idea that we have some purpose in the world: actually, you do need musicians and beer in your life -- especially this year!

"And those are both things that fundamentalist religious people hate. I come from a family, on my dad's side, of fundamentalist Christians who don't allow organs in church, or harmony, because that's decadent. And there are obviously still strains of that in the world."

"It's our anti-Caliphate song," adds Harvie, "although we don't want an ISIS fatwa... It could help the publicity, mind."

In counterpoint is the skeletal, aching Lonely, a song that echoes with emptiness and is flecked with CSNY-style harmonies.

"Not the kind of thing we've done before," says Harvie. "I wrote that not thinking it would work -- it's the most fragile way you could write a song, just playing chords on the acoustic guitar as quietly as possible. And that created space for the lyrics."

Then there's It's Feelings, another big tune that's classic Del Amitri, with Currie's soulful tap-room rasp reverberating down the years.

"Iain wrote that music," says the singer, "it was the last thing we did, and I just thought it felt very sunny, so I just wrote some really sweet lyrics. It has a wee bit of that Cure, New Order-y vibe -- it drives along in a Nineties alternative radio lane. And that lightness really balanced out the darkness elsewhere in the album."

Cue the mordant, Neil Young-ish I'm So Scared of Dying. "For the mix we gave Dan references like Everybody Knows This Is Nowhere," says Currie, "which are quite brittle, quite toppy records. You don't hear that so often anymore because in a digital world it's easy to make things sound warm and comfortable. We wanted this to be spiky."

And cue, too, the what-a-state-of-the-nation lament Close Your Eyes and Think of England. A classic Dels ballad, the creative spark was lit for Currie during a solo tour of Brexit Britain as he pondered the state of English nationalism ("and also, 'Scotland' didn't scan"). There's similar lyrical ambition in the near-eight-minute, two-chord wonder that is album closer Nation of Caners. Harvie remembers with a chuckle Currie coming into the studio in Warwickshire with "five pages of closely-written lyrics."

"I just fancied having a long, quite political song," shrugs the lyricist, "and I just wanted to write about the madness we're living in right now."

"And once we learnt to play it, we just did it as a groove -- and, again, we don't really do groove-based things," observes Harvie. "It was heading towards The Fall or Can. And we played it completely live, all eight minutes of it. I think that's about take five."

Now that they're back, Del Amitri aren't rushing -- they've waited 18 years, after all. Songs from Fatal Mistakes will be rolled out over the coming months and into 2021, ahead of (they hope) a full UK tour.

What does it mean for a band to come back after so long away? It means embracing your past to create a new sound for a fresh tomorrow.

"Once I'd got my head round the idea of not sounding like the band we were then, I was much less paranoid!" admits Currie with a laugh. "You're never gonna recreate that energy of when you're 20. So you have to do what we're doing now."

That, Iain Harvie elaborates, means "shorter songs, with no big rambling guitar solos. We don't need that big bollocks swagger that you felt you had to pull out when you were on the Rolling Stones' stage at Wembley, or whatever other stupid things you ended up doing. It's just us, and the songs, all of it played by all five of us -- no guest players or session guys. We've never done that before!" he marvels. "So it's a clean sheet, a new album, from a new band. It felt really free to make it."

"You know, when we made Waking Hours," reflects Justin Currie by way of conclusion, "we knew there was no one else at the time who was doing that: a classic rock-pop record, very song-based, but with guitar solos and proper melodic performances. And it occurred to us a couple of years ago that, again, in Britain there's a space for this. No band of any generation are doing this. So this feels like the right time."

Right time, right place, right band: Del Amitri are back and ready to rock with Fatal Mistakes. Although if you want to book them for a breakfast TV slot, they may have some questions.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220404T220627Z X-ACCESS:1 X-HITS:2020 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220407T210000 DTEND;TZID=America/Denver:20220407T233000 UID:70BC4CD2-A493-4695-8BF9-A4E6BD2ED69A SUMMARY:SASAMI DTSTAMP:20211025T200626Z DESCRIPTION:SASAMI (Sasami Ashworth) will release her second studio album, Squeeze, on February 25, 2022 on Domino Records. Squeeze hammers home a sentiment of “anti-toxic positivity” and showcases her vicious honesty and brutally uncompromising vision, partially inspired by the Japanese yōkai folk spirit called Nure-onna (translation: wet woman), a vampiric deity that has the head of a woman and the body of a snake.\NOn Squeeze, SASAMI explores her wide spectrum of moods—from raging at systemic violence to wrestling for control in her personal relationships. Throughout, the singer-songwriter and producer surveys the raw aggression of nu-metal, tender plainspokeness of country-pop and folk rock, and dramatic romanticism of classical music.\NBased in Los Angeles, SASAMI is a descendent of the Zainichi people on her mother’s side, a diaspora of ethnic Koreans who lived in Japan during Japan’s occupation of Korea from 1910 to 1945. Though some Zainichi moved voluntarily and others were forcibly kidnapped, these people and their progeny continue to experience systemic discrimination and oppression in Japan to this day. While conducting a deep dive into her family’s mixed Korean and Japanese history and culture, SASAMI stumbled upon stories of Nure-onna and was immediately drawn to the water creature’s multiplicitous nature. According to legend, the deity is feminine and noble, yet powerful and vicious enough to brutally destroy victims with her blood sucking tongue.\NThe fluidity of the Nure-onna can be felt in how Squeeze naturally flows through musical influences—from System of a Down to Sheryl Crow and Fleetwood Mac, to even Bach and Mahler. A classically-trained composer, SASAMI constructed the LP in the form of an opera or orchestral work that has different “movements” that take the listener on an emotional journey. Compared to the introspective indie rock of SASAMI’s 2019 self-titled debut album, Squeeze is a full-throttled expansion.\NThe dark, fantastical elements of the Nure-onna legend feeds into SASAMI’s use of heavy rock elements throughout Squeeze. She hopes that listeners will identify with this new sinister, intense sound and use it as a soundtrack for processing their “anger, frustration, desperation, and more violent, aggressive emotions.” Her ultimate desire is for marginalized folks, including femmes, BIPOC, and queer people, to listen to Squeeze and find catharsis from the oppression and violence that they experience.\NIn reclamatory fashion, SASAMI assumes the form of Nure-onna on the record’s Japanese horror film-inspired cover art, designed by Andrew Thomas Huang (Björk, FKA twigs) and Rin Kim. She chose to pair this Japanese folklore-referencing image with Squeeze written in Korean calligraphy by Myung-Ja Ashworth, SASAMI’s mom, as another act of Zainichi empowerment. On the back, the title is written in Japanese script.\NSqueeze was produced by SASAMI, with a handful of the tracks co-produced by Ty Segall at his studio in Topanga, California. Other notable contributors include:\N\NNo Home (“Squeeze”)• Fashion Club aka Moaning’s Pascal Stevenson (“Say It”)• Christian Lee Hutson (“Tried to Understand”)• Hand Habits’ Meg Duffy (“The Greatest,” “Not a Love Song”)• Vagabon’s Laetitia Tamko and Patti Harrison (“Skin a Rat”)• Barishi (“Sorry Entertainer”)• Megadeth’s Dirk Verbeuren (“Squeeze,” “Skin a Rat,” “Need it to Work”)• King Tuff’s Kyle Thomas (all songs besides “Sorry Entertainer”)\N X-ALT-DESC;FMTTYPE=text/html:

SASAMI (Sasami Ashworth) will release her second studio album, Squeeze, on February 25, 2022 on Domino Records. Squeeze hammers home a sentiment of “anti-toxic positivity” and showcases her vicious honesty and brutally uncompromising vision, partially inspired by the Japanese yōkai folk spirit called Nure-onna (translation: wet woman), a vampiric deity that has the head of a woman and the body of a snake.

On Squeeze, SASAMI explores her wide spectrum of moods—from raging at systemic violence to wrestling for control in her personal relationships. Throughout, the singer-songwriter and producer surveys the raw aggression of nu-metal, tender plainspokeness of country-pop and folk rock, and dramatic romanticism of classical music.

Based in Los Angeles, SASAMI is a descendent of the Zainichi people on her mother’s side, a diaspora of ethnic Koreans who lived in Japan during Japan’s occupation of Korea from 1910 to 1945. Though some Zainichi moved voluntarily and others were forcibly kidnapped, these people and their progeny continue to experience systemic discrimination and oppression in Japan to this day. While conducting a deep dive into her family’s mixed Korean and Japanese history and culture, SASAMI stumbled upon stories of Nure-onna and was immediately drawn to the water creature’s multiplicitous nature. According to legend, the deity is feminine and noble, yet powerful and vicious enough to brutally destroy victims with her blood sucking tongue.

The fluidity of the Nure-onna can be felt in how Squeeze naturally flows through musical influences—from System of a Down to Sheryl Crow and Fleetwood Mac, to even Bach and Mahler. A classically-trained composer, SASAMI constructed the LP in the form of an opera or orchestral work that has different “movements” that take the listener on an emotional journey. Compared to the introspective indie rock of SASAMI’s 2019 self-titled debut album, Squeeze is a full-throttled expansion.

The dark, fantastical elements of the Nure-onna legend feeds into SASAMI’s use of heavy rock elements throughout Squeeze. She hopes that listeners will identify with this new sinister, intense sound and use it as a soundtrack for processing their “anger, frustration, desperation, and more violent, aggressive emotions.” Her ultimate desire is for marginalized folks, including femmes, BIPOC, and queer people, to listen to Squeeze and find catharsis from the oppression and violence that they experience.

In reclamatory fashion, SASAMI assumes the form of Nure-onna on the record’s Japanese horror film-inspired cover art, designed by Andrew Thomas Huang (Björk, FKA twigs) and Rin Kim. She chose to pair this Japanese folklore-referencing image with Squeeze written in Korean calligraphy by Myung-Ja Ashworth, SASAMI’s mom, as another act of Zainichi empowerment. On the back, the title is written in Japanese script.

Squeeze was produced by SASAMI, with a handful of the tracks co-produced by Ty Segall at his studio in Topanga, California. Other notable contributors include:

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220404T195904Z X-ACCESS:1 X-HITS:2241 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220408T210000 DTEND;TZID=America/Denver:20220408T233000 UID:D96156C4-D89B-4E6A-A43B-B6E39E416CCB SUMMARY:J-Rad Cooley DTSTAMP:20220202T173708Z DESCRIPTION:J-Rad Cooley (born Jared McLean Cooley, in Salt Lake City, Utah, on October 13th in 1998) is an American singer/songwriter as well as a unique harmonica player and pianist. Cooley had picked up the guitar when he was 13 and later on branched out at the age of 14 to find his love for the harmonica, piano and writing original music. “When I was 14, I began playing with people who were much better than me at the time, and I remember something hitting me in that very first moment I heard them play - I had never been more certain about what I wanted to do with the rest of my life. I have had so many great opportunities since then, and I am very grateful to have shared the stage with so many people who have inspired me.” - J-Rad Cooley\NCooley has been portraying musical genres such as; Blues, Jazz, Country, Ragtime, Rock n’ Roll, Soul, and other roots music. He fell in love with the blues at a young age when he first heard Lightnin’ Hopkins and other Blues artists like Blind Willie McTell, Dr John, Louis Armstrong, Sonny Boy Williamson II, Muddy Waters, Ray Charles, Robert Johnson, and many others.\N“My first band was called The Arvos, we started playing when I was 15, hitting stages by the time I was 16. It was everyone’s first real band I’d say, and we all learned a whole lot from each other. It was a great band and we all had a lot of fun but I eventually left the group to start my new project, Ol’ Fashion Depot, which we began in 2017. We technically remain same band, we just changed our name to J-Rad Cooley Band about a year ago for a few different reasons. We have been consistently playing shows and working on new material for the future, we are always trying to keep things interesting and fresh - not only for the audience but mostly for ourselves. I’ve always been a big blues guy, but have also been really inspired by other artists like Bob Dylan and Leonard Cohen, for being such good storytellers and creative writers. Mostly I have always just wanted to be a good songwriter.” - J-Rad Cooley\NAt 16, Cooley first met harmonica player, Tony Holiday, when the two played their first show together in Salt Lake City, Utah on a Spring evening in 2015. Cooley had unfortunately forgotten one of his keyboard cables for the show, but Holiday offered to drive Cooley to Holiday’s house hoping that he might have an extra cable laying around. During the process, Holiday’s car broke down a few blocks from his home, resulting in Cooley having to push the car the rest of the way. They arrived at the house, and sadly discovered that there was no extra cable. Fortunately, the car effortlessly started back up, and the two of them went back to the venue and managed to play the show with some innovation. This was the bazaar and humorous beginning of a solid friendship between J-Rad Cooley and Tony Holiday. Since then Holiday has taken Cooley under his wing and taught him tricks and techniques on the harmonica, produced his first album "Yard Sale” and more.\N“The first time I heard the Blues and really appreciated it, I just remember thinking that it was one of the realest things I had ever heard. It was pure, raw, and truthful to the core. I got into other music later on, of course. But I will always have a special love for the Blues, and I would like to thank everyone who is continuing the tradition and keeping the genre alive.” - J-Rad Cooley\NJ-Rad Cooley has shared stages with bands and musicians, such as; New Breed Brass Band, Polyrythmics, Ronnie Baker Brooks, Tony Holiday, and many more. Grammy nominated musician, Victor Wainwright, is featured on piano for half of Cooley’s first album, Yard Sale, produced by Tony Holiday, and recorded in Tennessee. The album is set out to be released on all streaming platforms in early 2022. X-ALT-DESC;FMTTYPE=text/html:

J-Rad Cooley (born Jared McLean Cooley, in Salt Lake City, Utah, on October 13th in 1998) is an American singer/songwriter as well as a unique harmonica player and pianist. Cooley had picked up the guitar when he was 13 and later on branched out at the age of 14 to find his love for the harmonica, piano and writing original music.

“When I was 14, I began playing with people who were much better than me at the time, and I remember something hitting me in that very first moment I heard them play - I had never been more certain about what I wanted to do with the rest of my life. I have had so many great opportunities since then, and I am very grateful to have shared the stage with so many people who have inspired me.” - J-Rad Cooley

Cooley has been portraying musical genres such as; Blues, Jazz, Country, Ragtime, Rock n’ Roll, Soul, and other roots music. He fell in love with the blues at a young age when he first heard Lightnin’ Hopkins and other Blues artists like Blind Willie McTell, Dr John, Louis Armstrong, Sonny Boy Williamson II, Muddy Waters, Ray Charles, Robert Johnson, and many others.

“My first band was called The Arvos, we started playing when I was 15, hitting stages by the time I was 16. It was everyone’s first real band I’d say, and we all learned a whole lot from each other. It was a great band and we all had a lot of fun but I eventually left the group to start my new project, Ol’ Fashion Depot, which we began in 2017. We technically remain same band, we just changed our name to J-Rad Cooley Band about a year ago for a few different reasons. We have been consistently playing shows and working on new material for the future, we are always trying to keep things interesting and fresh - not only for the audience but mostly for ourselves. I’ve always been a big blues guy, but have also been really inspired by other artists like Bob Dylan and Leonard Cohen, for being such good storytellers and creative writers. Mostly I have always just wanted to be a good songwriter.” - J-Rad Cooley

At 16, Cooley first met harmonica player, Tony Holiday, when the two played their first show together in Salt Lake City, Utah on a Spring evening in 2015. Cooley had unfortunately forgotten one of his keyboard cables for the show, but Holiday offered to drive Cooley to Holiday’s house hoping that he might have an extra cable laying around. During the process, Holiday’s car broke down a few blocks from his home, resulting in Cooley having to push the car the rest of the way. They arrived at the house, and sadly discovered that there was no extra cable. Fortunately, the car effortlessly started back up, and the two of them went back to the venue and managed to play the show with some innovation. This was the bazaar and humorous beginning of a solid friendship between J-Rad Cooley and Tony Holiday. Since then Holiday has taken Cooley under his wing and taught him tricks and techniques on the harmonica, produced his first album "Yard Sale” and more.

“The first time I heard the Blues and really appreciated it, I just remember thinking that it was one of the realest things I had ever heard. It was pure, raw, and truthful to the core. I got into other music later on, of course. But I will always have a special love for the Blues, and I would like to thank everyone who is continuing the tradition and keeping the genre alive.” - J-Rad Cooley

J-Rad Cooley has shared stages with bands and musicians, such as; New Breed Brass Band, Polyrythmics, Ronnie Baker Brooks, Tony Holiday, and many more. Grammy nominated musician, Victor Wainwright, is featured on piano for half of Cooley’s first album, Yard Sale, produced by Tony Holiday, and recorded in Tennessee. The album is set out to be released on all streaming platforms in early 2022.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220404T223024Z X-ACCESS:1 X-HITS:2483 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220409T200000 DTEND;TZID=America/Denver:20220409T223000 UID:BA51C954-F9E9-400D-B678-78B9B81519EE SUMMARY:Madam Bandit + Mindy Gledhill DTSTAMP:20211201T173219Z DESCRIPTION:Mindy Gledhill\NOver the course of her career, Mindy has recorded successful independently released albums with a cadre of award-winning producers, including six albums over the past decade (Feather in the Wind, Anchor, Pocketful of Poetry, Winter Moon, and Rabbit Hole).\NIn addition to her own releases, Mindy has also performed on multiple acclaimed projects, including Kaskade’s 2011 Grammy-nominated album, Fire & Ice. Her popularity has led to sold out shows across the US & Asia, as well as performances with remarkable musical groups ranging from orchestras and rock bands to bluegrass revivalists.\NHer last album, Rabbit Hole, is the breathy confessional of a rapt soul who slipped down the curious tunnel of experience, landed in a hall of locked doors, and refused to be contained. In Rabbit Hole, Mindy confronts the challenges of life—all its unfulfilled expectations, sudden detours, and existential wounds—and presents us with a silver lining through bouncy rhythms and ballads of unabashed optimism. In spite of life’s crucibles and crises, she reassures us that everything is going to be alright, and that “To be upside down is a fine way to be." X-ALT-DESC;FMTTYPE=text/html:

Mindy Gledhill

Over the course of her career, Mindy has recorded successful independently released albums with a cadre of award-winning producers, including six albums over the past decade (Feather in the Wind, Anchor, Pocketful of Poetry, Winter Moon, and Rabbit Hole).

In addition to her own releases, Mindy has also performed on multiple acclaimed projects, including Kaskade’s 2011 Grammy-nominated album, Fire & Ice. Her popularity has led to sold out shows across the US & Asia, as well as performances with remarkable musical groups ranging from orchestras and rock bands to bluegrass revivalists.

Her last album, Rabbit Hole, is the breathy confessional of a rapt soul who slipped down the curious tunnel of experience, landed in a hall of locked doors, and refused to be contained. In Rabbit Hole, Mindy confronts the challenges of life—all its unfulfilled expectations, sudden detours, and existential wounds—and presents us with a silver lining through bouncy rhythms and ballads of unabashed optimism. In spite of life’s crucibles and crises, she reassures us that everything is going to be alright, and that “To be upside down is a fine way to be."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220321T225823Z X-ACCESS:1 X-HITS:3132 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220412T200000 DTEND;TZID=America/Denver:20220412T233000 UID:C6E79FED-EAF5-4AC9-B3F3-972E0DDCCD8F SUMMARY:Sicard Hollow DTSTAMP:20220214T205215Z DESCRIPTION:Sicard Hollow is a four-piece progressive bluegrass band who formed with a mutual passion for pushing the boundaries of genre. Heavily influenced by the Grateful Dead and New Grass Revival, these young pickers bring new energy to a timeless style with a combination of fearless improvisation and instrumental prowess.\NThe band formed through mutual connections within the Nashville music scene who all wanted to play something different. They were all simultaneously discovering bluegrass while existing in their other scenes. Once they got together, the rest was history.\NHaving toured extensively around the country since 2018, this group of players continues to grow their sound with every performance. With the release of their debut studio album, ‘Secret of the Breeze’ (2020), a live album called ‘Live at Brooklyn Bowl Nashville’ (2021), and their upcoming sophomore studio effort, there is no slowing down for Sicard Hollow. X-ALT-DESC;FMTTYPE=text/html:

Sicard Hollow is a four-piece progressive bluegrass band who formed with a mutual passion for pushing the boundaries of genre. Heavily influenced by the Grateful Dead and New Grass Revival, these young pickers bring new energy to a timeless style with a combination of fearless improvisation and instrumental prowess.

The band formed through mutual connections within the Nashville music scene who all wanted to play something different. They were all simultaneously discovering bluegrass while existing in their other scenes. Once they got together, the rest was history.

Having toured extensively around the country since 2018, this group of players continues to grow their sound with every performance. With the release of their debut studio album, ‘Secret of the Breeze’ (2020), a live album called ‘Live at Brooklyn Bowl Nashville’ (2021), and their upcoming sophomore studio effort, there is no slowing down for Sicard Hollow.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220404T224728Z X-ACCESS:1 X-HITS:1580 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220414T200000 DTEND;TZID=America/Denver:20220414T210000 UID:5129E202-0162-4340-8343-5A3DDEE32344 SUMMARY:Cycles DTSTAMP:20220222T063328Z DESCRIPTION:Cycles epitomize the power-trio format with ripping guitar, fat bass grooves played out through furious slapping, and viciously dynamic drum beats flowing over intricate tempo changes. Each member wields a unique take on their instrument that when played together, forms a truly fresh and cohesive sound. Patrick Harvey commands the guitar with speed and precision reminiscent of Jimmy Herring while using his loop pedal virtually as its own instrument, a skill unique only to him. At the heart of the band lies Tucker McClung’s dominant slap-bass chops that captivates audiences and pumps the musical blood through the band. The recent addition of drummer, Luke Stone has brought new fire and life into the band. With swift chops, fierce fills and decisive tempo, Luke has only further intensified the already explosive sound that is Cycles.\NThe current incarnation of the ever-developing sound of Cycles reveals itself today as a speeding freight train of sound and rhythm. Screaming peaks and balanced grooves find their way out of the chaos of a jam while samples ripped from the likes of Madonna, Lil Nas X and many more ring out and grab the unsuspecting audience by surprise, adding to the multicolored blend of sound filling a room and often standing out as comedic elements of the show. Drawing influence from artists such as Rage Against the Machine, J. Dilla, Primus, Weather Report, and many more, Cycles fuse an eclectic blend of genres to produce an original sound that has become harder and harder to find. Although only a few years old, Cycles have over 350 shows under their belt with tours extending across the entire U.S. A heavy touring schedule keeps them on their toes while providing the inspiration to continue to write and always strive to play better. Look out for their name soon on a festival schedule in your hands or a club marquee playing with your favorite bands. X-ALT-DESC;FMTTYPE=text/html:

Cycles epitomize the power-trio format with ripping guitar, fat bass grooves played out through furious slapping, and viciously dynamic drum beats flowing over intricate tempo changes. Each member wields a unique take on their instrument that when played together, forms a truly fresh and cohesive sound. Patrick Harvey commands the guitar with speed and precision reminiscent of Jimmy Herring while using his loop pedal virtually as its own instrument, a skill unique only to him. At the heart of the band lies Tucker McClung’s dominant slap-bass chops that captivates audiences and pumps the musical blood through the band. The recent addition of drummer, Luke Stone has brought new fire and life into the band. With swift chops, fierce fills and decisive tempo, Luke has only further intensified the already explosive sound that is Cycles.

The current incarnation of the ever-developing sound of Cycles reveals itself today as a speeding freight train of sound and rhythm. Screaming peaks and balanced grooves find their way out of the chaos of a jam while samples ripped from the likes of Madonna, Lil Nas X and many more ring out and grab the unsuspecting audience by surprise, adding to the multicolored blend of sound filling a room and often standing out as comedic elements of the show. Drawing influence from artists such as Rage Against the Machine, J. Dilla, Primus, Weather Report, and many more, Cycles fuse an eclectic blend of genres to produce an original sound that has become harder and harder to find. Although only a few years old, Cycles have over 350 shows under their belt with tours extending across the entire U.S. A heavy touring schedule keeps them on their toes while providing the inspiration to continue to write and always strive to play better. Look out for their name soon on a festival schedule in your hands or a club marquee playing with your favorite bands.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220404T225549Z X-ACCESS:1 X-HITS:1440 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220415T200000 DTEND;TZID=America/Denver:20220415T233000 UID:B70C21C4-009F-4574-AC69-F85BF4065E73 SUMMARY:Riverside — CANCELED DTSTAMP:20211215T164508Z DESCRIPTION:A message from the band —\N"Dear Friends, We have some bad news. For bureaucratic and logistic reasons beyond our control we cannot go to the USA in the first half of April. :(\NUnfortunately, because of that, we have to cancel the shows from the first part of our tour (Salt Lake City included). Tickets will be refunded where you purchased them.\NWe want to apologize to everyone who has incurred additional travel expenses in connection with those concerts. We promise to make it up to you with shows in... early 2023!\NWe are truly sorry about the whole mix-up. We were very close to cancelling the whole tour, but by some miracle, we managed to save at least a part of it, and we are definitely going to be there. We hope to meet as many of you as possible."\N \N________\N \NOn this North American tour Riverside are celebrating their 20th anniversary! Throughout these 20 years, this Warsaw based Polish band has released seven studio albums, a few live ones, and two mini albums. Their music, inspired by Pink Floyd, Rush, and Porcupine Tree, has evolved towards their own characteristic, recognizable style. The leader of Riverside, Mariusz Duda, writes about loneliness, fighting depression, and trying to survive in an ever changing world. The band are also known for their charismatic concerts, of which they have played many hundreds - in Europe, and both Americas. Their eighth studio album is scheduled for Autumn 2022. To fill the gap they have released a new song: Riverside - The Story of my Dreamhttps://www.youtube.com/watch?v=-s7fedFOP88 X-ALT-DESC;FMTTYPE=text/html:

A message from the band —

"Dear Friends, We have some bad news. For bureaucratic and logistic reasons beyond our control we cannot go to the USA in the first half of April. :(

Unfortunately, because of that, we have to cancel the shows from the first part of our tour (Salt Lake City included). Tickets will be refunded where you purchased them.

We want to apologize to everyone who has incurred additional travel expenses in connection with those concerts. We promise to make it up to you with shows in... early 2023!

We are truly sorry about the whole mix-up. We were very close to cancelling the whole tour, but by some miracle, we managed to save at least a part of it, and we are definitely going to be there. We hope to meet as many of you as possible."

 

________

 

On this North American tour Riverside are celebrating their 20th anniversary! Throughout these 20 years, this Warsaw based Polish band has released seven studio albums, a few live ones, and two mini albums. Their music, inspired by Pink Floyd, Rush, and Porcupine Tree, has evolved towards their own characteristic, recognizable style. The leader of Riverside, Mariusz Duda, writes about loneliness, fighting depression, and trying to survive in an ever changing world. The band are also known for their charismatic concerts, of which they have played many hundreds - in Europe, and both Americas. Their eighth studio album is scheduled for Autumn 2022. To fill the gap they have released a new song: Riverside - The Story of my Dream
https://www.youtube.com/watch?v=-s7fedFOP88

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220308T232345Z X-ACCESS:1 X-HITS:1240 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220416T210000 DTEND;TZID=America/Denver:20220416T233000 UID:62A487F5-6A01-4E30-818A-72A20369E79D SUMMARY:Jeff Crosby DTSTAMP:20220214T202630Z DESCRIPTION:Born and raised in a sleepy mountain town in Northern Idaho, singer-songwriter Jeff Crosby has managed to delineate the sometimes amorphous genre of "Americana", package it perfectly, and deliver it to his listeners time and again.\NHis songs present almost as pages ripped out of an intimately personal diary, detailing the rugged beauty of what it means to have loved, lost and kept on the move. There seems to be no shortage of inspiration as Crosby is one of the last few "troubadours" that truly lives the life he sings about.\NAfter dropping out of school at 17 to pursue touring full-time with a band on the west coast, he's made his living by permanently staying on the road - night after night, show after show, from load-in until the last drink is poured.\NFor five years, Crosby hung his hat in a little shoebox apartment off Sunset Boulevard in Los Angeles, giving up coffee to pay rent and running around with "The Homeless and the Dreamers" (a title of a song he wrote paying homage to that time). After a chance encounter in the city, he met and befriended a music editor for the critically-acclaimed television show Sons of Anarchy and subsequently had two songs featured on the program.\NAmid treading the scene in L.A. while he was home and touring across the U.S. with his band (and later with Widespread Panic song-writer Jerry Joseph), Crosby had managed to travel abroad to several countries including the United Kingdom, Iceland, Mexico, Colombia and Nicaragua. All of these countries offered experiences that lent themselves to the songs in his newest record, Postcards from Magdalena.\NThe record was produced and engineered in Portland, OR by Gregg Williams (Dandy Worhals, Blitzen Trapper, Pete Droge, Jesse Malin) and Geoff Piller in Nashville, TN. It has been distributed worldwide with an emphasis in Europe, due to the partnership with At the Helm Records in the U.K. and Blue Rose Records, based in Germany.\NIt was lauded by some overseas, including this praise from Mike Davies from Folk Radio UK: "There’s many an artist out there mining America’s rich musical history and shaping it into their own experiences and observations; Crosby may well be one of the best.”\NNow based in Nashville, Jeff continues to tour and share his stories with America at large, offering up a sort of mirror so that it might better see itself. What happens now, only the fates can know. All that is certain is that it will surely be Beautiful and Strange. X-ALT-DESC;FMTTYPE=text/html:

Born and raised in a sleepy mountain town in Northern Idaho, singer-songwriter Jeff Crosby has managed to delineate the sometimes amorphous genre of "Americana", package it perfectly, and deliver it to his listeners time and again.

His songs present almost as pages ripped out of an intimately personal diary, detailing the rugged beauty of what it means to have loved, lost and kept on the move. There seems to be no shortage of inspiration as Crosby is one of the last few "troubadours" that truly lives the life he sings about.

After dropping out of school at 17 to pursue touring full-time with a band on the west coast, he's made his living by permanently staying on the road - night after night, show after show, from load-in until the last drink is poured.

For five years, Crosby hung his hat in a little shoebox apartment off Sunset Boulevard in Los Angeles, giving up coffee to pay rent and running around with "The Homeless and the Dreamers" (a title of a song he wrote paying homage to that time). After a chance encounter in the city, he met and befriended a music editor for the critically-acclaimed television show Sons of Anarchy and subsequently had two songs featured on the program.

Amid treading the scene in L.A. while he was home and touring across the U.S. with his band (and later with Widespread Panic song-writer Jerry Joseph), Crosby had managed to travel abroad to several countries including the United Kingdom, Iceland, Mexico, Colombia and Nicaragua. All of these countries offered experiences that lent themselves to the songs in his newest record, Postcards from Magdalena.

The record was produced and engineered in Portland, OR by Gregg Williams (Dandy Worhals, Blitzen Trapper, Pete Droge, Jesse Malin) and Geoff Piller in Nashville, TN. It has been distributed worldwide with an emphasis in Europe, due to the partnership with At the Helm Records in the U.K. and Blue Rose Records, based in Germany.

It was lauded by some overseas, including this praise from Mike Davies from Folk Radio UK: "There’s many an artist out there mining America’s rich musical history and shaping it into their own experiences and observations; Crosby may well be one of the best.”

Now based in Nashville, Jeff continues to tour and share his stories with America at large, offering up a sort of mirror so that it might better see itself. What happens now, only the fates can know. All that is certain is that it will surely be Beautiful and Strange.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220404T230943Z X-ACCESS:1 X-HITS:1762 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220422T210000 DTEND;TZID=America/Denver:20220422T233000 UID:E89552B5-9448-4977-9085-034DFD06785F SUMMARY:Roger Clyne and The Peacemakers DTSTAMP:20211216T212049Z DESCRIPTION:“Here’s to life!” Fans around the world can be found singing the chorus of the Roger Clyne-penned fan favorite “Mekong” and toasting their glasses in unison to celebrate life through rock-n-roll. But the inspiration for the song dates back to the time Roger went to Taipei, Taiwan, as a college student to teach English during the day and busk with his guitar at night for money.\NToday, as Clyne prepares to record his 11th studio album, he continues to transform his life experiences, inspirations, observations and his own muses into timeless music. And whether he’s wearing his Converse high tops, boots or sandals, Clyne’s blend of punk rock, country-western and mariachi influences have made him, drummer PH Naffah, guitarist Jim Dalton and bassist Nick Scropos – collectively known as Roger Clyne & The Peacemakers – one of America’s best live rock-n-roll bands.\NStarting with the seminal Tempe quartet, The Refreshments, Clyne and Naffah put the fun in rock during the 90s grunge era with a sense of humor. They also started what would become a trademark sound on all future albums by adding mariachi horns, something Clyne was influenced by while in college studying Cultural Anthropology with an ethnography study of mariachis during a three month immersion stay with a local family in Ensenada, Mexico.\NThe Refreshments’ debut album, “Fizzy, Fuzzy, Big & Buzzy,” became a cult classic. It produced the alternative radio hit “Banditos” which also had significant airplay on MTV and earned The Freshies an appearance on The Conan O’Brien Show. Clyne then penned and performed the theme song for the Mike Judge animated TV series, King of Hill. In 2017, Here’s to Life: The story of The Refreshments, was released. The feature-length documentary was a hit with fans and critics alike. Read More\NChanges within their record label and internal band issues resulted in Clyne and Naffah going on a vision quest of sorts in the Whetstone Mountains near the Clyne Ranch in Southeastern Arizona. It was there that Clyne found inspiration in the rolling hills and the jukeboxes of small town taverns that still played Marty Robbins and Johnny Cash – music he had shed from his youth in favor of bands like Camper Van Beethoven & They Might Be Giants. But after reconnecting with those old country records, Clyne and Naffah wrote and recorded under a new moniker what would become Roger Clyne & The Peacemakers’ debut album, “Honky Tonk Union.”\NThe album was the perfect combination of classic rock and twang, and fans immediately connected with it. Their independent release, “Honky Tonk Union,” debuted at No. 1 on Billboard’s internet sales chart in 1999 prompting a call from a Billboard exec to their Manager demanding, “ Who the hell is Roger Clyne and why is he #1 on my chart?!” beating out much better known artists\NRCPM released eight more albums that landed in the top ten of Billboard’s Internet Sales Chart, including a No. 1 debut for their third album, “Americano!” – all without the backing of a major record label and while flying under the radar of commercial radio.\NIn 2019, Roger Clyne & The Peacemakers were inducted into the Arizona Music and Entertainment Hall of Fame, joining the likes of fellow Arizona legends Alice Cooper, Buck Owens, Glen Campbell, Stevie Nicks, Linda Ronstadt and Waylon Jennings.\NLater that fall, RCPM was invited by a man who, like Roger, also knows a little something about tequila and throwing big parties in Mexico. The band headlined Sammy Hagar’s Cabo Wabo Cantina on the eve of Hagar’s weekend birthday celebration.\NRoger Clyne & The Peacemakers have curated their own annual music festival, Circus Mexicus, in the sleepy beach town of Puerto Peñasco, Mexico, which draws thousands of fans from around the world. The festival not only has a major impact on the local economy, but charity events hosted by the band and fans alike help raise money for a local orphanage, support local youth sports and help feed shelter animals.\NClyne not only sings about life in the border-lands, he also produces his own ultra-premium spirit, Mexican Moonshine Tequila (soon to be re-named Canción Tequila). Owned by the entire band, it was the official tequila at the Arizona Diamondbacks Chase stadium in 2016, 2017 and 2018. Started in 2011, the award-winning spirit is distributed in multiple states as well as Sonora, Mexico.\NRoger Clyne & The Peacemakers have toured all over the US and achieved a faithful following through hard work and great music. They have done this all while being independent, without the safety net of a label or a label’s radio promotion department. Dubbed “The Springsteen of the Southwest,” by the Asbury Park Press. The band delivers exciting live performances that garner declarations like the one from emcee Jay Peterman of the Seinfeld TV show at Alice Cooper’s annual Christmas Pudding event, “Young man, you light that stage a-flame!” X-ALT-DESC;FMTTYPE=text/html:

“Here’s to life!” Fans around the world can be found singing the chorus of the Roger Clyne-penned fan favorite “Mekong” and toasting their glasses in unison to celebrate life through rock-n-roll. But the inspiration for the song dates back to the time Roger went to Taipei, Taiwan, as a college student to teach English during the day and busk with his guitar at night for money.

Today, as Clyne prepares to record his 11th studio album, he continues to transform his life experiences, inspirations, observations and his own muses into timeless music. And whether he’s wearing his Converse high tops, boots or sandals, Clyne’s blend of punk rock, country-western and mariachi influences have made him, drummer PH Naffah, guitarist Jim Dalton and bassist Nick Scropos – collectively known as Roger Clyne & The Peacemakers – one of America’s best live rock-n-roll bands.

Starting with the seminal Tempe quartet, The Refreshments, Clyne and Naffah put the fun in rock during the 90s grunge era with a sense of humor. They also started what would become a trademark sound on all future albums by adding mariachi horns, something Clyne was influenced by while in college studying Cultural Anthropology with an ethnography study of mariachis during a three month immersion stay with a local family in Ensenada, Mexico.

The Refreshments’ debut album, “Fizzy, Fuzzy, Big & Buzzy,” became a cult classic. It produced the alternative radio hit “Banditos” which also had significant airplay on MTV and earned The Freshies an appearance on The Conan O’Brien Show. Clyne then penned and performed the theme song for the Mike Judge animated TV series, King of Hill. In 2017, Here’s to Life: The story of The Refreshments, was released. The feature-length documentary was a hit with fans and critics alike. Read More

Changes within their record label and internal band issues resulted in Clyne and Naffah going on a vision quest of sorts in the Whetstone Mountains near the Clyne Ranch in Southeastern Arizona. It was there that Clyne found inspiration in the rolling hills and the jukeboxes of small town taverns that still played Marty Robbins and Johnny Cash – music he had shed from his youth in favor of bands like Camper Van Beethoven & They Might Be Giants. But after reconnecting with those old country records, Clyne and Naffah wrote and recorded under a new moniker what would become Roger Clyne & The Peacemakers’ debut album, “Honky Tonk Union.”

The album was the perfect combination of classic rock and twang, and fans immediately connected with it. Their independent release, “Honky Tonk Union,” debuted at No. 1 on Billboard’s internet sales chart in 1999 prompting a call from a Billboard exec to their Manager demanding, “ Who the hell is Roger Clyne and why is he #1 on my chart?!” beating out much better known artists

RCPM released eight more albums that landed in the top ten of Billboard’s Internet Sales Chart, including a No. 1 debut for their third album, “Americano!” – all without the backing of a major record label and while flying under the radar of commercial radio.

In 2019, Roger Clyne & The Peacemakers were inducted into the Arizona Music and Entertainment Hall of Fame, joining the likes of fellow Arizona legends Alice Cooper, Buck Owens, Glen Campbell, Stevie Nicks, Linda Ronstadt and Waylon Jennings.

Later that fall, RCPM was invited by a man who, like Roger, also knows a little something about tequila and throwing big parties in Mexico. The band headlined Sammy Hagar’s Cabo Wabo Cantina on the eve of Hagar’s weekend birthday celebration.

Roger Clyne & The Peacemakers have curated their own annual music festival, Circus Mexicus, in the sleepy beach town of Puerto Peñasco, Mexico, which draws thousands of fans from around the world. The festival not only has a major impact on the local economy, but charity events hosted by the band and fans alike help raise money for a local orphanage, support local youth sports and help feed shelter animals.

Clyne not only sings about life in the border-lands, he also produces his own ultra-premium spirit, Mexican Moonshine Tequila (soon to be re-named Canción Tequila). Owned by the entire band, it was the official tequila at the Arizona Diamondbacks Chase stadium in 2016, 2017 and 2018. Started in 2011, the award-winning spirit is distributed in multiple states as well as Sonora, Mexico.

Roger Clyne & The Peacemakers have toured all over the US and achieved a faithful following through hard work and great music. They have done this all while being independent, without the safety net of a label or a label’s radio promotion department. Dubbed “The Springsteen of the Southwest,” by the Asbury Park Press. The band delivers exciting live performances that garner declarations like the one from emcee Jay Peterman of the Seinfeld TV show at Alice Cooper’s annual Christmas Pudding event, “Young man, you light that stage a-flame!”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220404T232038Z X-ACCESS:1 X-HITS:2167 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220423T210000 DTEND;TZID=America/Denver:20220423T233000 UID:4702E8C8-C912-4B71-BBC3-ABF4CBBBD332 SUMMARY:Ian Noe DTSTAMP:20220113T205737Z DESCRIPTION:Ian Noe draws on the day-to-day life of Eastern Kentucky on his debut album, Between the Country. Recorded in Nashville with unhurried production by Dave Cobb, these 10 original songs introduce a number of complicated characters, diverse in their own downfalls but bound together by Noe’s singular voice.\N“I’ve always thought that Eastern Kentucky had a certain kind of sound, and I can’t really explain it any better than that,” he says. “What I was trying to do was write songs that sounded like where I was living.”\NThe lead track, “Irene (Ravin’ Bomb),” sets the tone for the album, telling the story of an alcoholic woman who fails to conceal her addiction from her family. Throughout the remaining tracks, family relationships are tested, bad decisions are inevitable, and more than a few people meet an untimely end. Titles like “Junk Town,” “Dead on the River (Rolling Down)” and “Meth Head” capture the dramatic situations faced by people in the region.\NHowever, Between the Country is not necessarily an autobiographical album. Instead, Noe absorbed these harrowing experiences through people he’s met or stories he’s heard. Not yet 30, Noe was raised as the oldest of three children in Beattyville, Kentucky, where his parents still live in the house he grew up in. His father is a longtime youth social worker, while his mother has been employed by the same local factory for more than 20 years.\NNoe learned to play guitar from his father and grandfather. As a young boy, he adored Chuck Berry’s “Johnny B. Goode” and spent years trying to emulate Berry’s way of playing guitar. Before long, Noe could pick country standards like “I Saw the Light” and “Wildwood Flower.” By his teen years, he gravitated to Bob Dylan and John Prine after discovering them through his family’s music collection. Neil Young soon became another favorite, along with Dwight Yoakam and Tom T. Hall, who hail from the same part of the state.\NNoe says, “There’s a silence about Eastern Kentucky. It’s quiet, at least where I was raised. There are a lot of places you can go and write and listen to music and not be bothered.”\NAll through his childhood, his great aunt often asked Noe if he’d written any songs yet. By 15 or 16, he decided to try. A family friend, who was also a manager at the Dairy Queen where Noe worked in high school, offered to help him book a few shows and get some songs recorded. Although Noe considers them just bedroom recordings now, the discs gave him something to sell when he started playing coffee shops and other small stages around Winchester and Lexington, Kentucky, and a little bit in Ohio.\N“For me it was a turning point just getting a few songs that I was happy with. I didn’t understand anything about making a record, or what that meant, when I was 15 or 16,” Noe admits. “It was the farthest thing from my mind, but once I got a couple of songs that I was satisfied with, I just kept going.”\NAfter high school, Noe took an office job close to home instead of enrolling in college. In his early 20s, he relocated to Louisville, hoping to get a band together and write music, but he had to constantly work odd jobs as a subcontractor to make rent. After a year, he briefly returned to the office job back home before finding work on an Eastern Kentucky oil rig – which he considers the best job he’s ever had, outside of music.\NSoaked with oil after his 12-hour shifts, Noe never once considered what a career in music would look like. Yet through a mutual acquaintance, his original songs attracted the attention of an artist manager. Impressed with his raw talent, she sent him an email of encouragement, which ultimately led to a working relationship. Since that time, Noe has opened multiple dates for kindred spirit Colter Wall, tapping into an audience that appreciates the sincerity and austerity in Noe’s original songs, too.\NNoe received another stamp of approval in February 2019 after singing at a John Prine tribute concert at the Troubadour in Los Angeles – with Prine himself in the crowd. Staged the night before the Grammys, Noe’s performance led to an offer to open three shows for his musical hero. As Noe puts it, “I’ve sat around my whole life thinking about what that would be like.”\NAlthough touring is imminent, Between the Country serves as a potent snapshot of home. The black-and-white cover photo alludes to a lyric in the title track but Noe believes it also illustrates the album as a whole. It’s the same approach that Lucinda Williams employed on her landmark 1998 album, Car Wheels on a Gravel Road, which Noe cites as one of his all-time favorites. “If you have a collection of songs where the subject matter is pretty much the same, and it’s coming from the same place, I think it’s important to have some kind of picture that reflects that. I’ve always felt that way,” he says.\NNoe now lives in Bowling Green, Kentucky, about an hour north of Nashville, where his bandmates are based. After years of writing songs alone and playing solo acoustic sets, he now prefers touring with a band, making it possible to carry the overall mood of Between the Country out on the road as well. After all, he and Cobb recorded the album live on the floor, completing the sessions in two days. Amid these uncluttered arrangements and a relaxed vibe, Noe’s evocative voice truly stands out.\N“I wanted a warm sound – that analog sound,” Noe says. “When we were getting the rough mixes going, that’s how it sounded, and that’s the direction it went in. You want people to be able to hear what you’re saying and what you’re singing about, and I think analog makes a good song stand the test of time.” X-ALT-DESC;FMTTYPE=text/html:

Ian Noe draws on the day-to-day life of Eastern Kentucky on his debut album, Between the Country. Recorded in Nashville with unhurried production by Dave Cobb, these 10 original songs introduce a number of complicated characters, diverse in their own downfalls but bound together by Noe’s singular voice.

“I’ve always thought that Eastern Kentucky had a certain kind of sound, and I can’t really explain it any better than that,” he says. “What I was trying to do was write songs that sounded like where I was living.”

The lead track, “Irene (Ravin’ Bomb),” sets the tone for the album, telling the story of an alcoholic woman who fails to conceal her addiction from her family. Throughout the remaining tracks, family relationships are tested, bad decisions are inevitable, and more than a few people meet an untimely end. Titles like “Junk Town,” “Dead on the River (Rolling Down)” and “Meth Head” capture the dramatic situations faced by people in the region.

However, Between the Country is not necessarily an autobiographical album. Instead, Noe absorbed these harrowing experiences through people he’s met or stories he’s heard. Not yet 30, Noe was raised as the oldest of three children in Beattyville, Kentucky, where his parents still live in the house he grew up in. His father is a longtime youth social worker, while his mother has been employed by the same local factory for more than 20 years.

Noe learned to play guitar from his father and grandfather. As a young boy, he adored Chuck Berry’s “Johnny B. Goode” and spent years trying to emulate Berry’s way of playing guitar. Before long, Noe could pick country standards like “I Saw the Light” and “Wildwood Flower.” By his teen years, he gravitated to Bob Dylan and John Prine after discovering them through his family’s music collection. Neil Young soon became another favorite, along with Dwight Yoakam and Tom T. Hall, who hail from the same part of the state.

Noe says, “There’s a silence about Eastern Kentucky. It’s quiet, at least where I was raised. There are a lot of places you can go and write and listen to music and not be bothered.”

All through his childhood, his great aunt often asked Noe if he’d written any songs yet. By 15 or 16, he decided to try. A family friend, who was also a manager at the Dairy Queen where Noe worked in high school, offered to help him book a few shows and get some songs recorded. Although Noe considers them just bedroom recordings now, the discs gave him something to sell when he started playing coffee shops and other small stages around Winchester and Lexington, Kentucky, and a little bit in Ohio.

“For me it was a turning point just getting a few songs that I was happy with. I didn’t understand anything about making a record, or what that meant, when I was 15 or 16,” Noe admits. “It was the farthest thing from my mind, but once I got a couple of songs that I was satisfied with, I just kept going.”

After high school, Noe took an office job close to home instead of enrolling in college. In his early 20s, he relocated to Louisville, hoping to get a band together and write music, but he had to constantly work odd jobs as a subcontractor to make rent. After a year, he briefly returned to the office job back home before finding work on an Eastern Kentucky oil rig – which he considers the best job he’s ever had, outside of music.

Soaked with oil after his 12-hour shifts, Noe never once considered what a career in music would look like. Yet through a mutual acquaintance, his original songs attracted the attention of an artist manager. Impressed with his raw talent, she sent him an email of encouragement, which ultimately led to a working relationship. Since that time, Noe has opened multiple dates for kindred spirit Colter Wall, tapping into an audience that appreciates the sincerity and austerity in Noe’s original songs, too.

Noe received another stamp of approval in February 2019 after singing at a John Prine tribute concert at the Troubadour in Los Angeles – with Prine himself in the crowd. Staged the night before the Grammys, Noe’s performance led to an offer to open three shows for his musical hero. As Noe puts it, “I’ve sat around my whole life thinking about what that would be like.”

Although touring is imminent, Between the Country serves as a potent snapshot of home. The black-and-white cover photo alludes to a lyric in the title track but Noe believes it also illustrates the album as a whole. It’s the same approach that Lucinda Williams employed on her landmark 1998 album, Car Wheels on a Gravel Road, which Noe cites as one of his all-time favorites. “If you have a collection of songs where the subject matter is pretty much the same, and it’s coming from the same place, I think it’s important to have some kind of picture that reflects that. I’ve always felt that way,” he says.

Noe now lives in Bowling Green, Kentucky, about an hour north of Nashville, where his bandmates are based. After years of writing songs alone and playing solo acoustic sets, he now prefers touring with a band, making it possible to carry the overall mood of Between the Country out on the road as well. After all, he and Cobb recorded the album live on the floor, completing the sessions in two days. Amid these uncluttered arrangements and a relaxed vibe, Noe’s evocative voice truly stands out.

“I wanted a warm sound – that analog sound,” Noe says. “When we were getting the rough mixes going, that’s how it sounded, and that’s the direction it went in. You want people to be able to hear what you’re saying and what you’re singing about, and I think analog makes a good song stand the test of time.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220423T163835Z X-ACCESS:1 X-HITS:2383 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220428T200000 DTEND;TZID=America/Denver:20220428T233000 UID:EC805C04-218A-4010-9F5D-E16052C01471 SUMMARY:Peter Bradley Adams DTSTAMP:20220214T230859Z DESCRIPTION:No matter the form, when it comes to art, there are a number of different tacks to take. Some artists continually push their work across new horizons. Neil Young, Leonardo Da Vinci, and Joni Mitchell come to mind, in that regard. Others — Claude Monet, Jason Isbell, and Bonnie Raitt, among them — stand a bit more still in order to continually refine the capturing of their vision. Singer/songwriter Peter Bradley Adams falls into the latter category of perfectionists chasing their own perfection. With A Face Like Mine, he may well have caught it.\NThere's a confidence, a completeness in the song cycle that listeners have gleaned throughout Adams' illustrious career, but A Face Like Mine, his sixth solo effort, brings it all into sharp focus. As Adams sees it, “On the long plod of finding my voice as a singer and a writer, the singing has slowly developed from the sound of a scared guy to someone who believes what he's saying and the writing, I hope, has become less rigid — both in the lyrics and the phrasing.”\NLess rigid, indeed. Adams' brand of Americana nestles his often delicate, always heartfelt voice in the warm embrace of gentle guitar, tasteful dobro, subtle banjo, supportive bass, and unhurried percussion. The result is a sonic scape that, in turn, wraps itself around the listener like a soft blanket on a cold day. With A Face Like Mine, Adams further refines the simple musical sophistication that has become his trademark.\NThroughout the self-produced set, Adams tells tales of love and loss, homes and hearts. The territory he mines is a deliberate mix of fact and fantasy. “I feel like I'm, firstly, a storyteller, but it's inevitable that my own stuff gets in there deep. And it's funny how, sometimes, I don't realize it until the song is done,” he offers. “At the same time, there are times where I take very directly from an experience or a relationship, but I try to be very careful when that happens. I don't want to ever sound like a journal entry.”\NRegardless of the details, there's always a philosophical bent that is often more under than on the surface, firmly grounding Adams' songs even as they stretch outward. By his own admission, Adams is a seeker who spends considerable time wrestling with matters of faith, though he's the first to admit he doesn't have any real answers. “I honestly don't know what the hell I'm doing... nor do I have the language for any of this stuff,” he says with a laugh. “But there is a constant tug on me in that direction and, the older I get, the more present it becomes. Music can often be the most direct way to step into that river.”\NThat seeker's heart is the tie that so often binds these songs together. Whether the search for place and purpose is of a spiritual or geographical nature, few writers capture the journey as thoughtfully as Adams. An Alabama native, Adams says he feels most comfortable in motion and doesn't have a strong sense of being Southern, even though his music is rooted in that world in so many ways. The first verse of the album's mesmerizing lead track, “Good Man,” exemplifies his plight: “This old house is falling down. Every step I take makes a hollow sound. Should I walk away? Should I push on through? What in the world can a good man do?”\NEven as Adams goes on to sing of “laughing eyes with a touch of grey” and walking “a mile across the kitchen floor” in order to set various scenes, he leaves room for the listener to crawl inside his stories and make them their own. Striking that balance is the songwriter's eternal struggle, but one Adams seems to have mastered after years of toiling on his own and collaborating with co-writers like Kim Richey, Caitlin Canty, and Todd Lombardo.\N“I don't think I'm very good at co-writing because my process seems so weird and long and tedious to me,” Adams confides. “It's hard to allow someone into that space, but there a few folks where our sensibilities are aligned and we're not just trying to bang out a song in a day. I want to feel as close to the songs I co-write as the ones I write alone. Writers like Kim Richey have such an economy and depth to the ideas that come out of their mouths and hands — there's wisdom there. I want to be more like that.”\NIn addition to this release, Adams is currently putting his classical composition studies to work on a piece for violin and piano — an aspect of his craft and education that got set aside somewhere along the way to now. “I've wondered a lot why I spent all that time studying music in school and how my composer hat fits in with or hinders my songwriting,” he says. “Some of it was definitely useless to me, then and now. But some of it has left its mark on how I listen, and how I think of arranging songs, and how I communicate with players who are playing on them. Also, writing in such an extremely simple and constrained musical language makes all your choices much more delicate, so I spend a lot of time crafting even the simplest melody.”\NA Face Like Mine's songs were composed all over the world, from Alabama to India, and they dig into topics are disparate as the desperation of addiction (“Lorraine”), the grappling of self-image (“Who Else Could I Be”), the vitriol of politics (“We Are”), and the genetics of suffering (“A Face Like Mine”). “We Are” and “Who Else Could I Be” were originally written for a dance piece that Gina Patterson choreographed for the San Angelo Civic Ballet. Even so, Adams made sure the songs could stand alone in their own world no matter what else was swirling around them — confidence and completeness in action.\NAs a work of musical art, A Face Like Mine fulfills the promise of Peter Bradley Adams. And rarely has an artist's standing still sounded so divine. X-ALT-DESC;FMTTYPE=text/html:

No matter the form, when it comes to art, there are a number of different tacks to take. Some artists continually push their work across new horizons. Neil Young, Leonardo Da Vinci, and Joni Mitchell come to mind, in that regard. Others — Claude Monet, Jason Isbell, and Bonnie Raitt, among them — stand a bit more still in order to continually refine the capturing of their vision. Singer/songwriter Peter Bradley Adams falls into the latter category of perfectionists chasing their own perfection. With A Face Like Mine, he may well have caught it.

There's a confidence, a completeness in the song cycle that listeners have gleaned throughout Adams' illustrious career, but A Face Like Mine, his sixth solo effort, brings it all into sharp focus. As Adams sees it, “On the long plod of finding my voice as a singer and a writer, the singing has slowly developed from the sound of a scared guy to someone who believes what he's saying and the writing, I hope, has become less rigid — both in the lyrics and the phrasing.”

Less rigid, indeed. Adams' brand of Americana nestles his often delicate, always heartfelt voice in the warm embrace of gentle guitar, tasteful dobro, subtle banjo, supportive bass, and unhurried percussion. The result is a sonic scape that, in turn, wraps itself around the listener like a soft blanket on a cold day. With A Face Like Mine, Adams further refines the simple musical sophistication that has become his trademark.

Throughout the self-produced set, Adams tells tales of love and loss, homes and hearts. The territory he mines is a deliberate mix of fact and fantasy. “I feel like I'm, firstly, a storyteller, but it's inevitable that my own stuff gets in there deep. And it's funny how, sometimes, I don't realize it until the song is done,” he offers. “At the same time, there are times where I take very directly from an experience or a relationship, but I try to be very careful when that happens. I don't want to ever sound like a journal entry.”

Regardless of the details, there's always a philosophical bent that is often more under than on the surface, firmly grounding Adams' songs even as they stretch outward. By his own admission, Adams is a seeker who spends considerable time wrestling with matters of faith, though he's the first to admit he doesn't have any real answers. “I honestly don't know what the hell I'm doing... nor do I have the language for any of this stuff,” he says with a laugh. “But there is a constant tug on me in that direction and, the older I get, the more present it becomes. Music can often be the most direct way to step into that river.”

That seeker's heart is the tie that so often binds these songs together. Whether the search for place and purpose is of a spiritual or geographical nature, few writers capture the journey as thoughtfully as Adams. An Alabama native, Adams says he feels most comfortable in motion and doesn't have a strong sense of being Southern, even though his music is rooted in that world in so many ways. The first verse of the album's mesmerizing lead track, “Good Man,” exemplifies his plight: “This old house is falling down. Every step I take makes a hollow sound. Should I walk away? Should I push on through? What in the world can a good man do?”

Even as Adams goes on to sing of “laughing eyes with a touch of grey” and walking “a mile across the kitchen floor” in order to set various scenes, he leaves room for the listener to crawl inside his stories and make them their own. Striking that balance is the songwriter's eternal struggle, but one Adams seems to have mastered after years of toiling on his own and collaborating with co-writers like Kim Richey, Caitlin Canty, and Todd Lombardo.

“I don't think I'm very good at co-writing because my process seems so weird and long and tedious to me,” Adams confides. “It's hard to allow someone into that space, but there a few folks where our sensibilities are aligned and we're not just trying to bang out a song in a day. I want to feel as close to the songs I co-write as the ones I write alone. Writers like Kim Richey have such an economy and depth to the ideas that come out of their mouths and hands — there's wisdom there. I want to be more like that.”

In addition to this release, Adams is currently putting his classical composition studies to work on a piece for violin and piano — an aspect of his craft and education that got set aside somewhere along the way to now. “I've wondered a lot why I spent all that time studying music in school and how my composer hat fits in with or hinders my songwriting,” he says. “Some of it was definitely useless to me, then and now. But some of it has left its mark on how I listen, and how I think of arranging songs, and how I communicate with players who are playing on them. Also, writing in such an extremely simple and constrained musical language makes all your choices much more delicate, so I spend a lot of time crafting even the simplest melody.”

A Face Like Mine's songs were composed all over the world, from Alabama to India, and they dig into topics are disparate as the desperation of addiction (“Lorraine”), the grappling of self-image (“Who Else Could I Be”), the vitriol of politics (“We Are”), and the genetics of suffering (“A Face Like Mine”). “We Are” and “Who Else Could I Be” were originally written for a dance piece that Gina Patterson choreographed for the San Angelo Civic Ballet. Even so, Adams made sure the songs could stand alone in their own world no matter what else was swirling around them — confidence and completeness in action.

As a work of musical art, A Face Like Mine fulfills the promise of Peter Bradley Adams. And rarely has an artist's standing still sounded so divine.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220228T223018Z X-ACCESS:1 X-HITS:2269 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220428T210000 DTEND;TZID=America/Denver:20220428T220000 UID:7D97774C-7C28-4E5F-B0E8-A2447E0F075F SUMMARY:Wild Rivers DTSTAMP:20220428T212621Z DESCRIPTION:“The more I see, the less I know about it.” It’s one of the first, most prominent lyrics on Sidelines, the much-anticipated full-length album from indie trio Wild Rivers. The phrasing is brief but says everything about adjusting to young adulthood — and beyond. The world places infinite pressure on us to have a plan for the future, but, as Wild Rivers eloquently articulate throughout Sidelines, it’s healthier to acknowledge — and even embrace — the not knowing. Comprising Khalid Yassein [guitar, vocals, keys], Devan Glover [vocals], and Andrew Oliver [lead guitar, synths], Toronto’s Wild Rivers have a gift for penning introspective lyrics and genre-fluid melodies that transmit wisdom beyond their years. The 10-track Sidelines, co-produced by Peter Katis (The National, Interpol, Sharon van Etten) and Wild Rivers and recorded in Connecticut, Los Angeles and Khalid and Devan’s college town of Kingston, Ontario, touches on coming-of-age themes, such as learning how to be more present and coming to terms with life’s unpredictability. In many ways, the group’s own story is one about embracing the unknown. Born in Canada, Khalid, who is half-Egyptian, and Devan, who spent her childhood in London, England before returning to Canada, first connected at Queen’s University in Kingston in 2013. Starting out as an acoustic singer-songwriter project, Khalid and Devan expanded their aesthetic to a more full-bodied sound, adding multi-instrumentalist Andrew, who Khalid calls their “Swiss army knife.”\NTogether, right before their first show, the band decided on the name Wild Rivers “in a Subway restaurant,” laughs Andrew. “Our friends were going to be there and there was a lot of pressure on making a big reveal, just cause we had really left it to the last minute,” adds Devan. “There wasn't too much thought put into it. We just were like, ‘okay, this sounds cool. I'm going to get a foot-long’”. A portrait of their early post-college years, Sidelines is where Wild Rivers poured their collective impressions about merging into their mid-20s — a strange, liminal age where it’s easy to romanticize childhood. Sidelines, according to Andrew, looks back longingly upon “the time when you are truly present and you're not having this forward-thinking vision where you're worried about the next thing.”\N“A lot of [Sidelines] is about perspective and longing to be somewhere that you're not, or trying to figure out how to get to a place that you want to be, whether it's physically, emotionally,” says Devan. “I think we're all kind of struggling with our sense of identity, in the stage of life that we're in.”\NSonically, Wild Rivers pull from a spectrum of sounds, imbuing pop, rock, indie, and folk into each song’s blueprint. “We all listen to a wide range of music, from hip-hop to indie rock to pop,” Devan says. “We like to pull our favorite parts of every genre and patch them together and see what works and see what feels good.”\NThe contemplative, keys-driven “Long Time” digs into the divisions between head and heart, telling a story about hearing from an ex for the first time in months. “It’s from the perspective of a couple of years post-breakup,” says Khalid, whose gentle voice forms a perfect harmony with Devan’s on the track. “You’re growing up / while I’m in a rut,” they sing together, neatly encapsulating the insecurities most of us feel when faced with when an ex-lover comes back into the picture.\NElsewhere, in a co-write with Nashville singer-songwriter Caitlyn Smith, “Neon Stars” is a nostalgic, wistful acoustic ballad about young love. “Singing with Caitlyn was very surreal and fun,” says Khalid. ““As a writer, she really excels at visual storytelling. There's just a lot of lines that paint a very specific picture of the nostalgia that we're talking about.”\NMeanwhile, the mid-tempo “Bedrock,” which settles in with easy drumbeats and smooth vocal harmonies, considers the way hard times have a way of always showing up. “The song came out of a period of depression,” says Khalid. “Even after you check all of the boxes, practice mindfulness, drink eight glasses of water a day, it can still rear its ugly head. This is the moment where you throw your hands up and give in to it. This song is like the catharsis that comes with that feeling.”\NThe mood brightens on “Stubborn Heart,” which showcases a jangling, sing-along melody and breezy rhythm. Written in the artistic community of Los Angeles’ Echo Park, where the trio rented a house for a few months to write, "“Stubborn Heart is a moment of levity in the album,” Khalid says. “It’s about trying to coax someone out of a fight, making jokes and making light of things until you both get over it.”\NSidelines also captures Wild Rivers’ collective sense of humor, on the upbeat, crisply strummed “Weatherman.” “I think we were joking about how being a weatherman is the chillest job ever,” Devan reveals. “Because you could be wrong 90% of the time and you don't lose your job.” “Your perception of a sure thing is rarely a sure thing,” adds Khalid. “It's more fruitful to just live life in the moment and take everything as it goes. It's okay to be wrong.”\NAs they embark on the next chapter of their journey, Wild Rivers, who first caught audiences’ attention with their 2016 self-titled debut, followed by two EPs (2018’s Eighty-Eight and 2020’s Songs To Break Up To), are especially eager to take Sidelines on the road. The live setting is where they originally cultivated a dedicated following and opening for celebrated acts like The Paper Kites, Donovan Woods and Jake Bugg. Building an authentic relationship with fans, while channeling classic singer-songwriters like James Taylor and Fleetwood Mac, has been vital to Wild Rivers’ connection with audiences.\N“We've been fan-facing rather than industry facing,” Khalid explains. “I think most of the success we've had up to this point is because of that. Music fans find us.” X-ALT-DESC;FMTTYPE=text/html:

“The more I see, the less I know about it.” It’s one of the first, most prominent lyrics on Sidelines, the much-anticipated full-length album from indie trio Wild Rivers. The phrasing is brief but says everything about adjusting to young adulthood — and beyond. The world places infinite pressure on us to have a plan for the future, but, as Wild Rivers eloquently articulate throughout Sidelines, it’s healthier to acknowledge — and even embrace — the not knowing. Comprising Khalid Yassein [guitar, vocals, keys], Devan Glover [vocals], and Andrew Oliver [lead guitar, synths], Toronto’s Wild Rivers have a gift for penning introspective lyrics and genre-fluid melodies that transmit wisdom beyond their years. The 10-track Sidelines, co-produced by Peter Katis (The National, Interpol, Sharon van Etten) and Wild Rivers and recorded in Connecticut, Los Angeles and Khalid and Devan’s college town of Kingston, Ontario, touches on coming-of-age themes, such as learning how to be more present and coming to terms with life’s unpredictability. In many ways, the group’s own story is one about embracing the unknown. Born in Canada, Khalid, who is half-Egyptian, and Devan, who spent her childhood in London, England before returning to Canada, first connected at Queen’s University in Kingston in 2013. Starting out as an acoustic singer-songwriter project, Khalid and Devan expanded their aesthetic to a more full-bodied sound, adding multi-instrumentalist Andrew, who Khalid calls their “Swiss army knife.”

Together, right before their first show, the band decided on the name Wild Rivers “in a Subway restaurant,” laughs Andrew. “Our friends were going to be there and there was a lot of pressure on making a big reveal, just cause we had really left it to the last minute,” adds Devan. “There wasn't too much thought put into it. We just were like, ‘okay, this sounds cool. I'm going to get a foot-long’”. A portrait of their early post-college years, Sidelines is where Wild Rivers poured their collective impressions about merging into their mid-20s — a strange, liminal age where it’s easy to romanticize childhood. Sidelines, according to Andrew, looks back longingly upon “the time when you are truly present and you're not having this forward-thinking vision where you're worried about the next thing.”

“A lot of [Sidelines] is about perspective and longing to be somewhere that you're not, or trying to figure out how to get to a place that you want to be, whether it's physically, emotionally,” says Devan. “I think we're all kind of struggling with our sense of identity, in the stage of life that we're in.”

Sonically, Wild Rivers pull from a spectrum of sounds, imbuing pop, rock, indie, and folk into each song’s blueprint. “We all listen to a wide range of music, from hip-hop to indie rock to pop,” Devan says. “We like to pull our favorite parts of every genre and patch them together and see what works and see what feels good.”

The contemplative, keys-driven “Long Time” digs into the divisions between head and heart, telling a story about hearing from an ex for the first time in months. “It’s from the perspective of a couple of years post-breakup,” says Khalid, whose gentle voice forms a perfect harmony with Devan’s on the track. “You’re growing up / while I’m in a rut,” they sing together, neatly encapsulating the insecurities most of us feel when faced with when an ex-lover comes back into the picture.

Elsewhere, in a co-write with Nashville singer-songwriter Caitlyn Smith, “Neon Stars” is a nostalgic, wistful acoustic ballad about young love. “Singing with Caitlyn was very surreal and fun,” says Khalid. ““As a writer, she really excels at visual storytelling. There's just a lot of lines that paint a very specific picture of the nostalgia that we're talking about.”

Meanwhile, the mid-tempo “Bedrock,” which settles in with easy drumbeats and smooth vocal harmonies, considers the way hard times have a way of always showing up. “The song came out of a period of depression,” says Khalid. “Even after you check all of the boxes, practice mindfulness, drink eight glasses of water a day, it can still rear its ugly head. This is the moment where you throw your hands up and give in to it. This song is like the catharsis that comes with that feeling.”

The mood brightens on “Stubborn Heart,” which showcases a jangling, sing-along melody and breezy rhythm. Written in the artistic community of Los Angeles’ Echo Park, where the trio rented a house for a few months to write, "“Stubborn Heart is a moment of levity in the album,” Khalid says. “It’s about trying to coax someone out of a fight, making jokes and making light of things until you both get over it.”

Sidelines also captures Wild Rivers’ collective sense of humor, on the upbeat, crisply strummed “Weatherman.” “I think we were joking about how being a weatherman is the chillest job ever,” Devan reveals. “Because you could be wrong 90% of the time and you don't lose your job.” “Your perception of a sure thing is rarely a sure thing,” adds Khalid. “It's more fruitful to just live life in the moment and take everything as it goes. It's okay to be wrong.”

As they embark on the next chapter of their journey, Wild Rivers, who first caught audiences’ attention with their 2016 self-titled debut, followed by two EPs (2018’s Eighty-Eight and 2020’s Songs To Break Up To), are especially eager to take Sidelines on the road. The live setting is where they originally cultivated a dedicated following and opening for celebrated acts like The Paper Kites, Donovan Woods and Jake Bugg. Building an authentic relationship with fans, while channeling classic singer-songwriters like James Taylor and Fleetwood Mac, has been vital to Wild Rivers’ connection with audiences.

“We've been fan-facing rather than industry facing,” Khalid explains. “I think most of the success we've had up to this point is because of that. Music fans find us.”

LOCATION:195 W 2100 S\, South Salt Lake\, Utah 84190\, USA GEO:40.72535200;-111.89425067 X-ACCESS:1 X-HITS:117 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220429T200000 DTEND;TZID=America/Denver:20220429T210000 UID:8D5D2B03-6446-4395-8E2D-5CC5E195D6E3 SUMMARY:Andy Farnsworth DTSTAMP:20220404T173619Z DESCRIPTION:Andy Farnsworth: Live Standup Comedy Special Recording\NAndy Farnsworth returns to The State Room to record his second stand-up comedy special. His latest release "Between Haircuts" was a SiriusXM Raw Dog Comedy Top 10 Standup Album of 2020. Get your hair done, put your makeup on, and come be a part of comedy history.\N-\NAndy Farnsworth’s signature brand of autobiographical “fun meltdown” comedy was born in Chicago, styled in Los Angeles, toughened in New York City, and tested in a casino five miles outside of Butte, Montana.\NAlong with his standup, Andy’s Wandering the Aisles podcast is quickly gaining note among comedy fans and hardcore podcast enthusiasts alike. Described as “Impulse buys with commentary from Earth’s most interesting regular people,” the show was created in 2014 as an out-in-the-world documentary happening that explored New York City on foot. Collaborative curiosity and emotional explorations guided these journeys to places such as the Staten Island Ferry, Central and Prospect Parks, Alpha Donuts in Queens, the Union Square subway station, and a Brooklyn Barber Shop. 
\NFilmmaker Sheena Matheiken writes, “Andy achieves a delicate/casual balance of intimacy and refreshing intellectual honesty in these meandering conversations.”\NAndy has published comic fiction, produced radio essays, and short-form documentary stories. His work has been featured on NPR’s On Point, WBUR and WMFO in Boston, and KRCL. X-ALT-DESC;FMTTYPE=text/html:

Andy Farnsworth: Live Standup Comedy Special Recording

Andy Farnsworth returns to The State Room to record his second stand-up comedy special. His latest release "Between Haircuts" was a SiriusXM Raw Dog Comedy Top 10 Standup Album of 2020. Get your hair done, put your makeup on, and come be a part of comedy history.

-

Andy Farnsworth’s signature brand of autobiographical “fun meltdown” comedy was born in Chicago, styled in Los Angeles, toughened in New York City, and tested in a casino five miles outside of Butte, Montana.

Along with his standup, Andy’s Wandering the Aisles podcast is quickly gaining note among comedy fans and hardcore podcast enthusiasts alike. Described as “Impulse buys with commentary from Earth’s most interesting regular people,” the show was created in 2014 as an out-in-the-world documentary happening that explored New York City on foot. Collaborative curiosity and emotional explorations guided these journeys to places such as the Staten Island Ferry, Central and Prospect Parks, Alpha Donuts in Queens, the Union Square subway station, and a Brooklyn Barber Shop. 


Filmmaker Sheena Matheiken writes, “Andy achieves a delicate/casual balance of intimacy and refreshing intellectual honesty in these meandering conversations.”

Andy has published comic fiction, produced radio essays, and short-form documentary stories. His work has been featured on NPR’s On Point, WBUR and WMFO in Boston, and KRCL.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220408T161137Z X-ACCESS:1 X-HITS:1267 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220506T210000 DTEND;TZID=America/Denver:20220506T233000 UID:4C8D8538-954D-4845-AF93-0116D27ED0A4 SUMMARY:Joseph DTSTAMP:20211102T220328Z DESCRIPTION:The sophomore effort from Oregon-bred trio Joseph, Good Luck, Kid is a road movie in album form, an odyssey at turns emotional, existential, and entirely literal. With their intimate storytelling and restless intensity, Natalie Schepman and her sisters Allison and Meegan Closner detail that journey in songs that careen and sprawl and often soar, ultimately spinning a narrative of life-changing transformation.\N“The through-line of the album is this idea of moving into the driver’s seat of your own life—recognizing that you’re the adult now, and everything’s up to you from this moment on,” says Natalie. “You’re not completely sure of how to get where you need to go, and you don’t have any kind of a map to help you. It’s just the universe looking down on you like, ‘Good luck, kid.’”\NIn the making of Good Luck, Kid, Joseph deliberately strayed from the dreamy folk of their 2016 debut I’m Alone, No You’re Not, giving way to a far grittier and more dynamic sound. Produced by Christian “Leggy” Langdon (Meg Myers, Charlotte OC), the result is a nuanced breed of pop/rock built on thick drums and lustrous guitars, heavy grooves and radiant melodies. Despite that bolder sonic palette, Good Luck, Kid remains centered on the band’s crystalline vocal work, including the otherworldly harmonies that suggest a near-telepathic connection among sisters.\NKicking off Good Luck, Kid with the sweeping lead single “Fighter,” Joseph immediately prove the transcendent power of that connection, even as their lyrics speak to a nearly disastrous discord. “That song’s about how our band almost broke up,” explains Natalie. “It’s the story of the three of us wanting different things and dealing with that conflict, and eventually deciding to just keep going.” Driven by a heady momentum, Good Luck, Kid then takes on the breakneck pace of the title track, a gloriously dizzying anthem that channels the raw urgency of desire. But on “Green Eyes,” Joseph shift into a torchy poignancy, echoing the album’s undercurrent of romantic devastation. “‘Green Eyes’ is about wanting to stay with someone but giving them the freedom to walk away, and feeling the pain of realizing that they’re no longer in this with you,” Meegan points out.\NOn “Revolving Door”—the gorgeously sorrowful centerpiece to Good Luck, Kid—that pain reaches a heart-crushing crescendo. “As we were putting the record together, the arc that emerged was ‘Hope, Betrayal, Rebirth,’” says Meegan. “We put ‘Revolving Door’ at the middle because it’s about that moment of finally realizing ‘Okay, you don’t choose this—you don’t choose me.’ It’s the pinnacle of betrayal, and it’s the turning point for the whole album.”\NWith the remainder of Good Luck, Kid documenting what Natalie describes as “a rising-up out of the ashes,” Joseph grace every song with the captivating chemistry they first discovered upon forming in 2014. Spontaneously choosing their name on a trip to visit their grandfather in the Oregon town of Joseph, the band got their start playing backyard parties, and gradually amassed a devoted fanbase. Following the release of I’m Alone, No You’re Not—an album made with Mike Mogis (First Aid Kit, Jenny Lewis)—Joseph soon began taking the stage at major festivals like Bonnaroo and touring with such artists as James Bay and Amos Lee. As they brought Good Luck, Kid to life, the Closner sisters expanded on the elegant synergy of elements initially glimpsed on their debut: Meegan’s sharp melodic skills, Allison’s gift for uncovering the emotional heart of each track, and Natalie’s extraordinary songwriting instincts. “Making this album, there were so many times when we’d be trying to come up with the next verse to a song, and Natalie would pull together something amazing completely out of nowhere,” Allison recalls. “It’s like she’s some kind of magician.”\NIn reflecting on the quiet metamorphosis chronicled within Good Luck, Kid, Joseph hope that the album might spark a similar evolution in listeners. “For me this record is about stepping out of being a victim, and I’d love for it to help people feel like they have the power to change their own lives too,” says Meegan. In the spirit of that well-wishing, Good Luck, Kid closes out with a starkly arranged but unforgettably tender benediction called “Room for You.” “My best friend recently had a baby, and as I was holding him I had this feeling like, ‘I never want you to hurt, ever,’” says Natalie. “I love the idea of ending the record by sending people off with that message: ‘I hope the world makes room for you and your dreams.’ I know that an album can’t ever fix anything, but I hope it can be a balm whatever’s hurting, and helps people feel like they’re truly believed in.” X-ALT-DESC;FMTTYPE=text/html:

The sophomore effort from Oregon-bred trio Joseph, Good Luck, Kid is a road movie in album form, an odyssey at turns emotional, existential, and entirely literal. With their intimate storytelling and restless intensity, Natalie Schepman and her sisters Allison and Meegan Closner detail that journey in songs that careen and sprawl and often soar, ultimately spinning a narrative of life-changing transformation.

“The through-line of the album is this idea of moving into the driver’s seat of your own life—recognizing that you’re the adult now, and everything’s up to you from this moment on,” says Natalie. “You’re not completely sure of how to get where you need to go, and you don’t have any kind of a map to help you. It’s just the universe looking down on you like, ‘Good luck, kid.’”

In the making of Good Luck, Kid, Joseph deliberately strayed from the dreamy folk of their 2016 debut I’m Alone, No You’re Not, giving way to a far grittier and more dynamic sound. Produced by Christian “Leggy” Langdon (Meg Myers, Charlotte OC), the result is a nuanced breed of pop/rock built on thick drums and lustrous guitars, heavy grooves and radiant melodies. Despite that bolder sonic palette, Good Luck, Kid remains centered on the band’s crystalline vocal work, including the otherworldly harmonies that suggest a near-telepathic connection among sisters.

Kicking off Good Luck, Kid with the sweeping lead single “Fighter,” Joseph immediately prove the transcendent power of that connection, even as their lyrics speak to a nearly disastrous discord. “That song’s about how our band almost broke up,” explains Natalie. “It’s the story of the three of us wanting different things and dealing with that conflict, and eventually deciding to just keep going.” Driven by a heady momentum, Good Luck, Kid then takes on the breakneck pace of the title track, a gloriously dizzying anthem that channels the raw urgency of desire. But on “Green Eyes,” Joseph shift into a torchy poignancy, echoing the album’s undercurrent of romantic devastation. “‘Green Eyes’ is about wanting to stay with someone but giving them the freedom to walk away, and feeling the pain of realizing that they’re no longer in this with you,” Meegan points out.

On “Revolving Door”—the gorgeously sorrowful centerpiece to Good Luck, Kid—that pain reaches a heart-crushing crescendo. “As we were putting the record together, the arc that emerged was ‘Hope, Betrayal, Rebirth,’” says Meegan. “We put ‘Revolving Door’ at the middle because it’s about that moment of finally realizing ‘Okay, you don’t choose this—you don’t choose me.’ It’s the pinnacle of betrayal, and it’s the turning point for the whole album.”

With the remainder of Good Luck, Kid documenting what Natalie describes as “a rising-up out of the ashes,” Joseph grace every song with the captivating chemistry they first discovered upon forming in 2014. Spontaneously choosing their name on a trip to visit their grandfather in the Oregon town of Joseph, the band got their start playing backyard parties, and gradually amassed a devoted fanbase. Following the release of I’m Alone, No You’re Not—an album made with Mike Mogis (First Aid Kit, Jenny Lewis)—Joseph soon began taking the stage at major festivals like Bonnaroo and touring with such artists as James Bay and Amos Lee. As they brought Good Luck, Kid to life, the Closner sisters expanded on the elegant synergy of elements initially glimpsed on their debut: Meegan’s sharp melodic skills, Allison’s gift for uncovering the emotional heart of each track, and Natalie’s extraordinary songwriting instincts. “Making this album, there were so many times when we’d be trying to come up with the next verse to a song, and Natalie would pull together something amazing completely out of nowhere,” Allison recalls. “It’s like she’s some kind of magician.”

In reflecting on the quiet metamorphosis chronicled within Good Luck, Kid, Joseph hope that the album might spark a similar evolution in listeners. “For me this record is about stepping out of being a victim, and I’d love for it to help people feel like they have the power to change their own lives too,” says Meegan. In the spirit of that well-wishing, Good Luck, Kid closes out with a starkly arranged but unforgettably tender benediction called “Room for You.” “My best friend recently had a baby, and as I was holding him I had this feeling like, ‘I never want you to hurt, ever,’” says Natalie. “I love the idea of ending the record by sending people off with that message: ‘I hope the world makes room for you and your dreams.’ I know that an album can’t ever fix anything, but I hope it can be a balm whatever’s hurting, and helps people feel like they’re truly believed in.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220503T215834Z X-ACCESS:1 X-HITS:3102 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220508T200000 DTEND;TZID=America/Denver:20220508T210000 UID:6FE630A4-05D1-451A-B005-A3C46EE0A6A7 SUMMARY:Andrew Marlin (of Watchhouse) DTSTAMP:20220330T021536Z DESCRIPTION:Andrew Marlin is a songwriter and multi-instrumentalist based out of Chapel Hill, NC. He’s known for his captivating songwriting, presented both lyrically with his band Watchhouse (formerly known as Mandolin Orange) and instrumentally under his own name.\NDuring the COVID-19 lockdowns of 2020, Marlin recorded two dynamic, instrumental albums, Witching Hour and Fable & Fire, which followed up 2018’s Buried in a Cape.\NWitching Hour, which was released February 5, 2021, is redolent of bluegrass and American roots music soundscapes; rich fiddle and mandolin weave through powerful, coursing tunes. Folk Alley said the record “showcase(s) Marlin’s ingenious ways of dwelling in a tune and turning it inside out, grounding it in tradition but carrying it out to new heights through brilliant innovation.”Fable & Fire, which was released two short weeks after Witching Hour, draws more from the sounds of Irish roots music and is reminiscent of the melodies that came over from the Emerald Isle to early Appalachia. Red Line Roots called the album a “masterpiece” and that “Andrew’s instrumental songs have a way of speaking volumes without actually having any words within them. Rich palettes of emotion, place, space and vibe that in all my years of listening to instrumental records, I am yet to find an equal to.”\NEach album was recorded in a different recording studio but largely had the same crew of instrumentalists, all of whom are close friends and trusted collaborators. Nashville guitarist Jordan Tice and fiddler Christian Sedelmyer have worked closely with Marlin before, as have guitarist Josh Oliver and bassist Clint Mullican, both of whom tour and record in Watchhouse. Award winning fiddler Brittany Haas joined up for a tune on Witching Hour, and Fable and Fire features cellist Nat Smith on every track.\NMarlin will be joined by Sedelmyer, Mullican, and Oliver on this May tour. Outside of summer festival appearances at notable events Newport Folk and Telluride Bluegrass, this tour marks the first time these songs will be performed live in the west.\NMarlin has produced six albums of original works of American roots music with Watchhouse and regularly contributes instrumental performances to other artists and albums. Recent work includes playing mandolin on recordings for Tyler Childers, Waxahatchee, Dead Tongues and Phil Cook. Marlin is also an in-demand producer, and has produced albums for artists including Mipso, Kate Rhudy, Rachel Baiman and Ismay.\NOver the last decade, he has toured with Watchhouse throughout the U.S and Europe and appeared on high profile programs such CBS This Morning's Saturday Morning Sessions and NPR’s Tiny Desk Concert. As a band Watchhouse has headlined and sold-out notable rooms including the Ryman and Red Rocks. X-ALT-DESC;FMTTYPE=text/html:

Andrew Marlin is a songwriter and multi-instrumentalist based out of Chapel Hill, NC. He’s known for his captivating songwriting, presented both lyrically with his band Watchhouse (formerly known as Mandolin Orange) and instrumentally under his own name.

During the COVID-19 lockdowns of 2020, Marlin recorded two dynamic, instrumental albums, Witching Hour and Fable & Fire, which followed up 2018’s Buried in a Cape.

Witching Hour, which was released February 5, 2021, is redolent of bluegrass and American roots music soundscapes; rich fiddle and mandolin weave through powerful, coursing tunes. Folk Alley said the record “showcase(s) Marlin’s ingenious ways of dwelling in a tune and turning it inside out, grounding it in tradition but carrying it out to new heights through brilliant innovation.”
Fable & Fire, which was released two short weeks after Witching Hour, draws more from the sounds of Irish roots music and is reminiscent of the melodies that came over from the Emerald Isle to early Appalachia. Red Line Roots called the album a “masterpiece” and that “Andrew’s instrumental songs have a way of speaking volumes without actually having any words within them. Rich palettes of emotion, place, space and vibe that in all my years of listening to instrumental records, I am yet to find an equal to.”

Each album was recorded in a different recording studio but largely had the same crew of instrumentalists, all of whom are close friends and trusted collaborators. Nashville guitarist Jordan Tice and fiddler Christian Sedelmyer have worked closely with Marlin before, as have guitarist Josh Oliver and bassist Clint Mullican, both of whom tour and record in Watchhouse. Award winning fiddler Brittany Haas joined up for a tune on Witching Hour, and Fable and Fire features cellist Nat Smith on every track.

Marlin will be joined by Sedelmyer, Mullican, and Oliver on this May tour. Outside of summer festival appearances at notable events Newport Folk and Telluride Bluegrass, this tour marks the first time these songs will be performed live in the west.

Marlin has produced six albums of original works of American roots music with Watchhouse and regularly contributes instrumental performances to other artists and albums. Recent work includes playing mandolin on recordings for Tyler Childers, Waxahatchee, Dead Tongues and Phil Cook. Marlin is also an in-demand producer, and has produced albums for artists including Mipso, Kate Rhudy, Rachel Baiman and Ismay.

Over the last decade, he has toured with Watchhouse throughout the U.S and Europe and appeared on high profile programs such CBS This Morning's Saturday Morning Sessions and NPR’s Tiny Desk Concert. As a band Watchhouse has headlined and sold-out notable rooms including the Ryman and Red Rocks.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220428T224858Z X-ACCESS:1 X-HITS:1136 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220510T200000 DTEND;TZID=America/Denver:20220510T233000 UID:A8310A38-D9A3-4CA8-B0F5-5DC1CABEE979 SUMMARY:Henry Rollins DTSTAMP:20210927T231514Z DESCRIPTION:In describing Henry Rollins, the tendency is to try to squeeze as many labels as possible into a single sentence. “Rollins is many things,” says The Washington Post, “diatribist, confessor, provocateur, humorist, even motivational speaker…his is an enthusiastic and engaging chatter.” Entertainment Weekly’s list includes “Punk Rock icon. Spoken word poet. Actor. Author. DJ. Is there anything this guy can’t do?” TV Guide has more concisely called him a “Renaissance Man” but if Henry Rollins could be reduced to a single word, that word would undoubtedly be “workaholic.” When he’s not traveling, Rollins prefers a to keep a relentless schedule full of work, with gigs as an actor, author, DJ, voice-over artist and TV show host to name a few of the roles that keep his schedule full. Rollins has toured the world as a spoken word artist, as frontman for both Rollins Band and Black Flag and as a solitary traveler with insatiable curiosity, favoring road-less-traveled locales in places such as Nepal, Sri Lanka, Siberia, North Korea, South Sudan and Iran. X-ALT-DESC;FMTTYPE=text/html:

In describing Henry Rollins, the tendency is to try to squeeze as many labels as possible into a single sentence. “Rollins is many things,” says The Washington Post, “diatribist, confessor, provocateur, humorist, even motivational speaker…his is an enthusiastic and engaging chatter.” Entertainment Weekly’s list includes “Punk Rock icon. Spoken word poet. Actor. Author. DJ. Is there anything this guy can’t do?” TV Guide has more concisely called him a “Renaissance Man” but if Henry Rollins could be reduced to a single word, that word would undoubtedly be “workaholic.” When he’s not traveling, Rollins prefers a to keep a relentless schedule full of work, with gigs as an actor, author, DJ, voice-over artist and TV show host to name a few of the roles that keep his schedule full. Rollins has toured the world as a spoken word artist, as frontman for both Rollins Band and Black Flag and as a solitary traveler with insatiable curiosity, favoring road-less-traveled locales in places such as Nepal, Sri Lanka, Siberia, North Korea, South Sudan and Iran.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220502T210332Z X-ACCESS:1 X-HITS:6125 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220512T200000 DTEND;TZID=America/Denver:20220512T233000 UID:FB786534-AD83-431E-A17C-CD31417B0CF1 SUMMARY:Griffin House DTSTAMP:20220307T181459Z DESCRIPTION:Griffin House is out with a new record called “Stories for a Rainy Day.”A nine song collection written during the pandemic and recorded in just 3 days, the album is being described as his most happy and upbeat yet. The opening track “The Mississippi Hippie” was originally written for a feature in Esquire magazine called “Somewhere in Mississippi” and was rediscovered and resurrected for “Stories for a Rainy Day.” The album was recorded by Tim Pannella using a stripped down trio set up with Jersey based musicians Eric Novod on drums, Mark Masefield on keys, and House on guitars and vocals. With minimal production and the band playing together as opposed to overdubbing, the songs have a space to be more playful, free and alive.\NA concept record, with each song telling a story, an idea inspired from one of House’s favorite childhood albums “Ten Summoner’s Tales,” the final tale features the hilarious character “Guido” and is the only song on the album that was recorded live in concert.\N“Stories for a Rainy Day” was released on Valentine’s Day 2022 and features the artwork of Scottsdale based painter Priscilla Nelson. House will be playing the new songs live in 2022-2023 with over 100 tour dates already booked. You can find tour dates and more info at http://griffinhousemusic.com X-ALT-DESC;FMTTYPE=text/html:

Griffin House is out with a new record called “Stories for a Rainy Day.”
A nine song collection written during the pandemic and recorded in just 3 days, the album is being described as his most happy and upbeat yet. The opening track “The Mississippi Hippie” was originally written for a feature in Esquire magazine called “Somewhere in Mississippi” and was rediscovered and resurrected for “Stories for a Rainy Day.” The album was recorded by Tim Pannella using a stripped down trio set up with Jersey based musicians Eric Novod on drums, Mark Masefield on keys, and House on guitars and vocals. With minimal production and the band playing together as opposed to overdubbing, the songs have a space to be more playful, free and alive.

A concept record, with each song telling a story, an idea inspired from one of House’s favorite childhood albums “Ten Summoner’s Tales,” the final tale features the hilarious character “Guido” and is the only song on the album that was recorded live in concert.

“Stories for a Rainy Day” was released on Valentine’s Day 2022 and features the artwork of Scottsdale based painter Priscilla Nelson. House will be playing the new songs live in 2022-2023 with over 100 tour dates already booked. You can find tour dates and more info at http://griffinhousemusic.com

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220314T225708Z X-ACCESS:1 X-HITS:1816 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220513T210000 DTEND;TZID=America/Denver:20220513T233000 UID:A943BCD2-A9F8-4A37-815E-CE1AE13401CB SUMMARY:Terrapin Flyer DTSTAMP:20220214T225945Z DESCRIPTION:Terrapin Flyer began in 1999 as the house band for the Sunday Grateful Dead Jam at the Boulevard Cafe in Chicago. Through the many associations developed there and many that have continued since, the band has grown into one of the premier Grateful Dead inspired touring acts in the nation. The band draws from the a variety of skilled musicians including Grateful Dead keyboardists Tom Constanten, Bob Bralove and Vince Welnick (RIP). They also tour with Jerry Garcia Band organist Melvin Seals and Ratdog guitarist Mark Karan. Additionally, they have done one off shows with many guest musicians including grammy award winning blues harpist Sugar Blue, and musician, songwriter and music journalist David Gans. The band has headlined major festivals and prominent venues across the nation.\NFrom the band’s humble beginnings sprang forth an ever growing network of musicians. From a loosely associated group of musicians at a jam night, a band began to develop. The original band came into fruition when they were asked to perform with Grateful Dead keyboardist (1990-1995) Vince Welnick on a cable access television show and festival in Madison, WI. After that the band continued to tour with Welnick and performed several times as “Vince Welnick and Friends including headlining the 2004 Dunegrass Festival in Empire, MI to several thousand in attendance. After several tours with Vince Welnick, the band was ready to move on to its next potent association.\NAn 8 day tour was planned in 2004 with Melvin Seals the consummate B3 organist of the Jerry Garcia Band for 15 years. The tour was enough fun for Melvin to recognize that this band could perform under the name JGB on it’s next tour and performed to packed houses under the JGB name on another short tour a bit later in the year. From there several shows were performed with that band as Melvin Seals and Friends. After a decade, the partnership with Melvin Seals and Terrapin Flyer continues today and features the band digging deeply into the JGB catalog and sometimes also includes Ratdog guitarist Mark Karan and Tom Constanten as well.\NVince Welnick passed away in 2006. Tom Constanten first performed with Terrapin Flyer shortly after Vince’s passing on the “Vince Welnick Memorial Tour” to celebrate Vince’s memory. The association with Constanten produced several additional tours including performing as Tom Constanten and Friends on occasion. The pairing of Terrapin Flyer and Constanten continues presently and interprets the era that he performed in the Grateful Dead from 1968 – 1970.\NIn 2009 Terrapin Flyer began performing with Grateful Dead midi-wizard Bob Bralove. Bralove who produced and co-wrote songs on the Grateful Dead’s Infrared Roses album was the proverbial man behind the curtain of the Grateful Dead’s legendary drums and space segments. During this part of the Grateful Dead shows from 1987-1995, Bralove was playing sampled strange and beautiful sounds on a keyboard behind the stage. After the demise of the Grateful Dead, Bralove joined Tom Constanten to perform tours and record several albums as the band Dose Hermanos. Terrapin Flyer has explored deepest space with Bob Bralove on keyboards as well as performing shows with both members of Dose Hermanos together on stage.\NFrom 2011 to 2013, the band toured with Grateful Dead family lead guitarist Mark Karan. Mark was the lead guitarist for the post-Grateful Dead band which featured all the former members The Other Ones. He also performed for 12 years in founding member of the Grateful Dead Bob Weir’s band Ratdog. Recently Mark has been consistently performing with Grateful Dead bassist Phil Lesh at his new concert venue Terrapin Crossroads.\NToday Terrapin Flyer performs with a lineup that continues to bring in new guest musicians, nationally recognized artists and mix up various members from its history to create new and intriguing musical dynamics to each show performed. Other members of the band include lead guitarist Josh Olken, singer Kara Cavanaugh, Bassist Janis Wallin and many other prominent players in the Grateful Dead extended family.\NFrom a jam night to a nationally performing headlining band, through time the resume of the band Terrapin Flyer has indeed become impressive. The band has headlined such prominent festivals and has headlined major venues across the country.\NSo what or who is Terrapin Flyer? As you have likely surmised that is not simple to define. What is at the core of fundamentals of the band is the idea that the Grateful Dead and Jerry Garcia’s music still has plenty of life in it and that the music being so improvisational in nature can and should go to new places in each performance. No two Terrapin Flyer shows will ever be the same and you never know who might show up to jam at a show, but you can always count on a great time with some of the most recognized artists in the music community. X-ALT-DESC;FMTTYPE=text/html:

Terrapin Flyer began in 1999 as the house band for the Sunday Grateful Dead Jam at the Boulevard Cafe in Chicago. Through the many associations developed there and many that have continued since, the band has grown into one of the premier Grateful Dead inspired touring acts in the nation. The band draws from the a variety of skilled musicians including Grateful Dead keyboardists Tom Constanten, Bob Bralove and Vince Welnick (RIP). They also tour with Jerry Garcia Band organist Melvin Seals and Ratdog guitarist Mark Karan. Additionally, they have done one off shows with many guest musicians including grammy award winning blues harpist Sugar Blue, and musician, songwriter and music journalist David Gans. The band has headlined major festivals and prominent venues across the nation.

From the band’s humble beginnings sprang forth an ever growing network of musicians. From a loosely associated group of musicians at a jam night, a band began to develop. The original band came into fruition when they were asked to perform with Grateful Dead keyboardist (1990-1995) Vince Welnick on a cable access television show and festival in Madison, WI. After that the band continued to tour with Welnick and performed several times as “Vince Welnick and Friends including headlining the 2004 Dunegrass Festival in Empire, MI to several thousand in attendance. After several tours with Vince Welnick, the band was ready to move on to its next potent association.

An 8 day tour was planned in 2004 with Melvin Seals the consummate B3 organist of the Jerry Garcia Band for 15 years. The tour was enough fun for Melvin to recognize that this band could perform under the name JGB on it’s next tour and performed to packed houses under the JGB name on another short tour a bit later in the year. From there several shows were performed with that band as Melvin Seals and Friends. After a decade, the partnership with Melvin Seals and Terrapin Flyer continues today and features the band digging deeply into the JGB catalog and sometimes also includes Ratdog guitarist Mark Karan and Tom Constanten as well.

Vince Welnick passed away in 2006. Tom Constanten first performed with Terrapin Flyer shortly after Vince’s passing on the “Vince Welnick Memorial Tour” to celebrate Vince’s memory. The association with Constanten produced several additional tours including performing as Tom Constanten and Friends on occasion. The pairing of Terrapin Flyer and Constanten continues presently and interprets the era that he performed in the Grateful Dead from 1968 – 1970.

In 2009 Terrapin Flyer began performing with Grateful Dead midi-wizard Bob Bralove. Bralove who produced and co-wrote songs on the Grateful Dead’s Infrared Roses album was the proverbial man behind the curtain of the Grateful Dead’s legendary drums and space segments. During this part of the Grateful Dead shows from 1987-1995, Bralove was playing sampled strange and beautiful sounds on a keyboard behind the stage. After the demise of the Grateful Dead, Bralove joined Tom Constanten to perform tours and record several albums as the band Dose Hermanos. Terrapin Flyer has explored deepest space with Bob Bralove on keyboards as well as performing shows with both members of Dose Hermanos together on stage.

From 2011 to 2013, the band toured with Grateful Dead family lead guitarist Mark Karan. Mark was the lead guitarist for the post-Grateful Dead band which featured all the former members The Other Ones. He also performed for 12 years in founding member of the Grateful Dead Bob Weir’s band Ratdog. Recently Mark has been consistently performing with Grateful Dead bassist Phil Lesh at his new concert venue Terrapin Crossroads.

Today Terrapin Flyer performs with a lineup that continues to bring in new guest musicians, nationally recognized artists and mix up various members from its history to create new and intriguing musical dynamics to each show performed. Other members of the band include lead guitarist Josh Olken, singer Kara Cavanaugh, Bassist Janis Wallin and many other prominent players in the Grateful Dead extended family.

From a jam night to a nationally performing headlining band, through time the resume of the band Terrapin Flyer has indeed become impressive. The band has headlined such prominent festivals and has headlined major venues across the country.

So what or who is Terrapin Flyer? As you have likely surmised that is not simple to define. What is at the core of fundamentals of the band is the idea that the Grateful Dead and Jerry Garcia’s music still has plenty of life in it and that the music being so improvisational in nature can and should go to new places in each performance. No two Terrapin Flyer shows will ever be the same and you never know who might show up to jam at a show, but you can always count on a great time with some of the most recognized artists in the music community.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220512T172454Z X-ACCESS:1 X-HITS:3133 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220514T210000 DTEND;TZID=America/Denver:20220514T220000 UID:74E2581D-4FE1-41EE-8D9F-E3EDD4A52665 SUMMARY:Meander Cat DTSTAMP:20220405T165240Z DESCRIPTION:Meander Cat is a band out of Moab, Utah that plays original music in every sense, offering heartfelt, beautiful, and soulful vibes. Meander Cat began as a trio that featured outlaw Lenore McDonough on vocals, songwriting and empathy, David Mealey on harmonica, bass guitar and wisdom, and Jasper Groff on guitar, vocals and debauchery. As the time passed and the band evolved, we have added some amazing people to the mix. Chip Jenkins has joined the band bringing wisdom, wizardry, wicked guitar, and vocals. We also have added a cast of rhythm giants on drums that are Dave Brogan, Ed Stone, and Jon Olsen. All 3 are extremely talented and cherished in the Utah music scene and beyond. As Meander Cat grows in numbers, the music has evolved to become a powerful Rocknroll experience that will keep you dancing all night and have you coming back for more! Meander Cat is a group of angels and misfits that Rock the F@$% out, and care in the depths of their hearts to share their love for music and energy with audiences everywhere. X-ALT-DESC;FMTTYPE=text/html:

Meander Cat is a band out of Moab, Utah that plays original music in every sense, offering heartfelt, beautiful, and soulful vibes. Meander Cat began as a trio that featured outlaw Lenore McDonough on vocals, songwriting and empathy, David Mealey on harmonica, bass guitar and wisdom, and Jasper Groff on guitar, vocals and debauchery. As the time passed and the band evolved, we have added some amazing people to the mix. Chip Jenkins has joined the band bringing wisdom, wizardry, wicked guitar, and vocals. We also have added a cast of rhythm giants on drums that are Dave Brogan, Ed Stone, and Jon Olsen. All 3 are extremely talented and cherished in the Utah music scene and beyond. As Meander Cat grows in numbers, the music has evolved to become a powerful Rocknroll experience that will keep you dancing all night and have you coming back for more! Meander Cat is a group of angels and misfits that Rock the F@$% out, and care in the depths of their hearts to share their love for music and energy with audiences everywhere.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220408T161154Z X-ACCESS:1 X-HITS:1530 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220518T200000 DTEND;TZID=America/Denver:20220518T210000 UID:24944FD1-22FA-4FFD-AC9E-93EC410D041B SUMMARY:David Bromberg Quintet DTSTAMP:20220419T231256Z DESCRIPTION:With his 1971 self-titled Columbia Records release, multi-instrumentalist, singer and songwriter David Bromberg emerged as a wunderkind of American roots music. The disc’s blend of traditional and original material, virtuosic musicianship and iconic cover art trumpeted the arrival of a new artist of audacious vision. Over the course of seven more albums for Columbia & Fantasy Records and through associations with Bob Dylan, Jerry Jeff Walker, John Hartford, George Harrison, the Grateful Dead, Emmylou Harris and Bonnie Raitt, Bromberg’s reputation and following grew exponentially. However, the incessant demands of touring finally brought the recordings and shows to an end in the early 1980s. \NA twenty-two-year drought ended in 2006 with the release of the Grammy-nominated solo effort Try Me One More Time. In 2011 David followed up with Use Me, a typically unorthodox Bromberg-ian effort, partnering him with Linda Ronstadt, Vince Gill, Los Lobos, Dr. John, Keb’ Mo, John Hiatt, Levon Helm and others as David asked them to either write or choose songs and then produce him performing them. \NTwo more albums emerged from 2013 to 2017, Only Slightly Mad and The Blues the Whole Blues and Nothing But the Blues, both produced by 3 x Grammy winner Larry Campbell. Recorded at Levon Helm’s Barn, Only Slightly Mad brought the band back to David’s eclectic ‘kitchen sink’ musical philosophy, while The Whole Blues  proved Texas fiddler Johnny Gimbel’s theory that: “There are only two songs—‘The Star-Spangled Banner’ and the blues.” The band skipped the ‘Banner’ and headed straight for the blues, winning the 2017 Downbeat Critic’s Poll for Best Blues Album. \NWith David’s band settling into its current lineup: Mark Cosgrove (guitar, mandolin, vocals), Nate Grower (fiddle, mandolin, guitar, vocals), Josh Kanusky (drums, vocals) and newest member, Suavek Zaniesienko (bass, vocals), they entered the studio in mid-2019 for a different approach to record-making. The resulting album, Big Road, gives Bromberg fans the most intimate portrait to date of David and his band, musically and visually. Featuring twelve new recordings, five hi-def performance videos and a mini-documentary detailing the album’s creation, the content rich album was released on Compass/Red House Records as a CD/DVD combo pack and gatefold vinyl album. Unfortunately COVID put an end to all live shows until fall 2021, which is where David is poised to write his next chapter. X-ALT-DESC;FMTTYPE=text/html:

With his 1971 self-titled Columbia Records release, multi-instrumentalist, singer and songwriter David Bromberg emerged as a wunderkind of American roots music. The disc’s blend of traditional and original material, virtuosic musicianship and iconic cover art trumpeted the arrival of a new artist of audacious vision. Over the course of seven more albums for Columbia & Fantasy Records and through associations with Bob Dylan, Jerry Jeff Walker, John Hartford, George Harrison, the Grateful Dead, Emmylou Harris and Bonnie Raitt, Bromberg’s reputation and following grew exponentially. However, the incessant demands of touring finally brought the recordings and shows to an end in the early 1980s. 

A twenty-two-year drought ended in 2006 with the release of the Grammy-nominated solo effort Try Me One More Time. In 2011 David followed up with Use Me, a typically unorthodox Bromberg-ian effort, partnering him with Linda Ronstadt, Vince Gill, Los Lobos, Dr. John, Keb’ Mo, John Hiatt, Levon Helm and others as David asked them to either write or choose songs and then produce him performing them. 

Two more albums emerged from 2013 to 2017, Only Slightly Mad and The Blues the Whole Blues and Nothing But the Blues, both produced by 3 x Grammy winner Larry Campbell. Recorded at Levon Helm’s Barn, Only Slightly Mad brought the band back to David’s eclectic ‘kitchen sink’ musical philosophy, while The Whole Blues  proved Texas fiddler Johnny Gimbel’s theory that: “There are only two songs—‘The Star-Spangled Banner’ and the blues.” The band skipped the ‘Banner’ and headed straight for the blues, winning the 2017 Downbeat Critic’s Poll for Best Blues Album. 

With David’s band settling into its current lineup: Mark Cosgrove (guitar, mandolin, vocals), Nate Grower (fiddle, mandolin, guitar, vocals), Josh Kanusky (drums, vocals) and newest member, Suavek Zaniesienko (bass, vocals), they entered the studio in mid-2019 for a different approach to record-making. The resulting album, Big Road, gives Bromberg fans the most intimate portrait to date of David and his band, musically and visually. Featuring twelve new recordings, five hi-def performance videos and a mini-documentary detailing the album’s creation, the content rich album was released on Compass/Red House Records as a CD/DVD combo pack and gatefold vinyl album. Unfortunately COVID put an end to all live shows until fall 2021, which is where David is poised to write his next chapter.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220512T214008Z X-ACCESS:1 X-HITS:1753 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220520T210000 DTEND;TZID=America/Denver:20220520T233000 UID:5E369446-BDF3-4533-938D-A0FB0676A24B SUMMARY:Penny and Sparrow DTSTAMP:20211108T205727Z DESCRIPTION:Written and recorded over the past year, Penny and Sparrow’s remarkable new album, Olly Olly, is a work of liberation and revelation, a full-throated embrace of the self from a band that’s committed to leaving no stone unturned in their tireless quest for actualization. The songs here are fearless and introspective, embracing growth and change as they reckon with desire, intimacy, doubt, and regret, and the arrangements are similarly bold and thoughtful, augmenting the duo’s rich, hypnotic brand of chamber folk with electronic flourishes and R&B grooves. The duo—Andy Baxter and Kyle Jahnke—produced Olly Olly themselves, working on their own without an outside collaborator for the first time, and the result is the purest, most authentic act of artistic self-expression the pair have ever achieved.\N“Andy and I talk about the process of making this record like a sort of musical Rumspringa,” Jahnke says. “It was an opportunity to truly become ourselves, to evolve outside of the roles we’d been put in—or put ourselves in—because of the way we’d grown up.”\NTexas natives Baxter and Jahnke first crossed paths at UT Austin, where they developed a fast friendship and a deeply symbiotic musical connection. Jahnke was a gifted guitarist with an ear for melody, Baxter, an erudite lyricist with a mesmerizing voice and crystalline falsetto, and the duo quickly found that their vocals blended together as if they’d been singing in harmony their whole lives. Beginning with 2013’s ‘Tenboom,’ the staunchly DIY pair released a series of critically lauded records that garnered comparisons to the hushed intimacy of Iron & Wine and the adventurous beauty of Bon Iver, building up a devoted fanbase along the way through relentless touring and word-of-mouth buzz. NPR praised the band’s songwriting as a “delicate dance between heartache and resolve,” while Rolling Stone hailed their catalog as “folk music for Sunday mornings, quiet evenings, and all the fragile moments in between.” The duo’s most recent album, 2019’s Finch, marked a turning point in their career, pushing their sound to experimental new heights as it wrestled with notions of masculinity and religion and transformation in deeper, more personal ways than ever before. The record debuted at #2 on the Billboard Heatseekers Chart and was met with a rapturous response from critics and audiences alike, racking up more than 40 million streams on Spotify and earning the band their biggest headline tour to date. X-ALT-DESC;FMTTYPE=text/html:

Written and recorded over the past year, Penny and Sparrow’s remarkable new album, Olly Olly, is a work of liberation and revelation, a full-throated embrace of the self from a band that’s committed to leaving no stone unturned in their tireless quest for actualization. The songs here are fearless and introspective, embracing growth and change as they reckon with desire, intimacy, doubt, and regret, and the arrangements are similarly bold and thoughtful, augmenting the duo’s rich, hypnotic brand of chamber folk with electronic flourishes and R&B grooves. The duo—Andy Baxter and Kyle Jahnke—produced Olly Olly themselves, working on their own without an outside collaborator for the first time, and the result is the purest, most authentic act of artistic self-expression the pair have ever achieved.

“Andy and I talk about the process of making this record like a sort of musical Rumspringa,” Jahnke says. “It was an opportunity to truly become ourselves, to evolve outside of the roles we’d been put in—or put ourselves in—because of the way we’d grown up.”

Texas natives Baxter and Jahnke first crossed paths at UT Austin, where they developed a fast friendship and a deeply symbiotic musical connection. Jahnke was a gifted guitarist with an ear for melody, Baxter, an erudite lyricist with a mesmerizing voice and crystalline falsetto, and the duo quickly found that their vocals blended together as if they’d been singing in harmony their whole lives. Beginning with 2013’s ‘Tenboom,’ the staunchly DIY pair released a series of critically lauded records that garnered comparisons to the hushed intimacy of Iron & Wine and the adventurous beauty of Bon Iver, building up a devoted fanbase along the way through relentless touring and word-of-mouth buzz. NPR praised the band’s songwriting as a “delicate dance between heartache and resolve,” while Rolling Stone hailed their catalog as “folk music for Sunday mornings, quiet evenings, and all the fragile moments in between.” The duo’s most recent album, 2019’s Finch, marked a turning point in their career, pushing their sound to experimental new heights as it wrestled with notions of masculinity and religion and transformation in deeper, more personal ways than ever before. The record debuted at #2 on the Billboard Heatseekers Chart and was met with a rapturous response from critics and audiences alike, racking up more than 40 million streams on Spotify and earning the band their biggest headline tour to date.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220503T225723Z X-ACCESS:1 X-HITS:2143 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220521T210000 DTEND;TZID=America/Denver:20220521T233000 UID:CCA4C290-4A72-4280-BEEB-39AF183B867A SUMMARY:Bronco DTSTAMP:20220321T015336Z DESCRIPTION:Bronco began as Tyler Anderson's solo project back in 2004 and soon grew to a five-piece band. A little bit country, a little bit rock-and-roll, the songwriting has a heavy emphasis on storytelling, particularly down-on-their-luck folks who can't seem to catch a break. Bronco is excited to share its fourth album, Vector, in May 2022, and celebrate with a release party at The State Room. X-ALT-DESC;FMTTYPE=text/html:

Bronco began as Tyler Anderson's solo project back in 2004 and soon grew to a five-piece band. A little bit country, a little bit rock-and-roll, the songwriting has a heavy emphasis on storytelling, particularly down-on-their-luck folks who can't seem to catch a break. Bronco is excited to share its fourth album, Vector, in May 2022, and celebrate with a release party at The State Room.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220405T225216Z X-ACCESS:1 X-HITS:1801 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220522T200000 DTEND;TZID=America/Denver:20220522T233000 UID:CA80FB84-9F63-4B7C-BF2D-6BC18C8503D8 SUMMARY:Marc Broussard DTSTAMP:20220321T014351Z DESCRIPTION:Marc Broussard is an artist with a unique gift of channeling the spirits of classic R&B, rock and soul into contemporary terms. His father, Louisiana hall of fame guitarist of “The Boogie Kings” nurtured Marc’s musical gifts at an early age, and the vibrant Lafayette, Louisiana music scene gave Marc the opportunity to practice his craft consistently from childhood through early adulthood. After releasing a successful independent EP at age 20, Marc signed a record deal with Island Records. Marc’s song “Home” was successful at radio and catapulted him onto the national touring stage. Marc released multiple albums with major labels over the next 10 years, but has recently returned to his independent roots having released multiple successful original and covers records. Marc is working on a new record and is excited to get back on the road in 2022. X-ALT-DESC;FMTTYPE=text/html:

Marc Broussard is an artist with a unique gift of channeling the spirits of classic R&B, rock and soul into contemporary terms. His father, Louisiana hall of fame guitarist of “The Boogie Kings” nurtured Marc’s musical gifts at an early age, and the vibrant Lafayette, Louisiana music scene gave Marc the opportunity to practice his craft consistently from childhood through early adulthood. After releasing a successful independent EP at age 20, Marc signed a record deal with Island Records. Marc’s song “Home” was successful at radio and catapulted him onto the national touring stage. Marc released multiple albums with major labels over the next 10 years, but has recently returned to his independent roots having released multiple successful original and covers records. Marc is working on a new record and is excited to get back on the road in 2022.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220505T162610Z X-ACCESS:1 X-HITS:1785 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220526T200000 DTEND;TZID=America/Denver:20220526T233000 UID:4D6FB84A-0C5E-439A-BEC7-321C0FBDAF54 SUMMARY:Motherfolk DTSTAMP:20211015T001829Z DESCRIPTION:Serious songs from goofy people. That’s what you can expect from diverse, Midwest indie-rockers, Motherfolk. What started out as a writing project among two college friends turned into a fully realized band untethered to genres, with an endlessly bright future.\NComposed of Bobby Paver and Nathan Dickerson on vocals and guitar, bassist Clayton Allender, drummer Ethan Wescott, and Karlie Dickerson on keys Motherfolk are not only bandmates, but best friends. The band’s close-knit relationship allows each member to be their most authentic self, leaving every ounce of their souls to be poured into each song and high-energy performance.\NDespite their light-hearted, groovy-rock sound Motherfolk is dedicated to creating a much deeper connection with their fans. They don’t shy away from the taboo, taking on heavy topics with a light heart. The results provide us with music you can dance to, whose impact is felt long after the song has ended.\NThe band’s quirky friendship and social media posts originally drew fans in, but their connection to the music kept those fans around. Since their formation Motherfolk has been on a steady upward trajectory, amassing well over 5 million Spotify streams on their three studio albums and selling out shows while touring heavily across the United States.\NWhile COVID-19 halted the band’s year of touring plans, Motherfolk spent the year hard at work, creating and self-producing new music and they came out anew. Late summer 2021 will invigorate fans with new singles adorning the most refreshing and versatile Motherfolk sound to date, leading up to a fall EP release. This next chapter is slated to be the most exciting one yet, don’t miss it! X-ALT-DESC;FMTTYPE=text/html:

Serious songs from goofy people. That’s what you can expect from diverse, Midwest indie-rockers, Motherfolk. What started out as a writing project among two college friends turned into a fully realized band untethered to genres, with an endlessly bright future.

Composed of Bobby Paver and Nathan Dickerson on vocals and guitar, bassist Clayton Allender, drummer Ethan Wescott, and Karlie Dickerson on keys Motherfolk are not only bandmates, but best friends. The band’s close-knit relationship allows each member to be their most authentic self, leaving every ounce of their souls to be poured into each song and high-energy performance.

Despite their light-hearted, groovy-rock sound Motherfolk is dedicated to creating a much deeper connection with their fans. They don’t shy away from the taboo, taking on heavy topics with a light heart. The results provide us with music you can dance to, whose impact is felt long after the song has ended.

The band’s quirky friendship and social media posts originally drew fans in, but their connection to the music kept those fans around. Since their formation Motherfolk has been on a steady upward trajectory, amassing well over 5 million Spotify streams on their three studio albums and selling out shows while touring heavily across the United States.

While COVID-19 halted the band’s year of touring plans, Motherfolk spent the year hard at work, creating and self-producing new music and they came out anew. Late summer 2021 will invigorate fans with new singles adorning the most refreshing and versatile Motherfolk sound to date, leading up to a fall EP release. This next chapter is slated to be the most exciting one yet, don’t miss it!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220405T225555Z X-ACCESS:1 X-HITS:2980 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220604T200000 DTEND;TZID=America/Denver:20220604T210000 UID:CB6912E6-F5EA-4C1C-8A20-341293B08F11 SUMMARY:Joe Purdy DTSTAMP:20220323T075908Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220523T185933Z X-ACCESS:1 X-HITS:1603 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220609T193000 DTEND;TZID=America/Denver:20220609T203000 UID:09E7A809-851A-4CEC-827C-F8DA78260D39 SUMMARY:Utah Blues Society Member Appreciation Party DTSTAMP:20220517T190803Z DESCRIPTION:Become a Utah Blues Society Member HERE (https://utahbluessociety.org/become-a-member) and get into the show FREE! Whether you’re a current, renewing or NEW member, your name will be on a list at TSR box office. Just show up on the night of the show, check-in with the UBS representative, and in you go! \NUtah Blues Society Membership includes: Entry to the show, a one year subscription to Blues Magazine, a Blues CD, and entry into a raffle to win an autographed Cigar Box Guitar! X-ALT-DESC;FMTTYPE=text/html:

Become a Utah Blues Society Member HERE (https://utahbluessociety.org/become-a-member) and get into the show FREE! Whether you’re a current, renewing or NEW member, your name will be on a list at TSR box office. Just show up on the night of the show, check-in with the UBS representative, and in you go! 

Utah Blues Society Membership includes: Entry to the show, a one year subscription to Blues Magazine, a Blues CD, and entry into a raffle to win an autographed Cigar Box Guitar!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220517T192331Z X-ACCESS:1 X-HITS:1390 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220610T210000 DTEND;TZID=America/Denver:20220610T220000 UID:9C4AF144-2D07-42DF-AA6B-74956B9E508C SUMMARY:DJ Abilities DTSTAMP:20220505T172852Z DESCRIPTION:Honeypot Concerts Presents: DJ Abilities with Ceschi and Mortigi TempoHoneypot Concerts is back at The State Room — with a real variety show this time.\NDJ Abilities Best Known for his work with his legendary group Eyedea & Abilities DJ Abilities will be fresh off his tour opening for and performing with The Farside “Formally of The Pharcyde” DJ Abilities will be back to rock the turntables in Support of his latest album Phonograph Phoenix on Rhymesayer records.\NCeschi There is not another act like Ceschi Ramos from gritty double time rapping to seamlessly picking up his acoustic guitar for dystopian folk sing-a-longs songs with the crowd his set is something best witnessed live and in person.\NMortigi Tempo Getting the night started with a bang the Salt Lake locals Mortigi Tempo make their debut at The State Room with an attitude like Spinal Tap they are guaranteed to get this show started cranked up to 11. X-ALT-DESC;FMTTYPE=text/html:

Honeypot Concerts Presents: DJ Abilities with Ceschi and Mortigi Tempo
Honeypot Concerts is back at The State Room — with a real variety show this time.

DJ Abilities
Best Known for his work with his legendary group Eyedea & Abilities DJ Abilities will be fresh off his tour opening for and performing with The Farside “Formally of The Pharcyde” DJ Abilities will be back to rock the turntables in Support of his latest album Phonograph Phoenix on Rhymesayer records.

Ceschi
There is not another act like Ceschi Ramos from gritty double time rapping to seamlessly picking up his acoustic guitar for dystopian folk sing-a-longs songs with the crowd his set is something best witnessed live and in person.

Mortigi Tempo
Getting the night started with a bang the Salt Lake locals Mortigi Tempo make their debut at The State Room with an attitude like Spinal Tap they are guaranteed to get this show started cranked up to 11.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220526T224026Z X-ACCESS:1 X-HITS:932 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220619T200000 DTEND;TZID=America/Denver:20220619T210000 UID:06FBF978-61B8-43E2-BC4E-B4223BBA36E3 SUMMARY:Midlake DTSTAMP:20220418T164612Z DESCRIPTION:Midlake\NFacebook | Twitter | Instagram | YouTube | Spotify\N“For the Sake of Bethel Woods”\NLoss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and salient, these themes echo throughout the fifth album from Midlake, their first since Antiphon in 2013. Produced to layered, loving perfection by John Congleton, For the Sake of Bethel Woods is an album of immersive warmth and mystery from a band of ardent seekers, one of our generation’s finest: a band once feared lost themselves by fans, perhaps, but here revivified with freshness and constancy of intent.\NFrom the cover to the title and beyond, a longing to reconnect with that which seems lost and seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t take that lightly. We had already had these feelings with everyone in the band of, oh, this could be a cool thing to do. But the dream was a kind of beautiful depiction of a purpose to reconvene and make music together as friends.”\NFeaturing Chandler’s father during John Sebastian’s set, the cover image was taken from the 1970 documentary Woodstock. In 1969, Jesse’s then-16-year-old dad had joined a friend and hitchhiked from Ridgewood, New Jersey, to the legendary festival. Raised in Woodstock after his father moved there in 1981, Jesse later paid pilgrimage to Bethel Woods with his father; there, the elder Chandler recorded an audio account of his festival experience in the museum’s public database. “So for me, the picture of that kid, my dad, forever frozen in time,” says Chandler, “encapsulates what it means to be in the throes of impressionable and fleeting youth, and all that the magic of music, peace, love and communion bring to it, whether one knows it at the time or not. (I think he knew it).”A desire to commune with the past and connect with present, lived experience asserts itself from the opening of the album. A song that resonates with Midlake’s return and, perhaps, our lockdown era, ‘Commune’ can also be read in terms of a deeper urge to re-engage with sometimes neglected ideals and beliefs. ‘Bethel Woods’ sustains and develops that reconnection, evoking the steadfast and contemplative urgency of The Trials of Van Occupanther to back a lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce themselves and reach out into fresh territory with a richly intuitive dynamism, honoring their past as a seedbed of possibility.\NThe psychedelic space-rock and sticky guitars of ‘Exile’ shift the album to another plane, promising rich returns live, before ‘Feast of Carrion’ splices apocalyptic imagery with lustrous harmonies: darkness and light, held in rarefied balance. A deeply personal turn follows on ‘Noble,’ a song of tender innocence named after drummer McKenzie Smith’s infant son, born with a rare brain disorder called Semi-Lobar Holoprosencephaly. Pulido, who has been friends with McKenzie since they were 16 years old, kept McKenzie in mind for the lyrics. “I wrote the song from his perspective in a way, his expression to me of how he had been feeling towards his son. And then among the lament of his condition, it’s also embracing this child who has only joy. Noble doesn’t know that he has a condition, he just loves life. And smiles, and is so innocent, and perfect in so many ways.”Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that seem fragile. The ELO-esque ‘Meanwhile...’ draws inspiration from what happened when Midlake paused after Antiphon, developing universal resonance as a song about the beautiful growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s soft-rock stylings for another song searching for hope, its keyboard line reaching out towards an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the difficulties of partings. Finally, ‘Of Desire’ meditates on letting go of what you can’t control and attending to what you can during uncertain times. “It’s about finding peace in that humbling,” says Pulido. “Sometimes it’s hard to have a large effect, so it’s just about shrinking that and saying, these are the things I can do and the rest is to be seen, to be known.”\NMidlake began re-attending to their patch in 2019, with the bulk of the album’s work undertaken when the world shut down in 2020. The lockdown turned out to be helpful, in terms of offering an escape from grim reality and focusing the band’s energies – essential for an outfit whose members (Pulido, Chandler, Smith, Eric Nichelson and Joey McClellan) had all pursued alternative ventures following Antiphon. Also on-hand was new collaborator John Congleton, who produced, engineered and mixed the album, marking Midlake’s first record with an outside producer. “I can’t say enough just how much his influence brought our music to another sonic place then we would have,” says Pulido. “I don’t want to record without a producer again. Part of that is the health of the band, because as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s going to be this way!’ It’s hard to do that with your friends.”\NThe result is a powerful, warming expression of resolve and renewal for Midlake, opening up new futures for the band and honoring their storied history. Formed in the small town of Denton, with roots in the University of North Texas College of Music, Midlake delivered an auspicious debut with 2004’s Bamnan and Slivercork. For the follow-up, they looked further afield and deeper within to deliver 2006’s wondrous The Trials of Van Occupanther, a modern classic pitched between 1871, 1971 and somewhere out of time: between Henry David Thoreau and Neil Young’s After the Gold Rush, between 1970s Laurel Canyon thinking and a longing for something more mysterious.\NConfidence bolstered by a growing fanbase and a developed sense of their own far- reaching abilities, Midlake – a band acutely attuned to seasonal shifts – then embraced change. In 2010, they visited darker psych-folk thickets for The Courage of Others and backed John Grant on his lustrously spiky breakthrough album, Queen of Denmark. When singer Tim Smith departed Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory Antiphon, teasing out singular routes through vintage electric-folk pastures.\NSince then, domestic projects have beckoned as children entered various band- members’ lives. Pulido joined Bob Dylan’s 75th birthday celebrations at Nashville’s prestigious Ryman Auditorium and launched the project BNQT with a cast of all-star guests, backed by Chandler, McClellan and Smith; Pulido and Chandler also recorded solo albums.\NIn reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of intimacy at its heart: an album to break bread and commune with, honor the past and travel onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On For the Sake of Bethel Woods, those seeds are lovingly nurtured, taking rich and spectacular bloom. X-ALT-DESC;FMTTYPE=text/html:

Midlake

Facebook | Twitter | Instagram | YouTube | Spotify

“For the Sake of Bethel Woods”

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and salient, these themes echo throughout the fifth album from Midlake, their first since Antiphon in 2013. Produced to layered, loving perfection by John Congleton, For the Sake of Bethel Woods is an album of immersive warmth and mystery from a band of ardent seekers, one of our generation’s finest: a band once feared lost themselves by fans, perhaps, but here revivified with freshness and constancy of intent.

From the cover to the title and beyond, a longing to reconnect with that which seems lost and seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t take that lightly. We had already had these feelings with everyone in the band of, oh, this could be a cool thing to do. But the dream was a kind of beautiful depiction of a purpose to reconvene and make music together as friends.”

Featuring Chandler’s father during John Sebastian’s set, the cover image was taken from the 1970 documentary Woodstock. In 1969, Jesse’s then-16-year-old dad had joined a friend and hitchhiked from Ridgewood, New Jersey, to the legendary festival. Raised in Woodstock after his father moved there in 1981, Jesse later paid pilgrimage to Bethel Woods with his father; there, the elder Chandler recorded an audio account of his festival experience in the museum’s public database. “So for me, the picture of that kid, my dad, forever frozen in time,” says Chandler, “encapsulates what it means to be in the throes of impressionable and fleeting youth, and all that the magic of music, peace, love and communion bring to it, whether one knows it at the time or not. (I think he knew it).”
A desire to commune with the past and connect with present, lived experience asserts itself from the opening of the album. A song that resonates with Midlake’s return and, perhaps, our lockdown era, ‘Commune’ can also be read in terms of a deeper urge to re-engage with sometimes neglected ideals and beliefs. ‘Bethel Woods’ sustains and develops that reconnection, evoking the steadfast and contemplative urgency of The Trials of Van Occupanther to back a lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce themselves and reach out into fresh territory with a richly intuitive dynamism, honoring their past as a seedbed of possibility.

The psychedelic space-rock and sticky guitars of ‘Exile’ shift the album to another plane, promising rich returns live, before ‘Feast of Carrion’ splices apocalyptic imagery with lustrous harmonies: darkness and light, held in rarefied balance. A deeply personal turn follows on ‘Noble,’ a song of tender innocence named after drummer McKenzie Smith’s infant son, born with a rare brain disorder called Semi-Lobar Holoprosencephaly. Pulido, who has been friends with McKenzie since they were 16 years old, kept McKenzie in mind for the lyrics. “I wrote the song from his perspective in a way, his expression to me of how he had been feeling towards his son. And then among the lament of his condition, it’s also embracing this child who has only joy. Noble doesn’t know that he has a condition, he just loves life. And smiles, and is so innocent, and perfect in so many ways.”
Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that seem fragile. The ELO-esque ‘Meanwhile...’ draws inspiration from what happened when Midlake paused after Antiphon, developing universal resonance as a song about the beautiful growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s soft-rock stylings for another song searching for hope, its keyboard line reaching out towards an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the difficulties of partings. Finally, ‘Of Desire’ meditates on letting go of what you can’t control and attending to what you can during uncertain times. “It’s about finding peace in that humbling,” says Pulido. “Sometimes it’s hard to have a large effect, so it’s just about shrinking that and saying, these are the things I can do and the rest is to be seen, to be known.”

Midlake began re-attending to their patch in 2019, with the bulk of the album’s work undertaken when the world shut down in 2020. The lockdown turned out to be helpful, in terms of offering an escape from grim reality and focusing the band’s energies – essential for an outfit whose members (Pulido, Chandler, Smith, Eric Nichelson and Joey McClellan) had all pursued alternative ventures following Antiphon. Also on-hand was new collaborator John Congleton, who produced, engineered and mixed the album, marking Midlake’s first record with an outside producer. “I can’t say enough just how much his influence brought our music to another sonic place then we would have,” says Pulido. “I don’t want to record without a producer again. Part of that is the health of the band, because as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s going to be this way!’ It’s hard to do that with your friends.”

The result is a powerful, warming expression of resolve and renewal for Midlake, opening up new futures for the band and honoring their storied history. Formed in the small town of Denton, with roots in the University of North Texas College of Music, Midlake delivered an auspicious debut with 2004’s Bamnan and Slivercork. For the follow-up, they looked further afield and deeper within to deliver 2006’s wondrous The Trials of Van Occupanther, a modern classic pitched between 1871, 1971 and somewhere out of time: between Henry David Thoreau and Neil Young’s After the Gold Rush, between 1970s Laurel Canyon thinking and a longing for something more mysterious.

Confidence bolstered by a growing fanbase and a developed sense of their own far- reaching abilities, Midlake – a band acutely attuned to seasonal shifts – then embraced change. In 2010, they visited darker psych-folk thickets for The Courage of Others and backed John Grant on his lustrously spiky breakthrough album, Queen of Denmark. When singer Tim Smith departed Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory Antiphon, teasing out singular routes through vintage electric-folk pastures.

Since then, domestic projects have beckoned as children entered various band- members’ lives. Pulido joined Bob Dylan’s 75th birthday celebrations at Nashville’s prestigious Ryman Auditorium and launched the project BNQT with a cast of all-star guests, backed by Chandler, McClellan and Smith; Pulido and Chandler also recorded solo albums.

In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of intimacy at its heart: an album to break bread and commune with, honor the past and travel onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On For the Sake of Bethel Woods, those seeds are lovingly nurtured, taking rich and spectacular bloom.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220610T195651Z X-ACCESS:1 X-HITS:1846 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220824T200000 DTEND;TZID=America/Denver:20220824T233000 UID:A7B43F97-C10F-467A-8D88-EA19C93175F7 SUMMARY:Dopapod DTSTAMP:20220531T160247Z DESCRIPTION:Music resides in the fourth dimension unaffected by the constraints and restrictions of this mortal coil. Instead, it occupies the ether, affecting us emotionally, physically, and spiritually without concrete form or shape. As such, Dopapod access a heightened level of cosmic harmony in their music. The quartet—Eli Winderman [keys, vocals], Rob Compa [guitar, vocals], Chuck Jones [bass], and Neal “Fro” Evans [drums]—present albums as experiences meant to be shared out of your speakers and on stage. After generating millions of streams, packing shows coast-to-coast, and earning acclaim from Rolling Stone, Guitar World, Glide Magazine, and more, the group architect an immersive and expansive vision on their self-titled seventh full-length offering, Dopapod.\N“At the end of the day, we hope we represent being yourself, being unique, and trying to do something new,” exclaims Eli. “If everyone does that, I think the world would be a much more interesting place all around.”\NDopapod have definitely done their fair share to make the world more interesting…\NThe group’s hypnotic hybrid of funk, rock, jazz, bluegrass, and electronica bloomed brilliantly on 2009’s Radar, and it continued to blossom on the likes of Never Odd Or Even [2014] and Megagem [2017]. Along the way, fan favorites such as “Present Ghosts” reeled in 2.4 million Spotify streams and counting. 2019’s Emit Time arrived to acclaim from Guitar World, Relix, Glide, Jambase, and more. Simultaneously, they sold out headline gigs and graced the bills of Electric Forest, Summer Camp, High Sierra, and Bonnaroo where Rolling Stone named them among the festival’s “best kept secrets.” After a marathon near-decade run, they enjoyed an almost year-long hiatus to realign and reenergize before reuniting with a new fire during 2019 and partaking in something of a “soft return.”\NThe guys agreed, “Taking the break felt like a necessary step for everybody to just step back and zoom out. It’s definitely a new chapter, because it allowed us to redefine our endeavor and carry on with a lot of new energy. It was a restorative thing and helped us move forward. It wasn’t even really spoken, but more like, ‘We’re back on track’.”\NThroughout 2019, the boys performed select shows as they assembled what would become Dopapod in Syracuse, NY. However, the road shutdown in the face of the Global Pandemic. So, they spent the time off wisely, using it to perfect the music.\NThey also picked up the threads of a loose “concept catalog” first introduced on Never Odd Or Even\N“We check in on this conceptual theme of time travel every once in a while,” reveals Rob. “It’s peppered on songs throughout a bunch of our albums. The storyline goes all over the place as far as the band timeline. It’s on different records from various years, but it works perfectly.”\N“In addition to tracks about time travel, we have songs about being in the present moment on every project,” continues Eli. “Those concepts are opposites. However, they’re like a binary pair—similar to Dopapod, which is a palindrome. It’s a symmetrical word, and the songs play with themes of left-right and right-wrong.”\NThey add yet another dimension to the music this time by including an actual board game as part of the vinyl’s gatefold. It further explores the theme of time travel through a retrospective journey through the band’s discography. To bring this to life, they conceptualized, designed, created, and tested the game with former tour manager, lighting director, and sound engineer Luke Stratton. Players follow a wormhole through time and arrive at Dopapod. They chose to self-title their seventh offering as a totem to the fact they’ve realized their full potential in terms of music and vision.\N“It’s genuinely four-dimensional,” observes Neal. “You can hang out with your friends and play the game or play it alone. A lot of people don’t sit around and enjoy each other’s company like this anymore. We’re often just watching screens, so it’s cool to turn Dopapod into something more than just an album.”\NAfter initially teasing Dopapod with “Think,” the single “Grow” rides an intergalactic groove punctuated by a head-nodding bassline, slick guitar, simmering cymbals, and smooth vocals.\N“The lyric ‘big things have small beginnings’ is from the movie Prometheus,” notes Eli. “Microscopic particles are the start of life. This is how we evolve. The song could be about a character time traveling back to the Big Bang.”\N“Black Holes” dives into the embrace of frenetic riffs and keys as Eli sings, “All for one and for all. You’ll never fly ‘till you learn to fall.” He elaborates, “The song continues the theme where you’re falling into black holes.”\NThe distorted groove of the instrumental “Building A Time Machine” dissolves into theatrical piano and off-kilter harmonics.\N“In theory, this is the song where the album’s story is made possible,” the frontman explains. “We’re creating the time machine here and can travel back.”\NThen, there’s “Fannie.” The guys originally crafted the song on an acoustic guitar at a campsite in Colorado. It stuck around and organically morphed into a personal favorite for the band.\N“Between Eli and I, this nice alchemy happens,” Rob goes on. “We leaned on the groove, and the lyrics sounded phonetically cool, so it all worked together.”\NThe album culminates on the upbeat “Time Is Funny.” Swaggering organ undercuts hummable melodies with lyrics inspired by Tim and Eric.\N“We’re big Phish fans, so I wanted to get it out of my system and write something unapologetically influenced by them,” adds Rob. “As far as the thematic element goes, the time traveler recognizes the irresponsibility of even inventing a time machine in the first place and thinks, ‘This is a really bad idea!’”\NOffering the deepest experience yet, Dopapod also collaborated with Tandem media on an accompanying animation project, pairing each track with a visualizer to translate the core messages on screen. These animated loops encourage further immersion, unspooling the threads of a larger cohesive mystery. It can of course be absorbed track by track or in its entirety. As always, there’s more to Dopapod’s vision with the board game, animation, and union of the physical and digital elements.\NUltimately as they continue touring and releasing music, Dopapod share an important message.\N“It all comes down to being satisfied with where you are and that you’re enough,” Eli leaves off. “No matter what state you’re in, it’s going to evolve and change. If you’re really sad, know it’s going to turn around. If you’re depressed, the storm system will pass with the blue sky behind it. Keep going.” X-ALT-DESC;FMTTYPE=text/html:

Music resides in the fourth dimension unaffected by the constraints and restrictions of this mortal coil. Instead, it occupies the ether, affecting us emotionally, physically, and spiritually without concrete form or shape. As such, Dopapod access a heightened level of cosmic harmony in their music. The quartet—Eli Winderman [keys, vocals], Rob Compa [guitar, vocals], Chuck Jones [bass], and Neal “Fro” Evans [drums]—present albums as experiences meant to be shared out of your speakers and on stage. After generating millions of streams, packing shows coast-to-coast, and earning acclaim from Rolling Stone, Guitar World, Glide Magazine, and more, the group architect an immersive and expansive vision on their self-titled seventh full-length offering, Dopapod.

“At the end of the day, we hope we represent being yourself, being unique, and trying to do something new,” exclaims Eli. “If everyone does that, I think the world would be a much more interesting place all around.”

Dopapod have definitely done their fair share to make the world more interesting…

The group’s hypnotic hybrid of funk, rock, jazz, bluegrass, and electronica bloomed brilliantly on 2009’s Radar, and it continued to blossom on the likes of Never Odd Or Even [2014] and Megagem [2017]. Along the way, fan favorites such as “Present Ghosts” reeled in 2.4 million Spotify streams and counting. 2019’s Emit Time arrived to acclaim from Guitar World, Relix, Glide, Jambase, and more. Simultaneously, they sold out headline gigs and graced the bills of Electric Forest, Summer Camp, High Sierra, and Bonnaroo where Rolling Stone named them among the festival’s “best kept secrets.” After a marathon near-decade run, they enjoyed an almost year-long hiatus to realign and reenergize before reuniting with a new fire during 2019 and partaking in something of a “soft return.”

The guys agreed, “Taking the break felt like a necessary step for everybody to just step back and zoom out. It’s definitely a new chapter, because it allowed us to redefine our endeavor and carry on with a lot of new energy. It was a restorative thing and helped us move forward. It wasn’t even really spoken, but more like, ‘We’re back on track’.”

Throughout 2019, the boys performed select shows as they assembled what would become Dopapod in Syracuse, NY. However, the road shutdown in the face of the Global Pandemic. So, they spent the time off wisely, using it to perfect the music.

They also picked up the threads of a loose “concept catalog” first introduced on Never Odd Or Even

“We check in on this conceptual theme of time travel every once in a while,” reveals Rob. “It’s peppered on songs throughout a bunch of our albums. The storyline goes all over the place as far as the band timeline. It’s on different records from various years, but it works perfectly.”

“In addition to tracks about time travel, we have songs about being in the present moment on every project,” continues Eli. “Those concepts are opposites. However, they’re like a binary pair—similar to Dopapod, which is a palindrome. It’s a symmetrical word, and the songs play with themes of left-right and right-wrong.”

They add yet another dimension to the music this time by including an actual board game as part of the vinyl’s gatefold. It further explores the theme of time travel through a retrospective journey through the band’s discography. To bring this to life, they conceptualized, designed, created, and tested the game with former tour manager, lighting director, and sound engineer Luke Stratton. Players follow a wormhole through time and arrive at Dopapod. They chose to self-title their seventh offering as a totem to the fact they’ve realized their full potential in terms of music and vision.

“It’s genuinely four-dimensional,” observes Neal. “You can hang out with your friends and play the game or play it alone. A lot of people don’t sit around and enjoy each other’s company like this anymore. We’re often just watching screens, so it’s cool to turn Dopapod into something more than just an album.”

After initially teasing Dopapod with “Think,” the single “Grow” rides an intergalactic groove punctuated by a head-nodding bassline, slick guitar, simmering cymbals, and smooth vocals.

“The lyric ‘big things have small beginnings’ is from the movie Prometheus,” notes Eli. “Microscopic particles are the start of life. This is how we evolve. The song could be about a character time traveling back to the Big Bang.”

“Black Holes” dives into the embrace of frenetic riffs and keys as Eli sings, “All for one and for all. You’ll never fly ‘till you learn to fall.” He elaborates, “The song continues the theme where you’re falling into black holes.”

The distorted groove of the instrumental “Building A Time Machine” dissolves into theatrical piano and off-kilter harmonics.

“In theory, this is the song where the album’s story is made possible,” the frontman explains. “We’re creating the time machine here and can travel back.”

Then, there’s “Fannie.” The guys originally crafted the song on an acoustic guitar at a campsite in Colorado. It stuck around and organically morphed into a personal favorite for the band.

“Between Eli and I, this nice alchemy happens,” Rob goes on. “We leaned on the groove, and the lyrics sounded phonetically cool, so it all worked together.”

The album culminates on the upbeat “Time Is Funny.” Swaggering organ undercuts hummable melodies with lyrics inspired by Tim and Eric.

“We’re big Phish fans, so I wanted to get it out of my system and write something unapologetically influenced by them,” adds Rob. “As far as the thematic element goes, the time traveler recognizes the irresponsibility of even inventing a time machine in the first place and thinks, ‘This is a really bad idea!’”

Offering the deepest experience yet, Dopapod also collaborated with Tandem media on an accompanying animation project, pairing each track with a visualizer to translate the core messages on screen. These animated loops encourage further immersion, unspooling the threads of a larger cohesive mystery. It can of course be absorbed track by track or in its entirety. As always, there’s more to Dopapod’s vision with the board game, animation, and union of the physical and digital elements.

Ultimately as they continue touring and releasing music, Dopapod share an important message.

“It all comes down to being satisfied with where you are and that you’re enough,” Eli leaves off. “No matter what state you’re in, it’s going to evolve and change. If you’re really sad, know it’s going to turn around. If you’re depressed, the storm system will pass with the blue sky behind it. Keep going.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220907T233522Z X-ACCESS:1 X-HITS:1560 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220827T200000 DTEND;TZID=America/Denver:20220827T210000 UID:E907DC7B-B121-48A7-A0B5-15D4AE92B0B5 SUMMARY:Jon Wolfe DTSTAMP:20220216T174821Z DESCRIPTION:Jon Wolfe\NFacebook | Twitter | Instagram | YouTube | Spotify\NThe best introduction to Jon Wolfe is the basic yet not so simple fact that he’s a country singer and songwriter. Country music, as it was, is and always should be, with boots firmly standing on the bedrock of tradition and an eye focused on taking it into the future. And that, as any fan of true country knows, is no simple proposition.\N“At heart, it’s all about being a great singer and storyteller.”\NHence the other best introduction to Jon Wolfe is to hear him sing and share the stories in the songs he performs and writes. And to learn his life story — from small town Oklahoma to the bustling big city commodities trading floor to the dance halls and honky-tonks of Texas and Oklahoma to Music Row, to give the highlights — and witness his faith in the power of music and determination to touch the hearts of others with something that means so much to him.\NIt’s world-class country music from the American heartland, informed by the great singers that inspired Wolfe — like George Strait, Garth Brooks (a fellow Okie), Clint Black, Merle Haggard, Alan Jackson and Dwight Yoakam, to name a few — yet fired by his own contemporary energy and vision.\N“A seasoned performer, Wolfe has opened for some of country’s biggest stars and has played more than 400 live shows over the past four years. ”\NHis 2010 release, It All Happened In A Honky Tonk, became such a regional success that it was re-released as a Deluxe Edition by Warner Music Nashville in 2013. The album debuted at #34 on the Billboard Album Chart and has collectively sold 25,000 units.\N2015's Natural Man debuted #13 on iTunes, #25 on the Billboard chart, and #8 on the Nielsen SoundScan Top New Artist Albums Chart. The 13-track collection merges Wolfe's signature traditional sound, influenced by some of country music's greatest legends, with an edgy, modern energy.\NThe blend of rawness and accessibility of Natural Man gave Wolfe the undeniable identity of a torchbearer for country music. Any Night In Texas (2017) - Wolfe’s most recent and proudest collection of songs to date - landed at #3 on iTunes Country, #15 on Billboard Country, and continues to burn up the charts. With three highly-lauded studio albums in his repertoire, Wolfe’s garnered 12 consecutive Top Ten singles (8 have hit No.1), positioning him as a must-see act in Texas, Oklahoma, and well beyond.\NJon recently launched his own tequila brand under the moniker of his name in Spanish: Juan Lobo. The brand launched alongside two huge music festivals that Wolfe organized and produced. Alongside his packed 2019 touring schedule, Wolfe released an EP of brand new music produced by the visionary Dave Brainard in June of 2019.\N“Wolfe invites country music fans everywhere to dust off your boots, download or spin the single, and come see the electrifying live show that has everyone talking. The numbers don’t lie: Jon Wolfe is the torchbearer for country music.” X-ALT-DESC;FMTTYPE=text/html:

Jon Wolfe

Facebook | Twitter | Instagram | YouTube | Spotify

The best introduction to Jon Wolfe is the basic yet not so simple fact that he’s a country singer and songwriter. Country music, as it was, is and always should be, with boots firmly standing on the bedrock of tradition and an eye focused on taking it into the future. And that, as any fan of true country knows, is no simple proposition.

“At heart, it’s all about being a great singer and storyteller.”

Hence the other best introduction to Jon Wolfe is to hear him sing and share the stories in the songs he performs and writes. And to learn his life story — from small town Oklahoma to the bustling big city commodities trading floor to the dance halls and honky-tonks of Texas and Oklahoma to Music Row, to give the highlights — and witness his faith in the power of music and determination to touch the hearts of others with something that means so much to him.

It’s world-class country music from the American heartland, informed by the great singers that inspired Wolfe — like George Strait, Garth Brooks (a fellow Okie), Clint Black, Merle Haggard, Alan Jackson and Dwight Yoakam, to name a few — yet fired by his own contemporary energy and vision.

“A seasoned performer, Wolfe has opened for some of country’s biggest stars and has played more than 400 live shows over the past four years. ”

His 2010 release, It All Happened In A Honky Tonk, became such a regional success that it was re-released as a Deluxe Edition by Warner Music Nashville in 2013. The album debuted at #34 on the Billboard Album Chart and has collectively sold 25,000 units.

2015's Natural Man debuted #13 on iTunes, #25 on the Billboard chart, and #8 on the Nielsen SoundScan Top New Artist Albums Chart. The 13-track collection merges Wolfe's signature traditional sound, influenced by some of country music's greatest legends, with an edgy, modern energy.

The blend of rawness and accessibility of Natural Man gave Wolfe the undeniable identity of a torchbearer for country music. Any Night In Texas (2017) - Wolfe’s most recent and proudest collection of songs to date - landed at #3 on iTunes Country, #15 on Billboard Country, and continues to burn up the charts. With three highly-lauded studio albums in his repertoire, Wolfe’s garnered 12 consecutive Top Ten singles (8 have hit No.1), positioning him as a must-see act in Texas, Oklahoma, and well beyond.

Jon recently launched his own tequila brand under the moniker of his name in Spanish: Juan Lobo. The brand launched alongside two huge music festivals that Wolfe organized and produced. Alongside his packed 2019 touring schedule, Wolfe released an EP of brand new music produced by the visionary Dave Brainard in June of 2019.

“Wolfe invites country music fans everywhere to dust off your boots, download or spin the single, and come see the electrifying live show that has everyone talking. The numbers don’t lie: Jon Wolfe is the torchbearer for country music.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220827T050655Z X-ACCESS:1 X-HITS:1918 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220907T200000 DTEND;TZID=America/Denver:20220907T233000 UID:25BC9F00-B7D2-4E05-AB4A-3BD61C46863C SUMMARY:Caitlyn Smith DTSTAMP:20220726T195651Z DESCRIPTION:“If a song doesn’t give me chills at some point, then I don’t want to put it on a record. I want to feel and believe every song.”\NThat’s always been Caitlyn Smith’s mantra. One that has seen the ACM New Female Artist of the Year nominee’s songs in the hands of Miley Cyrus, Dolly Parton, Meghan Trainor and John Legend, and Garth Brooks, to name a few, and won her a Critics Choice Award.\NWith the 2018 release of her debut album, Starfire, Smith established herself as one of the brightest rising stars in Nashville. Her finely etched writing and soulful voice earned her numerous television appearances including “The Tonight Show Starring Jimmy Fallon” and “Late Night with Seth Meyers,” a plethora of festival bookings including South by Southwest and Stagecoach, and high-profile touring slots with the likes of Tim McGraw and Faith Hill and Sheryl Crow.\NWith 2020’s follow-up, Supernova, the singer-songwriter who garnered acclaim from TIME, Rolling Stone, Billboard, The New York Times, and countless critics, upped the ante, delivering a set of songs that were bigger, bolder, and more powerful sonically and lyrically. Songs that had her named to Paste’s 10 Country Artists to Watch list and Pandora’s Ones to Watch list, as well as a selection for Amazon Originals and a mini documentary with Apple Music called Caitlyn Smith: Reimagined.\NThe Pollstar “Hotstar” spent the last year opening for George Strait, Reba, Little Big Town and Old Dominion which led to her debut on “The Kelly Clarkson Show” after Clarkson saw Smith’s opening “Strait to Vegas” set, taking to Twitter to share praise for the performance. Smith is currently headlining her own 13-city High & Low tour 2022, which kicked off this spring in her hometown of Minneapolis, Minn. and recently performed overseas as a part of C2C in London.\NVenturing into the unknown and expanding her artistry with latest project, the highly-anticipated and self-produced High, praised by NPR as “her most fully realized project yet,” is available now via Monument Records. The project’s lead single “Downtown Baby” is now at Country radio, earning 50 first week adds. X-ALT-DESC;FMTTYPE=text/html:

“If a song doesn’t give me chills at some point, then I don’t want to put it on a record. I want to feel and believe every song.”

That’s always been Caitlyn Smith’s mantra. One that has seen the ACM New Female Artist of the Year nominee’s songs in the hands of Miley Cyrus, Dolly Parton, Meghan Trainor and John Legend, and Garth Brooks, to name a few, and won her a Critics Choice Award.

With the 2018 release of her debut album, Starfire, Smith established herself as one of the brightest rising stars in Nashville. Her finely etched writing and soulful voice earned her numerous television appearances including “The Tonight Show Starring Jimmy Fallon” and “Late Night with Seth Meyers,” a plethora of festival bookings including South by Southwest and Stagecoach, and high-profile touring slots with the likes of Tim McGraw and Faith Hill and Sheryl Crow.

With 2020’s follow-up, Supernova, the singer-songwriter who garnered acclaim from TIME, Rolling Stone, Billboard, The New York Times, and countless critics, upped the ante, delivering a set of songs that were bigger, bolder, and more powerful sonically and lyrically. Songs that had her named to Paste’s 10 Country Artists to Watch list and Pandora’s Ones to Watch list, as well as a selection for Amazon Originals and a mini documentary with Apple Music called Caitlyn Smith: Reimagined.

The Pollstar “Hotstar” spent the last year opening for George Strait, Reba, Little Big Town and Old Dominion which led to her debut on “The Kelly Clarkson Show” after Clarkson saw Smith’s opening “Strait to Vegas” set, taking to Twitter to share praise for the performance. Smith is currently headlining her own 13-city High & Low tour 2022, which kicked off this spring in her hometown of Minneapolis, Minn. and recently performed overseas as a part of C2C in London.

Venturing into the unknown and expanding her artistry with latest project, the highly-anticipated and self-produced High, praised by NPR as “her most fully realized project yet,” is available now via Monument Records. The project’s lead single “Downtown Baby” is now at Country radio, earning 50 first week adds.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220801T185006Z X-ACCESS:1 X-HITS:1287 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220909T210000 DTEND;TZID=America/Denver:20220909T233000 UID:C031D5E7-AC4A-4BF6-BFFF-B9D49AA2B7C6 SUMMARY:Triggers & Slips DTSTAMP:20220714T210504Z DESCRIPTION:Triggers & Slips Music is steeped in the psychology of relationships. Like so much great country music that came before, theirs originates in personal mistakes and a stepped on heart. While the music is a blend that's not quite country and not quite rock n' roll, fans of both types of music have come to love their sound. Led by singer-songwriter Morgan Snow, whose voice has been described as "pure soul," with hints of familiarity, haunting and powerful with no comparison to pinpoint. It is the one thing you won't forget. His songs will "hit you in the gut." Some will hurt, some will make you laugh at him or yourself, but what is shared from night to night after the show is a connection, a new relationship waiting to be revisited and rekindled time and time again. \N{youtube}NTOw7g4nVQo{/youtube} X-ALT-DESC;FMTTYPE=text/html:

Triggers & Slips Music is steeped in the psychology of relationships. Like so much great country music that came before, theirs originates in personal mistakes and a stepped on heart. While the music is a blend that's not quite country and not quite rock n' roll, fans of both types of music have come to love their sound. Led by singer-songwriter Morgan Snow, whose voice has been described as "pure soul," with hints of familiarity, haunting and powerful with no comparison to pinpoint. It is the one thing you won't forget. His songs will "hit you in the gut." Some will hurt, some will make you laugh at him or yourself, but what is shared from night to night after the show is a connection, a new relationship waiting to be revisited and rekindled time and time again. 

{youtube}NTOw7g4nVQo{/youtube}

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220809T183355Z X-ACCESS:1 X-HITS:1329 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220914T200000 DTEND;TZID=America/Denver:20220914T233000 UID:9811DBDF-0CA1-4B1C-926A-7D852B823AF3 SUMMARY:Thee Sacred Souls DTSTAMP:20220712T234246Z DESCRIPTION:For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their highly anticipated, self-titled debut.\N“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”\NIndeed, there’s something inevitable about the sound of Thee Sacred Souls, as if these ageless songs of love and loss have somehow always existed, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), the record is warm and textured, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry. Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up in their music, and while it’s tempting to toss around labels like “retro” and “vintage” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.\N“I think we found the best of both worlds with this band,” says Lane. “We get to be innovative and honest and challenge ourselves as artists, but we also get to dig deep and pay homage to the foundational stuff that helped shape us.”\NIt was that shared love and respect for the foundations of soul that brought the band together in the first place. Launched in 2019, the group began with Garcia and Samano, who bonded over their similar experiences growing up in southern California and a mutual affinity for record collecting. While Samano didn’t pick up the bass until he’d already graduated from high school, Garcia had spent much of his teenage years obsessing over guitar and drums and teaching himself how to record on an old Tascam tape machine, and the pair’s mix of technical know-how and innate curiosity proved to be an ideal match. All they needed was a singer.\N“I remember coming across Josh on Instagram,” says Garcia, “and I thought he could be a good fit even though he was doing something a little different. We invited him to come to a rehearsal with us, and he just came up with these great lyrics and melodies right on the spot. We knew he was the guy after one take.”\NJoining a group like Thee Sacred Souls wasn’t an obvious move for Lane, though. A Sacramento native, he’d fallen in love with music through the church and studied classical voice in college, where he sang everything from French arias to Italian opera. When he moved to San Diego in 2017, he planned on becoming a solo artist, and his ambitions skewed more toward dreampop and chillwave than the old school soul sounds Garcia and Samano were cooking up.\N“I grew up with a lot of the classic references like Al Green and Marvin Gaye and Curtis Mayfield,” Lane recalls, “but I always just thought I’d sprinkle little bits of that into whatever I ended up doing. When I met these guys, though, they introduced me to deep soul and lowrider stuff like Thee Midniters, and that really opened things up.”\NPerforming live as a seven-piece (the core trio plus guitar, keys, and two backup vocalists), the band generated a local buzz almost immediately, which put them on Mann’s radar and led them into his Riverside, CA, studio. At the time, Mann was planning to launch a new Daptone imprint named Penrose Records, and Thee Sacred Souls were an obvious fit for the label’s inaugural release.\N“They had a sound that caught my ear right away,” says Mann. “The combination of Sal and Alex’s taste and touch in the rhythm section with Josh’s masterful sense of voice and melody was just so fresh. I knew they could make an album that would blow some minds.”\NThe band more than delivers on that promise with Thee Sacred Souls, which opens with the mesmerizing lead single “Can I Call You Rose?” With lyrics penned on the spot by Lane during his first rehearsal with the group, the track is a silky slice of pure romance and an ideal entry point into the group’s timeless sound. Like much of the album, it’s a bittersweet meditation on matters of the heart and the primacy of love, one fueled by lush horns, velvety vocals, and an impossibly smooth rhythm section. The unhurried “Lady Love” tips its cap to the South Side of Chicago as it reckons with forgiveness and second chances, while the doo-wop tinged “It’s Overflowing” draws on both classic Chicano soul and Jamaican rocksteady music in its pledges of devotion, and the nakedly sensual “Future Lover” flips the band’s lineup on its head as it revels in the highs of infatuation.\N“For a lot of songs, Alex writes the instrumental and demos them out at home,” says Samano, “but ‘Future Lover’ actually grew out of an after-practice jam session one day where we all switched instruments. I was on drums, Alex was on guitar, our guitarist was playing bass, and it all just clicked into place as soon as Josh started singing.”\NThe album’s vocals—both Lane’s beguiling leads and the collection’s airy female backups—serve as the glue that often binds these tracks together, imbuing the hypnotic arrangements with an undeniable sense of emotional urgency. The restless “Weak For Your Love” highlights Lane’s dazzling falsetto; the charming “Easier Said Than Done” complements his laidback delivery with a wordless counter melody; and the lilting “Trade Of Hearts”—a duet with vocalist Jensine Benitez—even brings Garcia and Samano in for call-and-response lines. But perhaps it’s the bittersweet “Sorrow For Tomorrow” that best showcases the breadth of Lane’s range as he shifts effortlessly between mellifluous vocal runs and semi-spoken passages all about loss and healing, growth and forgiveness, longing and regret.\N“That song is basically permission to cry,” says Lane. “It’s a reminder that it’s okay to be open to pain and not to feel like your emotions are a burden or make you any less of a man.”\NUltimately, that’s what Thee Sacred Souls is all about: not just accepting our emotions, but embracing them as a beautiful and fundamental piece of the human experience. It can be difficult, no doubt about it, but as with everything else they do, Thee Sacred Souls make it look easy. X-ALT-DESC;FMTTYPE=text/html:

For Thee Sacred Souls, the first time is often the charm. The band’s first club dates led to a record deal with the revered Daptone label; their first singles racked up more than ten million streams in a year and garnered attention from Billboard, Rolling Stone, and KCRW; and their first fans included the likes of Gary Clark Jr., The Black Pumas, Princess Nokia, and Timbaland. Now, the breakout San Diego trio is ready to deliver yet another landmark first with the release of their highly anticipated, self-titled debut.

“Every step of the way has just been so organic,” says drummer Alex Garcia. “Things just seem to happen naturally when the three of us get together.”

Indeed, there’s something inevitable about the sound of Thee Sacred Souls, as if these ageless songs of love and loss have somehow always existed, as if Garcia and his bandmates—bassist Sal Samano and singer Josh Lane—have been playing together for a lifetime already. Produced by Bosco Mann (aka Daptone co-founder Gabriel Roth), the record is warm and textured, mixing the easygoing grace of sweet ’60s soul with the grit and groove of early ’70s R&B, and the performances are utterly intoxicating, with Lane’s weightless vocals anchored by the rhythm section’s deep pocket and infectious chemistry. Hints of Chicano, Philly, Chicago, Memphis, and even Panama soul turn up in their music, and while it’s tempting to toss around labels like “retro” and “vintage” with a deliberately analog collection like this, there’s also something distinctly modern about the band that defies easy categorization, a rawness and a sincerity that transcends time and place.

“I think we found the best of both worlds with this band,” says Lane. “We get to be innovative and honest and challenge ourselves as artists, but we also get to dig deep and pay homage to the foundational stuff that helped shape us.”

It was that shared love and respect for the foundations of soul that brought the band together in the first place. Launched in 2019, the group began with Garcia and Samano, who bonded over their similar experiences growing up in southern California and a mutual affinity for record collecting. While Samano didn’t pick up the bass until he’d already graduated from high school, Garcia had spent much of his teenage years obsessing over guitar and drums and teaching himself how to record on an old Tascam tape machine, and the pair’s mix of technical know-how and innate curiosity proved to be an ideal match. All they needed was a singer.

“I remember coming across Josh on Instagram,” says Garcia, “and I thought he could be a good fit even though he was doing something a little different. We invited him to come to a rehearsal with us, and he just came up with these great lyrics and melodies right on the spot. We knew he was the guy after one take.”

Joining a group like Thee Sacred Souls wasn’t an obvious move for Lane, though. A Sacramento native, he’d fallen in love with music through the church and studied classical voice in college, where he sang everything from French arias to Italian opera. When he moved to San Diego in 2017, he planned on becoming a solo artist, and his ambitions skewed more toward dreampop and chillwave than the old school soul sounds Garcia and Samano were cooking up.

“I grew up with a lot of the classic references like Al Green and Marvin Gaye and Curtis Mayfield,” Lane recalls, “but I always just thought I’d sprinkle little bits of that into whatever I ended up doing. When I met these guys, though, they introduced me to deep soul and lowrider stuff like Thee Midniters, and that really opened things up.”

Performing live as a seven-piece (the core trio plus guitar, keys, and two backup vocalists), the band generated a local buzz almost immediately, which put them on Mann’s radar and led them into his Riverside, CA, studio. At the time, Mann was planning to launch a new Daptone imprint named Penrose Records, and Thee Sacred Souls were an obvious fit for the label’s inaugural release.

“They had a sound that caught my ear right away,” says Mann. “The combination of Sal and Alex’s taste and touch in the rhythm section with Josh’s masterful sense of voice and melody was just so fresh. I knew they could make an album that would blow some minds.”

The band more than delivers on that promise with Thee Sacred Souls, which opens with the mesmerizing lead single “Can I Call You Rose?” With lyrics penned on the spot by Lane during his first rehearsal with the group, the track is a silky slice of pure romance and an ideal entry point into the group’s timeless sound. Like much of the album, it’s a bittersweet meditation on matters of the heart and the primacy of love, one fueled by lush horns, velvety vocals, and an impossibly smooth rhythm section. The unhurried “Lady Love” tips its cap to the South Side of Chicago as it reckons with forgiveness and second chances, while the doo-wop tinged “It’s Overflowing” draws on both classic Chicano soul and Jamaican rocksteady music in its pledges of devotion, and the nakedly sensual “Future Lover” flips the band’s lineup on its head as it revels in the highs of infatuation.

“For a lot of songs, Alex writes the instrumental and demos them out at home,” says Samano, “but ‘Future Lover’ actually grew out of an after-practice jam session one day where we all switched instruments. I was on drums, Alex was on guitar, our guitarist was playing bass, and it all just clicked into place as soon as Josh started singing.”

The album’s vocals—both Lane’s beguiling leads and the collection’s airy female backups—serve as the glue that often binds these tracks together, imbuing the hypnotic arrangements with an undeniable sense of emotional urgency. The restless “Weak For Your Love” highlights Lane’s dazzling falsetto; the charming “Easier Said Than Done” complements his laidback delivery with a wordless counter melody; and the lilting “Trade Of Hearts”—a duet with vocalist Jensine Benitez—even brings Garcia and Samano in for call-and-response lines. But perhaps it’s the bittersweet “Sorrow For Tomorrow” that best showcases the breadth of Lane’s range as he shifts effortlessly between mellifluous vocal runs and semi-spoken passages all about loss and healing, growth and forgiveness, longing and regret.

“That song is basically permission to cry,” says Lane. “It’s a reminder that it’s okay to be open to pain and not to feel like your emotions are a burden or make you any less of a man.”

Ultimately, that’s what Thee Sacred Souls is all about: not just accepting our emotions, but embracing them as a beautiful and fundamental piece of the human experience. It can be difficult, no doubt about it, but as with everything else they do, Thee Sacred Souls make it look easy.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220914T183445Z X-ACCESS:1 X-HITS:1828 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220915T200000 DTEND;TZID=America/Denver:20220915T233000 UID:97F360BB-EDCE-402D-A8D3-ED75368207A9 SUMMARY:William Fitzsimmons DTSTAMP:20220623T192826Z DESCRIPTION:You can piece together the life of William Fitzsimmons with the songs he chose to record for Covers, Vol. 1 & 2. For the Illinois-based singer, songwriter, and producer, some tunes recollect joyful moments at home as a kid, and others recall his high school days. A handful of tracks address heartbreak head-on without apology, while a few reflect his inclination to embrace youthful wonder and creativity. No matter what, his voice carries these words straight from the heart.\N"I just wanted to do songs that meant a lot to me for varying reasons," he says. "I share some of the songs with other people. Some of the songs remind me of my childhood. Some of the songs are low-key messages to individuals from my past—and they're not necessarily positive. Some of the songs are just pure joy. Ultimately, they are all songs I love and respect from artists I think are incredible."\NMusic means a lot to everyone, but it means everything to William…\NHe was born to blind musician parents with an incredible collection of instruments and records. In their house, "music was this level playing field we could experience together because you don't need to be able to see to enjoy it." Dad played the organ and favored baroque and classical, while mom loved folk and sang hymns in a choir. The family would call out favorite chords and bond through sound. Even though dad "wished he did more serious music," William jammed along to everyone from Metallica and The Steve Miller Band to The Beatles. He eventually achieved a Master's Degree in counseling and held down a day job as a mental health therapist, yet music's magnetic pull never let go of him.\NFollowing 2005's Until When We Are Ghosts, he generated hundreds of million streams across fan favorite albums such as Gold In The Shadow [2011], Lions [2014], Pittsburgh [2015], Mission Bell [2018], Ready The Astronaut [2021], and No Promises: The Astronaut's Return [2021]. He landed significant syncs on ABC, NBC, MTV, Lifetime, and The CW. Notably, NPR once dubbed him "A Songwriter With Vision," and he incited the applause of American Songwriter, Billboard, NYLON, Pop Matters, Rolling Stone, Q Magazine, Uncut, and more.\NOnce the Global Pandemic hit, he found himself at home with time and a basement studio.\N"I needed something to work on, so I just started doing covers," he shares. "I didn't even make a list; it was just a way to keep from going crazy. The longer I worked on it, the more excited I got. It was self-therapy so that I wouldn't lose my mind. However, it ended up one of my favorite periods of being a musician."\NHe initially teased out Vol. 1 with his take on Joy Division's "Love Will Tear Us Apart." He strips down this classic to delicate acoustic guitars, the hum of airy keys, and gentle vocals, tapping into its stark emotional core.\N"I always thought it was the perfect heartbreak song, and I still do," he says. "It describes a relationship dissolving right in front of you. As I got older and went through my first and second divorce, I started to feel this song even more. It sets the vibe. It's essentially a good prefix to the book."\NJoined by Abby Gunderson on vocals, he channels the bliss of one of his most important memories during "Annie's Song," originally by John Denver. Acoustic guitar and mellotron accompany this dreamy duet.\N"My mom had a double vinyl for one of John Denver's live albums, and I remember her playing it over and over again," he smiles. "I often held the vinyl as a young kid, and I loved the feeling. To my recollection, 'Annie's Song' is the first song I ever heard. For me, it's instant nostalgia. I go right back to our living room and can feel our house. My mom and I sang John Denver songs together as I got older. What a cool tune to have as a first musical memory."\NOn the other end of the spectrum, he leans into the breezy energy of Taylor Swift's "the 1" and spikes it with his subtle sense of soul.\N"I loved Taylor's last two albums: 'folklore' and 'evermore,'" he goes on. "I respect the hell out of her, but I give a ton of credit to Aaron Dessner from The National. It's a cool wedding of the energy and vitality she brings and the interesting arrangements he comes up with. I love what they did."\NMeanwhile, his take on Elton John's "Your Song" forever holds a special place in his heart as it effectively turns the page on the next chapter of his life.\N"On Valentine's Day a couple of years ago, I recorded it for my now-wife," he reveals. "She's not a big flowers person, so I cut the cover and sent it to her instead. It became our song. She even walked down the aisle to it. It set the stage for all of these covers."\NElsewhere, he pays homage to "life-changing" artists such as Sufjan Stevens ("Futile Devices") and R.E.M. ("Sweetness Follows") and shows reverence to Gen-Z songsmiths a la Chelsea Cutler ("Please") and Phoebe Bridgers ("Smoke Signals"). Maintaining this spirit, Vol. 2 surveys everything from classic pop to nineties Alternative to 21st-century staples.\NIn the end, you might get to know William better than ever on Covers, Vol. 1 & Vol. 2.\N"Music was always made me feel a little less alone," he leaves off. "I hope people hear this and feel more connected to themselves, their friends, spouses, and children. I chose these songs because of some connection with another person. It's all I really want." X-ALT-DESC;FMTTYPE=text/html:

You can piece together the life of William Fitzsimmons with the songs he chose to record for Covers, Vol. 1 & 2. For the Illinois-based singer, songwriter, and producer, some tunes recollect joyful moments at home as a kid, and others recall his high school days. A handful of tracks address heartbreak head-on without apology, while a few reflect his inclination to embrace youthful wonder and creativity. No matter what, his voice carries these words straight from the heart.

"I just wanted to do songs that meant a lot to me for varying reasons," he says. "I share some of the songs with other people. Some of the songs remind me of my childhood. Some of the songs are low-key messages to individuals from my past—and they're not necessarily positive. Some of the songs are just pure joy. Ultimately, they are all songs I love and respect from artists I think are incredible."

Music means a lot to everyone, but it means everything to William…

He was born to blind musician parents with an incredible collection of instruments and records. In their house, "music was this level playing field we could experience together because you don't need to be able to see to enjoy it." Dad played the organ and favored baroque and classical, while mom loved folk and sang hymns in a choir. The family would call out favorite chords and bond through sound. Even though dad "wished he did more serious music," William jammed along to everyone from Metallica and The Steve Miller Band to The Beatles. He eventually achieved a Master's Degree in counseling and held down a day job as a mental health therapist, yet music's magnetic pull never let go of him.

Following 2005's Until When We Are Ghosts, he generated hundreds of million streams across fan favorite albums such as Gold In The Shadow [2011], Lions [2014], Pittsburgh [2015], Mission Bell [2018], Ready The Astronaut [2021], and No Promises: The Astronaut's Return [2021]. He landed significant syncs on ABC, NBC, MTV, Lifetime, and The CW. Notably, NPR once dubbed him "A Songwriter With Vision," and he incited the applause of American Songwriter, Billboard, NYLON, Pop Matters, Rolling Stone, Q Magazine, Uncut, and more.

Once the Global Pandemic hit, he found himself at home with time and a basement studio.

"I needed something to work on, so I just started doing covers," he shares. "I didn't even make a list; it was just a way to keep from going crazy. The longer I worked on it, the more excited I got. It was self-therapy so that I wouldn't lose my mind. However, it ended up one of my favorite periods of being a musician."

He initially teased out Vol. 1 with his take on Joy Division's "Love Will Tear Us Apart." He strips down this classic to delicate acoustic guitars, the hum of airy keys, and gentle vocals, tapping into its stark emotional core.

"I always thought it was the perfect heartbreak song, and I still do," he says. "It describes a relationship dissolving right in front of you. As I got older and went through my first and second divorce, I started to feel this song even more. It sets the vibe. It's essentially a good prefix to the book."

Joined by Abby Gunderson on vocals, he channels the bliss of one of his most important memories during "Annie's Song," originally by John Denver. Acoustic guitar and mellotron accompany this dreamy duet.

"My mom had a double vinyl for one of John Denver's live albums, and I remember her playing it over and over again," he smiles. "I often held the vinyl as a young kid, and I loved the feeling. To my recollection, 'Annie's Song' is the first song I ever heard. For me, it's instant nostalgia. I go right back to our living room and can feel our house. My mom and I sang John Denver songs together as I got older. What a cool tune to have as a first musical memory."

On the other end of the spectrum, he leans into the breezy energy of Taylor Swift's "the 1" and spikes it with his subtle sense of soul.

"I loved Taylor's last two albums: 'folklore' and 'evermore,'" he goes on. "I respect the hell out of her, but I give a ton of credit to Aaron Dessner from The National. It's a cool wedding of the energy and vitality she brings and the interesting arrangements he comes up with. I love what they did."

Meanwhile, his take on Elton John's "Your Song" forever holds a special place in his heart as it effectively turns the page on the next chapter of his life.

"On Valentine's Day a couple of years ago, I recorded it for my now-wife," he reveals. "She's not a big flowers person, so I cut the cover and sent it to her instead. It became our song. She even walked down the aisle to it. It set the stage for all of these covers."

Elsewhere, he pays homage to "life-changing" artists such as Sufjan Stevens ("Futile Devices") and R.E.M. ("Sweetness Follows") and shows reverence to Gen-Z songsmiths a la Chelsea Cutler ("Please") and Phoebe Bridgers ("Smoke Signals"). Maintaining this spirit, Vol. 2 surveys everything from classic pop to nineties Alternative to 21st-century staples.

In the end, you might get to know William better than ever on Covers, Vol. 1 & Vol. 2.

"Music was always made me feel a little less alone," he leaves off. "I hope people hear this and feel more connected to themselves, their friends, spouses, and children. I chose these songs because of some connection with another person. It's all I really want."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220909T151224Z X-ACCESS:1 X-HITS:1335 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220916T210000 DTEND;TZID=America/Denver:20220916T233000 UID:6104A413-B0AF-45BF-A1A1-1A3884394711 SUMMARY:SYML DTSTAMP:20220708T222218Z DESCRIPTION:Grief can be messy, painful, and dark, a brutal process that rarely offers straight through its shadows for those mourning the death of a loved one. But for Brian Fennell, the writer, producer and multi-instrumentalist behind SYML, he found comfort not only by leaning into his grief, but writing through it.\NDIM, his latest EP out March 5, is a “loss exploration” for him, a potent meditation that manages to make even the most personal tragedies feel intimate and universally understood. Fennell --who released SYML’s self-titled album in 2019, which his breakthrough single, “Where’s My Love” --was on the road with Dermot Kennedy in the spring of 2020 and had plans to spend most of the year on tour, but those were abruptly halted due to the merciless spread of the coronavirus pandemic. At his home in Seattle, he revisited some of the lyrical sketches and compositions he had been working through in the preceding months, all interpreting loss in different manifestations. “True,” a captivating R&B groove, ruminates on a disintegrating relationship, while the haunting title track was inspired by survivor’s guilt. His father’s health was declining after a long battle with cancer at that point, and “Stay Close,” the first track on DIM, brims with raw, desperate emotion as he literally pleads for more time while examining his own bond with his children (“One lifetime is never enough / You’re more than my heart, you’re my blood”).\N"This EP is largely about losing those close to us,” he says. “Calling it DIM really applies to the light we carry during our time here. When those lights go out, it’s this sort of dimming process, but rather than living in that sadness --even though I think that’s a really healthy thing to do, to stay in that cozy, warm blanket sadness sometimes --it’s about honoring what that light was, and realizing that there’s still that same light in all of us that are still here.”\NIn the following conversation about DIM, Fennell digs deeper into the inspirations that shaped these songs, the growth this EP represents and why he considers it to be one of most fulfilling projects of his career to date.\N++\NDIM’s title track is lovely but haunting, and the words --“kiss me goodbye in the morning/I’m with you, always” --speak directly to these themes of love and loss you kept returning to while you were working on these tracks. Was this the toughest song to write on the EP?\NI started writing “DIM” about two years ago. I was flying over Iceland on Icelandair, and I remember Olafur Arnalds did this really beautiful documentary where he collaborated in different places in Iceland with Icelandic artists. One of them was with Nanna Bryndís Hilmarsdóttir, the singer from Of Monsters And Men, and it’s in this lighthouse. It’s the most moving performance. I was like, “I want to put myself in that lighthouse and write a song in there!” I started “DIM” right after that, and it sat because I really didn’t know what it was about until I showed it to a friend, who was like, “I love this --I think you really need totell me the story.” The story turned out to be this car crash happening, and basically relating it to something that wasn’t your fault, and you couldn’t do anything to prepare any better for it --you just took the natural safety precautions that we all know. But then when something actually happens to you, it’s not specifically about survivor’s guilt: how do you reconcile something happening to somebody else and not you, even though you were with them? That’s where I chose to tie it in more to honoring that light that was, and still is. It was only after a close friend almost challenged me to revisit the song that it really came together.\NYou’ve explored familiar relationships in your songwriting before: your son and daughter inspired songs on your self-titled album, and you’ve written about what fatherhood means to you. In what ways did you expand upon that with DIM? Did these songs go in the same trajectory, or did you bring these songs to a new place?\NWhere those songs started, it was more like, “Oh my gosh, you’re here now! What do I do with you? What does that show me about myself now that you’re in my life?” These songs, it’s a new level: it’s not about my kids, but it’s about family members and friends who are like, “You’re not here,” or “You’re leaving, and I can’t do anything about it --now what do I do?” A lot of times before, I got through this exercise of imagining the worst so that I can start to digest it. Maybe it’s a self-defense mechanism on some level; it’s mostly just this creative process. Now that it’s actually happening to me, it’s a different reckoning as a writer, because it’s always a challenge. I wrote “Girl” for my daughter after she went through this life-threatening surgery, and that was a literal thing: I can imagine it, talk to her about it, put this sort of bow on it in terms of its concept. There’s a line in “Stay Close:” “I’ve lost my faith, but I know that it’s too soon for your life to end.” I don’t have this trust in an all-knowing being anymore. Being able to let go of that, and instead embrace the cold void of space in the universe, and this earth, and our time here, that’s been a crazy thing as a father, but also as an artist. That song about my daughter was about that experience for her, and even though it was specificto me and this one experience I was going through, it could be about something totally different to another listener, which I think is the magic of releasing songs into the world. I’m interested to know how people will take them and make them their own.\NDIM marks the first time you brought collaborators into the SYML equation on the production side: you worked closely with producer Paul Meany (known for his work with Twenty One Pilots) and mixer Joe Visciano (SZA, Earl Sweatshirt, etc.). What did they bring out in you, creatively, that felt new, or offered a new perspective on your own process?\NCollaboration, especially remotely, can bring out a lot of surprising things. Mostly, I think it takes a foundation of trust that when you hand over your art to someone else, and they break it apart and put it back together, you believe it will be better. I instantly had that with Paul. Having been a fan of his for the past few years, I already trusted his ears and creative mind. One of the reasons I don’t collaborate much is because I consider songs and production to be quite personal. On top of that, it can be almost offensive as an artist to think that someone else could make what you do better than you working alone. Thankfully, people like Paul and Joe act as mirrors instead of wrecking balls: they showed me different angles of my songs and creative process that have ultimately made each better. When you find people like that to collaborate with, it’s a feeling of equal parts excitement and humility.\NFor people who were introduced to you through “Where Is My Love,” what is it that people take away from DIM about you as a writer or performer?\N“Where Is Your Love” and my early songs are really sparse, and that’s not how we’re used to hearing pop music, or accessible music --accessible is probably the better word. With this EP, there are moments where, for me, I was able to push some limits in terms of the electronic side of the production and how that might affect the songwriting. I don’t think that for every song on this record, I could just sit down with a guitar and like, move a room. I think it really is more reliant on the production intertwined into the songwriting, and it was fun to flex different [creative] muscles in that way. But then you have a song like “Stay Close,” which to me, is one of the poppier songs I’ve ever written. Picking these five songs to go together was really intentional in terms of the universe of songs in my life right now, because they were able to all fit under that darker electronic side of SYML as a project, and got comfy kind of right away, which was nice.\NWhy did you want to kick off the EP with “Stay Close”?\NIt’s definitely the song that, if you have heard me before, it’ll be the most instantly accessible and powerful. It’s also the song that, if you took away all the music and you read the lyrics, it’s super gutting! I like the idea of it being a little bit of a Trojan Horse entry into the EP. If you hit them over the head with instant sad, then it sets the tone in the wrong way. I don’t know if it’s wrong or right, but it’s not what I wanted to do with [these songs].\NYou’ve mentioned you’ve experienced some loss, and that this has been tough to navigate while working through what the EP is about. Did DIMgive you the catharsis you were looking for?\NYes. It’s interesting, because this EP is going to come out while I’m still very much dealing with some of this stuff. I think that’s okay. I think this is like therapy for me. I have healthy relationships in my life, but being able to write songs that are brutally honest is amazing, cathartic therapy, because I can sort of wear different hats, and not necessarily play different people, but say things more comfortably when they’re in a different setting. That’s only helpful for me because, as a personal challenge, I can’t just stop there --it has to be something I’m continually working on. I can’t just be like, “Well, solved that in a song, I no longer have to worry about that personally!”\NYour name, SYML, means simplicity. In what ways were you able to redefine simplicity for SYML with DIM?\NUsually, I’m having to take something that’s uber-simple that’s a minute and a half and turn it into more, so it’s a bit more of a traditionally digestible song length or melodic thought. With DIM, all of the songs started really long. I think there were some literal simplicity exercises I had to go through --“take away words, you’re trying to do too much musically!” --and that goes to some of the collaborators I’ve been able to work with, whojust do things differently than me. What’s awesome is that, once you share it with somebody you trust, and they show you something back, you see a totally different reflection of the work you just did. That was a really good simplicity exercise: I’ve saidor done too much, and that’s not always the case with me, so that was a different approach to simplicity. X-ALT-DESC;FMTTYPE=text/html:

Grief can be messy, painful, and dark, a brutal process that rarely offers straight through its shadows for those mourning the death of a loved one. But for Brian Fennell, the writer, producer and multi-instrumentalist behind SYML, he found comfort not only by leaning into his grief, but writing through it.

DIM, his latest EP out March 5, is a “loss exploration” for him, a potent meditation that manages to make even the most personal tragedies feel intimate and universally understood. Fennell --who released SYML’s self-titled album in 2019, which his breakthrough single, “Where’s My Love” --was on the road with Dermot Kennedy in the spring of 2020 and had plans to spend most of the year on tour, but those were abruptly halted due to the merciless spread of the coronavirus pandemic. At his home in Seattle, he revisited some of the lyrical sketches and compositions he had been working through in the preceding months, all interpreting loss in different manifestations. “True,” a captivating R&B groove, ruminates on a disintegrating relationship, while the haunting title track was inspired by survivor’s guilt. His father’s health was declining after a long battle with cancer at that point, and “Stay Close,” the first track on DIM, brims with raw, desperate emotion as he literally pleads for more time while examining his own bond with his children (“One lifetime is never enough / You’re more than my heart, you’re my blood”).

"This EP is largely about losing those close to us,” he says. “Calling it DIM really applies to the light we carry during our time here. When those lights go out, it’s this sort of dimming process, but rather than living in that sadness --even though I think that’s a really healthy thing to do, to stay in that cozy, warm blanket sadness sometimes --it’s about honoring what that light was, and realizing that there’s still that same light in all of us that are still here.”

In the following conversation about DIM, Fennell digs deeper into the inspirations that shaped these songs, the growth this EP represents and why he considers it to be one of most fulfilling projects of his career to date.

++

DIM’s title track is lovely but haunting, and the words --“kiss me goodbye in the morning/I’m with you, always” --speak directly to these themes of love and loss you kept returning to while you were working on these tracks. Was this the toughest song to write on the EP?

I started writing “DIM” about two years ago. I was flying over Iceland on Icelandair, and I remember Olafur Arnalds did this really beautiful documentary where he collaborated in different places in Iceland with Icelandic artists. One of them was with Nanna Bryndís Hilmarsdóttir, the singer from Of Monsters And Men, and it’s in this lighthouse. It’s the most moving performance. I was like, “I want to put myself in that lighthouse and write a song in there!” I started “DIM” right after that, and it sat because I really didn’t know what it was about until I showed it to a friend, who was like, “I love this --I think you really need totell me the story.” The story turned out to be this car crash happening, and basically relating it to something that wasn’t your fault, and you couldn’t do anything to prepare any better for it --you just took the natural safety precautions that we all know. But then when something actually happens to you, it’s not specifically about survivor’s guilt: how do you reconcile something happening to somebody else and not you, even though you were with them? That’s where I chose to tie it in more to honoring that light that was, and still is. It was only after a close friend almost challenged me to revisit the song that it really came together.

You’ve explored familiar relationships in your songwriting before: your son and daughter inspired songs on your self-titled album, and you’ve written about what fatherhood means to you. In what ways did you expand upon that with DIM? Did these songs go in the same trajectory, or did you bring these songs to a new place?

Where those songs started, it was more like, “Oh my gosh, you’re here now! What do I do with you? What does that show me about myself now that you’re in my life?” These songs, it’s a new level: it’s not about my kids, but it’s about family members and friends who are like, “You’re not here,” or “You’re leaving, and I can’t do anything about it --now what do I do?” A lot of times before, I got through this exercise of imagining the worst so that I can start to digest it. Maybe it’s a self-defense mechanism on some level; it’s mostly just this creative process. Now that it’s actually happening to me, it’s a different reckoning as a writer, because it’s always a challenge. I wrote “Girl” for my daughter after she went through this life-threatening surgery, and that was a literal thing: I can imagine it, talk to her about it, put this sort of bow on it in terms of its concept. There’s a line in “Stay Close:” “I’ve lost my faith, but I know that it’s too soon for your life to end.” I don’t have this trust in an all-knowing being anymore. Being able to let go of that, and instead embrace the cold void of space in the universe, and this earth, and our time here, that’s been a crazy thing as a father, but also as an artist. That song about my daughter was about that experience for her, and even though it was specificto me and this one experience I was going through, it could be about something totally different to another listener, which I think is the magic of releasing songs into the world. I’m interested to know how people will take them and make them their own.

DIM marks the first time you brought collaborators into the SYML equation on the production side: you worked closely with producer Paul Meany (known for his work with Twenty One Pilots) and mixer Joe Visciano (SZA, Earl Sweatshirt, etc.). What did they bring out in you, creatively, that felt new, or offered a new perspective on your own process?

Collaboration, especially remotely, can bring out a lot of surprising things. Mostly, I think it takes a foundation of trust that when you hand over your art to someone else, and they break it apart and put it back together, you believe it will be better. I instantly had that with Paul. Having been a fan of his for the past few years, I already trusted his ears and creative mind. One of the reasons I don’t collaborate much is because I consider songs and production to be quite personal. On top of that, it can be almost offensive as an artist to think that someone else could make what you do better than you working alone. Thankfully, people like Paul and Joe act as mirrors instead of wrecking balls: they showed me different angles of my songs and creative process that have ultimately made each better. When you find people like that to collaborate with, it’s a feeling of equal parts excitement and humility.

For people who were introduced to you through “Where Is My Love,” what is it that people take away from DIM about you as a writer or performer?

“Where Is Your Love” and my early songs are really sparse, and that’s not how we’re used to hearing pop music, or accessible music --accessible is probably the better word. With this EP, there are moments where, for me, I was able to push some limits in terms of the electronic side of the production and how that might affect the songwriting. I don’t think that for every song on this record, I could just sit down with a guitar and like, move a room. I think it really is more reliant on the production intertwined into the songwriting, and it was fun to flex different [creative] muscles in that way. But then you have a song like “Stay Close,” which to me, is one of the poppier songs I’ve ever written. Picking these five songs to go together was really intentional in terms of the universe of songs in my life right now, because they were able to all fit under that darker electronic side of SYML as a project, and got comfy kind of right away, which was nice.

Why did you want to kick off the EP with “Stay Close”?

It’s definitely the song that, if you have heard me before, it’ll be the most instantly accessible and powerful. It’s also the song that, if you took away all the music and you read the lyrics, it’s super gutting! I like the idea of it being a little bit of a Trojan Horse entry into the EP. If you hit them over the head with instant sad, then it sets the tone in the wrong way. I don’t know if it’s wrong or right, but it’s not what I wanted to do with [these songs].

You’ve mentioned you’ve experienced some loss, and that this has been tough to navigate while working through what the EP is about. Did DIMgive you the catharsis you were looking for?

Yes. It’s interesting, because this EP is going to come out while I’m still very much dealing with some of this stuff. I think that’s okay. I think this is like therapy for me. I have healthy relationships in my life, but being able to write songs that are brutally honest is amazing, cathartic therapy, because I can sort of wear different hats, and not necessarily play different people, but say things more comfortably when they’re in a different setting. That’s only helpful for me because, as a personal challenge, I can’t just stop there --it has to be something I’m continually working on. I can’t just be like, “Well, solved that in a song, I no longer have to worry about that personally!”

Your name, SYML, means simplicity. In what ways were you able to redefine simplicity for SYML with DIM?

Usually, I’m having to take something that’s uber-simple that’s a minute and a half and turn it into more, so it’s a bit more of a traditionally digestible song length or melodic thought. With DIM, all of the songs started really long. I think there were some literal simplicity exercises I had to go through --“take away words, you’re trying to do too much musically!” --and that goes to some of the collaborators I’ve been able to work with, whojust do things differently than me. What’s awesome is that, once you share it with somebody you trust, and they show you something back, you see a totally different reflection of the work you just did. That was a really good simplicity exercise: I’ve saidor done too much, and that’s not always the case with me, so that was a different approach to simplicity.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220914T183503Z X-ACCESS:1 X-HITS:1514 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220917T210000 DTEND;TZID=America/Denver:20220917T233000 UID:0AD9F1E3-0270-4EF6-AADD-6C84C857B900 SUMMARY:Church of Cash DTSTAMP:20220727T185235Z DESCRIPTION:If you’re going to capture the mystique and resonance of Johnny Cash onstage, you better have the raw prowess as well as the reverberating voice. Jay Ernest, the driving force propelling Minneapolis-based Church of Cash, has both in spades. With his bandmates, Ernest brings the iconic Man in Black to life every time he takes the concert platform.\NThe award-winning Church of Cash is a premier Johnny Cash tribute show band with the attitude and the chops. When the house lights go down, Cash is indeed immortal thanks to Ernest on lead vocals and acoustic guitar; Jonathon TeBeest on drums, percussion, and background vocals; “Jumpin’” Jack Mansk on electric, baritone and acoustic guitars, and background vocals; and Tony Wirth on bass, upright bass, and background vocals.\N“I want to be known as the best Johnny Cash tribute show in the world,” says Ernest. “We have the credibility, and we have four studio albums as Church of Cash. I grew up loving the sound of the choir and the booming voice of Johnny Cash. This is in my blood.”\NThe latest of those four studio albums is Flowers for June, released in October, which features a spate of inspired but not-so-obvious Johnny Cash covers, including “Ballad of a Teenage Queen,” “Thing Called Love,” “One Piece at a Time,” “(Ghost) Riders in the Sky,” and “One on the Right Is on the Left.” Recorded at Square Studio in Minnetrista, Minnesota, Flowers for June joins Church of Cash, Thank You Sir, and Christmas Songs in the Church of Cash catalog.\NSinging Johnny Cash covers and recording tribute albums is great, but the genuine proof of career longevity comes in the passion and commitment to the craft. Ernest and his Church of Cash have toured the United States, Belgium, and the Netherlands. Along the way they’ve picked up accolades. In 2019, Church of Cash received “Best Tribute Act 2019” honors from the Midwest Country Music Organization. In 2021, Jay Ernest and by extension the Church of Cash, was inducted to the Minnesota Music Hall of Fame. Now there’s an original musical theater-meets-concert event titled Folsom Prison Experience written by Ernest and pal Tom Pickard.\NSince forming in 2009 in Honolulu, Hawaii, Church of Cash has steadily forged a reputation for excellence. The band, which relocated to Minneapolis a year later, made it clear early on that channeling Johnny Cash was anything but a vehicle to gain instant notoriety. Cash, choirs, and rock ‘n’ roll reign supreme. So, when Jay Ernest steps in front of a microphone he embodies the true artistic spirit of the man he reveres. X-ALT-DESC;FMTTYPE=text/html:

If you’re going to capture the mystique and resonance of Johnny Cash onstage, you better have the raw prowess as well as the reverberating voice. Jay Ernest, the driving force propelling Minneapolis-based Church of Cash, has both in spades. With his bandmates, Ernest brings the iconic Man in Black to life every time he takes the concert platform.

The award-winning Church of Cash is a premier Johnny Cash tribute show band with the attitude and the chops. When the house lights go down, Cash is indeed immortal thanks to Ernest on lead vocals and acoustic guitar; Jonathon TeBeest on drums, percussion, and background vocals; “Jumpin’” Jack Mansk on electric, baritone and acoustic guitars, and background vocals; and Tony Wirth on bass, upright bass, and background vocals.

“I want to be known as the best Johnny Cash tribute show in the world,” says Ernest. “We have the credibility, and we have four studio albums as Church of Cash. I grew up loving the sound of the choir and the booming voice of Johnny Cash. This is in my blood.”

The latest of those four studio albums is Flowers for June, released in October, which features a spate of inspired but not-so-obvious Johnny Cash covers, including “Ballad of a Teenage Queen,” “Thing Called Love,” “One Piece at a Time,” “(Ghost) Riders in the Sky,” and “One on the Right Is on the Left.” Recorded at Square Studio in Minnetrista, Minnesota, Flowers for June joins Church of Cash, Thank You Sir, and Christmas Songs in the Church of Cash catalog.

Singing Johnny Cash covers and recording tribute albums is great, but the genuine proof of career longevity comes in the passion and commitment to the craft. Ernest and his Church of Cash have toured the United States, Belgium, and the Netherlands. Along the way they’ve picked up accolades. In 2019, Church of Cash received “Best Tribute Act 2019” honors from the Midwest Country Music Organization. In 2021, Jay Ernest and by extension the Church of Cash, was inducted to the Minnesota Music Hall of Fame. Now there’s an original musical theater-meets-concert event titled Folsom Prison Experience written by Ernest and pal Tom Pickard.

Since forming in 2009 in Honolulu, Hawaii, Church of Cash has steadily forged a reputation for excellence. The band, which relocated to Minneapolis a year later, made it clear early on that channeling Johnny Cash was anything but a vehicle to gain instant notoriety. Cash, choirs, and rock ‘n’ roll reign supreme. So, when Jay Ernest steps in front of a microphone he embodies the true artistic spirit of the man he reveres.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220809T183519Z X-ACCESS:1 X-HITS:1488 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220920T200000 DTEND;TZID=America/Denver:20220920T233000 UID:3174B1BD-A618-4741-9E27-ED66B676431E SUMMARY:Big Richard DTSTAMP:20220602T210644Z DESCRIPTION:What began as an all-female festival collab quickly morphed into a serious passion project driven by sisterhood, harmony and humor...…along with the shared desire to rage fiddle tunes and smash the patriarchy.\NBig Richard is a neo-acoustic super group made up of four well established Colorado musicians: Bonnie Sims on mandolin (Bonnie & Taylor Sims/Everybody Loves An Outlaw/Bonnie & the Clydes), Joy Adams on cello (Nathaniel Rateliff/Darol Anger/Half Pelican), Emma Rose on bass + guitar (Sound of Honey/Daniel Rodriguez/Whippoorwill) and Eve Panning on fiddle (Lonesome Days).\NFormed in late 2021, the band gained immediate notoriety for their charismatic stage presence and their vocal/instrumental prowess. After selling out all of their club shows Big Richard quickly started confirming festival appearances across America. 2022 is sure to be a big year!! X-ALT-DESC;FMTTYPE=text/html:

What began as an all-female festival collab quickly morphed into a serious passion project driven by sisterhood, harmony and humor...…along with the shared desire to rage fiddle tunes and smash the patriarchy.

Big Richard is a neo-acoustic super group made up of four well established Colorado musicians: Bonnie Sims on mandolin (Bonnie & Taylor Sims/Everybody Loves An Outlaw/Bonnie & the Clydes), Joy Adams on cello (Nathaniel Rateliff/Darol Anger/Half Pelican), Emma Rose on bass + guitar (Sound of Honey/Daniel Rodriguez/Whippoorwill) and Eve Panning on fiddle (Lonesome Days).

Formed in late 2021, the band gained immediate notoriety for their charismatic stage presence and their vocal/instrumental prowess. After selling out all of their club shows Big Richard quickly started confirming festival appearances across America. 2022 is sure to be a big year!!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220906T210635Z X-ACCESS:1 X-HITS:2202 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220923T210000 DTEND;TZID=America/Denver:20220923T233000 UID:69F9C08F-6898-4118-A203-322F0715116C SUMMARY:Danielle Ponder DTSTAMP:20220815T182242Z DESCRIPTION:American soul singer Danielle Ponder is both empowering and a powerhouse. In 2020, NPR described her music as anthemic while compassionate; soulful, while bold and strong. She reverberates with a goosebump-inducing passion,." Danielle attended Northeastern University where she received her Juris Doctorate. For 5 years, Danielle worked as a public defender where she provided criminal defense to the indigent community. While working as a public defender, Danielle also toured Europe and scored opening spots for St. Paul and the Broken Bones and George Clinton. In 2018, after five years as a public defender, she made the gutsy decision to pursue her No.1 passion -- music. In 2021, Danielle performed at the Newport Jazz Festival where her performance was hailed as one of the stand out performances of the event. Danielle is preparing her first self-produced EP, Some of Us Are Brave, set for release in early 2022 on Future Classic. Danielle continues to advocate for criminal justice reform and has been an influential leader in the Black Lives Matter movement in Rochester, NY. X-ALT-DESC;FMTTYPE=text/html:

American soul singer Danielle Ponder is both empowering and a powerhouse. In 2020, NPR described her music as anthemic while compassionate; soulful, while bold and strong. She reverberates with a goosebump-inducing passion,." Danielle attended Northeastern University where she received her Juris Doctorate. For 5 years, Danielle worked as a public defender where she provided criminal defense to the indigent community. While working as a public defender, Danielle also toured Europe and scored opening spots for St. Paul and the Broken Bones and George Clinton. In 2018, after five years as a public defender, she made the gutsy decision to pursue her No.1 passion -- music. In 2021, Danielle performed at the Newport Jazz Festival where her performance was hailed as one of the stand out performances of the event. Danielle is preparing her first self-produced EP, Some of Us Are Brave, set for release in early 2022 on Future Classic. Danielle continues to advocate for criminal justice reform and has been an influential leader in the Black Lives Matter movement in Rochester, NY.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220816T175020Z X-ACCESS:1 X-HITS:2325 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220925T200000 DTEND;TZID=America/Denver:20220925T233000 UID:6C9F3E90-59AD-4738-AB1C-BD41B7638600 SUMMARY:Ibibio Sound Machine DTSTAMP:20220602T193700Z DESCRIPTION:Even in trying times, “there is no love without electricity.” Electricity is the fourth and most progressive album from Ibibio Sound Machine, and like all good Afrofuturist stories, it begins with an existential crisis. “It’s darker than anything we’ve done previously,” says Eno Williams, the group’s singer. “That’s because it grew out of the turbulence of the past year. It inhabits an edgier world.”\NElectricity was produced by the Grammy Award– and Mercury Prize–nominated British synthpop group Hot Chip, a collaboration born out of mutual admiration watching each other on festival stages, as well as a shared love of Francis Bebey and Giorgio Moroder. The fruits of their labor reveal a gleaming, supercharged, Afrofuturist blinder. Electricity is the first album Ibibio Sound Machine have made with external producers since the group’s formation in London in 2013 by Williams and saxophonist Max Grunhard. True, 2017’s Uyai featured mixdown guests including Dan Leavers, aka Danalogue, the keyboard jedi in future-jazz trio The Comet Is Coming, but Hot Chip and Ibibio Sound Machine worked together more deeply throughout the process, collaborating fully. Along the way, the team conjured a kaleidoscope of delights that include resonances of Jonzun Crew, Grace Jones, William Onyeabor, Tom Tom Club, Kae Tempest, Keith LeBlanc, The J.B.’s, Jon Hassell’s “Fourth World,” and Bootsy Collins.\NThe hook of opener “Protection From Evil” has Williams wielding a massive synth line from Hot Chip’s Al Doyle like a spiritual shield against unspecified, malign forces—unspecified because Williams is speaking in tongues. Her lyrics are onomatopoeic: their meaning is defined in her energetic delivery. As Electricity takes off, so do Williams’ words towards a brighter future, alternating between English and Ibibio, sometimes within verses, and propelled by Joseph Amoako’s unabating afrobeat. She digs into this sentiment further on single “All That You Want,” coolly assuring her romantic interest while also requesting reciprocity. Meanwhile, Scott Baylis’ playful Juno synth guides the listener’s feet along the dancefloor.\NElectricity is a deep and seamless realization of Williams’ and Grunhard’s ambitious founding manifesto to combine the singularly rhythmic character of the Ibibio language—which Williams spoke growing up in Nigeria—with a range of traditional West African music and more modern electronic sounds. While the band enjoys veering further into electronic territory with the help of mutuals like Hot Chip, Grunhard emphasizes, “For us, it’s not just a matter of embracing new technology. What’s key is to keep the music grounded in African roots.” Ibibio Sound Machine best exemplify this on Electricity’s “Freedom.” That track was inspired by the water-drumming rhythms of Cameroon’s Baka women, which in turn fueled its lyrics, which in turn prompted Hot Chip and Ibibio Sound Machine to layer joyfully kinetic electronic counterparts on top in the studio. As the track culminates with the mantra of “rage, hope, cope, soul,” it’s clear that Ibibio Sound Machine have channeled, harnessed, and distilled these words as guiding principles, both for the album and for the turbulent world that awaits it. X-ALT-DESC;FMTTYPE=text/html:

Even in trying times, “there is no love without electricity.” Electricity is the fourth and most progressive album from Ibibio Sound Machine, and like all good Afrofuturist stories, it begins with an existential crisis. “It’s darker than anything we’ve done previously,” says Eno Williams, the group’s singer. “That’s because it grew out of the turbulence of the past year. It inhabits an edgier world.”

Electricity was produced by the Grammy Award– and Mercury Prize–nominated British synthpop group Hot Chip, a collaboration born out of mutual admiration watching each other on festival stages, as well as a shared love of Francis Bebey and Giorgio Moroder. The fruits of their labor reveal a gleaming, supercharged, Afrofuturist blinder. Electricity is the first album Ibibio Sound Machine have made with external producers since the group’s formation in London in 2013 by Williams and saxophonist Max Grunhard. True, 2017’s Uyai featured mixdown guests including Dan Leavers, aka Danalogue, the keyboard jedi in future-jazz trio The Comet Is Coming, but Hot Chip and Ibibio Sound Machine worked together more deeply throughout the process, collaborating fully. Along the way, the team conjured a kaleidoscope of delights that include resonances of Jonzun Crew, Grace Jones, William Onyeabor, Tom Tom Club, Kae Tempest, Keith LeBlanc, The J.B.’s, Jon Hassell’s “Fourth World,” and Bootsy Collins.

The hook of opener “Protection From Evil” has Williams wielding a massive synth line from Hot Chip’s Al Doyle like a spiritual shield against unspecified, malign forces—unspecified because Williams is speaking in tongues. Her lyrics are onomatopoeic: their meaning is defined in her energetic delivery. As Electricity takes off, so do Williams’ words towards a brighter future, alternating between English and Ibibio, sometimes within verses, and propelled by Joseph Amoako’s unabating afrobeat. She digs into this sentiment further on single “All That You Want,” coolly assuring her romantic interest while also requesting reciprocity. Meanwhile, Scott Baylis’ playful Juno synth guides the listener’s feet along the dancefloor.

Electricity is a deep and seamless realization of Williams’ and Grunhard’s ambitious founding manifesto to combine the singularly rhythmic character of the Ibibio language—which Williams spoke growing up in Nigeria—with a range of traditional West African music and more modern electronic sounds. While the band enjoys veering further into electronic territory with the help of mutuals like Hot Chip, Grunhard emphasizes, “For us, it’s not just a matter of embracing new technology. What’s key is to keep the music grounded in African roots.” Ibibio Sound Machine best exemplify this on Electricity’s “Freedom.” That track was inspired by the water-drumming rhythms of Cameroon’s Baka women, which in turn fueled its lyrics, which in turn prompted Hot Chip and Ibibio Sound Machine to layer joyfully kinetic electronic counterparts on top in the studio. As the track culminates with the mantra of “rage, hope, cope, soul,” it’s clear that Ibibio Sound Machine have channeled, harnessed, and distilled these words as guiding principles, both for the album and for the turbulent world that awaits it.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220610T160030Z X-ACCESS:1 X-HITS:1579 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220929T210000 DTEND;TZID=America/Denver:20220929T233000 UID:FFAC642E-1974-4123-A434-DE723F166EEF SUMMARY:Black Uhuru DTSTAMP:20220802T160112Z DESCRIPTION:For over 50 years Black Uhuru has remained one of the most popular recognized prolific reggae band from Jamaica. The living legends have earned several achievements in the music industry including winning the first ever Grammy Award for reggae music. They’re long success along with having the highest reggae record sales after Bob Marley & the most songs sampled by other artist over the years has allowed them to become Ambassadors of reggae.\NThe roots of Black Uhuru formed in Kingston’s “Waterhouse” District in the late 60’s. It is the home of founder & leader Derrick “Duckie” Simpson along with all the rest of the singers from the group. The original Uhuru’s Swahili for “freedom” were Duckie, Don Carlos & Garth Dennis. The first song was a Curtis Mayfield cover of “Folk Song”. They made only a couple more songs before Don left to pursue a solo career & Garth joined Wailing Souls. The two were replaced by Michael Rose & Errol Nelson both from Waterhouse. They recorded the debut album “Love Crises” in 1977 for Prince Jammy later re-released as “Black Sounds of Freedom”. Errol later left the group to join the Jays & was replaced by female singer Puma Jones.\NThis new line-up is when the band began to collaborate with Sly & Robbie & developed the “classic Uhuru” sound of the 80’s. A unique style full of heavy drum & bass, sharp keys, loud guitar riffs & long instrumentals filled with whirly background effects & the signature “wow oh-oh oh’s” echo. It was during this period they signed with Island Records. They began touring internationally & started receiving worldwide attention. They recorded some of their most popular albums like “Guess Who’s Coming To Dinner” “Sensimelia” & “Chill Out”. The album “Red” was voted #23 for Rolling Stone Magazine list of 100 greatest albums of the 80’s. And history was made when they won reggae’s first grammy award in 1984 for the album “Anthem”. Shortly after the grammy Michael left the group to go solo.\NAnother Waterhouse resident named Junior Reid became the new lead singer. Two albums were released “Brutal” nominated for grammy & “Positive” with Ras Records. These albums included popular hits like “Dreadlocks on the Mountain” “Fit You Haffi Fit” & one of the groups first music videos “Great Train Robbery”. Sadly due to ill health Puma passed away in 1990. Around this time Jr. Reid was having visa issues unable to tour.\NDuring the mid 90’s the original members reunited. Four albums were released “Now”, “Iron”, Storm”, “Mystical Truth” & “Strongg” all nominated for grammy. They made an award-winning music video for “Tip of the Iceberg” that featured rap star Ice-T & another video for “One Love” featuring Louie Rankin. They performed live on television for VH1 a cover version of Jimmy Hendrix “Hey Joe”. In 1994 they won the Diamonds Awards for Excellence. Unfortunately, the group began to dispute over band legal rights & went to court in the late 90’s. Duckie won the rights to the name.\NAs the new millennium approached Duckie found Andrew Bee’s once again from Waterhouse. Bee’s first tour with the band was in 1996 in Brazil. They released two albums “Unification” in 1998 & “Dynasty” in 2001. In 2002 they reunited with Sly & Robbie for an international world tour & released a live album/dvd “Dubbin it Live”. The group resurfaced in 2010 & has been touring extensively throughout Europe, South America & the United States. In 2012 they performed in a Broadway musical in Los Angeles called “Loving the Silent Tears”. In 2013 Duckie was awarded a lifetime achievement award from the IRWMA. In 2017 they released a new single & music video “Jah Guide” a Peter Tosh tribute that featured Bugle.\NIn 2018 Black Uhuru released “As The World Turns” the newest album after 15 years. It was nominated for “Best Reggae Album” at the 61st Grammy Awards. For the first time it featured Duckie on lead for the entire album. To support the album the band headed on a major US Tour & Hawaii. During the East Coast leg of the tour they appeared live on NPR’s Tiny Desk Concert series where they performed a new single “I See You” taken from the “Tropical House Cruises to Jamaica Reloaded” album produced by Sean Edwards of Contractor Music. Two music videos "Chalice" & "War Crime" were filmed by Benji Cooper for the album both featured on Reggaeville.\NRight before the pandemic Black Uhuru went on a small West Coast Tour with Dylan's Dharma & Etana where they performed at the One Love Festival in Long Beach. During the "lock-down" the band was idle all of 2020. Duckie did one live stream peformance for Kumar's Kulture Walk St. Bess live video stream series during reggae month.\NIn 2021 Black Uhuru released a new single "Jamaica to Here" mixed by Shaquille "Skunga" Kong, "Med Dread" & Mark "Jah Servant" Giles. Early this year in 2022 Black Uhuru just released a new full length album titled "New Day" & music video for "Brand New Day" that features the members of Dylan's Dharma band. Partnering with Law Records the album was produced by King Hopeton at his Double Lion Studio in Helltown California & mixed by Jermaine "Ajang" Forde with Dylan's Dharma band as the Executive Producers.\NAfter 2 years of no shows from the pandemic Black Uhuru is back on the road. They recently did a small West Coast Tour with Dylan's Dharma to support the new album release & headlined the Puerto Rico Reggae Fest at the Tito Puente Amphitheater. X-ALT-DESC;FMTTYPE=text/html:

For over 50 years Black Uhuru has remained one of the most popular recognized prolific reggae band from Jamaica. The living legends have earned several achievements in the music industry including winning the first ever Grammy Award for reggae music. They’re long success along with having the highest reggae record sales after Bob Marley & the most songs sampled by other artist over the years has allowed them to become Ambassadors of reggae.

The roots of Black Uhuru formed in Kingston’s “Waterhouse” District in the late 60’s. It is the home of founder & leader Derrick “Duckie” Simpson along with all the rest of the singers from the group. The original Uhuru’s Swahili for “freedom” were Duckie, Don Carlos & Garth Dennis. The first song was a Curtis Mayfield cover of “Folk Song”. They made only a couple more songs before Don left to pursue a solo career & Garth joined Wailing Souls. The two were replaced by Michael Rose & Errol Nelson both from Waterhouse. They recorded the debut album “Love Crises” in 1977 for Prince Jammy later re-released as “Black Sounds of Freedom”. Errol later left the group to join the Jays & was replaced by female singer Puma Jones.

This new line-up is when the band began to collaborate with Sly & Robbie & developed the “classic Uhuru” sound of the 80’s. A unique style full of heavy drum & bass, sharp keys, loud guitar riffs & long instrumentals filled with whirly background effects & the signature “wow oh-oh oh’s” echo. It was during this period they signed with Island Records. They began touring internationally & started receiving worldwide attention. They recorded some of their most popular albums like “Guess Who’s Coming To Dinner” “Sensimelia” & “Chill Out”. The album “Red” was voted #23 for Rolling Stone Magazine list of 100 greatest albums of the 80’s. And history was made when they won reggae’s first grammy award in 1984 for the album “Anthem”. Shortly after the grammy Michael left the group to go solo.

Another Waterhouse resident named Junior Reid became the new lead singer. Two albums were released “Brutal” nominated for grammy & “Positive” with Ras Records. These albums included popular hits like “Dreadlocks on the Mountain” “Fit You Haffi Fit” & one of the groups first music videos “Great Train Robbery”. Sadly due to ill health Puma passed away in 1990. Around this time Jr. Reid was having visa issues unable to tour.

During the mid 90’s the original members reunited. Four albums were released “Now”, “Iron”, Storm”, “Mystical Truth” & “Strongg” all nominated for grammy. They made an award-winning music video for “Tip of the Iceberg” that featured rap star Ice-T & another video for “One Love” featuring Louie Rankin. They performed live on television for VH1 a cover version of Jimmy Hendrix “Hey Joe”. In 1994 they won the Diamonds Awards for Excellence. Unfortunately, the group began to dispute over band legal rights & went to court in the late 90’s. Duckie won the rights to the name.

As the new millennium approached Duckie found Andrew Bee’s once again from Waterhouse. Bee’s first tour with the band was in 1996 in Brazil. They released two albums “Unification” in 1998 & “Dynasty” in 2001. In 2002 they reunited with Sly & Robbie for an international world tour & released a live album/dvd “Dubbin it Live”. The group resurfaced in 2010 & has been touring extensively throughout Europe, South America & the United States. In 2012 they performed in a Broadway musical in Los Angeles called “Loving the Silent Tears”. In 2013 Duckie was awarded a lifetime achievement award from the IRWMA. In 2017 they released a new single & music video “Jah Guide” a Peter Tosh tribute that featured Bugle.

In 2018 Black Uhuru released “As The World Turns” the newest album after 15 years. It was nominated for “Best Reggae Album” at the 61st Grammy Awards. For the first time it featured Duckie on lead for the entire album. To support the album the band headed on a major US Tour & Hawaii. During the East Coast leg of the tour they appeared live on NPR’s Tiny Desk Concert series where they performed a new single “I See You” taken from the “Tropical House Cruises to Jamaica Reloaded” album produced by Sean Edwards of Contractor Music. Two music videos "Chalice" & "War Crime" were filmed by Benji Cooper for the album both featured on Reggaeville.

Right before the pandemic Black Uhuru went on a small West Coast Tour with Dylan's Dharma & Etana where they performed at the One Love Festival in Long Beach. During the "lock-down" the band was idle all of 2020. Duckie did one live stream peformance for Kumar's Kulture Walk St. Bess live video stream series during reggae month.

In 2021 Black Uhuru released a new single "Jamaica to Here" mixed by Shaquille "Skunga" Kong, "Med Dread" & Mark "Jah Servant" Giles. Early this year in 2022 Black Uhuru just released a new full length album titled "New Day" & music video for "Brand New Day" that features the members of Dylan's Dharma band. Partnering with Law Records the album was produced by King Hopeton at his Double Lion Studio in Helltown California & mixed by Jermaine "Ajang" Forde with Dylan's Dharma band as the Executive Producers.

After 2 years of no shows from the pandemic Black Uhuru is back on the road. They recently did a small West Coast Tour with Dylan's Dharma to support the new album release & headlined the Puerto Rico Reggae Fest at the Tito Puente Amphitheater.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220816T195748Z X-ACCESS:1 X-HITS:1994 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221007T210000 DTEND;TZID=America/Denver:20221007T233000 UID:C49FF3C5-EC51-4548-8A09-C171B83ED63B SUMMARY:The Discographers - Dark Side of Oz DTSTAMP:20220816T190217Z DESCRIPTION:THE DARK SIDE OF OZ – A MULTIMEDIA PINK FLOYD TRIBUTE EXPERIENCE\NTake a trip down the psychedelic, rainbow-colored brick road to the Dark Side of Oz. You’ve probably heard that you can loop Pink Floyd’s classic album The Dark Side of the Moon along with the 1939 film The Wizard of Oz and come across a number of striking synchronicities. We now present a 2-hour show of Pink Floyd’s music, including the full Dark Side, in sync with video celebrating the history of Pink Floyd and all things Wizard of Oz. Be a part of this new live multimedia concert experience!\NThe Discographers started in Salt Lake City in 2018 as a classic rock power trio playing bars and private events around Utah and Idaho, making way too big and varied a sound for just three musicians. But sometimes bigger is better, so the band expands for special events and tribute shows. Highlights have included Led Zeppelin shows, most notably in sync with lights and 360-degree animation in the Clark Planetarium’s Hansen Dome Theater, and sets of tunes by the Rolling Stones, the Beatles, The Who, Tom Petty, and of course, Pink Floyd. For The Dark Side of Oz, it’s a core 6-piece with the option of expanding as budgets and stages allow. X-ALT-DESC;FMTTYPE=text/html:

THE DARK SIDE OF OZ – A MULTIMEDIA PINK FLOYD TRIBUTE EXPERIENCE

Take a trip down the psychedelic, rainbow-colored brick road to the Dark Side of Oz. You’ve probably heard that you can loop Pink Floyd’s classic album The Dark Side of the Moon along with the 1939 film The Wizard of Oz and come across a number of striking synchronicities. We now present a 2-hour show of Pink Floyd’s music, including the full Dark Side, in sync with video celebrating the history of Pink Floyd and all things Wizard of Oz. Be a part of this new live multimedia concert experience!

The Discographers started in Salt Lake City in 2018 as a classic rock power trio playing bars and private events around Utah and Idaho, making way too big and varied a sound for just three musicians. But sometimes bigger is better, so the band expands for special events and tribute shows. Highlights have included Led Zeppelin shows, most notably in sync with lights and 360-degree animation in the Clark Planetarium’s Hansen Dome Theater, and sets of tunes by the Rolling Stones, the Beatles, The Who, Tom Petty, and of course, Pink Floyd. For The Dark Side of Oz, it’s a core 6-piece with the option of expanding as budgets and stages allow.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221005T200207Z X-ACCESS:1 X-HITS:2268 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221008T210000 DTEND;TZID=America/Denver:20221008T233000 UID:5CF190B7-875C-4AE8-848F-6D08F53F5BFA SUMMARY:The Pour DTSTAMP:20220812T154017Z DESCRIPTION:Salt Lake City based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead.\NWith nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton, and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. With their recent EP release “1984,” The Pour are undoubtedly on the move.\NMembers of The Pour have had the privilege of opening for and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic. X-ALT-DESC;FMTTYPE=text/html:

Salt Lake City based band The Pour offers up their unique recipe of rock, funk, and soul with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead.

With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton, and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. With their recent EP release “1984,” The Pour are undoubtedly on the move.

Members of The Pour have had the privilege of opening for and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221005T200124Z X-ACCESS:1 X-HITS:1630 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221011T200000 DTEND;TZID=America/Denver:20221011T233000 UID:B6503B75-B118-4F9B-9C37-8366BD9A4749 SUMMARY:Babe Rainbow DTSTAMP:20220705T203217Z DESCRIPTION:Babe Rainbow are a stoner pop band from Australia noted for their boogie psychedelia and throwback surf cult imagery. Formed 2015 in Rainbow Bay by kiosk lurkers Jack Crowther aka Cool Breeze Angus Dowling and Elliot O’Reilly. At a time the three worked for local grower John Cutts in Duranbah NSW near tropical fruit world. John and the guys were cranking out the kale way before it was cool. “We’ve seen plenty of vegetables go in and out of fashion” says Angus. Initially rooted in 60’s psych and 70’s French surf pop the Babe’s musical style has evolved through their career exploring elements of woodland bop and disco, dub and more recently dance and international groove, yet has maintained an Aquarian quality built of Dowling’s spacemen singing style and Cool Breeze’s chiming effects-based guitar sounds. Babe wrote and recorded their first release “The Babe Rainbow EP” in a 2nd hand bookstore in Murwillumbah which was soon picked up by national broadcaster triple J and King Gizzard and the Lizard Wizard label Flightless Records. In 2017 they released their debut album produced by Stu Mackenzie and smacked out support tours with King Gizzard, Allah Las, Tomorrows Tulips, and French synth wave band La Femme internationally. The debut Babe Rainbow album was signed to 30th Century / Columbia. The “Double Rainbow” (2018) followed and then “Today” (2019). Wollongong surfer Miles Myjavec joined on drums around this time. Babe Rainbow now own all their masters and future releases including album four 'Changing Colours' which was the first on the bands own label EUREKA! Music through AWAL. Babe Rainbow is powered by Hobie swallowtails ************ “Psych-pop constructed with a painterly touch, Babe Rainbow seem to thrive on feeling, unhooking themselves from logical realms and embarking on lengthy journeys across turbulent inner oceans." - CLASH “Their sound washes over you like the waves of the sea, a perfect groove for summer on the beach“ - Daily Express Scotland ★★★★ "Lovers of sun-kissed sonic balms rejoice: this is an album filled with slow-paced sweetness that will turn your sense of time into a hazy concept.” - Shindig ★★★★ X-ALT-DESC;FMTTYPE=text/html:

Babe Rainbow are a stoner pop band from Australia noted for their boogie psychedelia and throwback surf cult imagery.

Formed 2015 in Rainbow Bay by kiosk lurkers Jack Crowther aka Cool Breeze Angus Dowling and Elliot O’Reilly. At a time the three worked for local grower John Cutts in Duranbah NSW near tropical fruit world. John and the guys were cranking out the kale way before it was cool. “We’ve seen plenty of vegetables go in and out of fashion” says Angus.

Initially rooted in 60’s psych and 70’s French surf pop the Babe’s musical style has evolved through their career exploring elements of woodland bop and disco, dub and more recently dance and international groove, yet has maintained an Aquarian quality built of Dowling’s spacemen singing style and Cool Breeze’s chiming effects-based guitar sounds.

Babe wrote and recorded their first release “The Babe Rainbow EP” in a 2nd hand bookstore in Murwillumbah which was soon picked up by national broadcaster triple J and King Gizzard and the Lizard Wizard label Flightless Records. In 2017 they released their debut album produced by Stu Mackenzie and smacked out support tours with King Gizzard, Allah Las, Tomorrows Tulips, and French synth wave band La Femme internationally.

The debut Babe Rainbow album was signed to 30th Century / Columbia. The “Double Rainbow” (2018) followed and then “Today” (2019). Wollongong surfer Miles Myjavec joined on drums around this time. Babe Rainbow now own all their masters and future releases including album four 'Changing Colours' which was the first on the bands own label EUREKA! Music through AWAL.

Babe Rainbow is powered by Hobie swallowtails


************

“Psych-pop constructed with a painterly touch, Babe Rainbow seem to thrive on feeling, unhooking themselves from logical realms and embarking on lengthy journeys across turbulent inner oceans." - CLASH

“Their sound washes over you like the waves of the sea, a perfect groove for summer on the beach“ - Daily Express Scotland ★★★★

"Lovers of sun-kissed sonic balms rejoice: this is an album filled with slow-paced sweetness that will turn your sense of time into a hazy concept.” - Shindig ★★★★

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221011T232144Z X-ACCESS:1 X-HITS:2128 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221012T200000 DTEND;TZID=America/Denver:20221012T210000 UID:2B0EE365-5587-49A9-97FC-FBC958B3BE9A SUMMARY:Carbon Leaf DTSTAMP:20220516T191331Z DESCRIPTION:“It felt so good to get back on the road again in 2021. It was a huge relief, with safety on everyone’s minds, to know that the efforts were paying off,” says Carbon Leaf frontman Barry Privett.\N“The systems worked very well we were able to connect through live music once again. When we got home in December, we went right to work writing and recording. We wanted this album to have a little bit more fun than our 2021 release, Gathering 2: The Hunting Ground. This new album will be expanding that neighborhood, musing on space and time, and the brief moment we get to experience it as Earthlings, if you will.”\NThe ongoing Gathering series the band has been working on over the last few years is all about building community.\N“It’s a call to look inwards and find what matters, an invitation to reach out and embrace the gifts of human connection.” Privett says.\NThat’s no mean feat given the deep divisions that have defined much of the past few years of American life, but Carbon Leaf has always punched above their weight, defying the odds at every turn and redefining what’s possible for a modern indie band in the process. The group’s extraordinary new mini-album, Gathering 2: The Hunting Ground, is no exception. Recorded at the band’s own studio in Richmond, VA, the collection marks the second installment of the group’s four-part Gathering series, which finds the long-running quintet stripping their sound back to its organic, acoustic core as they reckon with our ever-conflicting desires for unity and independence. The songs here are gutsy and probing, grappling with grief, loss, anger, and pain, and the arrangements are aggressive and insistent to match, fueled by layers of relentlessly strummed guitars, rolling banjo, and lush fiddle. The result is a moving, cathartic collection that’s unafraid to confront darkness and doubt head on, a poignant, revelatory record all about the power of self-reflection and the ties that bind.\N“One of the big questions we found ourselves grappling with as a band was, ‘How do you actually make any kind of a difference in society today?’” says Privett. “And I don’t think you can do that without first looking inwards—to yourself, your family, your friends—and figuring out what your values truly are.”\NAnyone who’s caught a Carbon Leaf show over the past three decades probably has a pretty good idea just what those values are: brotherhood, commitment, empathy, integrity, self-reliance. Founded at Randolph-Macon College in 1992, the group evolved from a houseparty cover band into something far more profound after graduation, when they moved to Richmond and made the shift to original music. The band’s first three albums helped build a devoted cult following, but it was 2001’s Echo Echo that truly brought Carbon Leaf to national attention, with lead single “The Boxer” earning the group a performance slot in front of millions of viewers at the American Music Awards. After nearly ten years of self-releasing and grinding it out on the road (both as headliners and as guests appearing on bills alongside the likes of Dave Matthews Band, O.A.R., Jason Mraz, Blues Traveler, and Guster, among others), the band signed with Vanguard Records in 2004 for their critical and commercial breakthrough, Indian Summer, which yielded a Top 5 hit at AAA radio and garnered rave reviews everywhere from The Washington Post to WXPN. While the band would go on to release two more similarly well-received albums with Vanguard, it soon became obvious to everyone that independence wasn’t simply an ideal for Carbon Leaf, but rather an integral part of their DNA, and so in 2010, the band parted ways with the label in order to return to their DIY roots and take complete and total control of their career. Acting as their own label, distributor, and manager, the band cut new versions of all three Vanguard albums in order to regain the rights to the recordings, launched their own festival, and began releasing a successful series of direct-to-fan concert films, livestreams, and studio records leading up to the first installment of the Gathering series in 2018.\N“The initial idea for these Gathering albums was to get a bunch of our musical friends together in the studio for a weekend and make something really communal and collaborative,” explains Privett. “We had some of our pals from We Banjo 3 join in on Volume 1, but for the second installment we decided to strike out on our own because the songs just felt more personal and introspective.”\NThough Carbon Leaf had traditionally embraced a wall of sound approach in the studio, this time around they went back to the basics, focusing on raw, acoustic arrangements that placed the storytelling front and center. With guitarist Terry Clark handling engineering duties, the band—Privett, Clark, stringed instrument wizard Carter Gravatt, bassist Jon Markel, and drummer Jesse Humphrey—captured performances on and off over the course of roughly six months, experimenting with a wide variety of instruments and mic placements to generate a series of immersive, transportive sonic landscapes.\N“Space was a big thing for us when we were making these recordings,” says Clark. “Moving the microphones further away so we could really capture the room and the air helped add lot of the character and dimension these songs needed.”\NWhile some of the tracks here began life as instrumental demos from Gravatt, others first took shape as a capella lyrical or melodic ideas from Privett. Regardless of where each tune began, though, the finished product would inevitably wind up bearing the unmistakable fingerprints of all five bandmates, whose infectious chemistry consistently yields more than the sum of its parts.\N“We like to take a world-building approach in the studio,” says Privett. “We’ll stack things up and layer them on top of each other until we’ve got something that sounds way beyond just five guys in a room together.”\NThat alchemy is obvious from the outset on The Hunting Ground, which opens with the churning “Everything’s Alright Mama.” Mixing gritty Appalachian folk with lilting Celtic influences, the track begins with both feet on the ground and builds into a soaring work of bittersweet beauty, balancing the mundane and the magical in equal measure as it reaches out into the void for connection. Like much of the album, it’s a bright, uptempo tune, but dig beneath the surface and you’ll find an underlying sense of sadness that permeates the often-impressionistic lyrics. The driving “Her Father’s Pride,” for instance, grapples with division on both a personal and a communal scale, while the rollicking “Smokey Joe Of The Poconos” explores what happens to those left behind in the name of progress, and the mesmerizing “Pale Blue Dot” zooms out to contemplate our place and our purpose in the greater scheme of the universe. It’s perhaps the muscular title track, though, that best encapsulates the sense of questioning and longing that defines the collection, with Privett singing, “Is this all we have, the natural world? Is anyone around?”\N“The idea of the hunting ground is that it’s this place where you’re searching for something out in the great wild unknown,” says Privett. ”How do you process grief? How do you fix your soul in the face of losing someone you care about? How do you carry on when life doesn’t go the way you’d planned?”\NIn the end, of course, there are no easy answers to these questions, and that’s precisely the point. The hunt is an endless one, but it doesn’t need to be lonely. We’re all in the search together, and after more than a year of distance and isolation, it’s hard to think of anything we need more than a good old fashioned gathering. X-ALT-DESC;FMTTYPE=text/html:

“It felt so good to get back on the road again in 2021. It was a huge relief, with safety on everyone’s minds, to know that the efforts were paying off,” says Carbon Leaf frontman Barry Privett.

“The systems worked very well we were able to connect through live music once again. When we got home in December, we went right to work writing and recording. We wanted this album to have a little bit more fun than our 2021 release, Gathering 2: The Hunting Ground. This new album will be expanding that neighborhood, musing on space and time, and the brief moment we get to experience it as Earthlings, if you will.”

The ongoing Gathering series the band has been working on over the last few years is all about building community.

“It’s a call to look inwards and find what matters, an invitation to reach out and embrace the gifts of human connection.” Privett says.

That’s no mean feat given the deep divisions that have defined much of the past few years of American life, but Carbon Leaf has always punched above their weight, defying the odds at every turn and redefining what’s possible for a modern indie band in the process. The group’s extraordinary new mini-album, Gathering 2: The Hunting Ground, is no exception. Recorded at the band’s own studio in Richmond, VA, the collection marks the second installment of the group’s four-part Gathering series, which finds the long-running quintet stripping their sound back to its organic, acoustic core as they reckon with our ever-conflicting desires for unity and independence. The songs here are gutsy and probing, grappling with grief, loss, anger, and pain, and the arrangements are aggressive and insistent to match, fueled by layers of relentlessly strummed guitars, rolling banjo, and lush fiddle. The result is a moving, cathartic collection that’s unafraid to confront darkness and doubt head on, a poignant, revelatory record all about the power of self-reflection and the ties that bind.

“One of the big questions we found ourselves grappling with as a band was, ‘How do you actually make any kind of a difference in society today?’” says Privett. “And I don’t think you can do that without first looking inwards—to yourself, your family, your friends—and figuring out what your values truly are.”

Anyone who’s caught a Carbon Leaf show over the past three decades probably has a pretty good idea just what those values are: brotherhood, commitment, empathy, integrity, self-reliance. Founded at Randolph-Macon College in 1992, the group evolved from a houseparty cover band into something far more profound after graduation, when they moved to Richmond and made the shift to original music. The band’s first three albums helped build a devoted cult following, but it was 2001’s Echo Echo that truly brought Carbon Leaf to national attention, with lead single “The Boxer” earning the group a performance slot in front of millions of viewers at the American Music Awards. After nearly ten years of self-releasing and grinding it out on the road (both as headliners and as guests appearing on bills alongside the likes of Dave Matthews Band, O.A.R., Jason Mraz, Blues Traveler, and Guster, among others), the band signed with Vanguard Records in 2004 for their critical and commercial breakthrough, Indian Summer, which yielded a Top 5 hit at AAA radio and garnered rave reviews everywhere from The Washington Post to WXPN. While the band would go on to release two more similarly well-received albums with Vanguard, it soon became obvious to everyone that independence wasn’t simply an ideal for Carbon Leaf, but rather an integral part of their DNA, and so in 2010, the band parted ways with the label in order to return to their DIY roots and take complete and total control of their career. Acting as their own label, distributor, and manager, the band cut new versions of all three Vanguard albums in order to regain the rights to the recordings, launched their own festival, and began releasing a successful series of direct-to-fan concert films, livestreams, and studio records leading up to the first installment of the Gathering series in 2018.

“The initial idea for these Gathering albums was to get a bunch of our musical friends together in the studio for a weekend and make something really communal and collaborative,” explains Privett. “We had some of our pals from We Banjo 3 join in on Volume 1, but for the second installment we decided to strike out on our own because the songs just felt more personal and introspective.”

Though Carbon Leaf had traditionally embraced a wall of sound approach in the studio, this time around they went back to the basics, focusing on raw, acoustic arrangements that placed the storytelling front and center. With guitarist Terry Clark handling engineering duties, the band—Privett, Clark, stringed instrument wizard Carter Gravatt, bassist Jon Markel, and drummer Jesse Humphrey—captured performances on and off over the course of roughly six months, experimenting with a wide variety of instruments and mic placements to generate a series of immersive, transportive sonic landscapes.

“Space was a big thing for us when we were making these recordings,” says Clark. “Moving the microphones further away so we could really capture the room and the air helped add lot of the character and dimension these songs needed.”

While some of the tracks here began life as instrumental demos from Gravatt, others first took shape as a capella lyrical or melodic ideas from Privett. Regardless of where each tune began, though, the finished product would inevitably wind up bearing the unmistakable fingerprints of all five bandmates, whose infectious chemistry consistently yields more than the sum of its parts.

“We like to take a world-building approach in the studio,” says Privett. “We’ll stack things up and layer them on top of each other until we’ve got something that sounds way beyond just five guys in a room together.”

That alchemy is obvious from the outset on The Hunting Ground, which opens with the churning “Everything’s Alright Mama.” Mixing gritty Appalachian folk with lilting Celtic influences, the track begins with both feet on the ground and builds into a soaring work of bittersweet beauty, balancing the mundane and the magical in equal measure as it reaches out into the void for connection. Like much of the album, it’s a bright, uptempo tune, but dig beneath the surface and you’ll find an underlying sense of sadness that permeates the often-impressionistic lyrics. The driving “Her Father’s Pride,” for instance, grapples with division on both a personal and a communal scale, while the rollicking “Smokey Joe Of The Poconos” explores what happens to those left behind in the name of progress, and the mesmerizing “Pale Blue Dot” zooms out to contemplate our place and our purpose in the greater scheme of the universe. It’s perhaps the muscular title track, though, that best encapsulates the sense of questioning and longing that defines the collection, with Privett singing, “Is this all we have, the natural world? Is anyone around?”

“The idea of the hunting ground is that it’s this place where you’re searching for something out in the great wild unknown,” says Privett. ”How do you process grief? How do you fix your soul in the face of losing someone you care about? How do you carry on when life doesn’t go the way you’d planned?”

In the end, of course, there are no easy answers to these questions, and that’s precisely the point. The hunt is an endless one, but it doesn’t need to be lonely. We’re all in the search together, and after more than a year of distance and isolation, it’s hard to think of anything we need more than a good old fashioned gathering.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220912T195451Z X-ACCESS:1 X-HITS:1919 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221018T200000 DTEND;TZID=America/Denver:20221018T210000 UID:5DE96304-B149-491E-89B0-6E621AC1F9D3 SUMMARY:Kelsey Waldon DTSTAMP:20220513T183742Z DESCRIPTION:On her new album No Regular Dog, singer/songwriter/guitarist Kelsey Waldon shares a gritty and glorious portrait of living in devotion to your deepest dreams: the brutal self-doubt and unending sacrifice, hard-won wisdom and sudden moments of unimaginable transcendence. Revealing her supreme gift for spinning harsh truths into songs that soothe and brighten the soul, the Kentucky-bred artist ultimately makes an unassailable case for boldly following your heart—a sentiment perfectly encapsulated in No Regular Dog’s raw and radiant title track.\N“I wrote ‘No Regular Dog’ at a time when I was gone so much and working so hard and starting to wonder if I had the staying power to keep it going,” says Waldon, who now lives in Ashland City, Tennessee. “After putting in my time in the van on the road, after all the blood, sweat, and tears and the crying in parking lots, I’d finally gotten to where I wanted—but it was also a moment when I really started questioning myself. In the end I came around to answer my own question and realize that, yes, I can do this. I won’t be put down so easy. I am no regular dog.”\NWaldon’s fourth full-length and the follow-up to 2019’s White Noise/ White Lines—her debut release for John Prine’s Oh Boy Records—No Regular Dog came to life over the course of many charmed and freewheeling sessions at Dave’s Room Studio in Los Angeles, with production from kindred spirit Shooter Jennings (Brandi Carlile, Tanya Tucker). “I’d never recorded an album anywhere but Nashville or back home, and it felt good to get outside my bubble,” Waldon says. “We were able to hunker down and work till late into night, doing what we could to catch lightning in a bottle.”\NIn a departure from the more guitar-heavy approach of its predecessor (a critically lauded album that landed on NPR Music’s Best of 2019 list), No Regular Dog unfolds in a lush yet understated sound that lets the singular character of Waldon’s songwriting and voice shine through each track. Featuring her longtime band members, Brett Resnick (pedal steel), Alec Newnam (bass), and Nate Felty (drums), along with musicians like famed guitarist/dobro player Doug Pettibone (Lucinda Williams, Keith Richards), the album also illuminates the immense depth of her musicality, mining inspiration from such eclectic sources as mid-century bluegrass, ’60s soul, and ’70s country-rock. “Everything’s in there, all the music I’ve ever known and loved,” says Waldon. “I wanted to show my whole color scheme and create something that’s less of a honky-tonk thing and more like a big, beautiful picture of everything I see in country music.”\NAfter opening on the luminous strings and pedal steel of its title track—in which Waldon self-identifies as a “prisoner of my mental cages, my own worst enemy”—No Regular Dog kicks into a much punchier mood on the brightly rambling “Sweet Little Girl.” “It’s about a girl who’s lost her way and now she’s trying to find it,” says Waldon. “I was inspired by real-life incidents, like all the thoughts that go through your head when you’re dealing with addiction and feeling like you’ve got this rage inside that you don’t know what to do with.” Graced with the lilting fiddle melodies of Jennings’s longtime collaborator Aubrey Richmond, the result is a prime showcase for Waldon’s fiercely honest storytelling (from the chorus: “I’ll be crawlin’ up the walls, just a like a little ol’ house fly/Anything so I can’t feel this hollow inside”). From there, No Regular Dog shifts into the candid introspection of “Tall and Mighty,” a bittersweet meditation on getting by in a world bent on breaking you down. “I’d been having conversations with my peers in this business, especially all my girlfriends who are such amazing songwriters in their own right, talking about this journey and all the smoke and mirrors of trying to live up to your dream,” says Waldon. “There have been times when I’ve tried to prove the wrong thing, but I’m through with that now. I’m not trying to be anybody but myself, and to write songs that show what’s in my heart and on my mind.”\NA particularly poignant moment on No Regular Dog, “Season’s Ending” finds Waldon ruminating on the passing of John Prine, who died from Covid-related complications in April 2020. “That was the first song I wrote after John died—like so many people I was in complete shock, I couldn’t write for months,” says Waldon. “There’s been so much loss over the past few years; my partner’s uncle died from Covid the same day as John, and a lot of my friends have seen family members lose their struggles with addiction or depression. We’ve been carrying such a heavy load, so this song is about coping with that and trying to understand that death is a part of life.” One of several tracks featuring the heavenly background vocals of Kyshona Armstrong, Maureen Murphy, and Nickie Conley, “Season’s Ending” matches its soulful harmonies and lonesome guitar work with the kind of loving serenade that gently pierces the heart (e.g., “And ain’t it just like you to bloom and be gone”).\NIn a creative breakthrough for Waldon, No Regular Dog also features the first unabashedly joyful love song she’s ever written, the quietly powerful “Simple as Love.” “I was at home sitting on my back porch and I started thinking about how I’ve got all these heartbreak songs and drinking songs, but I’m not experiencing any of that anymore,” she says. “I’m at a point where I’m in a healthy relationship with someone who actually cares about me, and I wanted to write a song that expresses what love feels like in its purest form.” Laced with cascading guitar tones that glisten like sunlit honey, “Simple as Love” wholly achieves an ineffable sweetness while spotlighting Waldon’s idiosyncratic brand of poetry (“Like a junkie’s got its itch/It leaves you wantin’ more, wantin’ all of it/Just like a lily in a ditch/It grows where it wants to grow”).\NOriginally from the tiny rural town of Monkey’s Eyebrow, Waldon has long relied on music as a lifeline. “I’ve always used songwriting as a way to process the world around me and also process my own thoughts and feelings,” she says, naming classic country artists like Loretta Lynn, George Jones, and Merle Haggard among her early influences. “If I didn’t have the ability to put all that down on paper, I think I’d be pretty lost today.” After penning her first song as a small child—“My mom still has lyrics sheets I made when I was about nine, everything laid out in verse and chorus”—Waldon continued sharpening her craft and eventually left home for Nashville, where she further honed her chops by playing local bar gigs. Over the coming years, she put out a series of EPs before making her full-length debut with The Goldmine: a self-released 2014 effort that earned abundant praise from leading outlets like Rolling Stone, who hailed her as “Tammy Wynette on a trip to Whiskeytown.” Arriving in 2016, Waldon’s sophomore album I’ve Got a Way drew even more acclaim and appeared on such coveted year-end roundups as the Top 10 Favorite Albums Of 2016 list from Ken Tucker of NPR’s Fresh Air, with its lead single “All By Myself” featured on NPR’s Top 100 Songs of 2016 list. Several years later, she performed at the Grand Ole Opry with the likes of Sturgill Simpson and John Prine, who invited her to join the Oh Boy Records family while up onstage—making Waldon the label’s first new artist signing in 15 years. Co-produced with Dan Knobler (Allison Russell, Della Mae), White Noise/ White Lines delivered such standouts as “Kentucky, 1988,” which later topped Rolling Stone’s 25 Best Country and Americana Songs of 2019 list.\NLooking back on the making of No Regular Dog—an album rooted in rigorous self-reflection—Waldon speaks to her newly clarified sense of purpose as a songwriter and artist. “I hope that these songs are able to live with people and help make the world a little better, because I think that’s a big part of what my job is,” she says. “At the end of the day, I’m so thankful for my passion for music because it’s sustained me throughout my whole life, and now I want it to do the same for other people. And if anyone’s struggling, I hope they can recognize the ‘No Regular Dog’ within themselves, and start to see how much they’re really worth.” X-ALT-DESC;FMTTYPE=text/html:

On her new album No Regular Dog, singer/songwriter/guitarist Kelsey Waldon shares a gritty and glorious portrait of living in devotion to your deepest dreams: the brutal self-doubt and unending sacrifice, hard-won wisdom and sudden moments of unimaginable transcendence. Revealing her supreme gift for spinning harsh truths into songs that soothe and brighten the soul, the Kentucky-bred artist ultimately makes an unassailable case for boldly following your heart—a sentiment perfectly encapsulated in No Regular Dog’s raw and radiant title track.

“I wrote ‘No Regular Dog’ at a time when I was gone so much and working so hard and starting to wonder if I had the staying power to keep it going,” says Waldon, who now lives in Ashland City, Tennessee. “After putting in my time in the van on the road, after all the blood, sweat, and tears and the crying in parking lots, I’d finally gotten to where I wanted—but it was also a moment when I really started questioning myself. In the end I came around to answer my own question and realize that, yes, I can do this. I won’t be put down so easy. I am no regular dog.”

Waldon’s fourth full-length and the follow-up to 2019’s White Noise/ White Lines—her debut release for John Prine’s Oh Boy Records—No Regular Dog came to life over the course of many charmed and freewheeling sessions at Dave’s Room Studio in Los Angeles, with production from kindred spirit Shooter Jennings (Brandi Carlile, Tanya Tucker). “I’d never recorded an album anywhere but Nashville or back home, and it felt good to get outside my bubble,” Waldon says. “We were able to hunker down and work till late into night, doing what we could to catch lightning in a bottle.”

In a departure from the more guitar-heavy approach of its predecessor (a critically lauded album that landed on NPR Music’s Best of 2019 list), No Regular Dog unfolds in a lush yet understated sound that lets the singular character of Waldon’s songwriting and voice shine through each track. Featuring her longtime band members, Brett Resnick (pedal steel), Alec Newnam (bass), and Nate Felty (drums), along with musicians like famed guitarist/dobro player Doug Pettibone (Lucinda Williams, Keith Richards), the album also illuminates the immense depth of her musicality, mining inspiration from such eclectic sources as mid-century bluegrass, ’60s soul, and ’70s country-rock. “Everything’s in there, all the music I’ve ever known and loved,” says Waldon. “I wanted to show my whole color scheme and create something that’s less of a honky-tonk thing and more like a big, beautiful picture of everything I see in country music.”

After opening on the luminous strings and pedal steel of its title track—in which Waldon self-identifies as a “prisoner of my mental cages, my own worst enemy”—No Regular Dog kicks into a much punchier mood on the brightly rambling “Sweet Little Girl.” “It’s about a girl who’s lost her way and now she’s trying to find it,” says Waldon. “I was inspired by real-life incidents, like all the thoughts that go through your head when you’re dealing with addiction and feeling like you’ve got this rage inside that you don’t know what to do with.” Graced with the lilting fiddle melodies of Jennings’s longtime collaborator Aubrey Richmond, the result is a prime showcase for Waldon’s fiercely honest storytelling (from the chorus: “I’ll be crawlin’ up the walls, just a like a little ol’ house fly/Anything so I can’t feel this hollow inside”). From there, No Regular Dog shifts into the candid introspection of “Tall and Mighty,” a bittersweet meditation on getting by in a world bent on breaking you down. “I’d been having conversations with my peers in this business, especially all my girlfriends who are such amazing songwriters in their own right, talking about this journey and all the smoke and mirrors of trying to live up to your dream,” says Waldon. “There have been times when I’ve tried to prove the wrong thing, but I’m through with that now. I’m not trying to be anybody but myself, and to write songs that show what’s in my heart and on my mind.”

A particularly poignant moment on No Regular Dog, “Season’s Ending” finds Waldon ruminating on the passing of John Prine, who died from Covid-related complications in April 2020. “That was the first song I wrote after John died—like so many people I was in complete shock, I couldn’t write for months,” says Waldon. “There’s been so much loss over the past few years; my partner’s uncle died from Covid the same day as John, and a lot of my friends have seen family members lose their struggles with addiction or depression. We’ve been carrying such a heavy load, so this song is about coping with that and trying to understand that death is a part of life.” One of several tracks featuring the heavenly background vocals of Kyshona Armstrong, Maureen Murphy, and Nickie Conley, “Season’s Ending” matches its soulful harmonies and lonesome guitar work with the kind of loving serenade that gently pierces the heart (e.g., “And ain’t it just like you to bloom and be gone”).

In a creative breakthrough for Waldon, No Regular Dog also features the first unabashedly joyful love song she’s ever written, the quietly powerful “Simple as Love.” “I was at home sitting on my back porch and I started thinking about how I’ve got all these heartbreak songs and drinking songs, but I’m not experiencing any of that anymore,” she says. “I’m at a point where I’m in a healthy relationship with someone who actually cares about me, and I wanted to write a song that expresses what love feels like in its purest form.” Laced with cascading guitar tones that glisten like sunlit honey, “Simple as Love” wholly achieves an ineffable sweetness while spotlighting Waldon’s idiosyncratic brand of poetry (“Like a junkie’s got its itch/It leaves you wantin’ more, wantin’ all of it/Just like a lily in a ditch/It grows where it wants to grow”).

Originally from the tiny rural town of Monkey’s Eyebrow, Waldon has long relied on music as a lifeline. “I’ve always used songwriting as a way to process the world around me and also process my own thoughts and feelings,” she says, naming classic country artists like Loretta Lynn, George Jones, and Merle Haggard among her early influences. “If I didn’t have the ability to put all that down on paper, I think I’d be pretty lost today.” After penning her first song as a small child—“My mom still has lyrics sheets I made when I was about nine, everything laid out in verse and chorus”—Waldon continued sharpening her craft and eventually left home for Nashville, where she further honed her chops by playing local bar gigs. Over the coming years, she put out a series of EPs before making her full-length debut with The Goldmine: a self-released 2014 effort that earned abundant praise from leading outlets like Rolling Stone, who hailed her as “Tammy Wynette on a trip to Whiskeytown.” Arriving in 2016, Waldon’s sophomore album I’ve Got a Way drew even more acclaim and appeared on such coveted year-end roundups as the Top 10 Favorite Albums Of 2016 list from Ken Tucker of NPR’s Fresh Air, with its lead single “All By Myself” featured on NPR’s Top 100 Songs of 2016 list. Several years later, she performed at the Grand Ole Opry with the likes of Sturgill Simpson and John Prine, who invited her to join the Oh Boy Records family while up onstage—making Waldon the label’s first new artist signing in 15 years. Co-produced with Dan Knobler (Allison Russell, Della Mae), White Noise/ White Lines delivered such standouts as “Kentucky, 1988,” which later topped Rolling Stone’s 25 Best Country and Americana Songs of 2019 list.

Looking back on the making of No Regular Dog—an album rooted in rigorous self-reflection—Waldon speaks to her newly clarified sense of purpose as a songwriter and artist. “I hope that these songs are able to live with people and help make the world a little better, because I think that’s a big part of what my job is,” she says. “At the end of the day, I’m so thankful for my passion for music because it’s sustained me throughout my whole life, and now I want it to do the same for other people. And if anyone’s struggling, I hope they can recognize the ‘No Regular Dog’ within themselves, and start to see how much they’re really worth.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220802T205727Z X-ACCESS:1 X-HITS:1528 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221021T210000 DTEND;TZID=America/Denver:20221021T233000 UID:F6CFFCFF-44B8-4B21-A74A-E162F1177B71 SUMMARY:Vincent Neil Emerson DTSTAMP:20220823T222631Z DESCRIPTION:Vincent Neil Emerson is a torchbearer of the Texas songwriter tradition. He channels the straightforward truth-telling and resonance of his songwriting heroes in Townes Van Zandt, Guy Clark, and Steve Earle into something fresh and distinctly his own. Where his 2019 debut Fried Chicken and Evil Women proved himself as one of the most reverent students of country and western musical traditions, his follow-up LP, the masterful Rodney Crowell-produced Vincent Neil Emerson, which is out June 25 via La Honda Records/Thirty Tigers, is a brave step forward that solidifies his place as one of music's most compelling and emotionally clarifying storytellers. His songs are cathartic and bluntly honest, never mincing words or dancing around uncomfortable truths.\NRaised in Van Zandt County in East Texas by a single mother of Choctaw-Apache descent, Emerson's world changed when he first heard Townes Van Zandt's music. "To hear a guy from Fort Worth say those kinds of things and make those songs was pretty eye opening," the now 29-year-old songwriter says. "I had never heard songwriting like that before." He's spent the better part of the past decade honing his songwriting and performance chops playing bars, honky-tonks, and BBQs joint across the Fort Worth area. His first album Fried Chicken and Evil Women, which he wrote in his mid-twenties and came out on La Honda Records, the label he cofounded that now includes a roster of Colter Wall, Local Honeys, and Riddy Arman, is a snapshot of his growth as a songwriter and stage-tested charm with songs like "Willie Nelson's Wall" and "25 and Wastin' Time" expertly combining humor and tragedy.\NThese marathon gigs and the undeniable songs on his debut introduced Emerson to Canadian songwriter Colter Wall, who quickly became a close friend and took him on tour. With Wall's audience and sold-out theater shows on runs with Charley Crockett, Turnpike Troubadours, and many others, Emerson found his niche. "It took a guy from Canada bringing me on tour for people to actually start paying attention," says Emerson. "Before that it was a grind like anything else just trying to make a living." Crockett is another staunch early supporter of Emerson's and covered Fried Chicken highlight "7 Come 11" on his 2019 LP The Valley.\NLike every working musician, 2020 pulled the rug out from under Emerson. With the pandemic shuttering live music and cancelling promising tours, he processed the upheaval the only way he knew how: by writing his ass off. "At the beginning of quarantine, I was really frustrated with everything else going on," says Emerson. "Everything was falling apart around me, and I didn't know what to do." He took to his writing shed and came up with the single "High On Getting By," a gorgeous song full of self-reflection and resilience: the most autobiographical thing he's ever written. He sings, "I got my first child on the way / And the bills are all unpaid / I should have finished high school / Got a job and learned to save / But the words keep on fallin' / And the highway keeps on callin' / To my pen."\NThat song proved to be a turning point for Emerson. "After I wrote it, the floodgates opened up for me in my songwriting and emotionally," he says. "Songwriting has always been a therapeutic thing for me. So, I just started writing more from the heart." Allowing himself to be open and reveal some of the most intimate details of his life was a scary yet freeing prospect for Emerson, especially on the raw and devastating "Learnin' To Drown," which addresses his father's suicide. "I've been trying to write a song about my father's passing for a while," he says. "I was just having a hard time processing that emotionally. Before I was always trying to find a way to kind of dance around it and not really give too much away. But there's no beating around the bush here." He sings, "Well there ain't much that lasts too long / All the rights that I took wrong / All the lefts that still ain't gone / They will be here / Here in my sad bastard song."\NElsewhere, on "The Ballad of the Choctaw-Apache," he sings of how in the 1960s the Choctaw-Apache tribe of Sabine Parish was forced to sell "180,000 acres of ancestral land" to the government, uprooting them from their home. Emerson pulls no punches in his narration of the historic injustice, channeling the essence of traditional folk songs. He sings, "Well you take away their home / And you claim what you don't own/ Well I guess it's just the American way." Emerson explains the track: "This happened not too long ago and it affected my grandparents and my family directly. I've always strayed away from trying to write political songs, but this is more about human rights. For those people who were stripped of their land like that, it's still tough."\NHis intense and productive writing sessions produced 10 finished songs over the course of just a couple of months, a body of work so personal that he knew he would have to name the final product Vincent Neil Emerson. These demos caught the attention of Texas country icon Rodney Crowell, who signed on to produce and record the LP. "Rodney is a hero of mine," says Emerson. "He wanted to make something that serves the songs, as opposed to making a record trying to put focus on production or the playing. It was an honor to work with him." Crowell had similar high praise for Emerson: "If he grows on the public the way he's grown on me, it's possible young Vincent will plant the flag of his [songwriting] forebears firmly in the consciousness of a whole new generation." At the studio, Emerson tracked the songs with a crack team of session players. "Because of them, we were able to get those songs in one take," he says.\NYou can hear that no-frills approach on the barnstorming "High on the Mountain," a bluegrass tune that highlights Emerson's versatility as a performer and depth as a lyricist. On first listen, the track opens with upbeat fiddles and blistering guitar feels, but Emerson's voice achingly sings of heartbreak, loss, and irrevocable change: "I pulled into Austin / 'Cause Fort Worth ain't the same." Opener "Texas Moon" grapples with home after so many days away on tour: "I been missin' home / But I just can't ever stay / Well it don't feel like ramblin' / 'Til ya take it day by day." Emerson is never overly sentimental and across this album, he makes a point to just say how he feels in the most straightforward and real way he can.\N"I think I've always gravitated towards artists that are honest about what they're doing." says Emerson. "It's the most important thing because people have a chance to connect to a little more if you're telling the truth." X-ALT-DESC;FMTTYPE=text/html:

Vincent Neil Emerson is a torchbearer of the Texas songwriter tradition. He channels the straightforward truth-telling and resonance of his songwriting heroes in Townes Van Zandt, Guy Clark, and Steve Earle into something fresh and distinctly his own. Where his 2019 debut Fried Chicken and Evil Women proved himself as one of the most reverent students of country and western musical traditions, his follow-up LP, the masterful Rodney Crowell-produced Vincent Neil Emerson, which is out June 25 via La Honda Records/Thirty Tigers, is a brave step forward that solidifies his place as one of music's most compelling and emotionally clarifying storytellers. His songs are cathartic and bluntly honest, never mincing words or dancing around uncomfortable truths.

Raised in Van Zandt County in East Texas by a single mother of Choctaw-Apache descent, Emerson's world changed when he first heard Townes Van Zandt's music. "To hear a guy from Fort Worth say those kinds of things and make those songs was pretty eye opening," the now 29-year-old songwriter says. "I had never heard songwriting like that before." He's spent the better part of the past decade honing his songwriting and performance chops playing bars, honky-tonks, and BBQs joint across the Fort Worth area. His first album Fried Chicken and Evil Women, which he wrote in his mid-twenties and came out on La Honda Records, the label he cofounded that now includes a roster of Colter Wall, Local Honeys, and Riddy Arman, is a snapshot of his growth as a songwriter and stage-tested charm with songs like "Willie Nelson's Wall" and "25 and Wastin' Time" expertly combining humor and tragedy.

These marathon gigs and the undeniable songs on his debut introduced Emerson to Canadian songwriter Colter Wall, who quickly became a close friend and took him on tour. With Wall's audience and sold-out theater shows on runs with Charley Crockett, Turnpike Troubadours, and many others, Emerson found his niche. "It took a guy from Canada bringing me on tour for people to actually start paying attention," says Emerson. "Before that it was a grind like anything else just trying to make a living." Crockett is another staunch early supporter of Emerson's and covered Fried Chicken highlight "7 Come 11" on his 2019 LP The Valley.

Like every working musician, 2020 pulled the rug out from under Emerson. With the pandemic shuttering live music and cancelling promising tours, he processed the upheaval the only way he knew how: by writing his ass off. "At the beginning of quarantine, I was really frustrated with everything else going on," says Emerson. "Everything was falling apart around me, and I didn't know what to do." He took to his writing shed and came up with the single "High On Getting By," a gorgeous song full of self-reflection and resilience: the most autobiographical thing he's ever written. He sings, "I got my first child on the way / And the bills are all unpaid / I should have finished high school / Got a job and learned to save / But the words keep on fallin' / And the highway keeps on callin' / To my pen."

That song proved to be a turning point for Emerson. "After I wrote it, the floodgates opened up for me in my songwriting and emotionally," he says. "Songwriting has always been a therapeutic thing for me. So, I just started writing more from the heart." Allowing himself to be open and reveal some of the most intimate details of his life was a scary yet freeing prospect for Emerson, especially on the raw and devastating "Learnin' To Drown," which addresses his father's suicide. "I've been trying to write a song about my father's passing for a while," he says. "I was just having a hard time processing that emotionally. Before I was always trying to find a way to kind of dance around it and not really give too much away. But there's no beating around the bush here." He sings, "Well there ain't much that lasts too long / All the rights that I took wrong / All the lefts that still ain't gone / They will be here / Here in my sad bastard song."

Elsewhere, on "The Ballad of the Choctaw-Apache," he sings of how in the 1960s the Choctaw-Apache tribe of Sabine Parish was forced to sell "180,000 acres of ancestral land" to the government, uprooting them from their home. Emerson pulls no punches in his narration of the historic injustice, channeling the essence of traditional folk songs. He sings, "Well you take away their home / And you claim what you don't own/ Well I guess it's just the American way." Emerson explains the track: "This happened not too long ago and it affected my grandparents and my family directly. I've always strayed away from trying to write political songs, but this is more about human rights. For those people who were stripped of their land like that, it's still tough."

His intense and productive writing sessions produced 10 finished songs over the course of just a couple of months, a body of work so personal that he knew he would have to name the final product Vincent Neil Emerson. These demos caught the attention of Texas country icon Rodney Crowell, who signed on to produce and record the LP. "Rodney is a hero of mine," says Emerson. "He wanted to make something that serves the songs, as opposed to making a record trying to put focus on production or the playing. It was an honor to work with him." Crowell had similar high praise for Emerson: "If he grows on the public the way he's grown on me, it's possible young Vincent will plant the flag of his [songwriting] forebears firmly in the consciousness of a whole new generation." At the studio, Emerson tracked the songs with a crack team of session players. "Because of them, we were able to get those songs in one take," he says.

You can hear that no-frills approach on the barnstorming "High on the Mountain," a bluegrass tune that highlights Emerson's versatility as a performer and depth as a lyricist. On first listen, the track opens with upbeat fiddles and blistering guitar feels, but Emerson's voice achingly sings of heartbreak, loss, and irrevocable change: "I pulled into Austin / 'Cause Fort Worth ain't the same." Opener "Texas Moon" grapples with home after so many days away on tour: "I been missin' home / But I just can't ever stay / Well it don't feel like ramblin' / 'Til ya take it day by day." Emerson is never overly sentimental and across this album, he makes a point to just say how he feels in the most straightforward and real way he can.

"I think I've always gravitated towards artists that are honest about what they're doing." says Emerson. "It's the most important thing because people have a chance to connect to a little more if you're telling the truth."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221003T192031Z X-ACCESS:1 X-HITS:1252 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221024T193000 DTEND;TZID=America/Denver:20221024T233000 UID:E9469751-B786-400D-BB5D-FE3C3F717B60 SUMMARY:Todd Snider DTSTAMP:20220608T133151Z DESCRIPTION:Troubadour, meaning an itinerant singer of songs, is a word that dates back centuries, and comes from the French verb “trouver,” which is to find. These musical wanderers would find and invent stories humorous and intellectual, romantic and earthy, performing them as they went from town to town. Troubadour is also the word that acclaimed musician-raconteur Todd Snider leans on to describe himself and his latest release, Live: Return of the Storyteller.\N“I think my first thought with this record was I wanted to remind people really quickly that I'm a troubadour,” says Snider. “Playing live is the only chance for me to show, 'This is what I really do.' I've never thought of myself as a recording artist. I'm someone who gets over by traveling around, telling stories, making up new songs and singing them alone on stage.”\NBefore he even made his professional debut with Songs For The Daily Planet in 1994, Snider already knew that he wanted to be part of this time-honored tradition. “I like the romantic notion of drifting around and laughing your way through life,” he says. “Like Jim Croce or Mark Twain. I felt like I was half-doing that anyway. When I was 19, I was a real drifter and a sofa circuit person. Then when I first saw Jerry Jeff Walker and John Prine play, I became obsessed. I followed them both around like The Grateful Dead. I saw that the difference between a free spirit and a freeloader was three chords.\N“And as soon as I figured that out, I knew that it would help me as a person who didn't have a plan. Just to be a busker. I didn't want to sign up for normal life. I wanted to do another thing, and then it turned into a real gig. I was really surprised. It's still funny to be getting away with it.”\NThat speaks to Snider's modesty about his singular talent and deep catalog of songs of every emotional stripe. Rolling Stone has called him “America's sharpest musical storyteller” while the New York Times described him as “a wryly quotable phrasemaker and worthy antagonist.” Live: Return of the Storyteller – his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (“Big Finish,” and the have-meets- have-not “In Between Jobs”), Proustian (“Play a Train Song,” “Too Soon To Tell,” and the lump-in-the-throat snapshot of John Prine on “Handsome John”) and heart-worn (“Like a Force of Nature,” “The Very Last Time,” “Roman Candles”). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans.\NBut the songs are only half of what makes the connection so compelling.\NActing as palate cleansers and putty, the stories between numbers offer colorful glimpses into Snider's interior life. Whether he's talking about being mistaken for a homeless guy in a nice hotel, searching for a song in the woods while tripping or the poetry of one of his heroes dying on stage, his spoken interludes are delivered with both meandering charm and deadly comic timing.\NSnider credits an unlikely source of inspiration for both. “The comedian Richard Lewis is a friend and a mentor, and we talk almost every day,” Snider says. “We met about six or seven years ago through a drummer who's a mutual friend, and really hit it off. I feel like since I've known him, my storytelling has evolved. I don't know that I've gotten better, but a lot of the ways I approach my shows is from learning things from Richard. Especially this idea of being able to go on and on without just going on and on. To ramble without getting boring.”\NSnider is also mindful about not repeating himself when he's returning to a familiar venue, which can add a tightrope quality to his performances. “On this record, when I left Nashville, I didn't know what I was going to say,” he admits. “I just knew that it couldn't be the same shit that I've said. I was going to have to have some new stories to tell. That's how it's been for years. Then one night, I'll get up there and open my mouth and something new comes out. And then I'll just kept telling it and refining it. It happens under pressure.”\NThe timing of Live: Return of the Storyteller's release has extra resonance in our post-pandemic era. Snider says, “I'm glad I recorded the tour last year, because that was the sound of the country getting to see live music again. It was unique and it won't happen again. Everyone just hugs at the start of a concert - you can tell that they're glad to see each other, and then they get more excited than they used to be about just being out and seeing music. I'm sure that it will go back to normal, but it hasn't yet.”\NWhile the album captures what Snider laughingly calls his “second tour - because I went out on the road in '94 and never went home until the pandemic” - it acts as both a summing up of a thirty-year career and a look ahead.\N“I always think that being a recording artist isn't something that I've thrived at,” he says. “I have fun with it and try all different kinds of music and try to learn more and more, but the only reason I get to do it is because of the main thing I do - which is travel around by myself and sing and tell stories. That thing works. Since I was twenty, that thing has worked. People come to see me do it and I love to do it.” X-ALT-DESC;FMTTYPE=text/html:

Troubadour, meaning an itinerant singer of songs, is a word that dates back centuries, and comes from the French verb “trouver,” which is to find. These musical wanderers would find and invent stories humorous and intellectual, romantic and earthy, performing them as they went from town to town. Troubadour is also the word that acclaimed musician-raconteur Todd Snider leans on to describe himself and his latest release, Live: Return of the Storyteller.

“I think my first thought with this record was I wanted to remind people really quickly that I'm a troubadour,” says Snider. “Playing live is the only chance for me to show, 'This is what I really do.' I've never thought of myself as a recording artist. I'm someone who gets over by traveling around, telling stories, making up new songs and singing them alone on stage.”

Before he even made his professional debut with Songs For The Daily Planet in 1994, Snider already knew that he wanted to be part of this time-honored tradition. “I like the romantic notion of drifting around and laughing your way through life,” he says. “Like Jim Croce or Mark Twain. I felt like I was half-doing that anyway. When I was 19, I was a real drifter and a sofa circuit person. Then when I first saw Jerry Jeff Walker and John Prine play, I became obsessed. I followed them both around like The Grateful Dead. I saw that the difference between a free spirit and a freeloader was three chords.

“And as soon as I figured that out, I knew that it would help me as a person who didn't have a plan. Just to be a busker. I didn't want to sign up for normal life. I wanted to do another thing, and then it turned into a real gig. I was really surprised. It's still funny to be getting away with it.”

That speaks to Snider's modesty about his singular talent and deep catalog of songs of every emotional stripe. Rolling Stone has called him “America's sharpest musical storyteller” while the New York Times described him as “a wryly quotable phrasemaker and worthy antagonist.” Live: Return of the Storyteller – his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (“Big Finish,” and the have-meets- have-not “In Between Jobs”), Proustian (“Play a Train Song,” “Too Soon To Tell,” and the lump-in-the-throat snapshot of John Prine on “Handsome John”) and heart-worn (“Like a Force of Nature,” “The Very Last Time,” “Roman Candles”). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans.

But the songs are only half of what makes the connection so compelling.

Acting as palate cleansers and putty, the stories between numbers offer colorful glimpses into Snider's interior life. Whether he's talking about being mistaken for a homeless guy in a nice hotel, searching for a song in the woods while tripping or the poetry of one of his heroes dying on stage, his spoken interludes are delivered with both meandering charm and deadly comic timing.

Snider credits an unlikely source of inspiration for both. “The comedian Richard Lewis is a friend and a mentor, and we talk almost every day,” Snider says. “We met about six or seven years ago through a drummer who's a mutual friend, and really hit it off. I feel like since I've known him, my storytelling has evolved. I don't know that I've gotten better, but a lot of the ways I approach my shows is from learning things from Richard. Especially this idea of being able to go on and on without just going on and on. To ramble without getting boring.”

Snider is also mindful about not repeating himself when he's returning to a familiar venue, which can add a tightrope quality to his performances. “On this record, when I left Nashville, I didn't know what I was going to say,” he admits. “I just knew that it couldn't be the same shit that I've said. I was going to have to have some new stories to tell. That's how it's been for years. Then one night, I'll get up there and open my mouth and something new comes out. And then I'll just kept telling it and refining it. It happens under pressure.”

The timing of Live: Return of the Storyteller's release has extra resonance in our post-pandemic era. Snider says, “I'm glad I recorded the tour last year, because that was the sound of the country getting to see live music again. It was unique and it won't happen again. Everyone just hugs at the start of a concert - you can tell that they're glad to see each other, and then they get more excited than they used to be about just being out and seeing music. I'm sure that it will go back to normal, but it hasn't yet.”

While the album captures what Snider laughingly calls his “second tour - because I went out on the road in '94 and never went home until the pandemic” - it acts as both a summing up of a thirty-year career and a look ahead.

“I always think that being a recording artist isn't something that I've thrived at,” he says. “I have fun with it and try all different kinds of music and try to learn more and more, but the only reason I get to do it is because of the main thing I do - which is travel around by myself and sing and tell stories. That thing works. Since I was twenty, that thing has worked. People come to see me do it and I love to do it.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220914T215239Z X-ACCESS:1 X-HITS:2573 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221025T193000 DTEND;TZID=America/Denver:20221025T203000 UID:B991A4DD-94DE-4FE7-9755-5A347CC7F94C SUMMARY:Todd Snider DTSTAMP:20220608T134302Z DESCRIPTION:Troubadour, meaning an itinerant singer of songs, is a word that dates back centuries, and comes from the French verb “trouver,” which is to find. These musical wanderers would find and invent stories humorous and intellectual, romantic and earthy, performing them as they went from town to town. Troubadour is also the word that acclaimed musician-raconteur Todd Snider leans on to describe himself and his latest release, Live: Return of the Storyteller.\N“I think my first thought with this record was I wanted to remind people really quickly that I'm a troubadour,” says Snider. “Playing live is the only chance for me to show, 'This is what I really do.' I've never thought of myself as a recording artist. I'm someone who gets over by traveling around, telling stories, making up new songs and singing them alone on stage.”\NBefore he even made his professional debut with Songs For The Daily Planet in 1994, Snider already knew that he wanted to be part of this time-honored tradition. “I like the romantic notion of drifting around and laughing your way through life,” he says. “Like Jim Croce or Mark Twain. I felt like I was half-doing that anyway. When I was 19, I was a real drifter and a sofa circuit person. Then when I first saw Jerry Jeff Walker and John Prine play, I became obsessed. I followed them both around like The Grateful Dead. I saw that the difference between a free spirit and a freeloader was three chords.\N“And as soon as I figured that out, I knew that it would help me as a person who didn't have a plan. Just to be a busker. I didn't want to sign up for normal life. I wanted to do another thing, and then it turned into a real gig. I was really surprised. It's still funny to be getting away with it.”\NThat speaks to Snider's modesty about his singular talent and deep catalog of songs of every emotional stripe. Rolling Stone has called him “America's sharpest musical storyteller” while the New York Times described him as “a wryly quotable phrasemaker and worthy antagonist.” Live: Return of the Storyteller – his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (“Big Finish,” and the have-meets- have-not “In Between Jobs”), Proustian (“Play a Train Song,” “Too Soon To Tell,” and the lump-in-the-throat snapshot of John Prine on “Handsome John”) and heart-worn (“Like a Force of Nature,” “The Very Last Time,” “Roman Candles”). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans.\NBut the songs are only half of what makes the connection so compelling.\NActing as palate cleansers and putty, the stories between numbers offer colorful glimpses into Snider's interior life. Whether he's talking about being mistaken for a homeless guy in a nice hotel, searching for a song in the woods while tripping or the poetry of one of his heroes dying on stage, his spoken interludes are delivered with both meandering charm and deadly comic timing.\NSnider credits an unlikely source of inspiration for both. “The comedian Richard Lewis is a friend and a mentor, and we talk almost every day,” Snider says. “We met about six or seven years ago through a drummer who's a mutual friend, and really hit it off. I feel like since I've known him, my storytelling has evolved. I don't know that I've gotten better, but a lot of the ways I approach my shows is from learning things from Richard. Especially this idea of being able to go on and on without just going on and on. To ramble without getting boring.”\NSnider is also mindful about not repeating himself when he's returning to a familiar venue, which can add a tightrope quality to his performances. “On this record, when I left Nashville, I didn't know what I was going to say,” he admits. “I just knew that it couldn't be the same shit that I've said. I was going to have to have some new stories to tell. That's how it's been for years. Then one night, I'll get up there and open my mouth and something new comes out. And then I'll just kept telling it and refining it. It happens under pressure.”\NThe timing of Live: Return of the Storyteller's release has extra resonance in our post-pandemic era. Snider says, “I'm glad I recorded the tour last year, because that was the sound of the country getting to see live music again. It was unique and it won't happen again. Everyone just hugs at the start of a concert - you can tell that they're glad to see each other, and then they get more excited than they used to be about just being out and seeing music. I'm sure that it will go back to normal, but it hasn't yet.”\NWhile the album captures what Snider laughingly calls his “second tour - because I went out on the road in '94 and never went home until the pandemic” - it acts as both a summing up of a thirty-year career and a look ahead.\N“I always think that being a recording artist isn't something that I've thrived at,” he says. “I have fun with it and try all different kinds of music and try to learn more and more, but the only reason I get to do it is because of the main thing I do - which is travel around by myself and sing and tell stories. That thing works. Since I was twenty, that thing has worked. People come to see me do it and I love to do it.” X-ALT-DESC;FMTTYPE=text/html:

Troubadour, meaning an itinerant singer of songs, is a word that dates back centuries, and comes from the French verb “trouver,” which is to find. These musical wanderers would find and invent stories humorous and intellectual, romantic and earthy, performing them as they went from town to town. Troubadour is also the word that acclaimed musician-raconteur Todd Snider leans on to describe himself and his latest release, Live: Return of the Storyteller.

“I think my first thought with this record was I wanted to remind people really quickly that I'm a troubadour,” says Snider. “Playing live is the only chance for me to show, 'This is what I really do.' I've never thought of myself as a recording artist. I'm someone who gets over by traveling around, telling stories, making up new songs and singing them alone on stage.”

Before he even made his professional debut with Songs For The Daily Planet in 1994, Snider already knew that he wanted to be part of this time-honored tradition. “I like the romantic notion of drifting around and laughing your way through life,” he says. “Like Jim Croce or Mark Twain. I felt like I was half-doing that anyway. When I was 19, I was a real drifter and a sofa circuit person. Then when I first saw Jerry Jeff Walker and John Prine play, I became obsessed. I followed them both around like The Grateful Dead. I saw that the difference between a free spirit and a freeloader was three chords.

“And as soon as I figured that out, I knew that it would help me as a person who didn't have a plan. Just to be a busker. I didn't want to sign up for normal life. I wanted to do another thing, and then it turned into a real gig. I was really surprised. It's still funny to be getting away with it.”

That speaks to Snider's modesty about his singular talent and deep catalog of songs of every emotional stripe. Rolling Stone has called him “America's sharpest musical storyteller” while the New York Times described him as “a wryly quotable phrasemaker and worthy antagonist.” Live: Return of the Storyteller – his third live album and nineteenth overall - plays like a masterclass by one man with a guitar and a freewheeling imagination. Threading his husky-voiced phrasing through a likable cosmic cowboy manner, he invites you on a tour of tunes humorous (“Big Finish,” and the have-meets- have-not “In Between Jobs”), Proustian (“Play a Train Song,” “Too Soon To Tell,” and the lump-in-the-throat snapshot of John Prine on “Handsome John”) and heart-worn (“Like a Force of Nature,” “The Very Last Time,” “Roman Candles”). As the fifteen-song set unfolds, you can feel a tangible bond building between Snider and his fans.

But the songs are only half of what makes the connection so compelling.

Acting as palate cleansers and putty, the stories between numbers offer colorful glimpses into Snider's interior life. Whether he's talking about being mistaken for a homeless guy in a nice hotel, searching for a song in the woods while tripping or the poetry of one of his heroes dying on stage, his spoken interludes are delivered with both meandering charm and deadly comic timing.

Snider credits an unlikely source of inspiration for both. “The comedian Richard Lewis is a friend and a mentor, and we talk almost every day,” Snider says. “We met about six or seven years ago through a drummer who's a mutual friend, and really hit it off. I feel like since I've known him, my storytelling has evolved. I don't know that I've gotten better, but a lot of the ways I approach my shows is from learning things from Richard. Especially this idea of being able to go on and on without just going on and on. To ramble without getting boring.”

Snider is also mindful about not repeating himself when he's returning to a familiar venue, which can add a tightrope quality to his performances. “On this record, when I left Nashville, I didn't know what I was going to say,” he admits. “I just knew that it couldn't be the same shit that I've said. I was going to have to have some new stories to tell. That's how it's been for years. Then one night, I'll get up there and open my mouth and something new comes out. And then I'll just kept telling it and refining it. It happens under pressure.”

The timing of Live: Return of the Storyteller's release has extra resonance in our post-pandemic era. Snider says, “I'm glad I recorded the tour last year, because that was the sound of the country getting to see live music again. It was unique and it won't happen again. Everyone just hugs at the start of a concert - you can tell that they're glad to see each other, and then they get more excited than they used to be about just being out and seeing music. I'm sure that it will go back to normal, but it hasn't yet.”

While the album captures what Snider laughingly calls his “second tour - because I went out on the road in '94 and never went home until the pandemic” - it acts as both a summing up of a thirty-year career and a look ahead.

“I always think that being a recording artist isn't something that I've thrived at,” he says. “I have fun with it and try all different kinds of music and try to learn more and more, but the only reason I get to do it is because of the main thing I do - which is travel around by myself and sing and tell stories. That thing works. Since I was twenty, that thing has worked. People come to see me do it and I love to do it.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221012T213610Z X-ACCESS:1 X-HITS:1113 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221027T200000 DTEND;TZID=America/Denver:20221027T233000 UID:96404108-449F-4509-BFCF-742AC06F53C4 SUMMARY:John Splithoff DTSTAMP:20220616T174515Z DESCRIPTION:“This album has been a long time coming,” says John Splithoff. “I guess you could call it a slow burn.”\NRecorded in both New York and Los Angeles, ‘All In,’ Splithoff’s invigorating debut, has indeed been brewing for quite some time now, and its release this year marks the culmination of nearly a decade of highs and lows, victories and defeats, breakthroughs and setbacks. Building off a series of hit singles, the collection is bold and self-assured, mixing intoxicating R&B swagger with soulful introspection and dazzling harmonic sophistication.Splithoff writes to make sense of himself and his world here, and though the record was written and recorded before the arrival of COVID-19, it feels particularly fitting for the times, grappling with loneliness and isolation in the face of longing and desire. The songs are subtle in their personal reckonings, often masking deep, profound revelations with playful,effervescent arrangements, and Splithoff’s performances are similarly complex, exuding both a carefree independence and a burning need for connection all at once. It’s a conflicted album for a conflicted moment, a rich, mesmerizing collection that hints at everything from Marvin Gaye and Prince to Calvin Harris and John Mayer as it transforms doubt into determination and self-reflection into celebration.\N“After releasing singles for six or seven years, I wanted to create something bigger and more immersive this time around,” says Splithoff. “I wanted to make something that could take you places from start to finish.”Splithoff’s been letting music take him places for most of his life now. Born and raised outside Chicago, he grew up obsessed with classic rock and guitar gods before developing a taste for jazz, which led him to study performance at the University of Miami.\NWhile the city’s electronic and Latin scenes opened up new horizons, it was the time spent listening to D’Angelo, Daft Punk and Prince that would have the biggest impact on Splithoff during this time.\NAfter graduation, Splithoff moved to New York, where he lived on an old classmate’s couch in Harlem for three months while he put together a band and started playing gigs around the city. He released an independent EP in 2013 and then struck gold a few years later with his 2016 single, “Sing to You,” which racked up more than 50 million streams online and cracked the Top 10 at AC radio. The track’s meteoric rise, and the similar success ofsubsequent singles like 2017’s “Show Me,” helped fuel multiple national headline tours and land Splithoff festival slots everywhere from Bonnaroo to Lollapalooza. Along the way, a brief stint with a major label only confirmed his desire to chart his own destiny, and as soon as he was back on his own, Splithoff began cooking up plans for a full-length record.“For a long time, I felt kind of stuck in this cycle of releasing single after single,” he explains. “It’s what everyone was looking for from me, and I found myself writing in a certain way to meet that demand. After a while, though, I didn’t want to keep thinking about the world three minutes at a time.”\NSo, for the first time in his career, Splithoff began writing a series of songs that could flow seamlessly one into the next, a cohesive collection meant to be consumed from top to bottom. He worked primarily out of his apartment in New York, building up tracks a layer at a time and playing most of the instruments himself. It was a rewarding process, but also a lonely one, and after months of recording in isolation, Splithoff decided heneeded a change of scenery and some fresh ears. “I found myself lacking perspective at a certain point, and I think that came from being cooped up on my own for too long,” he explains. “So, I flew out to LA and brought the songs to a couple different producers—a duo called Likeminds and an old friend and collaborator named Alias—and finished everything off out there.”\NThe LA sessions offered a fresh injection of energy for the music, infusing tracks with the kind of chemistry that can only come from human interaction and creative collaboration. On the day Splithoff flew back to New York, life changed dramatically with the announcement of COVID lockdowns, and suddenly the material he’d written while isolatedat home took on new meaning. “I think a lot of the feelings people have experienced over the past year in quarantine are things that I’d been experiencing in the year leading up to it,” says Splithoff. “When spending alot of time creating by yourself, it leaves a lot of opportunity for you to be alone with your thoughts, to try and figure out who you are and what you really want out of life.” ‘All In’ embraces that kind of soul searching from the top, opening with the hypnotic “Note To Self,” which aims to balance drive and purpose with self-awareness and perspective. “Tell me, what are you gonna do with all that ambition?” Splithoff sings in a buttery smooth voice. “You can keep your up in the clouds ‘till the end of time / I think you’re trying too hard to put on an exhibition / And make something that everybody can get behind.” Tossing out expectations in favor of following your own arrow is a recurring theme on the album, and in Splithoff’s life. The dreamy “Thrive” learns to define success on its own terms in a comparison-driven, social media-obsessed society; the funky “GoodTo Go” insists on pushing forward no matter how difficult things get; the sultry “Fahrenheit” finds escape in pouring a drink and turning the music up loud; and the hazy “Value” takes a step back to meditate on what really matters at the end of the day (hint: it’s not money or possessions).My apartment was broken into while I was writing the record,” says Splithoff. “They took a bunch of stuff including my favorite guitar, which I grew up playing exclusively and used to record every record I’ve ever made. While it could’ve been much worse, I reminded myself that themost valuable things in my life aren’t physical objects, they’re the relationships I have with the people I care about.”\NThat revelation serves as a north star for Splithoff throughout the record, pointing him back towards the primacy of love every time he begins to lose sight of it. The buoyant “Holding On To Me” celebrates the joy of infatuation, while the airy “Inside Out” revels in the pleasures of emotional intimacy, and the tender title track surrenders fully and completely to the kind of relationship in which two truly become one. “If you’re in / I’mall in / Cause I’ve always been so all about you,” Splithoff sings. “If you’re down / I’m so down / I’d just be dying if I’m living without you.”\NIt takes years of work and devotion to build that kind of love and trust with a partner, but the sacrifice is more than worth the reward. Sometimes a slow burn yields the brightest fire. X-ALT-DESC;FMTTYPE=text/html:

“This album has been a long time coming,” says John Splithoff. “I guess you could call it a slow burn.”

Recorded in both New York and Los Angeles, ‘All In,’ Splithoff’s invigorating debut, has indeed been brewing for quite some time now, and its release this year marks the culmination of nearly a decade of highs and lows, victories and defeats, breakthroughs and setbacks. Building off a series of hit singles, the collection is bold and self-assured, mixing intoxicating R&B swagger with soulful introspection and dazzling harmonic sophistication.
Splithoff writes to make sense of himself and his world here, and though the record was written and recorded before the arrival of COVID-19, it feels particularly fitting for the times, grappling with loneliness and isolation in the face of longing and desire. The songs are subtle in their personal reckonings, often masking deep, profound revelations with playful,
effervescent arrangements, and Splithoff’s performances are similarly complex, exuding both a carefree independence and a burning need for connection all at once. It’s a conflicted album for a conflicted moment, a rich, mesmerizing collection that hints at everything from Marvin Gaye and Prince to Calvin Harris and John Mayer as it transforms doubt into determination and self-reflection into celebration.

“After releasing singles for six or seven years, I wanted to create something bigger and more immersive this time around,” says Splithoff. “I wanted to make something that could take you places from start to finish.”
Splithoff’s been letting music take him places for most of his life now. Born and raised outside Chicago, he grew up obsessed with classic rock and guitar gods before developing a taste for jazz, which led him to study performance at the University of Miami.

While the city’s electronic and Latin scenes opened up new horizons, it was the time spent listening to D’Angelo, Daft Punk and Prince that would have the biggest impact on Splithoff during this time.

After graduation, Splithoff moved to New York, where he lived on an old classmate’s couch in Harlem for three months while he put together a band and started playing gigs around the city. He released an independent EP in 2013 and then struck gold a few years later with his 2016 single, “Sing to You,” which racked up more than 50 million streams online and cracked the Top 10 at AC radio. The track’s meteoric rise, and the similar success of
subsequent singles like 2017’s “Show Me,” helped fuel multiple national headline tours and land Splithoff festival slots everywhere from Bonnaroo to Lollapalooza. Along the way, a brief stint with a major label only confirmed his desire to chart his own destiny, and as soon as he was back on his own, Splithoff began cooking up plans for a full-length record.
“For a long time, I felt kind of stuck in this cycle of releasing single after single,” he explains. “It’s what everyone was looking for from me, and I found myself writing in a certain way to meet that demand. After a while, though, I didn’t want to keep thinking about the world three minutes at a time.”

So, for the first time in his career, Splithoff began writing a series of songs that could flow seamlessly one into the next, a cohesive collection meant to be consumed from top to bottom. He worked primarily out of his apartment in New York, building up tracks a layer at a time and playing most of the instruments himself. It was a rewarding process, but also a lonely one, and after months of recording in isolation, Splithoff decided he
needed a change of scenery and some fresh ears. “I found myself lacking perspective at a certain point, and I think that came from being cooped up on my own for too long,” he explains. “So, I flew out to LA and brought the songs to a couple different producers—a duo called Likeminds and an old friend and collaborator named Alias—and finished everything off out there.”

The LA sessions offered a fresh injection of energy for the music, infusing tracks with the kind of chemistry that can only come from human interaction and creative collaboration. On the day Splithoff flew back to New York, life changed dramatically with the announcement of COVID lockdowns, and suddenly the material he’d written while isolated
at home took on new meaning. “I think a lot of the feelings people have experienced over the past year in quarantine are things that I’d been experiencing in the year leading up to it,” says Splithoff. “When spending a
lot of time creating by yourself, it leaves a lot of opportunity for you to be alone with your thoughts, to try and figure out who you are and what you really want out of life.” ‘All In’ embraces that kind of soul searching from the top, opening with the hypnotic “Note To Self,” which aims to balance drive and purpose with self-awareness and perspective. “Tell me, what are you gonna do with all that ambition?” Splithoff sings in a buttery smooth voice. “You can keep your up in the clouds ‘till the end of time / I think you’re trying too hard to put on an exhibition / And make something that everybody can get behind.” Tossing out expectations in favor of following your own arrow is a recurring theme on the album, and in Splithoff’s life. The dreamy “Thrive” learns to define success on its own terms in a comparison-driven, social media-obsessed society; the funky “Good
To Go” insists on pushing forward no matter how difficult things get; the sultry “Fahrenheit” finds escape in pouring a drink and turning the music up loud; and the hazy “Value” takes a step back to meditate on what really matters at the end of the day (hint: it’s not money or possessions).
My apartment was broken into while I was writing the record,” says Splithoff. “They took a bunch of stuff including my favorite guitar, which I grew up playing exclusively and used to record every record I’ve ever made. While it could’ve been much worse, I reminded myself that the
most valuable things in my life aren’t physical objects, they’re the relationships I have with the people I care about.”

That revelation serves as a north star for Splithoff throughout the record, pointing him back towards the primacy of love every time he begins to lose sight of it. The buoyant “Holding On To Me” celebrates the joy of infatuation, while the airy “Inside Out” revels in the pleasures of emotional intimacy, and the tender title track surrenders fully and completely to the kind of relationship in which two truly become one. “If you’re in / I’m
all in / Cause I’ve always been so all about you,” Splithoff sings. “If you’re down / I’m so down / I’d just be dying if I’m living without you.”

It takes years of work and devotion to build that kind of love and trust with a partner, but the sacrifice is more than worth the reward. Sometimes a slow burn yields the brightest fire.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220923T221535Z X-ACCESS:1 X-HITS:1861 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221029T210000 DTEND;TZID=America/Denver:20221029T233000 UID:62FFE0F4-03DF-4B61-9FB6-063AD63FF0E5 SUMMARY:Lyrics Born DTSTAMP:20220915T000117Z DESCRIPTION:Lyrics Born relocated to the United States from his birthplace of Toyko, Japan right around the time Hip Hop was exploding on the East Coast. From the moment he heard Sugar Hill Gang’s 1980 classic “Rapper’s Delight,” the Bay Area Hip Hop luminary knew he’d found his calling.\NTwenty-five years later, LB has obliterated the stereotypes of what an MC is “supposed to” look like and captured the hearts of countless fans who gravitate to his distinctive voice. He’s now the only Asian-American MC to release 10 studios albums and the first to play major music festivals like Coachella and Lollapalooza.\NFrom his Quannum Projects debut with Latyrx (1997’s The Album), to 2003’s seminal solo album Later That Day, he’s consistently pushed the boundaries of his craft. His newest project, Quite A Life, is like the exclamation point on his milestone year.\N“Ten albums is a lot for any artist, let alone an indie artist who colored outside the lines, so to speak,” LB says. “I'm just appreciative there was always somehow a path for me, no matter how impossible it seemed — either on paper or in practice.”\NAs the first Asian-American to release a greatest hits compilation, he’s pumped out multiple smash singles throughout his career. From “Callin’ Out” and “I Like It, I Love It” to “I Changed My Mind” and "Coulda Woulda Shoulda" his material has always retained a musically eclectic feel.\NThe self-proclaimed “funkiest rapper alive” carries on his tradition of weaving funk and soul into classic, boom-bap Hip Hop on Quite A Life. Without the influence of icons like James Brown, George Clinton, Bootsy Collins and Zapp & Roger LB admits he wouldn’t be who he is today. Coupled with his love of rap pioneers such as KRS-One, Rakim and Snoop Dogg, LB’s music is the perfect Hip Hop and funk-flavored gumbo.\NFor live shows, LB often recruits a full band to “keep it all the way funky” for his audience. Coupled with wife/singer Joyo Velarde’s powerful voice, the unrelenting energy of his performances electrify every crowd.\NSince establishing himself among the upper echelon of indie Hip Hop artists, LB has expanded his empire into film. He has appeared in films such as Boots Riley’s critically acclaimed Sorry To Bother You and the Netflix feature Always Be My Maybe starring Ali Wong, Randall Park and Keanu Reeves.\N“I'm funny, or so I’m told [laughs],” LB says.“I absolutely love comedy and being ridiculous. These past couple films have been an incredible experience. I'm especially proud to be a part of films that challenge norms and it doesn't hurt to work with your friends either.\N“I really love comedic acting. As an artist, it's like another color on my palette. I will be doing more advocating for the under served in the arts as well, particular for Asian Americans and other people of color. The world needs the same diversity in the arts as we do in real life.”\NAs LB continues the next chapter, he jokes that he’s become that “old stubborn Japanese man” who says what he wants and he’s not planning on going anywhere. In fact, his goal over the next 25 years is to make another 10 albums and more films. Most notably he wants to continue providing a platform for other Asian-Americans, a slice of the population that is consistently underrepresented in pop culture.\NWhen he looks back on the last 25 years, he has nothing but gratitude for his position in the Hip Hop space and life in general.“I'm just blessed and grateful to be alive and pursuing my passion after 25 years,” LB says. “That’s mind-blowing for me when I really think about it. All the obstacles I've faced and accolades I've received, I can only be thankful.” X-ALT-DESC;FMTTYPE=text/html:

Lyrics Born relocated to the United States from his birthplace of Toyko, Japan right around the time Hip Hop was exploding on the East Coast. From the moment he heard Sugar Hill Gang’s 1980 classic “Rapper’s Delight,” the Bay Area Hip Hop luminary knew he’d found his calling.

Twenty-five years later, LB has obliterated the stereotypes of what an MC is “supposed to” look like and captured the hearts of countless fans who gravitate to his distinctive voice. He’s now the only Asian-American MC to release 10 studios albums and the first to play major music festivals like Coachella and Lollapalooza.

From his Quannum Projects debut with Latyrx (1997’s The Album), to 2003’s seminal solo album Later That Day, he’s consistently pushed the boundaries of his craft. His newest project, Quite A Life, is like the exclamation point on his milestone year.

“Ten albums is a lot for any artist, let alone an indie artist who colored outside the lines, so to speak,” LB says. “I'm just appreciative there was always somehow a path for me, no matter how impossible it seemed — either on paper or in practice.”

As the first Asian-American to release a greatest hits compilation, he’s pumped out multiple smash singles throughout his career. From “Callin’ Out” and “I Like It, I Love It” to “I Changed My Mind” and "Coulda Woulda Shoulda" his material has always retained a musically eclectic feel.

The self-proclaimed “funkiest rapper alive” carries on his tradition of weaving funk and soul into classic, boom-bap Hip Hop on Quite A Life. Without the influence of icons like James Brown, George Clinton, Bootsy Collins and Zapp & Roger LB admits he wouldn’t be who he is today. Coupled with his love of rap pioneers such as KRS-One, Rakim and Snoop Dogg, LB’s music is the perfect Hip Hop and funk-flavored gumbo.

For live shows, LB often recruits a full band to “keep it all the way funky” for his audience. Coupled with wife/singer Joyo Velarde’s powerful voice, the unrelenting energy of his performances electrify every crowd.

Since establishing himself among the upper echelon of indie Hip Hop artists, LB has expanded his empire into film. He has appeared in films such as Boots Riley’s critically acclaimed Sorry To Bother You and the Netflix feature Always Be My Maybe starring Ali Wong, Randall Park and Keanu Reeves.

“I'm funny, or so I’m told [laughs],” LB says.“I absolutely love comedy and being ridiculous. These past couple films have been an incredible experience. I'm especially proud to be a part of films that challenge norms and it doesn't hurt to work with your friends either.

“I really love comedic acting. As an artist, it's like another color on my palette. I will be doing more advocating for the under served in the arts as well, particular for Asian Americans and other people of color. The world needs the same diversity in the arts as we do in real life.”

As LB continues the next chapter, he jokes that he’s become that “old stubborn Japanese man” who says what he wants and he’s not planning on going anywhere. In fact, his goal over the next 25 years is to make another 10 albums and more films. Most notably he wants to continue providing a platform for other Asian-Americans, a slice of the population that is consistently underrepresented in pop culture.

When he looks back on the last 25 years, he has nothing but gratitude for his position in the Hip Hop space and life in general.
“I'm just blessed and grateful to be alive and pursuing my passion after 25 years,” LB says. “That’s mind-blowing for me when I really think about it. All the obstacles I've faced and accolades I've received, I can only be thankful.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221028T184820Z X-ACCESS:1 X-HITS:1202 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221101T200000 DTEND;TZID=America/Denver:20221101T233000 UID:0604D4FC-4CD4-4898-9635-9465AD945B58 SUMMARY:Flip the Script DTSTAMP:20220708T185837Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220912T203817Z X-ACCESS:1 X-HITS:803 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221105T210000 DTEND;TZID=America/Denver:20221105T233000 UID:BFBB00E3-F5B7-4487-9005-E3CD103D425F SUMMARY:Glen Phillips DTSTAMP:20220906T215124Z DESCRIPTION:Glen Phillips has always been a courageous and inviting songwriter. During his years as lead singer of Toad the Wet Sprocket, the band’s elegant folk/pop sound and his honest, introspective lyrics helped them forge a close bond with their fans. Since starting his solo career, Phillips has pared his music down to its emotional core, concentrating on the simple truths of love and relationships, with a profound spiritual understanding.Swallowed by the New takes on life’s difficult transitions and delivers some of the Phillips' most vulnerable songs. “I made this album during the dissolution of a 23 year marriage, Phillips says. “A major chapter of my life was coming to a close, and I discovered early on that I had to work hard to get through the transition with compassion and clarity. These songs were a big part of that process.”\NThe album was recorded in May of 2015 with producer/bass player Paul Bryan (Aimee Mann, Lucinda Williams), Jay Bellerose (drums), Chris Bruce (guitar), Jebin Bruni (keys) and Ruby Amanfu (vocals). The sparse arrangements are centered on Phillips’ vocals and acoustic guitar.Shimmering electric guitar accents drift through a curtain of sighing strings on Go, a ballad that bids a poignant farewell to a lover at the end of a relationship.\N“And though I want you close / This light can only glow / Towarn you far away from shore / Saying I love you, now go,”Leaving Oldtown has the feel of a classic pop ballad, with a string section and piano supporting a poignant vocal, as Phillips describes a man, “hollow as a sparrow bone,” packing up his belongings as winter approaches.\NThe Easy Ones focuses on the importance of staying present when it’s not easy or simple, but necessary. Joined in harmony with his 13-year daughter, Phillips says:\N“You can’t just love the easy ones / You’ve got to let them in /When you’d rather just run.”\NAmnesty is a gentle rocker, with twang-heavy guitars, a funky back beat and elegant string accents, it chronicles a long journey of searching for understanding and safe harbor.\N“I’m here to catch some kind of spark / In every face I see / And offer amnesty.”\NHeld Up suggests a gospel tune being chanted by a chain gang. The stomping drumbeat and jubilant handclaps support a vocal that faces the scales of judgment; in balance between self-recrimination and salvation.“Brother you ain’t so broken / Sister you ain’t so small / Everybody goes together / Or nobody goes at all.”\NThe folk hymn Grief and Praise was inspired by writer Martin Prechtel who maintains that “grief is praising those things we love and have lost, and praise is grieving those things we love and will lose”. It sums up the philosophy of the record in no uncertain terms:\N“For all that you love will be taken some day / By the angel of death or the servants of change / In a floodwater tide without rancor or rage / So sing loud while you're able / In grief and in praise”\NSwallowed by the New is full of the inviting melodies that have always marked Phillips’ work, while his singing reaches a new degree of intimacy and immediacy. The arrangements hint at country, soul, folk, rock and classic pop, without ever sounding derivative. The emotions may be raw, but they are guided by Phillips’ steady vocals towards healing and renewal.\NPhillips started Toad the Wet Sprocket in 1986, when he was still in high school. He was as surprised as anyone when their low-key folk rock landed them on the pop charts. When the band members decided to go their separate ways, Phillips began a solo career with Abulum followed by Winter Pays for Summer, Mr. Lemons and Secrets of the New Explorers. Always open to new projects and unlikely collaborations, he’s toured and recorded with Works Progress Administration, a band that included members of Nickel Creek, Tom Petty and the Heartbreakers and Elvis Costello’s Attractions; Mutual Admiration Society with Nickel Creek; Remote Tree Children, an experimental project with John Askew and Plover, with Neilson Hubbard and Garrison Starr.\NHis acoustic duo tour to support Swallowed by the New starts in October and will continue through the spring of 2017. “I enjoy the spontaneity of acoustic performance, where I can take the show wherever it needs to go and follow the lead of an audience instead of following a set list. There’s more talking, more stories, and more of a loose feel. The subject matter is on the serious side, but I feel like the perspective is ultimately positive. Life is about changes, no matter how we may try and pretend otherwise. This album is all about learning how to face change.” X-ALT-DESC;FMTTYPE=text/html:

Glen Phillips has always been a courageous and inviting songwriter. During his years as lead singer of Toad the Wet Sprocket, the band’s elegant folk/pop sound and his honest, introspective lyrics helped them forge a close bond with their fans. Since starting his solo career, Phillips has pared his music down to its emotional core, concentrating on the simple truths of love and relationships, with a profound spiritual understanding.
Swallowed by the New takes on life’s difficult transitions and delivers some of the Phillips' most vulnerable songs. “I made this album during the dissolution of a 23 year marriage, Phillips says. “A major chapter of my life was coming to a close, and I discovered early on that I had to work hard to get through the transition with compassion and clarity. These songs were a big part of that process.”

The album was recorded in May of 2015 with producer/bass player Paul Bryan (Aimee Mann, Lucinda Williams), Jay Bellerose (drums), Chris Bruce (guitar), Jebin Bruni (keys) and Ruby Amanfu (vocals). The sparse arrangements are centered on Phillips’ vocals and acoustic guitar.
Shimmering electric guitar accents drift through a curtain of sighing strings on Go, a ballad that bids a poignant farewell to a lover at the end of a relationship.

“And though I want you close / This light can only glow / To
warn you far away from shore / Saying I love you, now go,”
Leaving Oldtown has the feel of a classic pop ballad, with a string section and piano supporting a poignant vocal, as Phillips describes a man, “hollow as a sparrow bone,” packing up his belongings as winter approaches.

The Easy Ones focuses on the importance of staying present when it’s not easy or simple, but necessary. Joined in harmony with his 13-year daughter, Phillips says:

“You can’t just love the easy ones / You’ve got to let them in /
When you’d rather just run.”

Amnesty is a gentle rocker, with twang-heavy guitars, a funky back beat and elegant string accents, it chronicles a long journey of searching for understanding and safe harbor.

“I’m here to catch some kind of spark / In every face I see / And offer amnesty.”

Held Up suggests a gospel tune being chanted by a chain gang. The stomping drumbeat and jubilant handclaps support a vocal that faces the scales of judgment; in balance between self-recrimination and salvation.
“Brother you ain’t so broken / Sister you ain’t so small / Everybody goes together / Or nobody goes at all.”

The folk hymn Grief and Praise was inspired by writer Martin Prechtel who maintains that “grief is praising those things we love and have lost, and praise is grieving those things we love and will lose”. It sums up the philosophy of the record in no uncertain terms:

“For all that you love will be taken some day / By the angel of death or the servants of change / In a floodwater tide without rancor or rage / So sing loud while you're able / In grief and in praise”

Swallowed by the New is full of the inviting melodies that have always marked Phillips’ work, while his singing reaches a new degree of intimacy and immediacy. The arrangements hint at country, soul, folk, rock and classic pop, without ever sounding derivative. The emotions may be raw, but they are guided by Phillips’ steady vocals towards healing and renewal.

Phillips started Toad the Wet Sprocket in 1986, when he was still in high school. He was as surprised as anyone when their low-key folk rock landed them on the pop charts. When the band members decided to go their separate ways, Phillips began a solo career with Abulum followed by Winter Pays for Summer, Mr. Lemons and Secrets of the New Explorers. Always open to new projects and unlikely collaborations, he’s toured and recorded with Works Progress Administration, a band that included members of Nickel Creek, Tom Petty and the Heartbreakers and Elvis Costello’s Attractions; Mutual Admiration Society with Nickel Creek; Remote Tree Children, an experimental project with John Askew and Plover, with Neilson Hubbard and Garrison Starr.

His acoustic duo tour to support Swallowed by the New starts in October and will continue through the spring of 2017. “I enjoy the spontaneity of acoustic performance, where I can take the show wherever it needs to go and follow the lead of an audience instead of following a set list. There’s more talking, more stories, and more of a loose feel. The subject matter is on the serious side, but I feel like the perspective is ultimately positive. Life is about changes, no matter how we may try and pretend otherwise. This album is all about learning how to face change.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221003T192120Z X-ACCESS:1 X-HITS:1544 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221108T200000 DTEND;TZID=America/Denver:20221108T233000 UID:4311BD41-8C5A-4B66-BAE8-7712530B471B SUMMARY:The Infamous Stringdusters (Night 1!) DTSTAMP:20220621T161650Z DESCRIPTION:After finally being in the same room for the first time in six months, the Infamous Stringdusters seized the moment for their revealing new album, Toward the Fray. Inspired by self-reflection and a strong sense of solidarity, the project documents the Grammy Award-winning group’s remarkable growth as instrumentalists as well as songwriters. Released on their own label, Americana Vibes, the collection also firmly establishes the band’s stature on the modern acoustic music landscape, where they’ve built a solid and enduring fan base among traditional and progressive audiences alike. The five band members – Travis Book (bass), Andy Falco (guitar), Jeremy Garrett (fiddle), Andy Hall (Dobro), and Chris Pandolfi (banjo) -- wrote the songs on Toward the Fray separately, sending simple phone demos to each other during lockdown. Fueled by friendship and a mastery of their instruments, the 13-track collection feels live, but not necessarily loose, due to a synergy that’s developed over the last 16 years of playing sheds, clubs, and festival stages across the country. “With all of our records, we always go into the studio to capture the live energy of our band, so I feel like we were all comfortable just plugging right in and getting started,” Pandolfi says. “All five of us have arrived at this point in our careers where we all produce – we produce our own music and some of us produce for others. We knew we could get it done with all that collective intel and know-how. One of the awesome things about being in this band is that everybody is always working on their instrumental game. When we show up for a new tour or a new album, we all get a chance to dig even a little deeper -- and you can hear that part of it. That's always been part of our mantra.” Toward the Fray begins with a somber perspective in songs like “Hard Line” and “I’m Not Alone,” even as the arrangements tap into the ambitious, enthusiastic musicianship the band is known for. The point of view in “I Didn’t Know” feels especially personal for Garrett. “For me, it was a heavy time, with the pandemic slowing everything down, but what affected me the most was the death of George Floyd,” he says. “I can't say what an impact that had on me personally, being an average American white guy going along through life, not necessarily fully understanding what the other side of the fence was. I took a deep look at myself because of that story. I got inside of my head and wanted to write about it. Several songs on this record come from that vantage point, trying to put more thought into, how can we bridge this gap that has happened? ‘I Didn’t Know’ is about that. I didn’t know we had to pay attention to these things. It was a wake-up call for me.” Continuing the conversation, Book adds, “All five of us took that opportunity for our consciousness to evolve, and we took the responsibility seriously. That’s what I hear when I listen to this record. The songs are very honest and real, but what other option do we have? There’s a responsibility as citizens of this country and as citizens of earth, for all the reasons – ecological and cultural -- to lean in and to turn toward the battle. Everybody brought a lot of conviction with their tunes. Everybody came with a clear idea of what their statement was going to be. I think because of the situation we were all in, a harmonious and collective sound came out of that.” The title track of Toward the Fray finds the narrator making a decision to get involved, rather than just comment on the sidelines. It’s a powerful image – and one that required an attention-grabbing visual. Of the cover art depicting a young girl standing firm among the wreckage, Hall says, “When we decided on the album title, I imagined the fray being a city that was on fire or in turmoil. And in juxtaposition of all that destruction happening, there’s a child. That's what was happening in the world at the time. There were little kids seeing these protests and all this strife. No one is safe from what's going on, as far as experiencing some level of it. One thing that I like about the artwork is that the child has a strength to her, especially the way she’s looking right into the camera. She’s got to wear a gas mask and she looks ready to enter into the fray, like, ‘All right, I’ve got to face this.’” Toward the Fray is also the first Infamous Stringdusters album with drums, with the band deciding that the songs were calling out for it. The band explores other creative directions, too, ranging from the persistent march of “Revolution,” to the comforts of home in “Pearl of Carolina.” Meanwhile, “Spirits Wild” will be relatable to those who can’t help but answer the call of the road. “When Will I Ride Again,” a sequel to “Tragic Life” from their first album, is cinematic but also emblematic of their own questions about picking up where they left off. “How Do You Know” and “Through the Floor” are among the band’s most vulnerable compositions in a catalog of exceptional material. “To me, the theme of Toward the Fray is about dealing with your problems head on, rather than running away from them,” Falco says. “One of the things that I’m really proud of is that this record is true to all of us. It’s a genuine record because it really is about everything that we were all going through. We’re talking about the pandemic and all of the chaos, but we’re talking about love and other things, too. We were able to reflect and dive deep and look inward during all of this. I hope people who hear these songs will feel like they’re not alone. That’s what we always hope that people can relate to in our songs -- that we’re all in it together.” X-ALT-DESC;FMTTYPE=text/html:

After finally being in the same room for the first time in six months, the Infamous Stringdusters seized the moment for their revealing new album, Toward the Fray. Inspired by self-reflection and a strong sense of solidarity, the project documents the Grammy Award-winning group’s remarkable growth as instrumentalists as well as songwriters. Released on their own label, Americana Vibes, the collection also firmly establishes the band’s stature on the modern acoustic music landscape, where they’ve built a solid and enduring fan base among traditional and progressive audiences alike.

The five band members – Travis Book (bass), Andy Falco (guitar), Jeremy Garrett (fiddle), Andy Hall (Dobro), and Chris Pandolfi (banjo) -- wrote the songs on Toward the Fray separately, sending simple phone demos to each other during lockdown. Fueled by friendship and a mastery of their instruments, the 13-track collection feels live, but not necessarily loose, due to a synergy that’s developed over the last 16 years of playing sheds, clubs, and festival stages across the country.

“With all of our records, we always go into the studio to capture the live energy of our band, so I feel like we were all comfortable just plugging right in and getting started,” Pandolfi says. “All five of us have arrived at this point in our careers where we all produce – we produce our own music and some of us produce for others. We knew we could get it done with all that collective intel and know-how. One of the awesome things about being in this band is that everybody is always working on their instrumental game. When we show up for a new tour or a new album, we all get a chance to dig even a little deeper -- and you can hear that part of it. That's always been part of our mantra.”

Toward the Fray begins with a somber perspective in songs like “Hard Line” and “I’m Not Alone,” even as the arrangements tap into the ambitious, enthusiastic musicianship the band is known for. The point of view in “I Didn’t Know” feels especially personal for Garrett.

“For me, it was a heavy time, with the pandemic slowing everything down, but what affected me the most was the death of George Floyd,” he says. “I can't say what an impact that had on me personally, being an average American white guy going along through life, not necessarily fully understanding what the other side of the fence was. I took a deep look at myself because of that story. I got inside of my head and wanted to write about it. Several songs on this record come from that vantage point, trying to put more thought into, how can we bridge this gap that has happened? ‘I Didn’t Know’ is about that. I didn’t know we had to pay attention to these things. It was a wake-up call for me.”

Continuing the conversation, Book adds, “All five of us took that opportunity for our consciousness to evolve, and we took the responsibility seriously. That’s what I hear when I listen to this record. The songs are very honest and real, but what other option do we have? There’s a responsibility as citizens of this country and as citizens of earth, for all the reasons – ecological and cultural -- to lean in and to turn toward the battle. Everybody brought a lot of conviction with their tunes. Everybody came with a clear idea of what their statement was going to be. I think because of the situation we were all in, a harmonious and collective sound came out of that.”

The title track of Toward the Fray finds the narrator making a decision to get involved, rather than just comment on the sidelines. It’s a powerful image – and one that required an attention-grabbing visual. Of the cover art depicting a young girl standing firm among the wreckage, Hall says, “When we decided on the album title, I imagined the fray being a city that was on fire or in turmoil. And in juxtaposition of all that destruction happening, there’s a child. That's what was happening in the world at the time. There were little kids seeing these protests and all this strife. No one is safe from what's going on, as far as experiencing some level of it. One thing that I like about the artwork is that the child has a strength to her, especially the way she’s looking right into the camera. She’s got to wear a gas mask and she looks ready to enter into the fray, like, ‘All right, I’ve got to face this.’”

Toward the Fray is also the first Infamous Stringdusters album with drums, with the band deciding that the songs were calling out for it. The band explores other creative directions, too, ranging from the persistent march of “Revolution,” to the comforts of home in “Pearl of Carolina.” Meanwhile, “Spirits Wild” will be relatable to those who can’t help but answer the call of the road. “When Will I Ride Again,” a sequel to “Tragic Life” from their first album, is cinematic but also emblematic of their own questions about picking up where they left off. “How Do You Know” and “Through the Floor” are among the band’s most vulnerable compositions in a catalog of exceptional material.

“To me, the theme of Toward the Fray is about dealing with your problems head on, rather than running away from them,” Falco says. “One of the things that I’m really proud of is that this record is true to all of us. It’s a genuine record because it really is about everything that we were all going through. We’re talking about the pandemic and all of the chaos, but we’re talking about love and other things, too. We were able to reflect and dive deep and look inward during all of this. I hope people who hear these songs will feel like they’re not alone. That’s what we always hope that people can relate to in our songs -- that we’re all in it together.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221107T210206Z X-ACCESS:1 X-HITS:3629 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221109T200000 DTEND;TZID=America/Denver:20221109T233000 UID:730C6931-DBDD-4CC1-B02D-96DC54C9655E SUMMARY:The Infamous Stringdusters (Night 2!) DTSTAMP:20220621T161637Z DESCRIPTION:After finally being in the same room for the first time in six months, the Infamous Stringdusters seized the moment for their revealing new album, Toward the Fray. Inspired by self-reflection and a strong sense of solidarity, the project documents the Grammy Award-winning group’s remarkable growth as instrumentalists as well as songwriters. Released on their own label, Americana Vibes, the collection also firmly establishes the band’s stature on the modern acoustic music landscape, where they’ve built a solid and enduring fan base among traditional and progressive audiences alike. The five band members – Travis Book (bass), Andy Falco (guitar), Jeremy Garrett (fiddle), Andy Hall (Dobro), and Chris Pandolfi (banjo) -- wrote the songs on Toward the Fray separately, sending simple phone demos to each other during lockdown. Fueled by friendship and a mastery of their instruments, the 13-track collection feels live, but not necessarily loose, due to a synergy that’s developed over the last 16 years of playing sheds, clubs, and festival stages across the country. “With all of our records, we always go into the studio to capture the live energy of our band, so I feel like we were all comfortable just plugging right in and getting started,” Pandolfi says. “All five of us have arrived at this point in our careers where we all produce – we produce our own music and some of us produce for others. We knew we could get it done with all that collective intel and know-how. One of the awesome things about being in this band is that everybody is always working on their instrumental game. When we show up for a new tour or a new album, we all get a chance to dig even a little deeper -- and you can hear that part of it. That's always been part of our mantra.” Toward the Fray begins with a somber perspective in songs like “Hard Line” and “I’m Not Alone,” even as the arrangements tap into the ambitious, enthusiastic musicianship the band is known for. The point of view in “I Didn’t Know” feels especially personal for Garrett. “For me, it was a heavy time, with the pandemic slowing everything down, but what affected me the most was the death of George Floyd,” he says. “I can't say what an impact that had on me personally, being an average American white guy going along through life, not necessarily fully understanding what the other side of the fence was. I took a deep look at myself because of that story. I got inside of my head and wanted to write about it. Several songs on this record come from that vantage point, trying to put more thought into, how can we bridge this gap that has happened? ‘I Didn’t Know’ is about that. I didn’t know we had to pay attention to these things. It was a wake-up call for me.” Continuing the conversation, Book adds, “All five of us took that opportunity for our consciousness to evolve, and we took the responsibility seriously. That’s what I hear when I listen to this record. The songs are very honest and real, but what other option do we have? There’s a responsibility as citizens of this country and as citizens of earth, for all the reasons – ecological and cultural -- to lean in and to turn toward the battle. Everybody brought a lot of conviction with their tunes. Everybody came with a clear idea of what their statement was going to be. I think because of the situation we were all in, a harmonious and collective sound came out of that.” The title track of Toward the Fray finds the narrator making a decision to get involved, rather than just comment on the sidelines. It’s a powerful image – and one that required an attention-grabbing visual. Of the cover art depicting a young girl standing firm among the wreckage, Hall says, “When we decided on the album title, I imagined the fray being a city that was on fire or in turmoil. And in juxtaposition of all that destruction happening, there’s a child. That's what was happening in the world at the time. There were little kids seeing these protests and all this strife. No one is safe from what's going on, as far as experiencing some level of it. One thing that I like about the artwork is that the child has a strength to her, especially the way she’s looking right into the camera. She’s got to wear a gas mask and she looks ready to enter into the fray, like, ‘All right, I’ve got to face this.’” Toward the Fray is also the first Infamous Stringdusters album with drums, with the band deciding that the songs were calling out for it. The band explores other creative directions, too, ranging from the persistent march of “Revolution,” to the comforts of home in “Pearl of Carolina.” Meanwhile, “Spirits Wild” will be relatable to those who can’t help but answer the call of the road. “When Will I Ride Again,” a sequel to “Tragic Life” from their first album, is cinematic but also emblematic of their own questions about picking up where they left off. “How Do You Know” and “Through the Floor” are among the band’s most vulnerable compositions in a catalog of exceptional material. “To me, the theme of Toward the Fray is about dealing with your problems head on, rather than running away from them,” Falco says. “One of the things that I’m really proud of is that this record is true to all of us. It’s a genuine record because it really is about everything that we were all going through. We’re talking about the pandemic and all of the chaos, but we’re talking about love and other things, too. We were able to reflect and dive deep and look inward during all of this. I hope people who hear these songs will feel like they’re not alone. That’s what we always hope that people can relate to in our songs -- that we’re all in it together.” X-ALT-DESC;FMTTYPE=text/html:

After finally being in the same room for the first time in six months, the Infamous Stringdusters seized the moment for their revealing new album, Toward the Fray. Inspired by self-reflection and a strong sense of solidarity, the project documents the Grammy Award-winning group’s remarkable growth as instrumentalists as well as songwriters. Released on their own label, Americana Vibes, the collection also firmly establishes the band’s stature on the modern acoustic music landscape, where they’ve built a solid and enduring fan base among traditional and progressive audiences alike.

The five band members – Travis Book (bass), Andy Falco (guitar), Jeremy Garrett (fiddle), Andy Hall (Dobro), and Chris Pandolfi (banjo) -- wrote the songs on Toward the Fray separately, sending simple phone demos to each other during lockdown. Fueled by friendship and a mastery of their instruments, the 13-track collection feels live, but not necessarily loose, due to a synergy that’s developed over the last 16 years of playing sheds, clubs, and festival stages across the country.

“With all of our records, we always go into the studio to capture the live energy of our band, so I feel like we were all comfortable just plugging right in and getting started,” Pandolfi says. “All five of us have arrived at this point in our careers where we all produce – we produce our own music and some of us produce for others. We knew we could get it done with all that collective intel and know-how. One of the awesome things about being in this band is that everybody is always working on their instrumental game. When we show up for a new tour or a new album, we all get a chance to dig even a little deeper -- and you can hear that part of it. That's always been part of our mantra.”

Toward the Fray begins with a somber perspective in songs like “Hard Line” and “I’m Not Alone,” even as the arrangements tap into the ambitious, enthusiastic musicianship the band is known for. The point of view in “I Didn’t Know” feels especially personal for Garrett.

“For me, it was a heavy time, with the pandemic slowing everything down, but what affected me the most was the death of George Floyd,” he says. “I can't say what an impact that had on me personally, being an average American white guy going along through life, not necessarily fully understanding what the other side of the fence was. I took a deep look at myself because of that story. I got inside of my head and wanted to write about it. Several songs on this record come from that vantage point, trying to put more thought into, how can we bridge this gap that has happened? ‘I Didn’t Know’ is about that. I didn’t know we had to pay attention to these things. It was a wake-up call for me.”

Continuing the conversation, Book adds, “All five of us took that opportunity for our consciousness to evolve, and we took the responsibility seriously. That’s what I hear when I listen to this record. The songs are very honest and real, but what other option do we have? There’s a responsibility as citizens of this country and as citizens of earth, for all the reasons – ecological and cultural -- to lean in and to turn toward the battle. Everybody brought a lot of conviction with their tunes. Everybody came with a clear idea of what their statement was going to be. I think because of the situation we were all in, a harmonious and collective sound came out of that.”

The title track of Toward the Fray finds the narrator making a decision to get involved, rather than just comment on the sidelines. It’s a powerful image – and one that required an attention-grabbing visual. Of the cover art depicting a young girl standing firm among the wreckage, Hall says, “When we decided on the album title, I imagined the fray being a city that was on fire or in turmoil. And in juxtaposition of all that destruction happening, there’s a child. That's what was happening in the world at the time. There were little kids seeing these protests and all this strife. No one is safe from what's going on, as far as experiencing some level of it. One thing that I like about the artwork is that the child has a strength to her, especially the way she’s looking right into the camera. She’s got to wear a gas mask and she looks ready to enter into the fray, like, ‘All right, I’ve got to face this.’”

Toward the Fray is also the first Infamous Stringdusters album with drums, with the band deciding that the songs were calling out for it. The band explores other creative directions, too, ranging from the persistent march of “Revolution,” to the comforts of home in “Pearl of Carolina.” Meanwhile, “Spirits Wild” will be relatable to those who can’t help but answer the call of the road. “When Will I Ride Again,” a sequel to “Tragic Life” from their first album, is cinematic but also emblematic of their own questions about picking up where they left off. “How Do You Know” and “Through the Floor” are among the band’s most vulnerable compositions in a catalog of exceptional material.

“To me, the theme of Toward the Fray is about dealing with your problems head on, rather than running away from them,” Falco says. “One of the things that I’m really proud of is that this record is true to all of us. It’s a genuine record because it really is about everything that we were all going through. We’re talking about the pandemic and all of the chaos, but we’re talking about love and other things, too. We were able to reflect and dive deep and look inward during all of this. I hope people who hear these songs will feel like they’re not alone. That’s what we always hope that people can relate to in our songs -- that we’re all in it together.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221107T210217Z X-ACCESS:1 X-HITS:1543 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221111T210000 DTEND;TZID=America/Denver:20221111T220000 UID:8E0BE026-4328-4E31-A6F3-F9230E2722F3 SUMMARY:Son Little DTSTAMP:20220624T223155Z DESCRIPTION:Son Little, praised by American Songwriter as "one of the best songwriters working today,” conceived his latest album, Like Neptune, in a cabin overlooking the Delaware River in upstate New York. Trading in the existential dread permeating his previous work for unbridled joy and self-acceptance, Son Little transmutes the chronic pain of self-doubt into a beautiful and freeing opus about overcoming generational trauma. Hailed by Afropunk as "a stunning statement of purpose," Like Neptune decorates the altar of the primordial blues and elevating the labor of healing to high art. “I’ve always felt as though I was making music because I had to, something inside compelled me. Fueled me,” Little shared. “This the first time in a long time I’m making music for the pure joy of creating.”\NSon Little and his band, comprised of Little on vocals/guitar, Steve McKie (drums), and DeShawn Alexander (keys/bass), will tour North America for the first time support of Like Neptune through November and December. X-ALT-DESC;FMTTYPE=text/html:

Son Little, praised by American Songwriter as "one of the best songwriters working today,” conceived his latest album, Like Neptune, in a cabin overlooking the Delaware River in upstate New York. Trading in the existential dread permeating his previous work for unbridled joy and self-acceptance, Son Little transmutes the chronic pain of self-doubt into a beautiful and freeing opus about overcoming generational trauma. Hailed by Afropunk as "a stunning statement of purpose," Like Neptune decorates the altar of the primordial blues and elevating the labor of healing to high art. “I’ve always felt as though I was making music because I had to, something inside compelled me. Fueled me,” Little shared. “This the first time in a long time I’m making music for the pure joy of creating.”


Son Little and his band, comprised of Little on vocals/guitar, Steve McKie (drums), and DeShawn Alexander (keys/bass), will tour North America for the first time support of Like Neptune through November and December.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221108T203626Z X-ACCESS:1 X-HITS:1477 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221112T210000 DTEND;TZID=America/Denver:20221112T233000 UID:CF52C3EC-282F-4490-806B-C0473A1870D0 SUMMARY:The Brothers Comatose DTSTAMP:20220819T193112Z DESCRIPTION:Whether traveling to gigs on horseback or by tour bus, Americana mavens The Brothers Comatose forge their own path with raucous West Coast renderings of traditional bluegrass, country and rock ‘n’ roll music. The five-piece string band is anything but a traditional acoustic outfit with their fierce musicianship and rowdy, rock concert-like shows.\NThe Brothers Comatose is comprised of brothers Ben Morrison (guitar, vocals) and Alex Morrison (banjo, vocals), Steve Height (bass, vocals), Philip Brezina (violin), and Greg Fleischut (mandolin). When they’re not headlining The Fillmore for a sold-out show or appearing at Hardly Strictly Bluegrass Festival, the band is out on the road performing across America, Canada, Australia, and hosting their very own music festival, Comatopia, in the Sierra foothills.\NApril of this year is finding the band touring Latvia and Lithuania as cultural ambassadors for American Music Abroad, which is run by the US State Department with the goal of sending American artists all over the world as a cultural exchange program. The band toured China in 2018 under the same program.\NThe remainder of 2019 will see the Brothers Comatose hitting the studio to record on their fifth studio album to be released on AntiFragile Records. X-ALT-DESC;FMTTYPE=text/html:

Whether traveling to gigs on horseback or by tour bus, Americana mavens The Brothers Comatose forge their own path with raucous West Coast renderings of traditional bluegrass, country and rock ‘n’ roll music. The five-piece string band is anything but a traditional acoustic outfit with their fierce musicianship and rowdy, rock concert-like shows.

The Brothers Comatose is comprised of brothers Ben Morrison (guitar, vocals) and Alex Morrison (banjo, vocals), Steve Height (bass, vocals), Philip Brezina (violin), and Greg Fleischut (mandolin). When they’re not headlining The Fillmore for a sold-out show or appearing at Hardly Strictly Bluegrass Festival, the band is out on the road performing across America, Canada, Australia, and hosting their very own music festival, Comatopia, in the Sierra foothills.

April of this year is finding the band touring Latvia and Lithuania as cultural ambassadors for American Music Abroad, which is run by the US State Department with the goal of sending American artists all over the world as a cultural exchange program. The band toured China in 2018 under the same program.

The remainder of 2019 will see the Brothers Comatose hitting the studio to record on their fifth studio album to be released on AntiFragile Records.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221107T210228Z X-ACCESS:1 X-HITS:1790 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221116T200000 DTEND;TZID=America/Denver:20221116T233000 UID:DFC80DA1-9099-4F8C-8FAD-5AB9D56218C5 SUMMARY:Illiterate Light DTSTAMP:20220712T234649Z DESCRIPTION:Illiterate Light has been stretching boundaries and upending expectations with a captivating blend of soaring indie rock, swirling psychedelia, and atmospheric folk that calls to mind everything from Neil Young and My Morning Jacket to Fleet Foxes and Band of Horses. Recorded with producers Adrian Olsen (Foxygen, Natalie Prass) and Vance Powell (Jack White, Kings Of Leon, Chris Stapleton), the record is blissful and ecstatic, with a mix of raw electric guitars, propulsive drums, and shimmering harmonies that showcases the band’s remarkable live setup—Gorman plays guitar with his hands and synth bass with his feet, while his musical partner, Jake Cochran, plays a standup drum kit, which captures the scintillating energy that’s fueled their journey.\NGorman and Cochran first met while attending college in Harrisonburg, VA, where they discovered a shared passion for sustainable living and community building. After graduation, they took over a local organic farm, spending their days tending crops and working farmer’s markets and their nights performing anywhere they could land (or make) a gig. Dubbing themselves the Petrol Free Jubilee Carnival Tour, the pair would often tour the region on their bikes, sometimes joined by as many as two-dozen other cyclists and artists, performing at coffee houses, street corners, rock clubs, and off-the-grid communities.\NHailed as “a perfect addition to your summertime playlist” by NPR, the band honed in on their distinctive sound and identity over years of relentless touring, earning dates along the way with the likes of Shakey Graves, Rayland Baxter, Mt. Joy, Rainbow Kitten Surprise, Futurebirds, and The Head and The Heart in addition to high-profile festival slots at Bonnaroo, Lollapalooza, Newport Folk, and more. X-ALT-DESC;FMTTYPE=text/html:

Illiterate Light has been stretching boundaries and upending expectations with a captivating blend of soaring indie rock, swirling psychedelia, and atmospheric folk that calls to mind everything from Neil Young and My Morning Jacket to Fleet Foxes and Band of Horses. Recorded with producers Adrian Olsen (Foxygen, Natalie Prass) and Vance Powell (Jack White, Kings Of Leon, Chris Stapleton), the record is blissful and ecstatic, with a mix of raw electric guitars, propulsive drums, and shimmering harmonies that showcases the band’s remarkable live setup—Gorman plays guitar with his hands and synth bass with his feet, while his musical partner, Jake Cochran, plays a standup drum kit, which captures the scintillating energy that’s fueled their journey.

Gorman and Cochran first met while attending college in Harrisonburg, VA, where they discovered a shared passion for sustainable living and community building. After graduation, they took over a local organic farm, spending their days tending crops and working farmer’s markets and their nights performing anywhere they could land (or make) a gig. Dubbing themselves the Petrol Free Jubilee Carnival Tour, the pair would often tour the region on their bikes, sometimes joined by as many as two-dozen other cyclists and artists, performing at coffee houses, street corners, rock clubs, and off-the-grid communities.

Hailed as “a perfect addition to your summertime playlist” by NPR, the band honed in on their distinctive sound and identity over years of relentless touring, earning dates along the way with the likes of Shakey Graves, Rayland Baxter, Mt. Joy, Rainbow Kitten Surprise, Futurebirds, and The Head and The Heart in addition to high-profile festival slots at Bonnaroo, Lollapalooza, Newport Folk, and more.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221028T180537Z X-ACCESS:1 X-HITS:1407 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221117T200000 DTEND;TZID=America/Denver:20221117T233000 UID:AC344A02-0312-4F92-87EB-6584199C4A3A SUMMARY:David Wilcox DTSTAMP:20220613T153041Z DESCRIPTION:More than three decades into his career, singer/songwriter David Wilcox continues to push himself, just as he always has. Wilcox, by so many measures, is a quintessential folk singer, telling stories full of heart, humor, and hope, substance, searching, and style. His innate sense of adventure and authenticity is why critics and colleagues, alike, have always praised not just his artistry, but his humanity, as well.\NThat's not by accident; it's very much by design. It's the result of a man giving himself over in gratitude and service to something bigger than himself. “I'm grateful to music,” he says. “I have a life that feels deeply good, but when I started playing music, nothing in my life felt that good. I started to write songs because I wanted to find a way to make my life feel as good as I felt when I heard a great song. I don't think I'd be alive now if it had not been for music.”\NAn early '80s move to Warren Wilson College in North Carolina set his wheels in motion, as he started playing guitar and writing songs, processing his own inner workings and accessing his own inner wisdom. In 1987, within a couple of years of graduating, Wilcox had released his first independent album, The Nightshift Watchman. A year later, he won the prestigious Kerrville Folk Festival New Folk Award and, in 1989, he signed with A&M Records, selling more than 100,000 copies of his A&M debut, How Did You Find Me Here.\NIn the 30 years and more than 20 records since — whether with a major label, an indie company, or his own imprint — Wilcox has continued to hone his craft, pairing thoughtful insights with his warm baritone, open tunings, and deft technique. He's also kept up a brisk and thorough tour itinerary, performing 80 to 100 shows a year throughout the U.S., and regularly deploying his talents by improvising a “Musical Medicine” song for an audience member in need. In recent years he’s taken that process a step further, carefully writing and recording dozens of his “Custom Songs” for long-time fans who seek his help in commemorating and explaining the key milestones in their lives.\NLest anyone think that he's lost his touch, Wilcox pulled no punches on his most recent release, 2018's The View From the Edge. Not only does the song cycle find him delving into mental health, family legacies, spiritual contemplations, and topical concerns, the song “We Make the Way By Walking" also won him the Grand Prize in the 2018 USA Songwriting Contest.\N"I think the coolest thing about this kind of music is that, if you listen to a night's worth of music, you should know that person,” he explains. “If you're hearing a performer sing all these songs, you should know not only where he gets his joy and what he loves, but you should know what pisses him off and what frightens him and what runs him off the rails, what takes him apart and what puts him back together.”\NTo attain that level of revelatory honesty, Wilcox follows a song to its deepest truth, even when it haunts him, a practice which demands the strength of vulnerability that he has sought since his teen years. That honesty is why Rolling Stone has written that his “ongoing musical journey is compelling and richly deserving of a listen.” It's also why Blue Ridge Public Radio has noted that, “The connection people feel with David’s music is also the connection they feel with each other.”\NBut Wilcox's unique brand of storytelling doesn't come easily. And it doesn't come quickly. “I could always think of a lot of possible ways the song could go, but the trick was recognizing truth amidst all the cleverness,” he confesses. “The more time I took, the more my deep heart could speak to me through the process of songwriting. I could gradually craft a song that felt like it was coming from the place I was going. If you decide to trust heart over cleverness, you not only get a song that moves you, you get a song that moves you toward being who you want to be. The time you spend immersed in the emotion of a song changes you. The song shows you the world through a particular point of view. Once you have seen the world that way, you can't un-see it.” X-ALT-DESC;FMTTYPE=text/html:

More than three decades into his career, singer/songwriter David Wilcox continues to push himself, just as he always has. Wilcox, by so many measures, is a quintessential folk singer, telling stories full of heart, humor, and hope, substance, searching, and style. His innate sense of adventure and authenticity is why critics and colleagues, alike, have always praised not just his artistry, but his humanity, as well.

That's not by accident; it's very much by design. It's the result of a man giving himself over in gratitude and service to something bigger than himself. “I'm grateful to music,” he says. “I have a life that feels deeply good, but when I started playing music, nothing in my life felt that good. I started to write songs because I wanted to find a way to make my life feel as good as I felt when I heard a great song. I don't think I'd be alive now if it had not been for music.”

An early '80s move to Warren Wilson College in North Carolina set his wheels in motion, as he started playing guitar and writing songs, processing his own inner workings and accessing his own inner wisdom. In 1987, within a couple of years of graduating, Wilcox had released his first independent album, The Nightshift Watchman. A year later, he won the prestigious Kerrville Folk Festival New Folk Award and, in 1989, he signed with A&M Records, selling more than 100,000 copies of his A&M debut, How Did You Find Me Here.

In the 30 years and more than 20 records since — whether with a major label, an indie company, or his own imprint — Wilcox has continued to hone his craft, pairing thoughtful insights with his warm baritone, open tunings, and deft technique. He's also kept up a brisk and thorough tour itinerary, performing 80 to 100 shows a year throughout the U.S., and regularly deploying his talents by improvising a “Musical Medicine” song for an audience member in need. In recent years he’s taken that process a step further, carefully writing and recording dozens of his “Custom Songs” for long-time fans who seek his help in commemorating and explaining the key milestones in their lives.

Lest anyone think that he's lost his touch, Wilcox pulled no punches on his most recent release, 2018's The View From the Edge. Not only does the song cycle find him delving into mental health, family legacies, spiritual contemplations, and topical concerns, the song “We Make the Way By Walking" also won him the Grand Prize in the 2018 USA Songwriting Contest.

"I think the coolest thing about this kind of music is that, if you listen to a night's worth of music, you should know that person,” he explains. “If you're hearing a performer sing all these songs, you should know not only where he gets his joy and what he loves, but you should know what pisses him off and what frightens him and what runs him off the rails, what takes him apart and what puts him back together.”

To attain that level of revelatory honesty, Wilcox follows a song to its deepest truth, even when it haunts him, a practice which demands the strength of vulnerability that he has sought since his teen years. That honesty is why Rolling Stone has written that his “ongoing musical journey is compelling and richly deserving of a listen.” It's also why Blue Ridge Public Radio has noted that, “The connection people feel with David’s music is also the connection they feel with each other.”

But Wilcox's unique brand of storytelling doesn't come easily. And it doesn't come quickly. “I could always think of a lot of possible ways the song could go, but the trick was recognizing truth amidst all the cleverness,” he confesses. “The more time I took, the more my deep heart could speak to me through the process of songwriting. I could gradually craft a song that felt like it was coming from the place I was going. If you decide to trust heart over cleverness, you not only get a song that moves you, you get a song that moves you toward being who you want to be. The time you spend immersed in the emotion of a song changes you. The song shows you the world through a particular point of view. Once you have seen the world that way, you can't un-see it.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20220617T162357Z X-ACCESS:1 X-HITS:2459 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221118T200000 DTEND;TZID=America/Denver:20221118T233000 UID:280BB13F-A94A-460B-9030-87404664CCE8 SUMMARY:Terrapin Flyer — Night 1! DTSTAMP:20220823T190442Z DESCRIPTION:Terrapin Flyer - Honoring the Legacy of the Grateful Dead\NOne of the very best Grateful Dead bands Terrapin Flyer will be doing 2 special nights on November 18 and 19 at the State Room! For over 20 years the band has been thrilling deadheads with the best in the Grateful Dead family of musicians. Previous tours often actually featured former members of the Grateful Dead and Jerry Garcia Band. Their tours over the last 2 decades with legends such as Melvin Seals, Tom Constanten and Vince Welnick have established them as a national touring force and helped them to be a footnote in Dead history. The Rolling Stone put them in their official Grateful Dead issue for their performances with Grateful Dead keyboardists. If you like the Grateful Dead then you will want to see both of these shows. X-ALT-DESC;FMTTYPE=text/html:

Terrapin Flyer - Honoring the Legacy of the Grateful Dead

One of the very best Grateful Dead bands Terrapin Flyer will be doing 2 special nights on November 18 and 19 at the State Room! For over 20 years the band has been thrilling deadheads with the best in the Grateful Dead family of musicians. Previous tours often actually featured former members of the Grateful Dead and Jerry Garcia Band. Their tours over the last 2 decades with legends such as Melvin Seals, Tom Constanten and Vince Welnick have established them as a national touring force and helped them to be a footnote in Dead history. The Rolling Stone put them in their official Grateful Dead issue for their performances with Grateful Dead keyboardists. If you like the Grateful Dead then you will want to see both of these shows.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221003T192001Z X-ACCESS:1 X-HITS:2056 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221119T200000 DTEND;TZID=America/Denver:20221119T233000 UID:511890C8-1D5B-4FF9-90E0-C5DE58B7976C SUMMARY:Terrapin Flyer — Night 2! DTSTAMP:20220823T221844Z DESCRIPTION:Terrapin Flyer - Honoring the Legacy of the Grateful Dead\NOne of the very best Grateful Dead bands Terrapin Flyer will be doing 2 special nights on November 18 and 19 at the State Room! For over 20 years the band has been thrilling deadheads with the best in the Grateful Dead family of musicians. Previous tours often actually featured former members of the Grateful Dead and Jerry Garcia Band. Their tours over the last 2 decades with legends such as Melvin Seals, Tom Constanten and Vince Welnick have established them as a national touring force and helped them to be a footnote in Dead history. The Rolling Stone put them in their official Grateful Dead issue for their performances with Grateful Dead keyboardists. If you like the Grateful Dead then you will want to see both of these shows. X-ALT-DESC;FMTTYPE=text/html:

Terrapin Flyer - Honoring the Legacy of the Grateful Dead

One of the very best Grateful Dead bands Terrapin Flyer will be doing 2 special nights on November 18 and 19 at the State Room! For over 20 years the band has been thrilling deadheads with the best in the Grateful Dead family of musicians. Previous tours often actually featured former members of the Grateful Dead and Jerry Garcia Band. Their tours over the last 2 decades with legends such as Melvin Seals, Tom Constanten and Vince Welnick have established them as a national touring force and helped them to be a footnote in Dead history. The Rolling Stone put them in their official Grateful Dead issue for their performances with Grateful Dead keyboardists. If you like the Grateful Dead then you will want to see both of these shows.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221003T191950Z X-ACCESS:1 X-HITS:1064 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221206T200000 DTEND;TZID=America/Denver:20221206T233000 UID:17B8F0D8-0DD5-4EAD-B95C-DEA1AC0B3DFE SUMMARY:Courtney Marie Andrews DTSTAMP:20220608T155058Z DESCRIPTION:On the honey shores of Cape Cod in a beach shack, Courtney Marie Andrews found self-love and her voice. Every morning, she’d walk 6-8 miles around the back trails of an island and meditate on her life, perusing old memories and patterns like browsing a used bookshop. That summer of introspection led her to a joyous sense of beginnings and ends. When she let love for herself in, she therein let the outside love in, too—the summer feeling, the swaying cypress, the full moon, and the possibility of healthy love. This phase came only right after one of her darkest, though, where being alone with oneself was the most terrifying thing you could do. After more than a decade on the road, the Phoenix-born songwriter, poet, and painter finally had the space to process all the highs and lows of a life of constants. She was finally ready to make a record of triumph, while not completely forgetting the years that made her. That record is Loose Future. After committing to penning a song a day, Courtney found the sounds of summer flowing through her writing—the romance, and possibility, and the free sounds. Collecting an album’s worth of material, she tied up some loose ends in Bisbee, Arizona, her “soul place” and beckoned Sam Evian to come and produce a record. Her guideposts were lots of harmonies and alternative percussion. The rest was pure exploration. At Flying Cloud Recordings in New York, she dipped in the creek every morning before proceeding. She wanted to embody the feeling of letting love in. Taking the dip is what letting love in feels like. Sometimes you plunge, and sometimes you walk slowly in. This summer feeling materializes on the first single “Satellite” where her shimmering vocals orbit delicate acoustic guitar, a soft beat, and buzzing intergalactic synths. As if bottling rays of July sun, it glows with the affirmation, “I like to see you shine—my favorite piece of the sky.” “I’ve written a lot of love songs, but there’s always a tinge of heartbreak,” she explains. “I wanted to write a love song with no caveats, which I’ve never allowed myself to do. A satellite is so mysterious to the average person. It’s the idea somebody is floating around your mind. You’re not quite sure why, but you like it.” Then, there’s “I’ll Be Thinkin On You.” A bombastic beat echoes as an organ underscores her lovestruck delivery as she rethinks the whole concept of “missing” the one you love. “I fell in love with someone,” she goes on. “Instead of saying, ‘I’ll be missing you,’ we’d say, ‘I’ll be thinking on you’. When you’re ‘thinking on’ somebody, it means this person is on your mind and not absent.”\NThe opener and title track “Loose Future” embodies the core of the album’s message. Her voice rings out through a guitar amp pedal as off-kilter bass lines thump with lush guitar, mirroring the ebb and flow of her constant self-work to reach this point creatively, personally, and spiritually.\N“The future is loose,” she notes. “I’m not in denial of the darkness, but I’m trying to allow self-love and acceptance to grow in my life. I’m not covering up the dark either, because we have to fight it constantly. We can welcome goodness and love into our lives to shine on these pockets of darkness.”\N“Older Now” blossoms like a sunflower in summer, basking in the long days and enjoying a reprieve from a winter that had long outstayed its welcome.\N“I wrote it right after I’d gone on my first date after being single for a long time,” she reveals. “I’m older now and wanted to become a better version of myself. I’m also realizing there are parts of myself that will never change. There are inherent personality traits that feel unchangeable and are imprinted in my DNA. I’m accepting I’m not this textbook version of a person. ‘Older Now’ is a huge representation of the change. I’m ready to not live out familiar patterns of being heartbroken for the sake of being heartbroken.”\NStrings and soft guitar stitch together a moody sonic patchwork for “On The Line” as she asks, “Why do I give you the satisfaction of knowing I still care?” Reaching the physical and spiritual apex of summer romance, stark piano and a smoky beat brush up against her dynamic delivery on the rapturous finale “Me and Jerry,” which breaks down simply as “a song about good sex that transcends the physical realm.” Emblematic of her uncanny ability to draw the otherworldly from simplicity, the ethereal “Let Her Go” dreams of “a person who is so free, autonomous, and wonderfully themselves that everybody falls in love with this person.”\NLoose Future ultimately represents a high watermark of her unbelievable journey thus far. Committing her life to music from a young age, playing in punk bands in high school before becoming a touring member of Jimmy Eat World at just 18 years old, Courtney went on to release a series of acclaimed albums. She garnered her first GRAMMY® Award nomination in the category of “Best Americana Album” for 2020’s Old Flowers. Meanwhile, the record closed out 2020 on year-end lists from Good Morning America, Magnet, and Uncut. The New York Times raved, “Courtney Marie Andrews’s luminous new album, 'Old Flowers,' anatomizes the aftermath of breaking up: loneliness, bittersweet memories, recriminations, regrets, temptations, lessons of experience.” Highlighting “Burlap String,” Rolling Stone claimed, “Driven by acoustic guitar, the song brings to mind classic Bob Dylan and Joni Mitchell, but Andrews’ bell-clear voice and fearless message of introspection are unmistakably her own.” Of the album, Stereogum attested, “up front in all of it is Andrews’ voice, wringing beauty out of pain and self-realization.” Along the way, she also unveiled her debut poetry collection, Old Monarch.\N“When you listen to me, I hope you feel good,” she leaves off. “I spent so much of my career relating to the brokenhearted. There will always be that side of me. With this record, I hope you feel love on multiple levels. It doesn’t have to be romantic; it could just be self-love or hope. I’ve come into the full spectrum of my own creativity and selfhood. I want to keep continuing exploring that forever against the backdrop of summer.” X-ALT-DESC;FMTTYPE=text/html:

On the honey shores of Cape Cod in a beach shack, Courtney Marie Andrews found self-love and her voice. Every morning, she’d walk 6-8 miles around the back trails of an island and meditate on her life, perusing old memories and patterns like browsing a used bookshop. That summer of introspection led her to a joyous sense of beginnings and ends. When she let love for herself in, she therein let the outside love in, too—the summer feeling, the swaying cypress, the full moon, and the possibility of healthy love. This phase came only right after one of her darkest, though, where being alone with oneself was the most terrifying thing you could do. After more than a decade on the road, the Phoenix-born songwriter, poet, and painter finally had the space to process all the highs and lows of a life of constants. She was finally ready to make a record of triumph, while not completely forgetting the years that made her.

That record is Loose Future.

After committing to penning a song a day, Courtney found the sounds of summer flowing through her writing—the romance, and possibility, and the free sounds. Collecting an album’s worth of material, she tied up some loose ends in Bisbee, Arizona, her “soul place” and beckoned Sam Evian to come and produce a record. Her guideposts were lots of harmonies and alternative percussion. The rest was pure exploration. At Flying Cloud Recordings in New York, she dipped in the creek every morning before proceeding. She wanted to embody the feeling of letting love in. Taking the dip is what letting love in feels like. Sometimes you plunge, and sometimes you walk slowly in.

This summer feeling materializes on the first single “Satellite” where her shimmering vocals orbit delicate acoustic guitar, a soft beat, and buzzing intergalactic synths. As if bottling rays of July sun, it glows with the affirmation, “I like to see you shine—my favorite piece of the sky.”

“I’ve written a lot of love songs, but there’s always a tinge of heartbreak,” she explains. “I wanted to write a love song with no caveats, which I’ve never allowed myself to do. A satellite is so mysterious to the average person. It’s the idea somebody is floating around your mind. You’re not quite sure why, but you like it.”

Then, there’s “I’ll Be Thinkin On You.” A bombastic beat echoes as an organ underscores her lovestruck delivery as she rethinks the whole concept of “missing” the one you love. “I fell in love with someone,” she goes on. “Instead of saying, ‘I’ll be missing you,’ we’d say, ‘I’ll be thinking on you’. When you’re ‘thinking on’ somebody, it means this person is on your mind and not absent.”

The opener and title track “Loose Future” embodies the core of the album’s message. Her voice rings out through a guitar amp pedal as off-kilter bass lines thump with lush guitar, mirroring the ebb and flow of her constant self-work to reach this point creatively, personally, and spiritually.

“The future is loose,” she notes. “I’m not in denial of the darkness, but I’m trying to allow self-love and acceptance to grow in my life. I’m not covering up the dark either, because we have to fight it constantly. We can welcome goodness and love into our lives to shine on these pockets of darkness.”

“Older Now” blossoms like a sunflower in summer, basking in the long days and enjoying a reprieve from a winter that had long outstayed its welcome.

“I wrote it right after I’d gone on my first date after being single for a long time,” she reveals. “I’m older now and wanted to become a better version of myself. I’m also realizing there are parts of myself that will never change. There are inherent personality traits that feel unchangeable and are imprinted in my DNA. I’m accepting I’m not this textbook version of a person. ‘Older Now’ is a huge representation of the change. I’m ready to not live out familiar patterns of being heartbroken for the sake of being heartbroken.”

Strings and soft guitar stitch together a moody sonic patchwork for “On The Line” as she asks, “Why do I give you the satisfaction of knowing I still care?” Reaching the physical and spiritual apex of summer romance, stark piano and a smoky beat brush up against her dynamic delivery on the rapturous finale “Me and Jerry,” which breaks down simply as “a song about good sex that transcends the physical realm.” Emblematic of her uncanny ability to draw the otherworldly from simplicity, the ethereal “Let Her Go” dreams of “a person who is so free, autonomous, and wonderfully themselves that everybody falls in love with this person.”

Loose Future ultimately represents a high watermark of her unbelievable journey thus far. Committing her life to music from a young age, playing in punk bands in high school before becoming a touring member of Jimmy Eat World at just 18 years old, Courtney went on to release a series of acclaimed albums. She garnered her first GRAMMY® Award nomination in the category of “Best Americana Album” for 2020’s Old Flowers. Meanwhile, the record closed out 2020 on year-end lists from Good Morning America, Magnet, and Uncut. The New York Times raved, “Courtney Marie Andrews’s luminous new album, 'Old Flowers,' anatomizes the aftermath of breaking up: loneliness, bittersweet memories, recriminations, regrets, temptations, lessons of experience.” Highlighting “Burlap String,” Rolling Stone claimed, “Driven by acoustic guitar, the song brings to mind classic Bob Dylan and Joni Mitchell, but Andrews’ bell-clear voice and fearless message of introspection are unmistakably her own.” Of the album, Stereogum attested, “up front in all of it is Andrews’ voice, wringing beauty out of pain and self-realization.” Along the way, she also unveiled her debut poetry collection, Old Monarch.

“When you listen to me, I hope you feel good,” she leaves off. “I spent so much of my career relating to the brokenhearted. There will always be that side of me. With this record, I hope you feel love on multiple levels. It doesn’t have to be romantic; it could just be self-love or hope. I’ve come into the full spectrum of my own creativity and selfhood. I want to keep continuing exploring that forever against the backdrop of summer.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221205T205706Z X-ACCESS:1 X-HITS:1778 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221211T200000 DTEND;TZID=America/Denver:20221211T233000 UID:3AF8CDDD-65D5-45DB-9A58-9BF0EE58931F SUMMARY:Fruition DTSTAMP:20220920T200249Z DESCRIPTION:Fruition’s newest album, Broken at the Break of Day, shines a light on all five members of the band, whether it’s on the traded lead vocals of “Dawn” or the irresistible rhythms of “Where Can I Turn.” As it’s been for more than a decade, their sound is hard to define, but the songwriting and the harmonies tie their diverse influences together.\NFor example, “Counting the Days” is a poignant love letter, while “For You” shows the exasperation of maintaining a relationship on the road. The band’s most electrifying rock moment, “Do What You Want,” is then followed by “Nothing More Than Spinning,” which sounds like a folk song interpreted by Queen. The stunning vocal blend heard in “At the End of the Day” brings Broken at the Break of Day to its beautiful and touching conclusion.\NAlthough it’s a challenge to categorize, the seven-song album feels whole because of the band’s dedication to honesty as well as harmony. The Portland, Oregon-based band is composed of Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Tyler Thompson (drums). Broken at the Break of Day, recorded in Thompson’s basement in between tour dates, follows the band’s exceptional 2019 album, Wild as the Night.\N“This process was the quickest the band had ever wrote and recorded the songs,” Thompson says. “All the songs obviously fit either a ‘day’ or ‘night’ theme, but the whole rehearsing and recording process had to be done in about half the amount of time we were used to. That time limitation leant us to not over think things, play instinctually and all live in the studio with very minimal overdubs. All the songs are very different, but I think the speedy process naturally created some sonic congruency.”\NThe prolific band will release Wild as the Night and Broken at the Break of Day together on vinyl as well, giving listeners the option to hear the music as a collective body of work in a playlist-focused era.\N“From a visibility standpoint, being able to release more music more often (even if it is in smaller doses) is ideal in the new frontier of digital music that we have found ourselves smack dab in the middle of,” Asebroek says. “It's nice to be able to stay on people's radar, in an age where people have instant access to the whole of music history at their fingertips. It’s also nice to put these out together on vinyl as a nod to the way things once were”\NWith a renewed focus on harnessing the energy of the live experience, Wild as the Night and Broken at the Break of Day allow listeners to get a glimpse of all five band members doing what they do best on stage, whether they’re opening for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, or playing at festivals like Telluride Bluegrass, Bonnaroo, and DelFest.\NTheir unmistakable vocal blend first revealed itself in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Drawing on their string-band influences early on, they released their debut album Hawthorne Hoedown that same year. Thompson joined the band in 2011, shortly after hearing the band members singing together in a friend’s attic. Leonard came on board in 2015. Broken at the Break of Day is the band’s tenth release, including EPs and LPs.\N“We pushed ourselves like never before. But in the end it all turned out great,” Anderson says about the sessions for Broken at the Break of Day. “It was a bit more of a hectic process to get things done and recorded. I can’t believe it sounds so good, when we did it all so fast.” X-ALT-DESC;FMTTYPE=text/html:

Fruition’s newest album, Broken at the Break of Day, shines a light on all five members of the band, whether it’s on the traded lead vocals of “Dawn” or the irresistible rhythms of “Where Can I Turn.” As it’s been for more than a decade, their sound is hard to define, but the songwriting and the harmonies tie their diverse influences together.

For example, “Counting the Days” is a poignant love letter, while “For You” shows the exasperation of maintaining a relationship on the road. The band’s most electrifying rock moment, “Do What You Want,” is then followed by “Nothing More Than Spinning,” which sounds like a folk song interpreted by Queen. The stunning vocal blend heard in “At the End of the Day” brings Broken at the Break of Day to its beautiful and touching conclusion.

Although it’s a challenge to categorize, the seven-song album feels whole because of the band’s dedication to honesty as well as harmony. The Portland, Oregon-based band is composed of Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Tyler Thompson (drums). Broken at the Break of Day, recorded in Thompson’s basement in between tour dates, follows the band’s exceptional 2019 album, Wild as the Night.

“This process was the quickest the band had ever wrote and recorded the songs,” Thompson says. “All the songs obviously fit either a ‘day’ or ‘night’ theme, but the whole rehearsing and recording process had to be done in about half the amount of time we were used to. That time limitation leant us to not over think things, play instinctually and all live in the studio with very minimal overdubs. All the songs are very different, but I think the speedy process naturally created some sonic congruency.”

The prolific band will release Wild as the Night and Broken at the Break of Day together on vinyl as well, giving listeners the option to hear the music as a collective body of work in a playlist-focused era.

“From a visibility standpoint, being able to release more music more often (even if it is in smaller doses) is ideal in the new frontier of digital music that we have found ourselves smack dab in the middle of,” Asebroek says. “It's nice to be able to stay on people's radar, in an age where people have instant access to the whole of music history at their fingertips. It’s also nice to put these out together on vinyl as a nod to the way things once were”

With a renewed focus on harnessing the energy of the live experience, Wild as the Night and Broken at the Break of Day allow listeners to get a glimpse of all five band members doing what they do best on stage, whether they’re opening for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, or playing at festivals like Telluride Bluegrass, Bonnaroo, and DelFest.

Their unmistakable vocal blend first revealed itself in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Drawing on their string-band influences early on, they released their debut album Hawthorne Hoedown that same year. Thompson joined the band in 2011, shortly after hearing the band members singing together in a friend’s attic. Leonard came on board in 2015. Broken at the Break of Day is the band’s tenth release, including EPs and LPs.

“We pushed ourselves like never before. But in the end it all turned out great,” Anderson says about the sessions for Broken at the Break of Day. “It was a bit more of a hectic process to get things done and recorded. I can’t believe it sounds so good, when we did it all so fast.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221003T193009Z X-ACCESS:1 X-HITS:1771 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221213T200000 DTEND;TZID=America/Denver:20221213T233000 UID:68D3CA8E-FDE8-4107-A937-0C4632D0A63F SUMMARY:JOHNNYSWIM DTSTAMP:20220913T002729Z DESCRIPTION:Much like families, bands go through it all together. As a unit, they face life’s ups, downs, highs, lows, trials, tribulations, tragedies, triumphs, and everything in between. They change, learn, and grow as one. However, Los Angeles band JOHNNYSWIM doesn’t just seem like a family; it is a family. At the core, husband-and-wife—Abner Ramirez and Amanda Sudano—translate the memories, moments, and milestones on their journey into spirited, slick, and soulful anthems steeped in singer-songwriter tradition, yet amplified by alternative experimentation, rock energy, and pop ambition.\NThe music moves as the couple’s life does, scrapbooking unforgettable experiences in melody like an eternal keepsake of their relationship.\N“The music is the backdrop on which our life gets painted,” affirms Abner. “We’re not just writing partners; we’re partners. There’s no balance between work and romance. It’s all a gumbo. Our first excuse to date and hang out was writing together. We say things better in song than we discuss them in person. We’ve seen terrible things, brilliant things, and beautiful things as a couple. The albums and performances become the canvas that loss, gain, romance, and love are subconsciously painted—unbeknownst to us, honestly.”\N“I add intimacy, and he adds fire,” exclaims Amanda. “It’s important to have both. That’s really the balance of what JOHNNYSWIM is.”\NLike any lasting relationship (whether musical or romantic), that balance didn’t crystallize overnight either...\NAs the story goes, Abner felt love-at-first sight upon seeing Amanda. Immediately, he thought, “That’s the girl I’m going to marry.” The only problem was he declared it aloud in front of his date (who promptly became his last ex). To add insult to injury, Amanda shrugged him off with an eye-roll as well. Four years passed until their paths crossed again at a 2005 Nashville writing session. The relationship experienced its makeups and breakups before they married in 2009—a year removed from the arrival of their self-titled debut EP, JOHNNYSWIM.\NBuilding a fanbase through constant touring, 2013’s Heart Beats EP spawned “Don’t Let It Get You Down,” which clocked 17 million-plus Spotify streams. Their first full-length, Diamonds, arrived in 2014 as its single “Home” famously became the theme to HGTV hit Fixer Upper. The 2016 follow-up Georgica Pond yielded another fan favorite “First Try” as the duo sold out dates around the world. Along the way, they garnered acclaim from Rolling Stone, NPR, The New York Times, Huffington Post, Nylon, Du Jour, and VH1 in addition to performing on The Today Show, CONAN, and more.\NIn early 2017, JOHNNYSWIM commenced work on ideas for what would become their 2019 third full-length, Moonlight [Britannia Row Recordings/BMG]. Amidst a series of professional changes and Amanda’s pregnancy with their second child, they kick-started the next chapter.\N“All of the signs pointed towards brand new beginnings and brand new starts,” Abner admits. “With all of those feelings, there was anticipation in the air for something fresh. I had produced everything up until this point. We wanted to engage a producer who could free us up to experiment. It all began by anticipating something new. In an unforeseen way, that new thing was working with Malay.”\NOver the course of the next year, they wrote and recorded with GRAMMY® Award-winning producer and songwriter Malay [Frank Ocean, Sam Smith]. The musicians went from writing in the producer’s Brooklyn apartment (where he cooked them a delicious tomahawk steak during their first session) to his new Britannia Row Recordings studio in Hollywood. After recording in home studios throughout their career, the new setting offered the same intimacy as well as a breath of fresh air.\N“I was pregnant when we started, and Luna was born in the middle of the process—which was a first for us,” recalls Amanda. “It was a really welcoming environment though. We were all so comfortable. Malay made it so we could just focus on the songs, while he handled recording. We’d build the structures, and he’d put this magic around them like our fairy godfather,” she laughs.\NThat magic carries through all twelve tracks. Opener “Bridges” hinges on echoing guitar and a steady beat as Amanda and Abner belt out the incendiary chant, “Let’s burn the bridges down. Light ‘em up. Don’t turn it around. No escape through the ashes now.”\N“It felt representative of the album and these days of our life together,” explains Abner. “I don’t know what’s ahead of us, but I’m know I’m willing to burn down everything that’s behind us. That’s what marriage is. That’s what family is. That’s committing yourself. When you commit to raising your kids, you burn the bridges to your past self. You’re a new person. We’re not going backwards. I’m willing to risk everything for what’s ahead of us. It’s our anthem.”\NElsewhere, a stomping groove and delicately plucked acoustic guitar underscore a charismatic and confident send-off on “Say What You Will.”\N“I wouldn’t say anything to my eighteen-year-old self, but I’d say something to those around him who disregarded and downplayed this dream,” Abner sighs. “A lot of people are unwilling to take chances. So, they project their fears on you and tell you to stop taking chances. They have to justify the reasons they haven’t pursued their dreams or chased a passion. I’d say, ‘Do what you need to do, but we’re going to be just fine’.”\NThen, there’s “The Last Time” [feat. Michael McDonald]. Resounding piano keys, lithe guitar, and handclaps resound as Amanda, Abner, and the legendary Michael McDonald lock into an unshakable call-and-response recorded seaside in Santa Barbara.\N“It was surreal,” smiles Amanda. “Michael’s voice is just unbelievable. To record with him was amazing.”\N“Lyrically, it’s our story,” says Abner. “The moment I saw Amanda for the first time was the last time I dated anybody else. It’s a special one.”\NThe album illuminates the expanse of JOHNNYSWIM’s musical palette. “Marietta” gallops from a jazz-y intro into theatrical delivery about Abner leaving his hometown. The finale “Same Old Thing” examines the fragility of marriage and frayed bonds as the lyrics tackle divorces among the pair’s friends over listless guitar.\N“I love putting it last, because it’s a reminder this album isn’t about the sweetness of love,” Abner says. “It’s about the reality of love.”\N“There’s a theme to Moonlight,” Amanda elaborates. “It’s love, but not the ideal or romance of love. It’s all of the things that actually come with loving someone and caring about someone who’s not perfect. There’s tragedy in it. There’s frustration in it. There’s joy in it. That’s Moonlight.”\NIn the end, JOHNNYSWIM emerge stronger than ever together as a family and a band on Moonlight.\N“I’d love for people to hear Moonlight and feel known, seen, and unashamed regardless of where they’re at on the spectrum of romance—whether it’s first fast love, making babies, or in the middle of a dream that’s falling apart,” Abner leaves off. “I want them to feel like we’re speaking for them no matter what.”\N“You can listen to a record and walk away feeling like your spirit is nourished,” Amanda concludes. “That’s what I want. I hope it marks a time for you and your family, where you can associate these songs with those special moments.” X-ALT-DESC;FMTTYPE=text/html:

Much like families, bands go through it all together. As a unit, they face life’s ups, downs, highs, lows, trials, tribulations, tragedies, triumphs, and everything in between. They change, learn, and grow as one. However, Los Angeles band JOHNNYSWIM doesn’t just seem like a family; it is a family. At the core, husband-and-wife—Abner Ramirez and Amanda Sudano—translate the memories, moments, and milestones on their journey into spirited, slick, and soulful anthems steeped in singer-songwriter tradition, yet amplified by alternative experimentation, rock energy, and pop ambition.

The music moves as the couple’s life does, scrapbooking unforgettable experiences in melody like an eternal keepsake of their relationship.

“The music is the backdrop on which our life gets painted,” affirms Abner. “We’re not just writing partners; we’re partners. There’s no balance between work and romance. It’s all a gumbo. Our first excuse to date and hang out was writing together. We say things better in song than we discuss them in person. We’ve seen terrible things, brilliant things, and beautiful things as a couple. The albums and performances become the canvas that loss, gain, romance, and love are subconsciously painted—unbeknownst to us, honestly.”

“I add intimacy, and he adds fire,” exclaims Amanda. “It’s important to have both. That’s really the balance of what JOHNNYSWIM is.”

Like any lasting relationship (whether musical or romantic), that balance didn’t crystallize overnight either...

As the story goes, Abner felt love-at-first sight upon seeing Amanda. Immediately, he thought, “That’s the girl I’m going to marry.” The only problem was he declared it aloud in front of his date (who promptly became his last ex). To add insult to injury, Amanda shrugged him off with an eye-roll as well. Four years passed until their paths crossed again at a 2005 Nashville writing session. The relationship experienced its makeups and breakups before they married in 2009—a year removed from the arrival of their self-titled debut EP, JOHNNYSWIM.

Building a fanbase through constant touring, 2013’s Heart Beats EP spawned “Don’t Let It Get You Down,” which clocked 17 million-plus Spotify streams. Their first full-length, Diamonds, arrived in 2014 as its single “Home” famously became the theme to HGTV hit Fixer Upper. The 2016 follow-up Georgica Pond yielded another fan favorite “First Try” as the duo sold out dates around the world. Along the way, they garnered acclaim from Rolling Stone, NPR, The New York Times, Huffington Post, Nylon, Du Jour, and VH1 in addition to performing on The Today Show, CONAN, and more.

In early 2017, JOHNNYSWIM commenced work on ideas for what would become their 2019 third full-length, Moonlight [Britannia Row Recordings/BMG]. Amidst a series of professional changes and Amanda’s pregnancy with their second child, they kick-started the next chapter.

“All of the signs pointed towards brand new beginnings and brand new starts,” Abner admits. “With all of those feelings, there was anticipation in the air for something fresh. I had produced everything up until this point. We wanted to engage a producer who could free us up to experiment. It all began by anticipating something new. In an unforeseen way, that new thing was working with Malay.”

Over the course of the next year, they wrote and recorded with GRAMMY® Award-winning producer and songwriter Malay [Frank Ocean, Sam Smith]. The musicians went from writing in the producer’s Brooklyn apartment (where he cooked them a delicious tomahawk steak during their first session) to his new Britannia Row Recordings studio in Hollywood. After recording in home studios throughout their career, the new setting offered the same intimacy as well as a breath of fresh air.

“I was pregnant when we started, and Luna was born in the middle of the process—which was a first for us,” recalls Amanda. “It was a really welcoming environment though. We were all so comfortable. Malay made it so we could just focus on the songs, while he handled recording. We’d build the structures, and he’d put this magic around them like our fairy godfather,” she laughs.

That magic carries through all twelve tracks. Opener “Bridges” hinges on echoing guitar and a steady beat as Amanda and Abner belt out the incendiary chant, “Let’s burn the bridges down. Light ‘em up. Don’t turn it around. No escape through the ashes now.”

“It felt representative of the album and these days of our life together,” explains Abner. “I don’t know what’s ahead of us, but I’m know I’m willing to burn down everything that’s behind us. That’s what marriage is. That’s what family is. That’s committing yourself. When you commit to raising your kids, you burn the bridges to your past self. You’re a new person. We’re not going backwards. I’m willing to risk everything for what’s ahead of us. It’s our anthem.”

Elsewhere, a stomping groove and delicately plucked acoustic guitar underscore a charismatic and confident send-off on “Say What You Will.”

“I wouldn’t say anything to my eighteen-year-old self, but I’d say something to those around him who disregarded and downplayed this dream,” Abner sighs. “A lot of people are unwilling to take chances. So, they project their fears on you and tell you to stop taking chances. They have to justify the reasons they haven’t pursued their dreams or chased a passion. I’d say, ‘Do what you need to do, but we’re going to be just fine’.”

Then, there’s “The Last Time” [feat. Michael McDonald]. Resounding piano keys, lithe guitar, and handclaps resound as Amanda, Abner, and the legendary Michael McDonald lock into an unshakable call-and-response recorded seaside in Santa Barbara.

“It was surreal,” smiles Amanda. “Michael’s voice is just unbelievable. To record with him was amazing.”

“Lyrically, it’s our story,” says Abner. “The moment I saw Amanda for the first time was the last time I dated anybody else. It’s a special one.”

The album illuminates the expanse of JOHNNYSWIM’s musical palette. “Marietta” gallops from a jazz-y intro into theatrical delivery about Abner leaving his hometown. The finale “Same Old Thing” examines the fragility of marriage and frayed bonds as the lyrics tackle divorces among the pair’s friends over listless guitar.

“I love putting it last, because it’s a reminder this album isn’t about the sweetness of love,” Abner says. “It’s about the reality of love.”

“There’s a theme to Moonlight,” Amanda elaborates. “It’s love, but not the ideal or romance of love. It’s all of the things that actually come with loving someone and caring about someone who’s not perfect. There’s tragedy in it. There’s frustration in it. There’s joy in it. That’s Moonlight.”

In the end, JOHNNYSWIM emerge stronger than ever together as a family and a band on Moonlight.

“I’d love for people to hear Moonlight and feel known, seen, and unashamed regardless of where they’re at on the spectrum of romance—whether it’s first fast love, making babies, or in the middle of a dream that’s falling apart,” Abner leaves off. “I want them to feel like we’re speaking for them no matter what.”

“You can listen to a record and walk away feeling like your spirit is nourished,” Amanda concludes. “That’s what I want. I hope it marks a time for you and your family, where you can associate these songs with those special moments.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221129T214926Z X-ACCESS:1 X-HITS:1690 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221216T210000 DTEND;TZID=America/Denver:20221216T233000 UID:043E5222-4064-427B-A8BB-E01EB782B261 SUMMARY:Jerry Joseph DTSTAMP:20221012T194103Z DESCRIPTION:Jerry Joseph is a musician who lives in Portland Oregon, but he’s often gone. He’s been inducted into the Oregon Music Hall of Fame but is still rather obscure to a lot of people. He plays well over 150 shows a year in the usual places. Across America. Sometimes in Europe, Mexico, and Central America. Then there’s these other places he plays—Lebanon, Israel, Kurdish Iraq, India, and Afghanistan. All over the Middle East, often in war zones and refugee camps.\NIn addition to his touring, Jerry has set up a non-profit called Nomad Music Foundation that acts as a sort of School of Rock for displaced teenagers in areas of conflict. So far, he has taken guitars and taught lessons in camps in Kabul, Afghanistan, and Sulaymaniyah and Dahuk, both in Kurdish Iraq. These life-changing missions have been written up in Rolling Stone, Relix, and PBS News Hour.\NOh yeah, and he’s really fucking great.\NA triple threat—someone who works at the highest levels as a songwriter, singer, and player. Jason Isbell, who kinda personifies such, recently tweeted about triple threats and listed Jerry Joseph (along with Richard Thompson and St. Vincent) among the greatest examples of that phenomenon.\NMost likely, if you know who Jerry is, you agree, but there’s also a big chance that you don’t. His talent, drive, work ethic, amazing body of work, and flat out badass-ness make him one of the most underrated and tragically overlooked artists alive today. He deserves better, and I’m hoping to help shine a light on who and what Jerry Joseph is and why you should listen to what he’s doing and saying.\NFirst off, there’s the body of work. Jerry Joseph has been playing shows and making records since the 80s, first in a band called Little Women that at one point looked destined to be huge, but this is a crazy business and sometimes things just don’t go as planned. By the 90s Jerry was struggling with addiction while also creating the beginnings of a vast body of work as a solo artist and burning up the road backed by a mighty band called The Jackmormons. They built a considerable following in the great Northwest. Many of Jerry’s songs were recorded by the band Widespread Panic, and there are many people who know of Jerry through that connection. Later, after getting clean, Jerry toured and made some albums as part of Stockholm Syndrome, a sort of supergroup he formed with Panic bassist David Schools, who himself is an incredible musician. Much of Jerry’s following in the so-called jam band circles is through his affiliation with these bands.\NMusical taste is a funny thing. People who are into one or another genre of music often don’t pay much attention to musicians who fall outside of those forms. The age of streaming and the internet have broadened things considerably, but there is still a form of segregation that occurs across various boundaries, often accompanied by derision for stylistic forms outside certain circles. I have spent much of my life rebelling against this way of listening, while sometimes still being as guilty as anyone about this exact thing. I’ve always been drawn to songwriters and the writerly aspects of music, and with some glaring exceptions, there has always been a disconnect between the so-called jam music scene and the so-called singer/songwriter genre. The fact that Jerry is a writer’s writer who has been mostly known in “jammy” circles has always made him somewhat an anomaly.\NI have also always been partial to punk rock, yet there has always been a wall separating punk bands from jam bands, even though Black Flag, The National, Sonic Youth, and many of the legendary punk bands through the years have always proclaimed themselves massive Grateful Dead fans. I know Jerry Joseph to be a die-hard fan of all kinds of music across many genres, and there have been seeds of those many genres in most of his many records. Underneath it all, to me, he’s always been a punk rocker at the core.\NJerry, to me is a cult figure who could, in some alternate reality, have easily been one of the biggest stars in the world. One of the greatest live performers I have ever seen and long one of my favorite songwriters. I can’t hear the chorus of San Acacia without picturing Jerry singing it in front of 100,000 screaming fans, in a soccer stadium in Brazil. In the pouring rain. With everyone singing along. X-ALT-DESC;FMTTYPE=text/html:

Jerry Joseph is a musician who lives in Portland Oregon, but he’s often gone. He’s been inducted into the Oregon Music Hall of Fame but is still rather obscure to a lot of people. He plays well over 150 shows a year in the usual places. Across America. Sometimes in Europe, Mexico, and Central America. Then there’s these other places he plays—Lebanon, Israel, Kurdish Iraq, India, and Afghanistan. All over the Middle East, often in war zones and refugee camps.

In addition to his touring, Jerry has set up a non-profit called Nomad Music Foundation that acts as a sort of School of Rock for displaced teenagers in areas of conflict. So far, he has taken guitars and taught lessons in camps in Kabul, Afghanistan, and Sulaymaniyah and Dahuk, both in Kurdish Iraq. These life-changing missions have been written up in Rolling Stone, Relix, and PBS News Hour.

Oh yeah, and he’s really fucking great.

A triple threat—someone who works at the highest levels as a songwriter, singer, and player. Jason Isbell, who kinda personifies such, recently tweeted about triple threats and listed Jerry Joseph (along with Richard Thompson and St. Vincent) among the greatest examples of that phenomenon.

Most likely, if you know who Jerry is, you agree, but there’s also a big chance that you don’t. His talent, drive, work ethic, amazing body of work, and flat out badass-ness make him one of the most underrated and tragically overlooked artists alive today. He deserves better, and I’m hoping to help shine a light on who and what Jerry Joseph is and why you should listen to what he’s doing and saying.

First off, there’s the body of work. Jerry Joseph has been playing shows and making records since the 80s, first in a band called Little Women that at one point looked destined to be huge, but this is a crazy business and sometimes things just don’t go as planned. By the 90s Jerry was struggling with addiction while also creating the beginnings of a vast body of work as a solo artist and burning up the road backed by a mighty band called The Jackmormons. They built a considerable following in the great Northwest. Many of Jerry’s songs were recorded by the band Widespread Panic, and there are many people who know of Jerry through that connection. Later, after getting clean, Jerry toured and made some albums as part of Stockholm Syndrome, a sort of supergroup he formed with Panic bassist David Schools, who himself is an incredible musician. Much of Jerry’s following in the so-called jam band circles is through his affiliation with these bands.

Musical taste is a funny thing. People who are into one or another genre of music often don’t pay much attention to musicians who fall outside of those forms. The age of streaming and the internet have broadened things considerably, but there is still a form of segregation that occurs across various boundaries, often accompanied by derision for stylistic forms outside certain circles. I have spent much of my life rebelling against this way of listening, while sometimes still being as guilty as anyone about this exact thing. I’ve always been drawn to songwriters and the writerly aspects of music, and with some glaring exceptions, there has always been a disconnect between the so-called jam music scene and the so-called singer/songwriter genre. The fact that Jerry is a writer’s writer who has been mostly known in “jammy” circles has always made him somewhat an anomaly.

I have also always been partial to punk rock, yet there has always been a wall separating punk bands from jam bands, even though Black Flag, The National, Sonic Youth, and many of the legendary punk bands through the years have always proclaimed themselves massive Grateful Dead fans. I know Jerry Joseph to be a die-hard fan of all kinds of music across many genres, and there have been seeds of those many genres in most of his many records. Underneath it all, to me, he’s always been a punk rocker at the core.

Jerry, to me is a cult figure who could, in some alternate reality, have easily been one of the biggest stars in the world. One of the greatest live performers I have ever seen and long one of my favorite songwriters. I can’t hear the chorus of San Acacia without picturing Jerry singing it in front of 100,000 screaming fans, in a soccer stadium in Brazil. In the pouring rain. With everyone singing along.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221101T215611Z X-ACCESS:1 X-HITS:1339 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221217T210000 DTEND;TZID=America/Denver:20221217T233000 UID:AF2271E2-CD1F-4BEA-BAF9-B2BB85724413 SUMMARY:Jim Bone & The Dig DTSTAMP:20221011T164753Z DESCRIPTION:Born in Little Rock, Arkansas (with four years spent in Germany thanks to his dad, an Army doctor), Jim Bone found his way to Salt Lake City where he began ski training for the Winter Olympics. After relocating to the Sierras of Northern California, he found himself immersed in the music and culture of West Coast psychedelic and punk rock. 
 After returning to Salt Lake City, he started Burial Benefits with Eric Platske, Skin N’ Bones with Gary Turnier, and later joined Little Women as a drummer. After touring with Little Women for a while, his daughter was born, after which he found himself as one of the founders of the Jackmormons with fellow songwriter Jerry Joseph of Widespread Panic and the Drive-By Truckers. 
 Despite taking a break to become a social worker, he eventually started Purdymouth with some friends such as Derrek Wright, producing three records together. He currently is working on a brand new studio record in Salt Lake City and continues to perform at bars and venues across Utah. X-ALT-DESC;FMTTYPE=text/html:

Born in Little Rock, Arkansas (with four years spent in Germany thanks to his dad, an Army doctor), Jim Bone found his way to Salt Lake City where he began ski training for the Winter Olympics. After relocating to the Sierras of Northern California, he found himself immersed in the music and culture of West Coast psychedelic and punk rock. 
 After returning to Salt Lake City, he started Burial Benefits with Eric Platske, Skin N’ Bones with Gary Turnier, and later joined Little Women as a drummer. After touring with Little Women for a while, his daughter was born, after which he found himself as one of the founders of the Jackmormons with fellow songwriter Jerry Joseph of Widespread Panic and the Drive-By Truckers. 
 Despite taking a break to become a social worker, he eventually started Purdymouth with some friends such as Derrek Wright, producing three records together. He currently is working on a brand new studio record in Salt Lake City and continues to perform at bars and venues across Utah.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221028T184855Z X-ACCESS:1 X-HITS:1567 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230107T200000 DTEND;TZID=America/Denver:20230107T233000 UID:7F013510-E5A2-4962-A860-CE5B386D8A31 SUMMARY:Harvest Neil Young DTSTAMP:20221025T001339Z DESCRIPTION:Come celebrate the 50th birthday (ok, 51st, but just by a week) of Neil Young’s seminal 1972 folk-rock album, Harvest, played and sung—start to finish, along with a handful of other classic Neil Young songs—by some of the best talent in Utah. An all-star house band made up of members of The Hollering Pines, The Madison Arm, Parlor Hawk, Desert Noises, and The Lower Lights will back a stunning roster of incredible singers: Joshua James, Mindy Gledhill, Ryan Innes, Stuart Maxfield (Fictionist, S2Cool), Daniel Young, Marie Bradshaw (The Hollering Pines), Mia Grace, Joey St John (Cardinal Bloom), Porter Smith (Lantern By Sea), Stephanie Mabey, Julianne Brough, Cory Mon, Dominic Moore, Michael Gross (Whisperhawk, The Statuettes, The Brobecks), Talin Everett, Mick Rudolph (Seaslak), Ryan Tanner, Paul Jacobsen, and more. You’ll hear huge hits from 1972 like Heart of Gold and Old Man as well as songs from the rest of Neil Young’s legendary catalog like Cinnamon Girl, Helpless, and Powderfinger. X-ALT-DESC;FMTTYPE=text/html:

Come celebrate the 50th birthday (ok, 51st, but just by a week) of Neil Young’s seminal 1972 folk-rock album, Harvest, played and sung—start to finish, along with a handful of other classic Neil Young songs—by some of the best talent in Utah. An all-star house band made up of members of The Hollering Pines, The Madison Arm, Parlor Hawk, Desert Noises, and The Lower Lights will back a stunning roster of incredible singers: Joshua James, Mindy Gledhill, Ryan Innes, Stuart Maxfield (Fictionist, S2Cool), Daniel Young, Marie Bradshaw (The Hollering Pines), Mia Grace, Joey St John (Cardinal Bloom), Porter Smith (Lantern By Sea), Stephanie Mabey, Julianne Brough, Cory Mon, Dominic Moore, Michael Gross (Whisperhawk, The Statuettes, The Brobecks), Talin Everett, Mick Rudolph (Seaslak), Ryan Tanner, Paul Jacobsen, and more. You’ll hear huge hits from 1972 like Heart of Gold and Old Man as well as songs from the rest of Neil Young’s legendary catalog like Cinnamon Girl, Helpless, and Powderfinger.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221220T222651Z X-ACCESS:1 X-HITS:5523 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230113T200000 DTEND;TZID=America/Denver:20230113T233000 UID:0980D036-BDE2-47CB-8483-C3FFD89F1716 SUMMARY:Talia Keys & The Love DTSTAMP:20221027T232305Z DESCRIPTION:Talia KeysShe/TheyLessons is the latest album from Talia Keys & the Love, and unveils the kaleidoscopic vision of a motivated, inspired artist. A born-leader and dynamic rocker who aims higher, digs deeper and circles the wagons to manifest the most ambitious work of her career. The guitar-shredding firebrand has fine-tuned her scintillating stew of high-octane blues and soulful R&B grooves, with the squad in tow to show and prove. Lessons finds Ms. Keys leaning into the intestinal strength and resilience inherent in her voice, with more clarity, consciousness, and swagger than ever. Coming out of the creative cocoon of the global pandemic, Keys steps into her power, sharing a selection of her strongest songs to date with a palpable urgency and a veteran band’s streamlined delivery.\NTalia is an activist-musician who has laid a loyal local foundation in Salt Lake City clubs for over a decade, and later made her name on national tours and jam festivals from coast to coast. Keys’ vintage ethos, as well as her trademark fire and brimstone stage presence, are an amalgam of her journey, identity, influences; a new twist on the rock n’ roll troubadour singing songs of struggle and ultimately, triumph. Lessons is a robust sound document that reflects a determined songwriter, principled artist and electrifying frontperson. In various band iterations over the years, Keys has supported an eclectic array of cultural stalwarts across multiple generations, including the Indigo Girls, Lukas Nelson and The Promise of The Real, George Clinton and Parliament Funkadelic, Michael Franti, and Thievery Corporation, among others.\NKeys has been determined in developing a well-oiled band to back her onstage, employing the sturdy sounds of The Love for over five years. The contingent includes jamband veteran Dave Brogan (ALO) on drums, Ryan Conger (Joe McQueen Quartet) on keys, Josh Olsen on bass and Lisa Giacoletto on backing vocals. On 2018’s We’re Here, the crew galvanized while exploring Keys activated tracks. On Lessons, The Love incorporates the Omega Horns on several cuts, giving the compositions some proper pizazz. In 2022, Talia Keys & the Love have coalesced into a collaborative chemistry that propels the compositions further, both in the live setting and the studio alike.\NLike so many soul and blues heroines who’ve paved the roads before her, Keys writes and sings of the tensions that continue to plague our cultural climate, assertively taking a principled, personal stance in song after rebel song. The bandleader boldly captures the conversations we’re currently having as a society. Simultaneously, Talia sees making music as her offering of peace and positivity, intended to redirect our energy away from the constant chaos that seems to surround us daily.\NFirst single “Ain’t Got Time For This” blasted back with a tenacity as potent as it is funky. An uptempo romp that calls out to Motown and Stax with its throwback vibes and assertive groove. Yet lyrically, the tune lives here-in-the-now frontier, addressing the distressing state of our fractured society with her trademark unrepentant attitude and style.\N“Existence is a resistance! Be proud of who you are, you are already making a difference. Persistence is resilience. Be bold. Say no and fight back for your presence” Keys sings on “Each One Teach One”, a rallying cry of perseverance and rage that demonstrates Lessons’ attitude and awareness. The scorching stomp defiantly marches along, a fat-bottom baritone sax bassline strutting all the way to the center of town. With typically-provocative lyrics dotting the entire album, Keys’ biting barbs address in her own space and place as a queer woman in today’s divided America.\NTalia continues to sing for the dignity and spirit of others as well, marginalized people of all kinds, in all places. “Head Up” is a feisty number that gallops with an undeniably uplifting message, emboldened by her spirited vocals, and charged with her patented gritty electricity. Keys wrote this song early in the pandemic, as the skies grew dark and foreboding. Yet instead of delivering more gloom and doom, she reverses course - and the curse - with a bright, punchy, danceable jam rich in brass, bluesy guitar licks, and funky basslines.\NTalia says that “Come Back Down”, with a Brody Izm directed video, is a very personal tune to her. The track was inspired by observing so many friends and peers endlessly grind for an uncertain future, without taking any time to smell the roses and enjoy the present moment.\N“Too many times religions tell you to live a certain way so you can get into heaven. People are living for something unknown, and they forget to actually live, love and exist in the now.”\NThe stunning “Born in The Light" features a breathtaking music video filmed in the desert land of ancestral Puebloan and Ute Tribes. The treatment incorporates the Love and the Omega Horns, and was directed by Melahn Atkinson.\NWritten and produced by Keys herself, the compositions on Lessons were conceived and recorded just prior to the global pandemic, foreshadowing an extremely contentious time in our lives. The subject matter is brimming with ruminations on the politics of our country, patriarchy in the music industry, LGBTQ rights, and recognizing institutionalized racism. Critics might assert that she’s a social justice warrior, but Keys “Ain’t Got Time For That.” It’s a badge of honor that Talia wears with pride, and infuses into her art.\NBecause some things are just worth fighting for, and when it comes to Talia Keys & the Love, music is the weapon. X-ALT-DESC;FMTTYPE=text/html:

Talia Keys
She/They
Lessons is the latest album from Talia Keys & the Love, and unveils the kaleidoscopic vision of a motivated, inspired artist. A born-leader and dynamic rocker who aims higher, digs deeper and circles the wagons to manifest the most ambitious work of her career. The guitar-shredding firebrand has fine-tuned her scintillating stew of high-octane blues and soulful R&B grooves, with the squad in tow to show and prove. Lessons finds Ms. Keys leaning into the intestinal strength and resilience inherent in her voice, with more clarity, consciousness, and swagger than ever. Coming out of the creative cocoon of the global pandemic, Keys steps into her power, sharing a selection of her strongest songs to date with a palpable urgency and a veteran band’s streamlined delivery.

Talia is an activist-musician who has laid a loyal local foundation in Salt Lake City clubs for over a decade, and later made her name on national tours and jam festivals from coast to coast. Keys’ vintage ethos, as well as her trademark fire and brimstone stage presence, are an amalgam of her journey, identity, influences; a new twist on the rock n’ roll troubadour singing songs of struggle and ultimately, triumph. Lessons is a robust sound document that reflects a determined songwriter, principled artist and electrifying frontperson. In various band iterations over the years, Keys has supported an eclectic array of cultural stalwarts across multiple generations, including the Indigo Girls, Lukas Nelson and The Promise of The Real, George Clinton and Parliament Funkadelic, Michael Franti, and Thievery Corporation, among others.

Keys has been determined in developing a well-oiled band to back her onstage, employing the sturdy sounds of The Love for over five years. The contingent includes jamband veteran Dave Brogan (ALO) on drums, Ryan Conger (Joe McQueen Quartet) on keys, Josh Olsen on bass and Lisa Giacoletto on backing vocals. On 2018’s We’re Here, the crew galvanized while exploring Keys activated tracks. On Lessons, The Love incorporates the Omega Horns on several cuts, giving the compositions some proper pizazz. In 2022, Talia Keys & the Love have coalesced into a collaborative chemistry that propels the compositions further, both in the live setting and the studio alike.

Like so many soul and blues heroines who’ve paved the roads before her, Keys writes and sings of the tensions that continue to plague our cultural climate, assertively taking a principled, personal stance in song after rebel song. The bandleader boldly captures the conversations we’re currently having as a society. Simultaneously, Talia sees making music as her offering of peace and positivity, intended to redirect our energy away from the constant chaos that seems to surround us daily.

First single “Ain’t Got Time For This” blasted back with a tenacity as potent as it is funky. An uptempo romp that calls out to Motown and Stax with its throwback vibes and assertive groove. Yet lyrically, the tune lives here-in-the-now frontier, addressing the distressing state of our fractured society with her trademark unrepentant attitude and style.

“Existence is a resistance! Be proud of who you are, you are already making a difference. Persistence is resilience. Be bold. Say no and fight back for your presence” Keys sings on “Each One Teach One”, a rallying cry of perseverance and rage that demonstrates Lessons’ attitude and awareness. The scorching stomp defiantly marches along, a fat-bottom baritone sax bassline strutting all the way to the center of town. With typically-provocative lyrics dotting the entire album, Keys’ biting barbs address in her own space and place as a queer woman in today’s divided America.

Talia continues to sing for the dignity and spirit of others as well, marginalized people of all kinds, in all places. “Head Up” is a feisty number that gallops with an undeniably uplifting message, emboldened by her spirited vocals, and charged with her patented gritty electricity. Keys wrote this song early in the pandemic, as the skies grew dark and foreboding. Yet instead of delivering more gloom and doom, she reverses course - and the curse - with a bright, punchy, danceable jam rich in brass, bluesy guitar licks, and funky basslines.

Talia says that “Come Back Down”, with a Brody Izm directed video, is a very personal tune to her. The track was inspired by observing so many friends and peers endlessly grind for an uncertain future, without taking any time to smell the roses and enjoy the present moment.

“Too many times religions tell you to live a certain way so you can get into heaven. People are living for something unknown, and they forget to actually live, love and exist in the now.”

The stunning “Born in The Light" features a breathtaking music video filmed in the desert land of ancestral Puebloan and Ute Tribes. The treatment incorporates the Love and the Omega Horns, and was directed by Melahn Atkinson.

Written and produced by Keys herself, the compositions on Lessons were conceived and recorded just prior to the global pandemic, foreshadowing an extremely contentious time in our lives. The subject matter is brimming with ruminations on the politics of our country, patriarchy in the music industry, LGBTQ rights, and recognizing institutionalized racism. Critics might assert that she’s a social justice warrior, but Keys “Ain’t Got Time For That.” It’s a badge of honor that Talia wears with pride, and infuses into her art.

Because some things are just worth fighting for, and when it comes to Talia Keys & the Love, music is the weapon.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230109T220758Z X-ACCESS:1 X-HITS:1868 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230114T210000 DTEND;TZID=America/Denver:20230114T233000 UID:9485BF49-7EBD-468D-83D0-7074CC852765 SUMMARY:Mutiny's Tri-Quarterly Shareholders Meeting Vol. 2 DTSTAMP:20230103T232850Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230103T232951Z X-ACCESS:1 X-HITS:669 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230124T190000 DTEND;TZID=America/Denver:20230124T233000 UID:AEF68EBA-64DD-4BFC-A8FD-DED34FB96999 SUMMARY:Dale Watson DTSTAMP:20221130T193012Z DESCRIPTION:Dale Watson, keeper of the true country music flame, latest album Call Me Insane, was recorded in Austin with veteran producer Lloyd Maines (Robert Earl Keen, Jerry Jeff Walker, etc.). The Austin-based honky-tonker carries on in the tradition of Johnny Cash, Waylon Jennings and Willie Nelson with his “Ameripolitan” brand of American roots music.\NAlbum highlights include “Jonesin’ For Jones,” a love song to the music of the legendary George Jones, “A Day At A Time,” about “getting by by barely getting by;” “Call Me Insane,” the album’s moody title track; “Bug Ya For Love,” a fun warning to all the single ladies, and “Mamas Don’t Let Your Cowboys Grow Up To Be Babies.” (Yes, it is an answer song to the Waylon Jennings/Willie Nelson hit.) “Crocodile Tears” is a tear-in-your-beer country song that sounds like an instant classic and “Burden Of The Cross” reveals Watson’s serious side.\NCall Me Insane was recorded in Austin by Watson and his ace touring band, “His Lone Stars”: Don Pawlak (pedal steel), Mike Bernal (drums & percussion), and Chris Crepps (upright bass & background vocals). Dale plays electric guitar throughout and Lloyd Maines added acoustic guitar. They were joined in the studio by Danny Levin on piano and the Honky Tonk Horns: Jon Blondell (trombone), Joey Colarusso (saxophone), and Ricky White (trumpet).\N“Having known Lloyd over 20 years and worked with him as a musician, I knew he was a great guy and picker," Watson says. "But having Lloyd produce your record is like letting your mom in your kitchen. You know you’re gonna like what comes out and it's amazing how such basic ingredients can be made even better. He is an artists' artist.\NThe admiration is mutual. "I've been a Dale Watson fan since I played steel guitar on some of his early records," Maines says of the sessions. "My early musical influences are the same as Dale's. We both grew up playing real country music. Dale is one of a very short list of today's artists who still keeps it real country. I'm honored that he asked me to produce his new record. I think he knew that I would maintain the integrity of his passion for the music."\NDubbed "the silver pompadoured, baritone beltin', Lone Star beer drinkin', honky-tonk hellraiser" by The Austin Chronicle, Watson sat in with Jimmy Kimmel’s house band as a guest on Jimmy Kimmel Live (ABC) from SXSW 2015. He also emceed the first ever SXSW “Ameripolitan” showcase featuring the best of Honky-tonk, Outlaw Country, Rockabilly and Texas Swing music.\NSince the release of El Rancho Azul in 2013, Watson’s profile has risen considerably via appearances on The Late Show with David Letterman (CBS), Austin City Limits and The Sun Sessions(PBS) and as a guest on NPR’s Wait Wait... Don’t Tell Me. A veteran touring artist and consummate entertainer, he is on the road more than 300 days a year. He also put his money where his heart is and took over ownership of two struggling Texas honky-tonks, the Little Longhorn Saloon in Austin (home of Chicken $#!+ Bingo) and The Big T Roadhouse in St. Hedwigs (outside San Antonio). If not on the road, he and His Lone Stars perform at one of them each Sunday.\NDale has flown the flag for classic honky-tonk for over two decades. He’s christened his brand of American roots “Ameripolitan” to differentiate it from current crop of Nashville-based pop country. The Alabama-born, Texas-raised Watson may be the hardest working entertainer today and is rapidly approaching legendary status. He is a country music maverick, a true outlaw who stands alongside Waylon Jennings, Willie Nelson, and George Strait as one of the finest country singers and songwriters from the Lone Star State.\N  X-ALT-DESC;FMTTYPE=text/html:

Dale Watson, keeper of the true country music flame, latest album Call Me Insane, was recorded in Austin with veteran producer Lloyd Maines (Robert Earl Keen, Jerry Jeff Walker, etc.). The Austin-based honky-tonker carries on in the tradition of Johnny Cash, Waylon Jennings and Willie Nelson with his “Ameripolitan” brand of American roots music.

Album highlights include “Jonesin’ For Jones,” a love song to the music of the legendary George Jones, “A Day At A Time,” about “getting by by barely getting by;” “Call Me Insane,” the album’s moody title track; “Bug Ya For Love,” a fun warning to all the single ladies, and “Mamas Don’t Let Your Cowboys Grow Up To Be Babies.” (Yes, it is an answer song to the Waylon Jennings/Willie Nelson hit.) “Crocodile Tears” is a tear-in-your-beer country song that sounds like an instant classic and “Burden Of The Cross” reveals Watson’s serious side.

Call Me Insane was recorded in Austin by Watson and his ace touring band, “His Lone Stars”: Don Pawlak (pedal steel), Mike Bernal (drums & percussion), and Chris Crepps (upright bass & background vocals). Dale plays electric guitar throughout and Lloyd Maines added acoustic guitar. They were joined in the studio by Danny Levin on piano and the Honky Tonk Horns: Jon Blondell (trombone), Joey Colarusso (saxophone), and Ricky White (trumpet).

“Having known Lloyd over 20 years and worked with him as a musician, I knew he was a great guy and picker," Watson says. "But having Lloyd produce your record is like letting your mom in your kitchen. You know you’re gonna like what comes out and it's amazing how such basic ingredients can be made even better. He is an artists' artist.

The admiration is mutual. "I've been a Dale Watson fan since I played steel guitar on some of his early records," Maines says of the sessions. "My early musical influences are the same as Dale's. We both grew up playing real country music. Dale is one of a very short list of today's artists who still keeps it real country. I'm honored that he asked me to produce his new record. I think he knew that I would maintain the integrity of his passion for the music."

Dubbed "the silver pompadoured, baritone beltin', Lone Star beer drinkin', honky-tonk hellraiser" by The Austin Chronicle, Watson sat in with Jimmy Kimmel’s house band as a guest on Jimmy Kimmel Live (ABC) from SXSW 2015. He also emceed the first ever SXSW “Ameripolitan” showcase featuring the best of Honky-tonk, Outlaw Country, Rockabilly and Texas Swing music.

Since the release of El Rancho Azul in 2013, Watson’s profile has risen considerably via appearances on The Late Show with David Letterman (CBS), Austin City Limits and The Sun Sessions(PBS) and as a guest on NPR’s Wait Wait... Don’t Tell Me. A veteran touring artist and consummate entertainer, he is on the road more than 300 days a year. He also put his money where his heart is and took over ownership of two struggling Texas honky-tonks, the Little Longhorn Saloon in Austin (home of Chicken $#!+ Bingo) and The Big T Roadhouse in St. Hedwigs (outside San Antonio). If not on the road, he and His Lone Stars perform at one of them each Sunday.

Dale has flown the flag for classic honky-tonk for over two decades. He’s christened his brand of American roots “Ameripolitan” to differentiate it from current crop of Nashville-based pop country. The Alabama-born, Texas-raised Watson may be the hardest working entertainer today and is rapidly approaching legendary status. He is a country music maverick, a true outlaw who stands alongside Waylon Jennings, Willie Nelson, and George Strait as one of the finest country singers and songwriters from the Lone Star State.

 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230120T180828Z X-ACCESS:1 X-HITS:2018 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230126T190000 DTEND;TZID=America/Denver:20230126T233000 UID:92034B77-D562-488B-89C0-4309E9CED177 SUMMARY:TSR Reggae Nights DTSTAMP:20230105T181707Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230106T200041Z X-ACCESS:1 X-HITS:1409 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230127T200000 DTEND;TZID=America/Denver:20230127T210000 UID:20287E04-325E-4B42-8A02-EA6C31A7E90F SUMMARY:Choir! Choir! Choir! DTSTAMP:20221216T171254Z DESCRIPTION:Mamma Mia! Here we go again... That's right. We are back in a big way this year with a HUGE tribute night to one of the most beloved bands of all time!\NAnd as we all know, there is not much better than belting out some of thegreatest songs ever by one of the greatest bands ever with hundreds of others who love them as well.\NSo, in light of that... C!C!C! presents "Dancing Queen": The ABBA Experience. C!C!C! + ABBA = O!M!G!\NWe can't believe it ourselves.\NSo don’t miss your chance to belt out all of their disco classics; Dancing Queen, Mama Mia, SOS, Take A Chance On Me and more... Just imagine the theatre filled with voices.\NThis night is going to be the funnest ever! We can’t wait to dance. Start brushing up on your ABBA now, so you’ll be ready to dig in! C! u all soon... X-ALT-DESC;FMTTYPE=text/html:

Mamma Mia! Here we go again... That's right. We are back in a big way this year with a HUGE tribute night to one of the most beloved bands of all time!

And as we all know, there is not much better than belting out some of the
greatest songs ever by one of the greatest bands ever with hundreds of others who love them as well.

So, in light of that... C!C!C! presents "Dancing Queen": The ABBA Experience. C!C!C! + ABBA = O!M!G!

We can't believe it ourselves.

So don’t miss your chance to belt out all of their disco classics; Dancing Queen, Mama Mia, SOS, Take A Chance On Me and more... Just imagine the theatre filled with voices.

This night is going to be the funnest ever! We can’t wait to dance. Start brushing up on your ABBA now, so you’ll be ready to dig in! C! u all soon...

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230117T190403Z X-ACCESS:1 X-HITS:1259 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230203T210000 DTEND;TZID=America/Denver:20230203T233000 UID:D4AFE30A-BF7C-48E7-84CC-8ACD486014A4 SUMMARY:11th Annual Bob Marley Birthday Bash DTSTAMP:20230103T125422Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230106T200018Z X-ACCESS:1 X-HITS:2649 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230204T200000 DTEND;TZID=America/Denver:20230204T233000 UID:68E11BCA-2CDF-4297-9EF3-F57337B49902 SUMMARY:John Craigie (Night 1) DTSTAMP:20220919T201728Z DESCRIPTION:Portland, OR-based singer, songwriter, and producer John Craigie adapts moments of solitude into stories perfectly suited for old Americana fiction anthologies. Instead of leaving them on dog-eared pages, he projects them widescreen in flashes of simmering soul and folk eloquence. On his 2022 full-length album, Mermaid Salt, we witness revenge unfurled in flames, watch a landlocked mermaid’s escape, and fall asleep under a meteor shower.\NAfter selling out shows consistently coast-to-coast and earning acclaim from Rolling Stone, Glide Magazine, No Depression, and many more, his unflinching honesty ties these ten tracks together.\NThe album comes from the solitude and loneliness of lockdown in the Northwest. Someone whose life was touring, traveling, and having lots of human interaction is faced with an undefinable amount of time without those things. So, he began writing new songs and envisioning an album that was different from his past records. The sound of everyone playing live in a room together was traded for the sound of song construction with an unknown amount of instruments and musicians—a quiet symphony.\NRather than steal away to a cabin or hole up in a house with friends, Craigie opted to set up shop at the OK Theater in Enterprise, OR with longtime collaborator Bart Budwig behind the board as engineer. A rotating cast of musicians shuffled in and out safely, distinguishing the process from the communal recording of previous releases. The core players included Justin Landis, Cooper Trail, and Nevada Sowle. Meanwhile, Shook Twins lent their signature vocal harmonies, Bevin Foley arranged, composed, and performed strings, and Ben Walden dropped in for guitar and violin plucking parts.\N“Instruments were scattered around the theater and microphones placed in various spots,” he recalls. “It’s hard to say who all played what exactly.”\NAs such, the spirit in the room guided everyone. On “Distance,” warm piano glows alongside a glitchy beat as he softly laments, “I could lose you to the loneliness, vast and infinite.” Then, there’s “Helena.” A jazz-y bass line snakes through head-nodding percussion as he relays an incendiary parable of a mother and son in exile. He croons, “She said fire was how we’d make ‘em pay. As I ran across the fields, she would scream, ‘Light it up son’,” uplifted in a conflagration of Shook Twins’ harmonies. Strings echo in the background as his vocals quake front-and-center on “Street Mermaid.”\NElsewhere, the guitar-laden “Microdose” beguiles and bewitches with an intoxicating refrain dedicated to a time where he “Microdosed for months and months, dissolve my ego in the acid.” Everything culminates on the glassy beat-craft and glistening guitars of “Perseids” where he sings, “There’s always a new heart after the old heart. Maybe a new heart is enough.”\NDuring this period, he explored the environment around him “from the Oregon coasts to the waterfalls” and read books about Levon Helm, Billie Holiday, and Ani DiFranco.\N“I got time to silence all the noise and chaos of touring and look inward,” he observes.\NCraigie had reached a series of watershed moments in tandem with Mermaid Salt. Beyond headlining venues such as The Fillmore and gracing the stage of Red Rocks Amphitheater, his 2020 offering Asterisk The Universe earned unanimous tastemaker applause. Rolling Stone noted, “tracks like ‘Don’t Deny’ and ‘Climb Up’ bridge a Sixties and Seventies songwriter vibe with the laid-back cool of Jack Johnson, an early supporter of Craigie,” while Glide Magazine hailed it as “one of his best records.” Perhaps, No Depression put it best, “For many weary and heavy- listeners hearted, the album might be exactly what they need.” Along the way, he generated over 40 million total streams and counting, speaking to his unassuming impact.\NIn the end, Craigie offers a sense of peace on Mermaid Salt. X-ALT-DESC;FMTTYPE=text/html:

Portland, OR-based singer, songwriter, and producer John Craigie adapts moments of solitude into stories perfectly suited for old Americana fiction anthologies. Instead of leaving them on dog-eared pages, he projects them widescreen in flashes of simmering soul and folk eloquence. On his 2022 full-length album, Mermaid Salt, we witness revenge unfurled in flames, watch a landlocked mermaid’s escape, and fall asleep under a meteor shower.

After selling out shows consistently coast-to-coast and earning acclaim from Rolling Stone, Glide Magazine, No Depression, and many more, his unflinching honesty ties these ten tracks together.

The album comes from the solitude and loneliness of lockdown in the Northwest. Someone whose life was touring, traveling, and having lots of human interaction is faced with an undefinable amount of time without those things. So, he began writing new songs and envisioning an album that was different from his past records. The sound of everyone playing live in a room together was traded for the sound of song construction with an unknown amount of instruments and musicians—a quiet symphony.

Rather than steal away to a cabin or hole up in a house with friends, Craigie opted to set up shop at the OK Theater in Enterprise, OR with longtime collaborator Bart Budwig behind the board as engineer. A rotating cast of musicians shuffled in and out safely, distinguishing the process from the communal recording of previous releases. The core players included Justin Landis, Cooper Trail, and Nevada Sowle. Meanwhile, Shook Twins lent their signature vocal harmonies, Bevin Foley arranged, composed, and performed strings, and Ben Walden dropped in for guitar and violin plucking parts.

“Instruments were scattered around the theater and microphones placed in various spots,” he recalls. “It’s hard to say who all played what exactly.”

As such, the spirit in the room guided everyone. On “Distance,” warm piano glows alongside a glitchy beat as he softly laments, “I could lose you to the loneliness, vast and infinite.” Then, there’s “Helena.” A jazz-y bass line snakes through head-nodding percussion as he relays an incendiary parable of a mother and son in exile. He croons, “She said fire was how we’d make ‘em pay. As I ran across the fields, she would scream, ‘Light it up son’,” uplifted in a conflagration of Shook Twins’ harmonies. Strings echo in the background as his vocals quake front-and-center on “Street Mermaid.”

Elsewhere, the guitar-laden “Microdose” beguiles and bewitches with an intoxicating refrain dedicated to a time where he “Microdosed for months and months, dissolve my ego in the acid.” Everything culminates on the glassy beat-craft and glistening guitars of “Perseids” where he sings, “There’s always a new heart after the old heart. Maybe a new heart is enough.”

During this period, he explored the environment around him “from the Oregon coasts to the waterfalls” and read books about Levon Helm, Billie Holiday, and Ani DiFranco.

“I got time to silence all the noise and chaos of touring and look inward,” he observes.

Craigie had reached a series of watershed moments in tandem with Mermaid Salt. Beyond headlining venues such as The Fillmore and gracing the stage of Red Rocks Amphitheater, his 2020 offering Asterisk The Universe earned unanimous tastemaker applause. Rolling Stone noted, “tracks like ‘Don’t Deny’ and ‘Climb Up’ bridge a Sixties and Seventies songwriter vibe with the laid-back cool of Jack Johnson, an early supporter of Craigie,” while Glide Magazine hailed it as “one of his best records.” Perhaps, No Depression put it best, “For many weary and heavy- listeners hearted, the album might be exactly what they need.” Along the way, he generated over 40 million total streams and counting, speaking to his unassuming impact.

In the end, Craigie offers a sense of peace on Mermaid Salt.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221222T151127Z X-ACCESS:1 X-HITS:2019 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230205T200000 DTEND;TZID=America/Denver:20230205T233000 UID:4E905E96-5CF3-4BD7-BEC6-A1F291AF7196 SUMMARY:John Craigie (Night 2) DTSTAMP:20220919T214847Z DESCRIPTION:Portland, OR-based singer, songwriter, and producer John Craigie adapts moments of solitude into stories perfectly suited for old Americana fiction anthologies. Instead of leaving them on dog-eared pages, he projects them widescreen in flashes of simmering soul and folk eloquence. On his 2022 full-length album, Mermaid Salt, we witness revenge unfurled in flames, watch a landlocked mermaid’s escape, and fall asleep under a meteor shower.\NAfter selling out shows consistently coast-to-coast and earning acclaim from Rolling Stone, Glide Magazine, No Depression, and many more, his unflinching honesty ties these ten tracks together.\NThe album comes from the solitude and loneliness of lockdown in the Northwest. Someone whose life was touring, traveling, and having lots of human interaction is faced with an undefinable amount of time without those things. So, he began writing new songs and envisioning an album that was different from his past records. The sound of everyone playing live in a room together was traded for the sound of song construction with an unknown amount of instruments and musicians—a quiet symphony.\NRather than steal away to a cabin or hole up in a house with friends, Craigie opted to set up shop at the OK Theater in Enterprise, OR with longtime collaborator Bart Budwig behind the board as engineer. A rotating cast of musicians shuffled in and out safely, distinguishing the process from the communal recording of previous releases. The core players included Justin Landis, Cooper Trail, and Nevada Sowle. Meanwhile, Shook Twins lent their signature vocal harmonies, Bevin Foley arranged, composed, and performed strings, and Ben Walden dropped in for guitar and violin plucking parts.\N“Instruments were scattered around the theater and microphones placed in various spots,” he recalls. “It’s hard to say who all played what exactly.”\NAs such, the spirit in the room guided everyone. On “Distance,” warm piano glows alongside a glitchy beat as he softly laments, “I could lose you to the loneliness, vast and infinite.” Then, there’s “Helena.” A jazz-y bass line snakes through head-nodding percussion as he relays an incendiary parable of a mother and son in exile. He croons, “She said fire was how we’d make ‘em pay. As I ran across the fields, she would scream, ‘Light it up son’,” uplifted in a conflagration of Shook Twins’ harmonies. Strings echo in the background as his vocals quake front-and-center on “Street Mermaid.”\NElsewhere, the guitar-laden “Microdose” beguiles and bewitches with an intoxicating refrain dedicated to a time where he “Microdosed for months and months, dissolve my ego in the acid.” Everything culminates on the glassy beat-craft and glistening guitars of “Perseids” where he sings, “There’s always a new heart after the old heart. Maybe a new heart is enough.”\NDuring this period, he explored the environment around him “from the Oregon coasts to the waterfalls” and read books about Levon Helm, Billie Holiday, and Ani DiFranco.\N“I got time to silence all the noise and chaos of touring and look inward,” he observes.\NCraigie had reached a series of watershed moments in tandem with Mermaid Salt. Beyond headlining venues such as The Fillmore and gracing the stage of Red Rocks Amphitheater, his 2020 offering Asterisk The Universe earned unanimous tastemaker applause. Rolling Stone noted, “tracks like ‘Don’t Deny’ and ‘Climb Up’ bridge a Sixties and Seventies songwriter vibe with the laid-back cool of Jack Johnson, an early supporter of Craigie,” while Glide Magazine hailed it as “one of his best records.” Perhaps, No Depression put it best, “For many weary and heavy- listeners hearted, the album might be exactly what they need.” Along the way, he generated over 40 million total streams and counting, speaking to his unassuming impact.\NIn the end, Craigie offers a sense of peace on Mermaid Salt. X-ALT-DESC;FMTTYPE=text/html:

Portland, OR-based singer, songwriter, and producer John Craigie adapts moments of solitude into stories perfectly suited for old Americana fiction anthologies. Instead of leaving them on dog-eared pages, he projects them widescreen in flashes of simmering soul and folk eloquence. On his 2022 full-length album, Mermaid Salt, we witness revenge unfurled in flames, watch a landlocked mermaid’s escape, and fall asleep under a meteor shower.

After selling out shows consistently coast-to-coast and earning acclaim from Rolling Stone, Glide Magazine, No Depression, and many more, his unflinching honesty ties these ten tracks together.

The album comes from the solitude and loneliness of lockdown in the Northwest. Someone whose life was touring, traveling, and having lots of human interaction is faced with an undefinable amount of time without those things. So, he began writing new songs and envisioning an album that was different from his past records. The sound of everyone playing live in a room together was traded for the sound of song construction with an unknown amount of instruments and musicians—a quiet symphony.

Rather than steal away to a cabin or hole up in a house with friends, Craigie opted to set up shop at the OK Theater in Enterprise, OR with longtime collaborator Bart Budwig behind the board as engineer. A rotating cast of musicians shuffled in and out safely, distinguishing the process from the communal recording of previous releases. The core players included Justin Landis, Cooper Trail, and Nevada Sowle. Meanwhile, Shook Twins lent their signature vocal harmonies, Bevin Foley arranged, composed, and performed strings, and Ben Walden dropped in for guitar and violin plucking parts.

“Instruments were scattered around the theater and microphones placed in various spots,” he recalls. “It’s hard to say who all played what exactly.”

As such, the spirit in the room guided everyone. On “Distance,” warm piano glows alongside a glitchy beat as he softly laments, “I could lose you to the loneliness, vast and infinite.” Then, there’s “Helena.” A jazz-y bass line snakes through head-nodding percussion as he relays an incendiary parable of a mother and son in exile. He croons, “She said fire was how we’d make ‘em pay. As I ran across the fields, she would scream, ‘Light it up son’,” uplifted in a conflagration of Shook Twins’ harmonies. Strings echo in the background as his vocals quake front-and-center on “Street Mermaid.”

Elsewhere, the guitar-laden “Microdose” beguiles and bewitches with an intoxicating refrain dedicated to a time where he “Microdosed for months and months, dissolve my ego in the acid.” Everything culminates on the glassy beat-craft and glistening guitars of “Perseids” where he sings, “There’s always a new heart after the old heart. Maybe a new heart is enough.”

During this period, he explored the environment around him “from the Oregon coasts to the waterfalls” and read books about Levon Helm, Billie Holiday, and Ani DiFranco.

“I got time to silence all the noise and chaos of touring and look inward,” he observes.

Craigie had reached a series of watershed moments in tandem with Mermaid Salt. Beyond headlining venues such as The Fillmore and gracing the stage of Red Rocks Amphitheater, his 2020 offering Asterisk The Universe earned unanimous tastemaker applause. Rolling Stone noted, “tracks like ‘Don’t Deny’ and ‘Climb Up’ bridge a Sixties and Seventies songwriter vibe with the laid-back cool of Jack Johnson, an early supporter of Craigie,” while Glide Magazine hailed it as “one of his best records.” Perhaps, No Depression put it best, “For many weary and heavy- listeners hearted, the album might be exactly what they need.” Along the way, he generated over 40 million total streams and counting, speaking to his unassuming impact.

In the end, Craigie offers a sense of peace on Mermaid Salt.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221222T151142Z X-ACCESS:1 X-HITS:1145 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230211T200000 DTEND;TZID=America/Denver:20230211T233000 UID:1A416E9B-E326-4E1E-94C4-73D638CFEB12 SUMMARY:Big Richard DTSTAMP:20221020T231634Z DESCRIPTION:What began as an all-female festival collab quickly morphed into a serious passion project driven by sisterhood, harmony and humor…along with the shared desire to rage fiddle tunes and smash the patriarchy.\NBig Richard is a neo-acoustic super group made up of four well established Colorado musicians: Bonnie Sims on mandolin (Bonnie & Taylor Sims/Everybody Loves An Outlaw/Bonnie & the Clydes), Joy Adams on cello (Nathaniel Rateliff/Darol Anger/Half Pelican), Emma Rose on bass + guitar (Sound of Honey/Daniel Rodriguez/Whippoorwill) and Eve Panning on fiddle (Lonesome Days).\NFormed in late 2021, the band gained immediate notoriety for their charismatic stage presence and their vocal/instrumental prowess. After selling out all of their club shows Big Richard quickly started confirming festival appearances across America. X-ALT-DESC;FMTTYPE=text/html:

What began as an all-female festival collab quickly morphed into a serious passion project driven by sisterhood, harmony and humor…along with the shared desire to rage fiddle tunes and smash the patriarchy.

Big Richard is a neo-acoustic super group made up of four well established Colorado musicians: Bonnie Sims on mandolin (Bonnie & Taylor Sims/Everybody Loves An Outlaw/Bonnie & the Clydes), Joy Adams on cello (Nathaniel Rateliff/Darol Anger/Half Pelican), Emma Rose on bass + guitar (Sound of Honey/Daniel Rodriguez/Whippoorwill) and Eve Panning on fiddle (Lonesome Days).

Formed in late 2021, the band gained immediate notoriety for their charismatic stage presence and their vocal/instrumental prowess. After selling out all of their club shows Big Richard quickly started confirming festival appearances across America.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230131T173804Z X-ACCESS:1 X-HITS:1952 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230213T190000 DTEND;TZID=America/Denver:20230213T233000 UID:B59FC8FC-449B-4793-BC58-59F9F63696B6 SUMMARY:Railroad Earth DTSTAMP:20230109T191115Z DESCRIPTION:A brother leaves this world too soon. A trip down U.S. Highway 61 ends in a deluge of biblical proportions. A retreat to the Big Easy results in its own flood of inspiration. A new chapter begins. These moments and many more fade in and out of focus on Railroad Earth’s seventh full-length album, All For The Song. \NThe celebrated New Jersey septet — Todd Sheaffer [lead vocals, acoustic guitar], Tim Carbone [violins, electric guitar, vocals], John Skehan [mandolin, bouzouki, piano, vocals], Carey Harmon [drums, percussion, vocals], Andrew Altman [upright & electric bass], Matt Slocum (organ and piano), and Mike Robinson (banjo, guitar, steel) chronicle the twists and turns of this journey through eloquent songcraft, bluegrass soul, and rock ‘n’ roll spirit.\N“Perhaps, it represents the journey we’ve been on for twenty years as a band and as a family,” observes Carey.\N“I will always remember these sessions as a time of healing and reflection,” adds Andrew. \N“What threads the record together?” ponders Todd. “Nostalgia, sadness, and a lot of great moments to sing along to.”\NFor over two decades, Railroad Earth has captivated audiences with gleefully unpredictable live shows and eloquent and elevated studio output. The group introduced its signature sound on 2001’s The Black Bear Sessions. Between selling out hallowed venues such as Red Rocks Amphitheatre in Morrison, CO, they’ve launched the longstanding annual Hangtown Music Festival in Placerville, CA and Hillberry: The Harvest Moon Festival in Ozark, AR—both running for a decade-plus. Sought after by legends, the John Denver Estate tapped them to put lyrics penned by the late John Denver to music on the 2019 vinyl EP, Railroad Earth: The John Denver Letters. Beyond tallying tens of millions of streams, the collective have earned widespread critical acclaim from David Fricke of Rolling Stone, American Songwriter, Glide Magazine, and NPR who assured, “Well-versed in rambling around, as you might expect from a band named after a Jack Kerouac poem, the New Jersey-built jam-grass engine Railroad Earth has let no moss grow under its rustic wheels.” \NIn 2018, Railroad Earth bid farewell to founding member Andy Goessling who passed away from cancer.  His shadow loomed over the process as the guys retreated to New Orleans for the first time to record.\N“From the beginning, the vision was more than just the music,” states Todd. “We looked at this like a ‘destination’ record. Our past records were all made close to home or, in fact, at home. Andy’s passing was very much in the center of our thoughts and our hearts in the writing and recording of this album. Things were so shaken up that we thought it’d be a benefit to go away from all of the distractions and be together. In New Orleans, there is great food and there are great spirits to be shared. I’ll leave the music part of the equation for others to judge, but we surely succeeded in making the bonding part of the vision come to fruition!”\NAnother first, they recorded with Anders Osborne behind the board as producer. It might’ve been the gumbo, but the guys seamlessly absorbed the homegrown flavors of the Big Easy by osmosis, incorporating horns, blues harmonica, and the producer’s own perspective and guitar playing.\N“His enthusiasm is contagious,” exclaims Carey. “There are five producers in this band, so a strong-willed voice from the outside is usually pretty essential. Anders was the voice.”\NTodd agrees, “He brought a pure and striving soul, unforgettable laugh, rich palette of emotion, a great stash of guitars and amps, philosophical driftings, freedom, unguarded honesty, warmth, and love.”\NThe band paved the way for the album with “The Great Divide,” “It’s So Good,” and “Runnin’ Wild.” Beyond those initial singles, the record picks up steam on “Blues Highway.” Over dusty acoustic guitar, hummable fiddle, and a banjo pluck, Todd recounts a particular road trip down Rte. 61, which ended in “the most downpour of rain I’ve ever experienced.”\N“We had a show in Natchez, so I decided to make my own adventure out of the trip,” he recalls. “I flew to New Orleans, rented a car, and drove up the Blues Highway like a tourist, stopping and touring the old plantations and blues honky-tonks. I was smelling the river and the refineries. On my return to New Orleans, I drove into what might’ve been a hurricane with intense and terrifying lightning to boot. In the dead of night, I gave up trying to inch down the road, pulled over, and waited it out. The trip seemed like a parallel for my life at the time and inspired the song.”\NThe epic “Driftin’ The Bardo” hinges on one of the final recordings of Andy on ukulele and high-strung guitar. It slips into a poignant piano-driven crescendo punctuated by cinematic strings.\N“As we were recording it, ‘The Bardo’ came to represent Andy’s transition,” reveals Tim. “It was an emotional experience.”\NClocking over eight minutes, “Showers of Rain” unfurls as a “psychedelic excursion” complete with an improvised jam, guitar solo by Anders, a dreamy string section, and imagery “inspired by a strange 19th century novel called Green Mansions.”\N“We all have those moments when we feel visitations and remember loved ones we’ve lost,” Todd observes. “In New Orleans, Andrew shared with us the night previous he’d had a visit from Andy in his sleep. At my house, we have a cardinal who taps on the window, and my wife think It’s her mom. These are the thoughts in the middle of the song where I ask, ‘Was that really you?’”\NThe album culminates on the wistful “All For The Song” as the final refrain, “All of the heartache, all that’s gone wrong, all for the moment, all for the song,” rings out before a harmonica passage.\N“It’s a bit painful to contemplate or talk about, to be honest—as are a couple other tunes on this record,” confesses Todd. “The song says way more than enough, I believe.”\NIn the end, Railroad Earth brings listeners closer than ever on All For The Song.\N“We want audiences to connect to the album,” Carey leaves off. “We hope they’re as moved by the music as we were making it.” X-ALT-DESC;FMTTYPE=text/html:

A brother leaves this world too soon. A trip down U.S. Highway 61 ends in a deluge of biblical proportions. A retreat to the Big Easy results in its own flood of inspiration. A new chapter begins. These moments and many more fade in and out of focus on Railroad Earth’s seventh full-length album, All For The Song. 

The celebrated New Jersey septet — Todd Sheaffer [lead vocals, acoustic guitar], Tim Carbone [violins, electric guitar, vocals], John Skehan [mandolin, bouzouki, piano, vocals], Carey Harmon [drums, percussion, vocals], Andrew Altman [upright & electric bass], Matt Slocum (organ and piano), and Mike Robinson (banjo, guitar, steel) chronicle the twists and turns of this journey through eloquent songcraft, bluegrass soul, and rock ‘n’ roll spirit.

“Perhaps, it represents the journey we’ve been on for twenty years as a band and as a family,” observes Carey.

“I will always remember these sessions as a time of healing and reflection,” adds Andrew. 

“What threads the record together?” ponders Todd. “Nostalgia, sadness, and a lot of great moments to sing along to.”

For over two decades, Railroad Earth has captivated audiences with gleefully unpredictable live shows and eloquent and elevated studio output. The group introduced its signature sound on 2001’s The Black Bear Sessions. Between selling out hallowed venues such as Red Rocks Amphitheatre in Morrison, CO, they’ve launched the longstanding annual Hangtown Music Festival in Placerville, CA and Hillberry: The Harvest Moon Festival in Ozark, AR—both running for a decade-plus. Sought after by legends, the John Denver Estate tapped them to put lyrics penned by the late John Denver to music on the 2019 vinyl EP, Railroad Earth: The John Denver Letters. Beyond tallying tens of millions of streams, the collective have earned widespread critical acclaim from David Fricke of Rolling Stone, American Songwriter, Glide Magazine, and NPR who assured, “Well-versed in rambling around, as you might expect from a band named after a Jack Kerouac poem, the New Jersey-built jam-grass engine Railroad Earth has let no moss grow under its rustic wheels.” 

In 2018, Railroad Earth bid farewell to founding member Andy Goessling who passed away from cancer.  His shadow loomed over the process as the guys retreated to New Orleans for the first time to record.

“From the beginning, the vision was more than just the music,” states Todd. “We looked at this like a ‘destination’ record. Our past records were all made close to home or, in fact, at home. Andy’s passing was very much in the center of our thoughts and our hearts in the writing and recording of this album. Things were so shaken up that we thought it’d be a benefit to go away from all of the distractions and be together. In New Orleans, there is great food and there are great spirits to be shared. I’ll leave the music part of the equation for others to judge, but we surely succeeded in making the bonding part of the vision come to fruition!”

Another first, they recorded with Anders Osborne behind the board as producer. It might’ve been the gumbo, but the guys seamlessly absorbed the homegrown flavors of the Big Easy by osmosis, incorporating horns, blues harmonica, and the producer’s own perspective and guitar playing.

“His enthusiasm is contagious,” exclaims Carey. “There are five producers in this band, so a strong-willed voice from the outside is usually pretty essential. Anders was the voice.”

Todd agrees, “He brought a pure and striving soul, unforgettable laugh, rich palette of emotion, a great stash of guitars and amps, philosophical driftings, freedom, unguarded honesty, warmth, and love.”

The band paved the way for the album with “The Great Divide,” “It’s So Good,” and “Runnin’ Wild.” Beyond those initial singles, the record picks up steam on “Blues Highway.” Over dusty acoustic guitar, hummable fiddle, and a banjo pluck, Todd recounts a particular road trip down Rte. 61, which ended in “the most downpour of rain I’ve ever experienced.”

“We had a show in Natchez, so I decided to make my own adventure out of the trip,” he recalls. “I flew to New Orleans, rented a car, and drove up the Blues Highway like a tourist, stopping and touring the old plantations and blues honky-tonks. I was smelling the river and the refineries. On my return to New Orleans, I drove into what might’ve been a hurricane with intense and terrifying lightning to boot. In the dead of night, I gave up trying to inch down the road, pulled over, and waited it out. The trip seemed like a parallel for my life at the time and inspired the song.”

The epic “Driftin’ The Bardo” hinges on one of the final recordings of Andy on ukulele and high-strung guitar. It slips into a poignant piano-driven crescendo punctuated by cinematic strings.

“As we were recording it, ‘The Bardo’ came to represent Andy’s transition,” reveals Tim. “It was an emotional experience.”

Clocking over eight minutes, “Showers of Rain” unfurls as a “psychedelic excursion” complete with an improvised jam, guitar solo by Anders, a dreamy string section, and imagery “inspired by a strange 19th century novel called Green Mansions.”

“We all have those moments when we feel visitations and remember loved ones we’ve lost,” Todd observes. “In New Orleans, Andrew shared with us the night previous he’d had a visit from Andy in his sleep. At my house, we have a cardinal who taps on the window, and my wife think It’s her mom. These are the thoughts in the middle of the song where I ask, ‘Was that really you?’”

The album culminates on the wistful “All For The Song” as the final refrain, “All of the heartache, all that’s gone wrong, all for the moment, all for the song,” rings out before a harmonica passage.

“It’s a bit painful to contemplate or talk about, to be honest—as are a couple other tunes on this record,” confesses Todd. “The song says way more than enough, I believe.”

In the end, Railroad Earth brings listeners closer than ever on All For The Song.

“We want audiences to connect to the album,” Carey leaves off. “We hope they’re as moved by the music as we were making it.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230121T002733Z X-ACCESS:1 X-HITS:1396 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230215T200000 DTEND;TZID=America/Denver:20230215T233000 UID:68BA7DF9-B3E9-4B85-8917-F6E7E007D9EE SUMMARY:Eric Johnson DTSTAMP:20210709T170716Z DESCRIPTION:“Due to many unforeseen difficulties and to offer fans additional distance from the current COVID environment, Eric Johnson has decided to postpone his 2022 tour into 2023. You will see brand new music for this tour, and he appreciates your continued understanding and support.”\N-\NERIC JOHNSON PLANS EXTENSIVE U.S. TOUR FOR 2022 TITLED “TREASURE TOUR”\N70+ Show Run Kicks Off in February and Wraps Up in May\NAustin, Texas…Eric Johnson has been traveling on a prolific odyssey over the course of more than four decades. Along the way, his creations have encompassed a repertoire that cross-pollinates genres which include rock, blues, jazz, fusion, soul, folk, new-age, classical, and even country. Inevitably, E.J. says it best himself in sharing, “It really boils down to the music and the song at the end of the day,” he explains. “If it doesn’t have that it gets boring for me. The most important thing for me is to grow musically and make a more expansive and meaningful artisticstatement with every new project.”\NDuring the Pandemic, the Grammy-winning guitarist, vocalist, composer, and multi-instrumentalist has been busy releasing weekly, donation-based, virtual “Mini-Lessons” benefitting Food Banks across the country and working in the studio on previously un-released tracks and new recordings. The currently untitled new record is scheduled for release later this year.\NThroughout his career, Johnson has approached music as a healing force, a way to enhance a listener’s consciousness, and conjure joy and inspiration. More than a year into the Pandemic, and because of the Pandemic, he reflects that this approach has become reinforced and moreenhanced.\NThe 2022 Treasure Tour will feature some of the previously un-released gems, some new songs, and some older favorites. His band will include Tom Brechtlein on drums, and Roscoe Beck on bass. X-ALT-DESC;FMTTYPE=text/html:

“Due to many unforeseen difficulties and to offer fans additional distance from the current COVID environment, Eric Johnson has decided to postpone his 2022 tour into 2023. You will see brand new music for this tour, and he appreciates your continued understanding and support.”

-

ERIC JOHNSON PLANS EXTENSIVE U.S. TOUR FOR 2022 TITLED “TREASURE TOUR”

70+ Show Run Kicks Off in February and Wraps Up in May

Austin, Texas…Eric Johnson has been traveling on a prolific odyssey over the course of more than four decades. Along the way, his creations have encompassed a repertoire that cross-pollinates genres which include rock, blues, jazz, fusion, soul, folk, new-age, classical, and even country. Inevitably, E.J. says it best himself in sharing, “It really boils down to the music and the song at the end of the day,” he explains. “If it doesn’t have that it gets boring for me. The most important thing for me is to grow musically and make a more expansive and meaningful artistic
statement with every new project.”

During the Pandemic, the Grammy-winning guitarist, vocalist, composer, and multi-instrumentalist has been busy releasing weekly, donation-based, virtual “Mini-Lessons” benefitting Food Banks across the country and working in the studio on previously un-released tracks and new recordings. The currently untitled new record is scheduled for release later this year.

Throughout his career, Johnson has approached music as a healing force, a way to enhance a listener’s consciousness, and conjure joy and inspiration. More than a year into the Pandemic, and because of the Pandemic, he reflects that this approach has become reinforced and more
enhanced.

The 2022 Treasure Tour will feature some of the previously un-released gems, some new songs, and some older favorites. His band will include Tom Brechtlein on drums, and Roscoe Beck on bass.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230105T035615Z X-ACCESS:1 X-HITS:6030 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230218T210000 DTEND;TZID=America/Denver:20230218T213000 UID:50FB7124-F564-4F0A-9894-3C0317C7F8B4 SUMMARY:The Ringer NBA Show DTSTAMP:20230118T212513Z DESCRIPTION:The Ringer NBA team provides insight, reporting, and analysis on the NBA and is coming to Salt Lake City for a late night live show as the NBA world heads to Utah. Join some of your favorite hosts as they check in midway through the season, look ahead to the Draft and take your questions for a Q&A. 21+ event. Doors at 9 pm. Seating is general admission. X-ALT-DESC;FMTTYPE=text/html:

The Ringer NBA team provides insight, reporting, and analysis on the NBA and is coming to Salt Lake City for a late night live show as the NBA world heads to Utah. Join some of your favorite hosts as they check in midway through the season, look ahead to the Draft and take your questions for a Q&A. 21+ event. Doors at 9 pm. Seating is general admission.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230119T191327Z X-ACCESS:1 X-HITS:2387 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230222T190000 DTEND;TZID=America/Denver:20230222T233000 UID:47098A94-1416-4726-A3B8-520874AB42D4 SUMMARY:Lingua Ignota DTSTAMP:20221129T185134Z DESCRIPTION:LINGUA IGNOTA, THE SOLO PROJECT OF MULTIDISCIPLINARY ARTIST KRISTIN HAYTER, TAKES A RADICAL, UNFLINCHING APPROACH TO THEMES OF VIOLENCE AND VENGEANCE IN WAYS THAT ARE MOVING, BRUTAL, AND HARROWING. HER MUSIC IS INTENTIONALLY SITUATED AT SPECIFIC AND STRANGE INTERSECTIONS, INCORPORATING ELEMENTS OF POWER ELECTRONICS, DEATH INDUSTRIAL, AND BLACK METAL ALONGSIDE BAROQUE CLASSICAL, SPIRITUAL MINIMALISM AND FOLK. RELENTLESS INTENSITY AND SOARING DRAMATIC ARCS ARE INFORMED BY HAYTER’S BACKGROUND IN CLASSICAL MUSIC, AND THE MAJOR SONIC LOCUS OF THE PROJECT IS HER VOICE, A DYNAMIC ENTITY THAT RUSHES FROM UNHINGED SCREAMING TO LILTING SOPRANO TO ANGULAR BELTING WITH AN ARTISTRY AND FEROCITY THAT HAS DRAWN COMPARISONS TO DIAMANDA GALAS. SHE IS NOTORIOUS FOR CONFRONTATIONAL LIVE PERFORMANCES THAT CAN LEAVE AN AUDIENCE BREATHLESS OR IN TEARS.\NHAYTER BEGAN CLASSICAL TRAINING AT THE AGE OF TEN WITH INTENT TO PURSUE AN OPERATIC CONSERVATORY TRACK. INSTEAD SHE DEVELOPED AN INTERDISCIPLINARY FINE ARTS PRACTICE AT THE SCHOOL OF THE ART INSTITUTE OF CHICAGO. SHE CONTINUED WITH GRADUATE WORK AT BROWN UNIVERSITY, PRODUCING A CONTROVERSIAL THESIS TITLED BURN EVERYTHING TRUST NO ONE KILL YOURSELF. LINGUA IGNOTA WAS BORN OUT OF THIS THESIS WHICH RE-CONTEXTUALIZED MISOGYNIST CONTENT AS BIBLICALLY VITRIOLIC ANTHEMS FOR SURVIVORS OF DOMESTIC VIOLENCE AND SEXUAL ASSAULT. A SURVIVOR HERSELF, HAYTER SEEKS TO GIVE A SINGULARLY AGGRESSIVE VOICE TO THE UNHEARD, SILENCED, AND DISMISSED.\NLINGUA IGNOTA SELF-RELEASED TWO ALBUMS IN 2017 THAT GARNERED NOTEWORTHY ATTENTION AND ACCOLADES. SHE TOURS AND COLLABORATES CHIEFLY WITH METAL-TRANSGRESSING LUMINARIES THE BODY. X-ALT-DESC;FMTTYPE=text/html:

LINGUA IGNOTA, THE SOLO PROJECT OF MULTIDISCIPLINARY ARTIST KRISTIN HAYTER, TAKES A RADICAL, UNFLINCHING APPROACH TO THEMES OF VIOLENCE AND VENGEANCE IN WAYS THAT ARE MOVING, BRUTAL, AND HARROWING. HER MUSIC IS INTENTIONALLY SITUATED AT SPECIFIC AND STRANGE INTERSECTIONS, INCORPORATING ELEMENTS OF POWER ELECTRONICS, DEATH INDUSTRIAL, AND BLACK METAL ALONGSIDE BAROQUE CLASSICAL, SPIRITUAL MINIMALISM AND FOLK. RELENTLESS INTENSITY AND SOARING DRAMATIC ARCS ARE INFORMED BY HAYTER’S BACKGROUND IN CLASSICAL MUSIC, AND THE MAJOR SONIC LOCUS OF THE PROJECT IS HER VOICE, A DYNAMIC ENTITY THAT RUSHES FROM UNHINGED SCREAMING TO LILTING SOPRANO TO ANGULAR BELTING WITH AN ARTISTRY AND FEROCITY THAT HAS DRAWN COMPARISONS TO DIAMANDA GALAS. SHE IS NOTORIOUS FOR CONFRONTATIONAL LIVE PERFORMANCES THAT CAN LEAVE AN AUDIENCE BREATHLESS OR IN TEARS.

HAYTER BEGAN CLASSICAL TRAINING AT THE AGE OF TEN WITH INTENT TO PURSUE AN OPERATIC CONSERVATORY TRACK. INSTEAD SHE DEVELOPED AN INTERDISCIPLINARY FINE ARTS PRACTICE AT THE SCHOOL OF THE ART INSTITUTE OF CHICAGO. SHE CONTINUED WITH GRADUATE WORK AT BROWN UNIVERSITY, PRODUCING A CONTROVERSIAL THESIS TITLED BURN EVERYTHING TRUST NO ONE KILL YOURSELF. LINGUA IGNOTA WAS BORN OUT OF THIS THESIS WHICH RE-CONTEXTUALIZED MISOGYNIST CONTENT AS BIBLICALLY VITRIOLIC ANTHEMS FOR SURVIVORS OF DOMESTIC VIOLENCE AND SEXUAL ASSAULT. A SURVIVOR HERSELF, HAYTER SEEKS TO GIVE A SINGULARLY AGGRESSIVE VOICE TO THE UNHEARD, SILENCED, AND DISMISSED.

LINGUA IGNOTA SELF-RELEASED TWO ALBUMS IN 2017 THAT GARNERED NOTEWORTHY ATTENTION AND ACCOLADES. SHE TOURS AND COLLABORATES CHIEFLY WITH METAL-TRANSGRESSING LUMINARIES THE BODY.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230120T204910Z X-ACCESS:1 X-HITS:1716 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230223T190000 DTEND;TZID=America/Denver:20230223T233000 UID:B883CA9F-10BB-4F11-A76E-B0CD87EAF370 SUMMARY:TSR Reggae Nights DTSTAMP:20230131T162722Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230209T191523Z X-ACCESS:1 X-HITS:1589 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230224T193000 DTEND;TZID=America/Denver:20230224T233000 UID:DEC45F72-9E61-4AE5-A88C-49FD4670212E SUMMARY:Early James DTSTAMP:20221115T211838Z DESCRIPTION:The sophomore album from Early James, Strange Time To Be Alive is the sound of an artist sublimely out of step with the world. With all the charmed eccentricity of a true poet, the Alabama-bred singer/songwriter takes in the endless absurdity he sees around him, then alchemizes his unease into a glorious patchwork of musical idioms: forsaken blues and contemplative folk songs, brooding murder ballads and lovestruck piano tunes. Produced by multi-Grammy Award winner Dan Auerbach, Strange Time To Be Alive ultimately extracts a certain magic from the madness, imbuing even the most painful truth-telling with a wild-eyed joie de vivre.\N“I think it’s okay to admit you feel crazy or uncomfortable in your own skin—those are very human feelings that we need to say out loud,” says James. “I hope this record reminds people that everyone feels crazy sometimes, and that the real crazy people are the ones who won’t admit self-doubt.”\NThe follow-up to 2020’s Singing For My Supper (hailed by Mojo as a “luminous debut”), Strange Time To Be Alive came to life in three whirlwind days at Auerbach’s Easy Eye Sound in Nashville. “James is very particular with his lyrics and makes such uncommon choices, so I wanted to keep it raw and let that shine as much as possible,” says Auerbach. “His writing is so idiosyncratic; there’s not one song that feels like anything you’ve heard before. But then there’s also something in his sound that feels carved out of stone, like it’s from another time—it’s a very strange mix.”\NRecorded live with many of the same musicians featured on Singing For My Supper (including his longtime bandmate Adrian Marmolejo on upright bass), Strange Time To Be Alive embodies a much heavier and more mercurial sound than its predecessor, thanks in part to James’s frenetic performance on electric guitar. “Last time I didn’t even bring an electric guitar but this time I’ve got a pedalboard,” he notes. “Back when it was just me and Adrian everybody thought we were a bluegrass band for some reason, and I’ve always wanted to play louder.” In shaping the album’s eclectic selection of songs, James also joined forces with such esteemed musicians as guitarist Tom Bukovac (Willie Nelson, Keb’ Mo’), drummer Jay Bellerose (Sharon Van Etten, Allen Toussaint), and keyboardist Mike Rojas (Tyler Childers, Yola). The result is a prime showcase for James’s singular voice, an element that proves infinitely captivating whether he’s assuming a growling ferocity or crooning tenderness or the dazzling theatricality of a cabaret singer.\NA fitting counterpart to his chameleonic vocals, James’s lyrics contain equal parts poetic observation and candid introspection and fantastically warped humor—a dynamic established in the very first lines of the album-opening “Racing To A Red Light”: “Oh Lord, I think I just might/Be betting on a thrown fight/Between a man and a mannequin/Just lost to a banana skin.” Sparked from a bit of dialogue from True Detective season one, “Racing To A Red Light” unfolds in languid rhythms and spectral guitar tones as James quietly vents a litany of frustrations (e.g., the dearth of original thought in online discourse, the showboating behavior of billionaire moguls). “At the time I was getting fed up with seeing the same comments copied-and-pasted from the safety of anonymity on the internet, from people who can’t think up their own response to anything happening in the world,” says James. “That song’s a subtle dis to all that, and also to the people who think it’s a better idea to race to Mars on a rocket than to try to fix the planet we actually live on.”\NAnother piece of world-weary commentary, “What A Strange Time To Be Alive” slips from sighing resignation to soulful intensity as James laments the insidious chaos of modern life (“No boundary left to cross in this God-forsaken snow globe”). “I know that every generation probably feels like they’re going through the toughest of times—but, damn, it really is a weird world to live in right now,” says James. Co-written with Matchbox Twenty’s Rob Thomas and White Denim’s Austin Jenkins (whose co-writing credits also include Kacey Musgraves and Leon Bridges), the track’s heavy-hearted mood is profoundly brightened by Bukovac’s resplendent slide-guitar work. “There’s a uniquely Southern haze to that song, where James feels completely in his comfort zone,” Auerbach points out. “The take we got felt just right, kind of like a worn-in baseball glove.”\NElsewhere on Strange Time To Be Alive, James looks inward to examine the darker corners of his own psyche, such as on the magnificently brutal “Harder to Blame.” “Sometimes when you’re young, you blame the crowd around you for all the bad habits you’ve developed,” says James. “But then the older you get, the more you realize that there’s really no one to blame but yourself.” With its blistering riffs and bombastic drumbeats, “Harder to Blame” made for one of the most explosive moments in the recording process. “Jay Bellerose was smashing the drums so hard that the engineer wanted to turn it down, but I thought we should just leave it and let it go,” says Auerbach. “There’s a lot of terror in that song, and the way James sings it puts sharp edges all over the place.” On “Real Low Down Lonesome,” fellow old-soul Sierra Ferrell joins in for a time-bending duet documenting a doomed love affair, their two otherworldly voices careening through the track’s lush arrangement of Cuban percussion and piano and gut-string guitar. “When we were writing that one I was imagining some sort of noir film about two narcissists who use each other and still end up with nothing,” says James. “Sierra’s vocals are so drenched in reverb and I love how strange it sounds—it’s almost operatic.” And on “Pigsty,” Strange Time To Be Alive shifts into a stunning vulnerability, presenting a sweetly ramshackle love song rooted in Rojas’s jazzy piano work and James’s oddly delicate confession of affection (“You’re like a stick of Zebra Stripe that I’m afraid to chew”). “It’s about when my girlfriend and I first started dating and we were both feeling apprehensive about a lot of things,” says James. “At the time I lived in a one-room apartment we called my pigsty ’cause my guitars were always all over the place, and I turned that into a song about the despair of not knowing what would happen and worrying I might lose her.”\NNaming Fiona Apple as an essential inspiration on his lyrical sensibilities (“She’s a master of making light of dark, depressing subjects, and using alliteration without ever sounding like Dr. Seuss”), James first started writing songs as a teenager growing up in the small Alabama town of Troy. “I had a Nextel flip phone and I’d use my voicemail to record all these blues songs I’d written,” he recalls, also listing Hank Williams, Nirvana, and Tom Waits among his formative influences. At the age of 15, he played his first gig at a biker rally in nearby Luverne, and soon began booking four-hour sets at local dive bars. Not long after finishing high school, he moved to Birmingham and quickly became a fixture in the city’s melting pot of a music scene. Within several years, a video of James opening for Nashville-based singer/songwriter Katie Pruitt caught the attention of Auerbach, who promptly signed James to his burgeoning indie label Easy Eye Sound.\NLooking back on his journey to date, James reveals a distinct lack of calculation when it comes to his career path. “I never really know what I want to make, so it’s always fun,” he says. “There’s never any pressure, and as long as people keep liking the songs then I’ll keep recording them.” But despite the spontaneous nature of his creative process, he hopes that his songs might leave an indelible imprint on the audience. “For me writing songs is a form of self-reflection and therapy—once I say something out loud and people respond in any kind of positive way, it makes me feel less crazy and helps me to move on,” he says. “To make someone else feel or make someone think or even make them laugh is a really cool job, and I definitely feel lucky to have it.” X-ALT-DESC;FMTTYPE=text/html:

The sophomore album from Early James, Strange Time To Be Alive is the sound of an artist sublimely out of step with the world. With all the charmed eccentricity of a true poet, the Alabama-bred singer/songwriter takes in the endless absurdity he sees around him, then alchemizes his unease into a glorious patchwork of musical idioms: forsaken blues and contemplative folk songs, brooding murder ballads and lovestruck piano tunes. Produced by multi-Grammy Award winner Dan Auerbach, Strange Time To Be Alive ultimately extracts a certain magic from the madness, imbuing even the most painful truth-telling with a wild-eyed joie de vivre.

“I think it’s okay to admit you feel crazy or uncomfortable in your own skin—those are very human feelings that we need to say out loud,” says James. “I hope this record reminds people that everyone feels crazy sometimes, and that the real crazy people are the ones who won’t admit self-doubt.”

The follow-up to 2020’s Singing For My Supper (hailed by Mojo as a “luminous debut”), Strange Time To Be Alive came to life in three whirlwind days at Auerbach’s Easy Eye Sound in Nashville. “James is very particular with his lyrics and makes such uncommon choices, so I wanted to keep it raw and let that shine as much as possible,” says Auerbach. “His writing is so idiosyncratic; there’s not one song that feels like anything you’ve heard before. But then there’s also something in his sound that feels carved out of stone, like it’s from another time—it’s a very strange mix.”

Recorded live with many of the same musicians featured on Singing For My Supper (including his longtime bandmate Adrian Marmolejo on upright bass), Strange Time To Be Alive embodies a much heavier and more mercurial sound than its predecessor, thanks in part to James’s frenetic performance on electric guitar. “Last time I didn’t even bring an electric guitar but this time I’ve got a pedalboard,” he notes. “Back when it was just me and Adrian everybody thought we were a bluegrass band for some reason, and I’ve always wanted to play louder.” In shaping the album’s eclectic selection of songs, James also joined forces with such esteemed musicians as guitarist Tom Bukovac (Willie Nelson, Keb’ Mo’), drummer Jay Bellerose (Sharon Van Etten, Allen Toussaint), and keyboardist Mike Rojas (Tyler Childers, Yola). The result is a prime showcase for James’s singular voice, an element that proves infinitely captivating whether he’s assuming a growling ferocity or crooning tenderness or the dazzling theatricality of a cabaret singer.

A fitting counterpart to his chameleonic vocals, James’s lyrics contain equal parts poetic observation and candid introspection and fantastically warped humor—a dynamic established in the very first lines of the album-opening “Racing To A Red Light”: “Oh Lord, I think I just might/Be betting on a thrown fight/Between a man and a mannequin/Just lost to a banana skin.” Sparked from a bit of dialogue from True Detective season one, “Racing To A Red Light” unfolds in languid rhythms and spectral guitar tones as James quietly vents a litany of frustrations (e.g., the dearth of original thought in online discourse, the showboating behavior of billionaire moguls). “At the time I was getting fed up with seeing the same comments copied-and-pasted from the safety of anonymity on the internet, from people who can’t think up their own response to anything happening in the world,” says James. “That song’s a subtle dis to all that, and also to the people who think it’s a better idea to race to Mars on a rocket than to try to fix the planet we actually live on.”

Another piece of world-weary commentary, “What A Strange Time To Be Alive” slips from sighing resignation to soulful intensity as James laments the insidious chaos of modern life (“No boundary left to cross in this God-forsaken snow globe”). “I know that every generation probably feels like they’re going through the toughest of times—but, damn, it really is a weird world to live in right now,” says James. Co-written with Matchbox Twenty’s Rob Thomas and White Denim’s Austin Jenkins (whose co-writing credits also include Kacey Musgraves and Leon Bridges), the track’s heavy-hearted mood is profoundly brightened by Bukovac’s resplendent slide-guitar work. “There’s a uniquely Southern haze to that song, where James feels completely in his comfort zone,” Auerbach points out. “The take we got felt just right, kind of like a worn-in baseball glove.”

Elsewhere on Strange Time To Be Alive, James looks inward to examine the darker corners of his own psyche, such as on the magnificently brutal “Harder to Blame.” “Sometimes when you’re young, you blame the crowd around you for all the bad habits you’ve developed,” says James. “But then the older you get, the more you realize that there’s really no one to blame but yourself.” With its blistering riffs and bombastic drumbeats, “Harder to Blame” made for one of the most explosive moments in the recording process. “Jay Bellerose was smashing the drums so hard that the engineer wanted to turn it down, but I thought we should just leave it and let it go,” says Auerbach. “There’s a lot of terror in that song, and the way James sings it puts sharp edges all over the place.” On “Real Low Down Lonesome,” fellow old-soul Sierra Ferrell joins in for a time-bending duet documenting a doomed love affair, their two otherworldly voices careening through the track’s lush arrangement of Cuban percussion and piano and gut-string guitar. “When we were writing that one I was imagining some sort of noir film about two narcissists who use each other and still end up with nothing,” says James. “Sierra’s vocals are so drenched in reverb and I love how strange it sounds—it’s almost operatic.” And on “Pigsty,” Strange Time To Be Alive shifts into a stunning vulnerability, presenting a sweetly ramshackle love song rooted in Rojas’s jazzy piano work and James’s oddly delicate confession of affection (“You’re like a stick of Zebra Stripe that I’m afraid to chew”). “It’s about when my girlfriend and I first started dating and we were both feeling apprehensive about a lot of things,” says James. “At the time I lived in a one-room apartment we called my pigsty ’cause my guitars were always all over the place, and I turned that into a song about the despair of not knowing what would happen and worrying I might lose her.”

Naming Fiona Apple as an essential inspiration on his lyrical sensibilities (“She’s a master of making light of dark, depressing subjects, and using alliteration without ever sounding like Dr. Seuss”), James first started writing songs as a teenager growing up in the small Alabama town of Troy. “I had a Nextel flip phone and I’d use my voicemail to record all these blues songs I’d written,” he recalls, also listing Hank Williams, Nirvana, and Tom Waits among his formative influences. At the age of 15, he played his first gig at a biker rally in nearby Luverne, and soon began booking four-hour sets at local dive bars. Not long after finishing high school, he moved to Birmingham and quickly became a fixture in the city’s melting pot of a music scene. Within several years, a video of James opening for Nashville-based singer/songwriter Katie Pruitt caught the attention of Auerbach, who promptly signed James to his burgeoning indie label Easy Eye Sound.

Looking back on his journey to date, James reveals a distinct lack of calculation when it comes to his career path. “I never really know what I want to make, so it’s always fun,” he says. “There’s never any pressure, and as long as people keep liking the songs then I’ll keep recording them.” But despite the spontaneous nature of his creative process, he hopes that his songs might leave an indelible imprint on the audience. “For me writing songs is a form of self-reflection and therapy—once I say something out loud and people respond in any kind of positive way, it makes me feel less crazy and helps me to move on,” he says. “To make someone else feel or make someone think or even make them laugh is a really cool job, and I definitely feel lucky to have it.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230209T195439Z X-ACCESS:1 X-HITS:1564 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230225T200000 DTEND;TZID=America/Denver:20230225T233000 UID:0217A802-1429-41AA-95A5-89F3875F7FBA SUMMARY:Brett Dennen (Night 1) DTSTAMP:20221212T190204Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230201T194523Z X-ACCESS:1 X-HITS:1652 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230226T190000 DTEND;TZID=America/Denver:20230226T233000 UID:380F8414-31D7-4051-ADF9-F1A89439A63A SUMMARY:Brett Dennen (Night 2) DTSTAMP:20221212T190648Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230201T194531Z X-ACCESS:1 X-HITS:937 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230301T190000 DTEND;TZID=America/Denver:20230301T200000 UID:BA40DDCD-9811-491E-B759-08700D5AC429 SUMMARY:AJ Lee & Blue Summit DTSTAMP:20221205T235529Z DESCRIPTION:This show will have a special 60-minute opening slot with local talent, The Pickpockets!\NAJ Lee and Blue Summit made their first appearance in Santa Cruz in 2015. Led by singer, songwriter, and mandolinist, AJ Lee, the bluegrass band has performed all over the world, but finds home in California’s Bay Area. In 2019, they released their debut album, Like I Used To. Their second full length project, I’ll Come Back, came out August 2021 - with national touring in support of the record ongoing. Unlike their first record, which featured experimentation with session musicians and electric instruments, the new project is a pure reflection of the live sound of the group, hearkening back to their acoustic roots. Each band member performs at their peak, and the variety of songs on the record caters to their broad fanbase. Certain tracks (“Put Your Head Down,” and “Faithful,”) fall more in the classic bluegrass realm of songwriting, while others (“Lemons and Tangerines,” and “I’ll Come Back,”) fall into that hard-to-define realm of acoustic Americana that blends mesmerizing lyricism and acoustic mastery. Although falling loosely under the bluegrass label, AJLBS generally plays sans banjo, with Sullivan Tuttle and Scott Gates on steel stringed acoustic guitars, AJ on mandolin, Jan Purat on fiddle, and Chad Bowen on upright bass - a configuration effectively used to create unique space and texture in the arrangements not as commonly found in the music of their peers. Drawing from influences such as country, soul, swing, rock, and jam music, the band uses the lens of bluegrass as a vessel through which to express and explore the thread that binds and unifies all great music. X-ALT-DESC;FMTTYPE=text/html:

This show will have a special 60-minute opening slot with local talent, The Pickpockets!

AJ Lee and Blue Summit made their first appearance in Santa Cruz in 2015. Led by singer, songwriter, and mandolinist, AJ Lee, the bluegrass band has performed all over the world, but finds home in California’s Bay Area. In 2019, they released their debut album, Like I Used To. Their second full length project, I’ll Come Back, came out August 2021 - with national touring in support of the record ongoing. Unlike their first record, which featured experimentation with session musicians and electric instruments, the new project is a pure reflection of the live sound of the group, hearkening back to their acoustic roots. Each band member performs at their peak, and the variety of songs on the record caters to their broad fanbase. Certain tracks (“Put Your Head Down,” and “Faithful,”) fall more in the classic bluegrass realm of songwriting, while others (“Lemons and Tangerines,” and “I’ll Come Back,”) fall into that hard-to-define realm of acoustic Americana that blends mesmerizing lyricism and acoustic mastery.
Although falling loosely under the bluegrass label, AJLBS generally plays sans banjo, with Sullivan Tuttle and Scott Gates on steel stringed acoustic guitars, AJ on mandolin, Jan Purat on fiddle, and Chad Bowen on upright bass - a configuration effectively used to create unique space and texture in the arrangements not as commonly found in the music of their peers. Drawing from influences such as country, soul, swing, rock, and jam music, the band uses the lens of bluegrass as a vessel through which to express and explore the thread that binds and unifies all great music.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230208T060557Z X-ACCESS:1 X-HITS:1588 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230303T190000 DTEND;TZID=America/Denver:20230303T233000 UID:0E0EB3AE-806C-44CB-BCD2-1D557A779734 SUMMARY:Riverside DTSTAMP:20221116T151334Z DESCRIPTION:Throughout over 20 years, this Warsaw-based Polish band have released seven studio, a few live, and two mini albums. Their music, inspired by Pink Floyd, Rush and Porcupine Tree, has evolved towards their own characteristic, recognisable style. Riverside's eighth studio album called "ID.Entity" will be out on January 20th, 2023. "Before we started working on the new album, I asked myself a few questions," says Mariusz Duda, the leader of the band. "Some personal ones, some about the current times, but most of all, questions about the band, for instance, 'What is our strongest suit?' There were two answers: 'Melodies and… live performances!' 'What is the most comfortable setting for Riverside?' Again, the answer was pretty obvious: 'the stage'. Ironically, we haven't really spoilt our fans with live releases, so I thought perhaps it was time to record a studio album which would musically reflect the character and dynamic of our live shows. Especially that we really wanted to say goodbye to the decade of sadness and melancholy, which dominated our recent releases" What will Riverside's most live studio album sound like... live? Let's get ready for double impact in February! X-ALT-DESC;FMTTYPE=text/html:

Throughout over 20 years, this Warsaw-based Polish band have released seven studio, a few live, and two mini albums. Their music, inspired by Pink Floyd, Rush and Porcupine Tree, has evolved towards their own characteristic, recognisable style. Riverside's eighth studio album called "ID.Entity" will be out on January 20th, 2023. "Before we started working on the new album, I asked myself a few questions," says Mariusz Duda, the leader of the band. "Some personal ones, some about the current times, but most of all, questions about the band, for instance, 'What is our strongest suit?' There were two answers: 'Melodies and… live performances!' 'What is the most comfortable setting for Riverside?' Again, the answer was pretty obvious: 'the stage'. Ironically, we haven't really spoilt our fans with live releases, so I thought perhaps it was time to record a studio album which would musically reflect the character and dynamic of our live shows. Especially that we really wanted to say goodbye to the decade of sadness and melancholy, which dominated our recent releases" What will Riverside's most live studio album sound like... live? Let's get ready for double impact in February!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221121T185610Z X-ACCESS:1 X-HITS:1871 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230304T213000 DTEND;TZID=America/Denver:20230304T233000 UID:0E66D52F-9033-4A61-8390-D6818DE1BAF9 SUMMARY:Mutiny Tri Quarterly Shareholders Meeting DTSTAMP:20230302T205057Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230305T023354Z X-ACCESS:1 X-HITS:331 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230305T200000 DTEND;TZID=America/Denver:20230305T233000 UID:A9826D54-E876-4200-B8E7-A193336AF094 SUMMARY:Kolton Moore & The Clever Few DTSTAMP:20221025T193845Z DESCRIPTION: \NKolton Moore & the Clever Few have been paying tribute to country rock's timeless traditions since 2012, lending rootsy textures to songs about love and hard living.\NTheir songs have collected more than 50 million streams on Spotify since 2016, "What Brings Life Also Kills" was introduced to the world by 2021 American Idol winner Chayce Beckham, and "Peace in the Pines" was featured as the closing song in the season 4 finale of the hit TV show Yellowstone. X-ALT-DESC;FMTTYPE=text/html:

 

Kolton Moore & the Clever Few have been paying tribute to country rock's timeless traditions since 2012, lending rootsy textures to songs about love and hard living.

Their songs have collected more than 50 million streams on Spotify since 2016, "What Brings Life Also Kills" was introduced to the world by 2021 American Idol winner Chayce Beckham, and "Peace in the Pines" was featured as the closing song in the season 4 finale of the hit TV show Yellowstone.

LAST-MODIFIED:20230305T023047Z X-ACCESS:1 X-HITS:1886 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230310T210000 DTEND;TZID=America/Denver:20230310T233000 UID:FC2014BB-C3EF-46F7-A4EF-40E689334D02 SUMMARY:S.G. Goodman DTSTAMP:20221014T195323Z DESCRIPTION:“No one escapes the marks left behind when it comes to love or the absence of it,” says singer-songwriter S.G. Goodman, describing the inspiration behind her sophomore album Teeth Marks. “Not only are we the ones who bear its indentations, but we’re also the ones responsible for placing them on ourselves and others.” When the Kentucky native released her debut album, Old Time Feeling, she was rightly coined an “untamed rock n roll truth-teller” by Rolling Stone. The roots-inflected rock n’ roll record saw Goodman lending her gritty, haunting vocals to narrate the dual perspectives of her upbringing as the daughter of a crop farmer, and a queer woman coming out in a rural town. Now with Teeth Marks, co-produced by Drew Vandenberg (Faye Webster, Drive-By Truckers, Of Montreal) in Athens, Georgia, she picks up the threads of Old Time Feeling. But where her critically acclaimed, Jim James-produced debut zeroed in on the South, reframing misconceptions in slough water-soaked tones, her latest album pulses with downtown Velvet Underground electricity, shifting its focus inward - though never losing Goodman’s searing and universal point of view. Teeth Marks is what you might get if Flannery O’Connor and Lou Reed went on a road trip. Drawing influences from the aforementioned Velvets, as well as Pavement, Karen Dalton, and Chad VanGaalen, Goodman brings 11 powerful vignettes to life, with a sound that ventures deeper into indie rock and punk territory than she ever has before. Though Teeth Marks is a love album, Goodman doesn’t aim her focus on romantic relationships alone. Instead, she analyzes the way love between communities, families, and even one’s self can be influenced by trauma that lingers in the body. Teeth Marks is about what love actually is, love’s psychological and physical imprint, its light, and its darkness. It’s a record about the love we have or don't have for each other, and perhaps, more significantly, the love we have or don’t have for ourselves. X-ALT-DESC;FMTTYPE=text/html:

“No one escapes the marks left behind when it comes to love or the absence of it,” says singer-songwriter S.G. Goodman, describing the inspiration behind her sophomore album Teeth Marks. “Not only are we the ones who bear its indentations, but we’re also the ones responsible for placing them on ourselves and others.”

When the Kentucky native released her debut album, Old Time Feeling, she was rightly coined an “untamed rock n roll truth-teller” by Rolling Stone. The roots-inflected rock n’ roll record saw Goodman lending her gritty, haunting vocals to narrate the dual perspectives of her upbringing as the daughter of a crop farmer, and a queer woman coming out in a rural town.

Now with Teeth Marks, co-produced by Drew Vandenberg (Faye Webster, Drive-By Truckers, Of Montreal) in Athens, Georgia, she picks up the threads of Old Time Feeling. But where her critically acclaimed, Jim James-produced debut zeroed in on the South, reframing misconceptions in slough water-soaked tones, her latest album pulses with downtown Velvet Underground electricity, shifting its focus inward - though never losing Goodman’s searing and universal point of view. Teeth Marks is what you might get if Flannery O’Connor and Lou Reed went on a road trip.

Drawing influences from the aforementioned Velvets, as well as Pavement, Karen Dalton, and Chad VanGaalen, Goodman brings 11 powerful vignettes to life, with a sound that ventures deeper into indie rock and punk territory than she ever has before. Though Teeth Marks is a love album, Goodman doesn’t aim her focus on romantic relationships alone. Instead, she analyzes the way love between communities, families, and even one’s self can be influenced by trauma that lingers in the body. Teeth Marks is about what love actually is, love’s psychological and physical imprint, its light, and its darkness. It’s a record about the love we have or don't have for each other, and perhaps, more significantly, the love we have or don’t have for ourselves.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221021T162043Z X-ACCESS:1 X-HITS:1731 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230311T200000 DTEND;TZID=America/Denver:20230311T233000 UID:656FAA29-74BA-47E3-A9BA-88773963D67D SUMMARY:The Pour DTSTAMP:20230130T203133Z DESCRIPTION:With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton, and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. With their recent EP release “1984,” The Pour are undoubtedly on the move.\NMembers of The Pour have had the privilege of opening for and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic. X-ALT-DESC;FMTTYPE=text/html:

With nearly a decade of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge. Colorfully accompanied on keys is Jesse Howerton, and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for a live show full of deep grooves, tasteful solos, and open-ended improvisation. With their recent EP release “1984,” The Pour are undoubtedly on the move.

Members of The Pour have had the privilege of opening for and sharing the stage with John Popper and Blues Traveler, Karl Denson, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, MonoNeon, Steve Molitz, and DJ Logic.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230306T192357Z X-ACCESS:1 X-HITS:1146 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230314T190000 DTEND;TZID=America/Denver:20230314T233000 UID:61CC1ACE-C7B4-47D6-AF15-EF9322DA230F SUMMARY:Walter Trout DTSTAMP:20221206T000626Z DESCRIPTION:However fast or far a man travels, he can never truly outrun his past. Walter Trout knows this better than anyone. As he embarked on his 30th solo album, Ride, the iconic US blues-rock guitarist found himself eyeing the horizon and the green shoots of his triumphant late career. There was a new record deal with Mascot/Provogue. A move from California to Denmark with his beloved family. Even now, aged 70, Trout was still writing fresh chapters of his life story.\NNo doubt, Ride has a charging momentum and a modern energy, with Trout broadening his musical palette and taking the pulse of an era reeling from both pandemic and politicos. And yet, when the veteran songwriter reached for guitar and notepad, he found himself walking once again amongst the good, bad and ugly scenes of his extraordinary backstory.\N“This album is a snapshot of how I was feeling through this pandemic,” he says. “I think I still have something new to say about the world, and that’s important to me. But my life has been one hell of a ride, and when I listened back, I realised there were a lot of songs about dealing with the past.”\NThe last time we saw Trout stepping out, he was on the road in support of 2020’s Ordinary Madness: a universally acclaimed album that debuted at #2 on the Billboard Blues Chart.\NYet the campaign ended in frustration, when Covid rendered live work too dangerous, both for this liver-transplant survivor and his fans, condemning Trout to an enforced downtime in Denmark that he hadn’t known in a half-century. “I’ve been at this since ’69, when I started out in the New Jersey bars,” he reflects. “Suddenly, I’m sat on my ass for sixteen months, although I did still practise guitar every day. My wife and manager Marie knew I needed to make music. So her present to me for my 70th birthday was a brand-new record deal she had negotiated. My producer, Eric Corne, scoped out a new studio in LA, and my plan was to fly home to make a new album in May.”\NArriving on the US West Coast two weeks before sessions began, Trout settled to write the Ride material in his now-deserted house in Huntington Beach, California. But even in this beachside paradise, amongst the swaying palms and ocean breeze, the past came calling. As long-standing Trout fans know, the Golden State has been the bluesman’s home for 47 years, since the fateful day in ’74 when he quit his New Jersey band, packed his worldly possessions into a Volkswagen Beetle and drove coast-to-coast in search of fortune and glory.\NIn time, Trout would find both, joining John Mayall’s mythologised Bluesbreakers lineup in ’85, before embarking on an acclaimed solo career from ’89 onwards. But before that came his chaotic, self-destructive years as a jobbing lead guitarist, whether for revered-but-tricky blues pioneers like John Lee Hooker and Big Mama Thornton, or an unhinged tenure in an ’80s Canned Heat lineup controlled by the Hell’s Angels.\NTrout’s well-documented excess in this era was darker than a young rock star cutting loose. It could all be traced back to his troubled childhood in New Jersey, he explains, where an unstable stepfather – himself the victim of shocking cruelty as a prisoner of war – was a terrifying presence. As Ride took form, such memories couldn’t help but flavour the music. “This album is obviously what I was going through mentally and emotionally,” he considers. “All I did was express it. I spent a lot of time crying, because I would dig down into my emotional core. I want my songs to have some sort of truth to them.”\NIn May, the Trout band convened at Kingsize Soundlabs, with Corne marshalling a studio lineup that comprised long-standing drummer Michael Leasure, regular keys man Teddy ‘Zig Zag’ Andreadis and incoming bassist Jamie Hunting (deputising for Johnny Griparic, laid low in Sweden with an ear infection). “No star cameos,” Trout nods. “Strictly me and my band. The only guest was my tour manager, Anthony Grisham, who plays rhythm guitar on Leave It All Behind. The reason being, I have to do everything with three fingers because of my broken pinkie. And to play a Chuck Berry rhythm, you need your pinkie. We were all in the studio in masks, and everybody had to be vaccinated and tested.”\NIn years gone by, the Kingsize studios had been the location for both the Blues For The Modern Daze (2012) and Luther’s Blues (2013) albums. But from the grinding riff and freight-train harp that light the fuse of opener Ghosts, it’s clear Ride is like nothing else in Trout’s catalogue. “That song was actually written as a poem,” he explains. “It starts off with the lyric, ‘Sometimes I hear a familiar song and it brings back memories’. That’s the truth. I’ll be riding in my car, a song comes on the radio and I have to pull over and sob for a while. Ghosts sums this album up, y’know?”\NSome memories that Trout examines on Ride are long-distant but eternally poignant. Try the deceptively upbeat title track, another song that began as a poem, recounting the locomotive that rattled past his childhood home each night and enticed him to freight-hop to freedom. “That song is about what it felt like to lay there in bed and dream about escaping on that train.”\NThe stormy Hey Mama takes inspiration from the same period, with Trout debating whether his trauma could have been averted. “I’m not pissed off with my mom and I love her memory,” he says, “but my wife says, ‘Your mom probably could have done more to protect you from your stepdad’. Yeah, maybe she could have. But it’s easy to say that looking back.”\NOther songs are more recent and raw, like the slow-burn wee-small-hours lament Follow You Back Home, which channels Trout’s anguish during a period of marital difficulty. “I was living in a hotel down the street while my wife and family were living five blocks away. It was really rough, and with that song, I put myself back in that hotel room. That lyric is about as deep as I can get, and the guitar is about as emotional as I can play. That’s the first time I’ve ever used a real string section, by the way.”\NYet Trout’s ruminations are not always negative. Reverb-cloaked, faintly Hendrixian and vocally influenced by Chet Baker, the stunning album closer Destiny gives an unvarnished account of the guitarist’s first meeting with Marie at a Danish blues festival in 1990. Meanwhile, decorated by a country-rock solo almost unique in Trout’s catalogue, The Fertile Soil namechecks the ninth-grade band who let the young guitarist sit in despite his fledgling chops. “I was thinking about those early days back in Jersey and those dear friends of mine who are gone now. That song is a metaphor. Back then, when we were all fifteen, everything was ahead of us and our life was the fertile soil.”\NOther cuts on the Ride tracklisting chronicle the here-and-now. Take the roistering High Is Low, whose lyrics – the latest songwriting contribution from Marie – skewer an age in which “social media lies are rampant and the grip on reality keeps slipping”. Elsewhere, while the brittle blues of So Many Sad Goodbyes was born after a news report announcing the grim milestone of 400,000 US Covid deaths, Waiting For The Dawn and Better Days Ahead find Trout urging us – and himself – to stay strong.\N“I listened to Better Days Ahead yesterday,” he says, “and I had a realisation that I was actually writing those words to myself. There were times in this pandemic where I have sunk into some pretty deep depressions, sitting around, wondering whether life has a point. With that song, I’m trying to convince myself to get through this.”\NYet there is always light. Even when Trout tells us ‘I worry too much’ in the spring-heeled funk-blues of the same name – about politics, about the future, about his health – he offsets any existential dread with a groove that demands dancing. “I kinda lightened the original lyrics up, with the line about worrying about my liver. But it’s true: some guys get liver transplants and they last two years. Gregg Allman got a liver transplant, he only lasted three years. And I’m on seven years. So, y’know, I wonder how long I got here.”\NMeanwhile, in an era where light relief is vanishingly scarce, Leave It All Behind is a flash of pure escapism. “That song is just like, ‘Let’s get the fuck out of here, baby’,” Trout laughs. “That one was actually a lot of fun to write. I just wanted to write an old ’50s song. It’s another ‘let’s escape’ song, almost the same theme as the title track. I think you’ll find a few of those themes on this album. Like, I want to get away from this, find some sanity and peace of mind through all of this shit that we’re going through.”\NBy now, Trout knows that nobody ever really leaves their old selves behind. But with Ride providing an emotional release-valve – both for its creator and his loyal listeners – perhaps this veteran artist can reconcile with his past, accept his future and live in the present as it unfolds. “I think you can interpret this album title a few different ways,” he concludes. “I mean, this album is definitely a musical ride and I certainly tried to cover a lot of ground. But, really, life is kind of a ride too, isn’t it? And I want to live mine to the fullest.” X-ALT-DESC;FMTTYPE=text/html:

However fast or far a man travels, he can never truly outrun his past. Walter Trout knows this better than anyone. As he embarked on his 30th solo album, Ride, the iconic US blues-rock guitarist found himself eyeing the horizon and the green shoots of his triumphant late career. There was a new record deal with Mascot/Provogue. A move from California to Denmark with his beloved family. Even now, aged 70, Trout was still writing fresh chapters of his life story.

No doubt, Ride has a charging momentum and a modern energy, with Trout broadening his musical palette and taking the pulse of an era reeling from both pandemic and politicos. And yet, when the veteran songwriter reached for guitar and notepad, he found himself walking once again amongst the good, bad and ugly scenes of his extraordinary backstory.

“This album is a snapshot of how I was feeling through this pandemic,” he says. “I think I still have something new to say about the world, and that’s important to me. But my life has been one hell of a ride, and when I listened back, I realised there were a lot of songs about dealing with the past.”

The last time we saw Trout stepping out, he was on the road in support of 2020’s Ordinary Madness: a universally acclaimed album that debuted at #2 on the Billboard Blues Chart.

Yet the campaign ended in frustration, when Covid rendered live work too dangerous, both for this liver-transplant survivor and his fans, condemning Trout to an enforced downtime in Denmark that he hadn’t known in a half-century. “I’ve been at this since ’69, when I started out in the New Jersey bars,” he reflects. “Suddenly, I’m sat on my ass for sixteen months, although I did still practise guitar every day. My wife and manager Marie knew I needed to make music. So her present to me for my 70th birthday was a brand-new record deal she had negotiated. My producer, Eric Corne, scoped out a new studio in LA, and my plan was to fly home to make a new album in May.”

Arriving on the US West Coast two weeks before sessions began, Trout settled to write the Ride material in his now-deserted house in Huntington Beach, California. But even in this beachside paradise, amongst the swaying palms and ocean breeze, the past came calling. As long-standing Trout fans know, the Golden State has been the bluesman’s home for 47 years, since the fateful day in ’74 when he quit his New Jersey band, packed his worldly possessions into a Volkswagen Beetle and drove coast-to-coast in search of fortune and glory.

In time, Trout would find both, joining John Mayall’s mythologised Bluesbreakers lineup in ’85, before embarking on an acclaimed solo career from ’89 onwards. But before that came his chaotic, self-destructive years as a jobbing lead guitarist, whether for revered-but-tricky blues pioneers like John Lee Hooker and Big Mama Thornton, or an unhinged tenure in an ’80s Canned Heat lineup controlled by the Hell’s Angels.

Trout’s well-documented excess in this era was darker than a young rock star cutting loose. It could all be traced back to his troubled childhood in New Jersey, he explains, where an unstable stepfather – himself the victim of shocking cruelty as a prisoner of war – was a terrifying presence. As Ride took form, such memories couldn’t help but flavour the music. “This album is obviously what I was going through mentally and emotionally,” he considers. “All I did was express it. I spent a lot of time crying, because I would dig down into my emotional core. I want my songs to have some sort of truth to them.”

In May, the Trout band convened at Kingsize Soundlabs, with Corne marshalling a studio lineup that comprised long-standing drummer Michael Leasure, regular keys man Teddy ‘Zig Zag’ Andreadis and incoming bassist Jamie Hunting (deputising for Johnny Griparic, laid low in Sweden with an ear infection). “No star cameos,” Trout nods. “Strictly me and my band. The only guest was my tour manager, Anthony Grisham, who plays rhythm guitar on Leave It All Behind. The reason being, I have to do everything with three fingers because of my broken pinkie. And to play a Chuck Berry rhythm, you need your pinkie. We were all in the studio in masks, and everybody had to be vaccinated and tested.”

In years gone by, the Kingsize studios had been the location for both the Blues For The Modern Daze (2012) and Luther’s Blues (2013) albums. But from the grinding riff and freight-train harp that light the fuse of opener Ghosts, it’s clear Ride is like nothing else in Trout’s catalogue. “That song was actually written as a poem,” he explains. “It starts off with the lyric, ‘Sometimes I hear a familiar song and it brings back memories’. That’s the truth. I’ll be riding in my car, a song comes on the radio and I have to pull over and sob for a while. Ghosts sums this album up, y’know?”

Some memories that Trout examines on Ride are long-distant but eternally poignant. Try the deceptively upbeat title track, another song that began as a poem, recounting the locomotive that rattled past his childhood home each night and enticed him to freight-hop to freedom. “That song is about what it felt like to lay there in bed and dream about escaping on that train.”

The stormy Hey Mama takes inspiration from the same period, with Trout debating whether his trauma could have been averted. “I’m not pissed off with my mom and I love her memory,” he says, “but my wife says, ‘Your mom probably could have done more to protect you from your stepdad’. Yeah, maybe she could have. But it’s easy to say that looking back.”

Other songs are more recent and raw, like the slow-burn wee-small-hours lament Follow You Back Home, which channels Trout’s anguish during a period of marital difficulty. “I was living in a hotel down the street while my wife and family were living five blocks away. It was really rough, and with that song, I put myself back in that hotel room. That lyric is about as deep as I can get, and the guitar is about as emotional as I can play. That’s the first time I’ve ever used a real string section, by the way.”

Yet Trout’s ruminations are not always negative. Reverb-cloaked, faintly Hendrixian and vocally influenced by Chet Baker, the stunning album closer Destiny gives an unvarnished account of the guitarist’s first meeting with Marie at a Danish blues festival in 1990. Meanwhile, decorated by a country-rock solo almost unique in Trout’s catalogue, The Fertile Soil namechecks the ninth-grade band who let the young guitarist sit in despite his fledgling chops. “I was thinking about those early days back in Jersey and those dear friends of mine who are gone now. That song is a metaphor. Back then, when we were all fifteen, everything was ahead of us and our life was the fertile soil.”

Other cuts on the Ride tracklisting chronicle the here-and-now. Take the roistering High Is Low, whose lyrics – the latest songwriting contribution from Marie – skewer an age in which “social media lies are rampant and the grip on reality keeps slipping”. Elsewhere, while the brittle blues of So Many Sad Goodbyes was born after a news report announcing the grim milestone of 400,000 US Covid deaths, Waiting For The Dawn and Better Days Ahead find Trout urging us – and himself – to stay strong.

“I listened to Better Days Ahead yesterday,” he says, “and I had a realisation that I was actually writing those words to myself. There were times in this pandemic where I have sunk into some pretty deep depressions, sitting around, wondering whether life has a point. With that song, I’m trying to convince myself to get through this.”

Yet there is always light. Even when Trout tells us ‘I worry too much’ in the spring-heeled funk-blues of the same name – about politics, about the future, about his health – he offsets any existential dread with a groove that demands dancing. “I kinda lightened the original lyrics up, with the line about worrying about my liver. But it’s true: some guys get liver transplants and they last two years. Gregg Allman got a liver transplant, he only lasted three years. And I’m on seven years. So, y’know, I wonder how long I got here.”

Meanwhile, in an era where light relief is vanishingly scarce, Leave It All Behind is a flash of pure escapism. “That song is just like, ‘Let’s get the fuck out of here, baby’,” Trout laughs. “That one was actually a lot of fun to write. I just wanted to write an old ’50s song. It’s another ‘let’s escape’ song, almost the same theme as the title track. I think you’ll find a few of those themes on this album. Like, I want to get away from this, find some sanity and peace of mind through all of this shit that we’re going through.”

By now, Trout knows that nobody ever really leaves their old selves behind. But with Ride providing an emotional release-valve – both for its creator and his loyal listeners – perhaps this veteran artist can reconcile with his past, accept his future and live in the present as it unfolds. “I think you can interpret this album title a few different ways,” he concludes. “I mean, this album is definitely a musical ride and I certainly tried to cover a lot of ground. But, really, life is kind of a ride too, isn’t it? And I want to live mine to the fullest.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230314T223900Z X-ACCESS:1 X-HITS:1978 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230320T200000 DTEND;TZID=America/Denver:20230320T233000 UID:77209E14-0D4C-45BA-B57F-13EDAE9EF8A1 SUMMARY:EXTC DTSTAMP:20230103T131020Z DESCRIPTION:For almost four decades, XTC fans could only dream of witnessingthe sensational XTC classic songbook played live. That dream hasnow become a reality. XTC’s legendary drummer, Terry Chambers, isback on the road with his band EXTC (named and approved by XTCfrontman, Andy Partridge).\NEmerging out of the post-punk and new-wave explosion of the late70s. XTC experienced global success, touring with the likes of ThePolice and Talking Heads. Sadly, their legions of loyal fans would beleft in limbo, when in 1982 XTC stopped touring, becoming a studio-based entity.\NNow, forty years on, those loyal fans can once again experience allthe XTC classics performed live to audiences across the globe. EXTC–XTCs Terry Chambers and friends take you on a journey through timeas they work their way through the XTC back catalog including thehits, Senses Working Overtime, Making Plans for Nigel, Sgt Rock, LifeBegins at the Hop, Dear God, Mayor of Simpleton, and many more!EXTC–XTCs Terry Chambers and Friends capture all the raw energyand hype of XTC’s heyday, with their sensational energetic liveperformances. EXTC honors the legacy of XTC’s past, as shapes itsown future, with new material already in the works.Alongside Terry, EXTC features frontman Steve Hampton (lead vocal& guitar - Joe Jackson & The Vapors) and Matt Hughes (bass & vocals- Rick Wakeman and Robyn Hitchcock). X-ALT-DESC;FMTTYPE=text/html:

For almost four decades, XTC fans could only dream of witnessing
the sensational XTC classic songbook played live. That dream has
now become a reality. XTC’s legendary drummer, Terry Chambers, is
back on the road with his band EXTC (named and approved by XTC
frontman, Andy Partridge).

Emerging out of the post-punk and new-wave explosion of the late
70s. XTC experienced global success, touring with the likes of The
Police and Talking Heads. Sadly, their legions of loyal fans would be
left in limbo, when in 1982 XTC stopped touring, becoming a studio-based entity.

Now, forty years on, those loyal fans can once again experience all
the XTC classics performed live to audiences across the globe. EXTC–
XTCs Terry Chambers and friends take you on a journey through time
as they work their way through the XTC back catalog including the
hits, Senses Working Overtime, Making Plans for Nigel, Sgt Rock, Life
Begins at the Hop, Dear God, Mayor of Simpleton, and many more!
EXTC–XTCs Terry Chambers and Friends capture all the raw energy
and hype of XTC’s heyday, with their sensational energetic live
performances. EXTC honors the legacy of XTC’s past, as shapes its
own future, with new material already in the works.
Alongside Terry, EXTC features frontman Steve Hampton (lead vocal
& guitar - Joe Jackson & The Vapors) and Matt Hughes (bass & vocals
- Rick Wakeman and Robyn Hitchcock).

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230320T215411Z X-ACCESS:1 X-HITS:1880 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230322T190000 DTEND;TZID=America/Denver:20230322T233000 UID:05DE723D-630A-4547-BD97-BA5102AD925E SUMMARY:Sarah Shook & The Disarmers + Bendigo Fletcher DTSTAMP:20221213T203010Z DESCRIPTION:When Sidelong, Sarah Shook & the Disarmers’ debut album, was released in early 2017, it quickly earned kudos for its blast of fresh, fierce honesty and sly wit. It was a welcome new voice in a genre too often mired in the staid and conventional. And while that record may have come to many as a surprise, 2018's follow-up, Years, solidifies the point: Sarah Shook & the Disarmers have moved from getting people’s attention to commanding it.\NNorth Carolina’s Sarah Shook sings with a conviction and hard honesty sorely lacking in much of today’s Americana landscape. Always passionate, at times profane, Sarah stalks/walks the line between vulnerable and menacing, her voice strong and uneasy, country classic but with contemporary, earthy tension. You can hear in her voice what’s she’s seen; world weary, lessons learned—or not—but always defiant. Writing with a blunt urgency, Sarah's lyrics are in turn smart, funny, mean, and above all, uncompromising. Sly turns of phrase so spot on they feel as old and true as a hymn. Anger that's as confrontational as it is concise. Humor that's as wry and resigned as a park bench prophet.\NThe Disarmers hit all the sweet spots from Nashville’s Lower Broad to Bakersfield and take Sarah's unflinching tales out for some late-night kicks. At times, it’s as simple and muscular as Luther Perkins’ boom-chicka-boom, or as downtown as Johnny Thunders. The Disarmers keep in the pocket, tight and tough. X-ALT-DESC;FMTTYPE=text/html:

When Sidelong, Sarah Shook & the Disarmers’ debut album, was released in early 2017, it quickly earned kudos for its blast of fresh, fierce honesty and sly wit. It was a welcome new voice in a genre too often mired in the staid and conventional. And while that record may have come to many as a surprise, 2018's follow-up, Years, solidifies the point: Sarah Shook & the Disarmers have moved from getting people’s attention to commanding it.

North Carolina’s Sarah Shook sings with a conviction and hard honesty sorely lacking in much of today’s Americana landscape. Always passionate, at times profane, Sarah stalks/walks the line between vulnerable and menacing, her voice strong and uneasy, country classic but with contemporary, earthy tension. You can hear in her voice what’s she’s seen; world weary, lessons learned—or not—but always defiant. Writing with a blunt urgency, Sarah's lyrics are in turn smart, funny, mean, and above all, uncompromising. Sly turns of phrase so spot on they feel as old and true as a hymn. Anger that's as confrontational as it is concise. Humor that's as wry and resigned as a park bench prophet.

The Disarmers hit all the sweet spots from Nashville’s Lower Broad to Bakersfield and take Sarah's unflinching tales out for some late-night kicks. At times, it’s as simple and muscular as Luther Perkins’ boom-chicka-boom, or as downtown as Johnny Thunders. The Disarmers keep in the pocket, tight and tough.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230309T020322Z X-ACCESS:1 X-HITS:1233 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230323T190000 DTEND;TZID=America/Denver:20230323T200000 UID:03C423FD-1378-4375-8C68-735ACBAEB075 SUMMARY:Thumpasaurus DTSTAMP:20221115T175137Z DESCRIPTION:In the beginning there was Thump… The primordial groove of the Universe. Thump thumped its way through all things. In the beginning groove was harmony, and harmony was groove, and it was good.\NLong before the age of humans, the Thumpasaurus roamed the Earth, serving the cosmos as the teachers of the Thump. The thump traversed all beings, and the Thumpasarus helped distribute its secret wisdom to all sentient and non sentient creatures. It was good. As time passed and the Earth fluctuated between periods of great peace and great unrest, the Thumpasaurus became a threat to growing forces of evil- who fueled by a primary motivation in consumerism sought to eliminate the Thumpasaurus. To save the species and protect the goodness of the Universe, The Thumpasaurus fled the earth to the outer reaches of space time - though the Thumpasaurus swore to return to the Earth as harbingers of the age of reawakening. In their last gift to the consciousness of the cosmic manifestation of the Earth and its beings, the Thumpasaurus wrote down the secrets of the Thump in a manuscript of real troof and buried it in a sacredly SECRET location (the appalachian mountains) in hopes that the Thump would survive and benefit future generations with happiness, love and thump. As buildings turned to sand, and memories to dust, so too did the ancient memory of the Thumpasaurus and with them disappeared the philosophy of Thump. X-ALT-DESC;FMTTYPE=text/html:

In the beginning there was Thump… The primordial groove of the Universe. Thump thumped its way through all things. In the beginning groove was harmony, and harmony was groove, and it was good.

Long before the age of humans, the Thumpasaurus roamed the Earth, serving the cosmos as the teachers of the Thump. The thump traversed all beings, and the Thumpasarus helped distribute its secret wisdom to all sentient and non sentient creatures. It was good. As time passed and the Earth fluctuated between periods of great peace and great unrest, the Thumpasaurus became a threat to growing forces of evil- who fueled by a primary motivation in consumerism sought to eliminate the Thumpasaurus. To save the species and protect the goodness of the Universe, The Thumpasaurus fled the earth to the outer reaches of space time - though the Thumpasaurus swore to return to the Earth as harbingers of the age of reawakening. In their last gift to the consciousness of the cosmic manifestation of the Earth and its beings, the Thumpasaurus wrote down the secrets of the Thump in a manuscript of real troof and buried it in a sacredly SECRET location (the appalachian mountains) in hopes that the Thump would survive and benefit future generations with happiness, love and thump. As buildings turned to sand, and memories to dust, so too did the ancient memory of the Thumpasaurus and with them disappeared the philosophy of Thump.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230309T020250Z X-ACCESS:1 X-HITS:2258 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230324T210000 DTEND;TZID=America/Denver:20230324T233000 UID:8E4629FD-BA66-4FE3-8FF0-973031D06231 SUMMARY:Dead Sky & Stonefed (Night 1!) DTSTAMP:20221005T194804Z DESCRIPTION:Dead Sky was formed in Bozeman, Montana in the winter of 2019 by a group of friends who had been hosting a yearly Grateful Dead night at a local club. The debut performance of the new group was a success, inspiring the musicians to dedicate themselves to a project that was more rewarding, both musically and spiritually, than they had anticipated at the outset. Now in their third year, Dead Sky has made it their mission to spread the good vibe and camaraderie of the Grateful Dead to old and new Deadheads alike. As veterans of the Montana jam band scene, the members of Dead Sky continue to bring their musicality, energy, and gift for improvisation to an ever growing fan base that is quickly reaching outside the borders of Montana. X-ALT-DESC;FMTTYPE=text/html:

Dead Sky was formed in Bozeman, Montana in the winter of 2019 by a group of friends who had been hosting a yearly Grateful Dead night at a local club. The debut performance of the new group was a success, inspiring the musicians to dedicate themselves to a project that was more rewarding, both musically and spiritually, than they had anticipated at the outset. Now in their third year, Dead Sky has made it their mission to spread the good vibe and camaraderie of the Grateful Dead to old and new Deadheads alike. As veterans of the Montana jam band scene, the members of Dead Sky continue to bring their musicality, energy, and gift for improvisation to an ever growing fan base that is quickly reaching outside the borders of Montana.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221014T165606Z X-ACCESS:1 X-HITS:2412 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230325T210000 DTEND;TZID=America/Denver:20230325T220000 UID:66B004D0-1EBB-4DD1-AFE3-D96DB530B10D SUMMARY:Dead Sky & Stonefed (Night 2!) DTSTAMP:20221005T195050Z DESCRIPTION:Dead Sky was formed in Bozeman, Montana in the winter of 2019 by a group of friends who had been hosting a yearly Grateful Dead night at a local club. The debut performance of the new group was a success, inspiring the musicians to dedicate themselves to a project that was more rewarding, both musically and spiritually, than they had anticipated at the outset. Now in their third year, Dead Sky has made it their mission to spread the good vibe and camaraderie of the Grateful Dead to old and new Deadheads alike. As veterans of the Montana jam band scene, the members of Dead Sky continue to bring their musicality, energy, and gift for improvisation to an ever growing fan base that is quickly reaching outside the borders of Montana. X-ALT-DESC;FMTTYPE=text/html:

Dead Sky was formed in Bozeman, Montana in the winter of 2019 by a group of friends who had been hosting a yearly Grateful Dead night at a local club. The debut performance of the new group was a success, inspiring the musicians to dedicate themselves to a project that was more rewarding, both musically and spiritually, than they had anticipated at the outset. Now in their third year, Dead Sky has made it their mission to spread the good vibe and camaraderie of the Grateful Dead to old and new Deadheads alike. As veterans of the Montana jam band scene, the members of Dead Sky continue to bring their musicality, energy, and gift for improvisation to an ever growing fan base that is quickly reaching outside the borders of Montana.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20221014T165620Z X-ACCESS:1 X-HITS:1273 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230326T190000 DTEND;TZID=America/Denver:20230326T233000 UID:D4B0099C-E092-4022-8B6D-FAFCD3D719BC SUMMARY:Lady Wray DTSTAMP:20230109T193200Z DESCRIPTION:Like most artists, Nicole Wray's life in music has always reflected her real life. As a fifteen-year-old in Virginia, she auditioned for Missy Elliot in her mother's home. Even then, with her voice so full and arresting—Missy signed her on the spot. Later, in 1998, merely two years after that tryout, she had a debut solo album and a single that smashed up radio and TV, quickly going gold. But back then—young and unsure—Nicole was essentially following someone else's lead, signing the lyrics they wrote for her and in the way they wanted them sung.\NFast forward to now, after a few fits and starts with other labels and projects, and you'll find a very different Nicole Wray. Today, she's a mother, a wife, and living for herself and her family. So naturally, this evolution followed into her music: she sings how she wants to, expertly writing lyrics for herself and others. To hear her tell it, it's these things—and most importantly, an unflinching self-belief—that help lead a young and raw Virginian singer named Nicole to become Lady Wray.\NThe latest step for Lady Wray is her new album, released on Brooklyn's Big Crown records. Called Piece of Me, the record is—on the one hand—a continuation, picking up where Lady Wray and label co-owner/producer Leon Michels left off with Queen Alone. But Piece of Me is also a kind of homecoming for Lady Wray. That first record sonically showcased the dexterous range of Lady Wray's voice and songwriting by leaning toward soul and R&B with tinges of hip-hop. On Piece of Me, it's still R&B with a heavy dose of soul, but you'll hear boom-bap-smacked drums and chunky basslines front-and-center, all creating a head-noddingly dense backdrop for Lady Wray to traverse—much like the era in which she was first introduced to us. In some ways, Piece of Me is like a Big-Crown-ification of late 90s R&B—and Lady Wray is right at home.\NNowhere is this approach more evident than on the first single from the record. The song shares the same name as the album, "Piece of Me," and while it was initially released in 2019, it took off in 2020 and beyond. It's about the people in your life who may need more than you can give, and how that can strain it all. It's no wonder this single resonated in 2020—we all either wanted more or wanted to give more at a time when we couldn't connect. Featuring just Lady Wray, piano, drums, bass, and guitar—the musical backing is restrained and expertly executed, setting up Lady Wray for the full spotlight. With its open-and-bubbled bassline and speaker-testing drumline, some rap/hip-hop artists have already sampled this song. And while that is a kind of compliment, it's really of little consequence. Only a few people in the world can take this level of musicianship and elevate it. And Lady Wray is one such person.\NThe story goes that "Piece of Me," plus two more singles ("Come On In" and "Storms") were products of jam sessions at Leon's home studio. And while that's not all that impressive, listen to these songs—with subject matter covering relationships and hardship, the emotional charge Lady Wray sends out, the connection she and her lyrics make with the audience—and then picture her having to sit down to record. At the time, Lady Wray was pregnant with her daughter—in her last trimester. Her voice is so powerful, so raw, so thorough on these initial songs—it's wild to think that they were recorded this way. And even wilder to know that she knocked them all out in one take. Just more evidence that Lady Wray is indeed doing what she's supposed to do, and very little is going to stop her.\NWith this in mind, when talking about this record, for Lady Wray, it's another step toward a larger purpose. "My goal is always to help and to heal people with singing," she explains. "Part of that is to try and bring back real music, real singing, so people can feel something again." Now, she's not dissing anyone here, to be clear. It's just that Lady Wray cannot sing without tapping into something deeper, searching for that shared compassion between all of us. Perhaps it comes from her church upbringing, or maybe from her years of trials and tribulations in the music industry. Either way, Lady Wray is looking to bring that "Good Sound" back and the good feelings that come with it. She calls it "those inner hands," and she always means to stir them up, grabbing your attention from within.\NThere shouldn't be too much of an issue keeping our attention with Piece of Me. First, building on the hip-hop production vibe, there's the song "Through it All." It's about a chaotic but beautiful relationship and how, despite the troubles, we can still be thankful for it. But the song features a sped-up Lady Wray signing the chorus, sounding right out of some long-lost Kayne West beat tape circa 2005. Then there's "My Thing," which starts with the funkiest of open drum breaks. And with Lady Wray complimented with fuzz guitar and just-off-beat-enough string plucks, you might mistake it for some Amy Winehouse remix or something. But no, it's not. It's Lady Wray, and you'd be good to remember that.\NWith past albums like the Lady project and Queen Alone, it's hard to not acknowledge that Lady Wray plus Leon Michels production equals magic. But this magic is also coming from the fact that Lady Wray is now squarely herself, calling her shots, and singing to help heal first—everything else is secondary. "It's a beautiful thing I've always wanted in my career, and now I have it," Lady Wray says. "They encourage me to be me all day long." This is Lady Wray at her finest, and she's giving us all a piece of where she's at these days. X-ALT-DESC;FMTTYPE=text/html:

Like most artists, Nicole Wray's life in music has always reflected her real life. As a fifteen-year-old in Virginia, she auditioned for Missy Elliot in her mother's home. Even then, with her voice so full and arresting—Missy signed her on the spot. Later, in 1998, merely two years after that tryout, she had a debut solo album and a single that smashed up radio and TV, quickly going gold. But back then—young and unsure—Nicole was essentially following someone else's lead, signing the lyrics they wrote for her and in the way they wanted them sung.

Fast forward to now, after a few fits and starts with other labels and projects, and you'll find a very different Nicole Wray. Today, she's a mother, a wife, and living for herself and her family. So naturally, this evolution followed into her music: she sings how she wants to, expertly writing lyrics for herself and others. To hear her tell it, it's these things—and most importantly, an unflinching self-belief—that help lead a young and raw Virginian singer named Nicole to become Lady Wray.

The latest step for Lady Wray is her new album, released on Brooklyn's Big Crown records. Called Piece of Me, the record is—on the one hand—a continuation, picking up where Lady Wray and label co-owner/producer Leon Michels left off with Queen Alone. But Piece of Me is also a kind of homecoming for Lady Wray. That first record sonically showcased the dexterous range of Lady Wray's voice and songwriting by leaning toward soul and R&B with tinges of hip-hop. On Piece of Me, it's still R&B with a heavy dose of soul, but you'll hear boom-bap-smacked drums and chunky basslines front-and-center, all creating a head-noddingly dense backdrop for Lady Wray to traverse—much like the era in which she was first introduced to us. In some ways, Piece of Me is like a Big-Crown-ification of late 90s R&B—and Lady Wray is right at home.

Nowhere is this approach more evident than on the first single from the record. The song shares the same name as the album, "Piece of Me," and while it was initially released in 2019, it took off in 2020 and beyond. It's about the people in your life who may need more than you can give, and how that can strain it all. It's no wonder this single resonated in 2020—we all either wanted more or wanted to give more at a time when we couldn't connect. Featuring just Lady Wray, piano, drums, bass, and guitar—the musical backing is restrained and expertly executed, setting up Lady Wray for the full spotlight. With its open-and-bubbled bassline and speaker-testing drumline, some rap/hip-hop artists have already sampled this song. And while that is a kind of compliment, it's really of little consequence. Only a few people in the world can take this level of musicianship and elevate it. And Lady Wray is one such person.

The story goes that "Piece of Me," plus two more singles ("Come On In" and "Storms") were products of jam sessions at Leon's home studio. And while that's not all that impressive, listen to these songs—with subject matter covering relationships and hardship, the emotional charge Lady Wray sends out, the connection she and her lyrics make with the audience—and then picture her having to sit down to record. At the time, Lady Wray was pregnant with her daughter—in her last trimester. Her voice is so powerful, so raw, so thorough on these initial songs—it's wild to think that they were recorded this way. And even wilder to know that she knocked them all out in one take. Just more evidence that Lady Wray is indeed doing what she's supposed to do, and very little is going to stop her.

With this in mind, when talking about this record, for Lady Wray, it's another step toward a larger purpose. "My goal is always to help and to heal people with singing," she explains. "Part of that is to try and bring back real music, real singing, so people can feel something again." Now, she's not dissing anyone here, to be clear. It's just that Lady Wray cannot sing without tapping into something deeper, searching for that shared compassion between all of us. Perhaps it comes from her church upbringing, or maybe from her years of trials and tribulations in the music industry. Either way, Lady Wray is looking to bring that "Good Sound" back and the good feelings that come with it. She calls it "those inner hands," and she always means to stir them up, grabbing your attention from within.

There shouldn't be too much of an issue keeping our attention with Piece of Me. First, building on the hip-hop production vibe, there's the song "Through it All." It's about a chaotic but beautiful relationship and how, despite the troubles, we can still be thankful for it. But the song features a sped-up Lady Wray signing the chorus, sounding right out of some long-lost Kayne West beat tape circa 2005. Then there's "My Thing," which starts with the funkiest of open drum breaks. And with Lady Wray complimented with fuzz guitar and just-off-beat-enough string plucks, you might mistake it for some Amy Winehouse remix or something. But no, it's not. It's Lady Wray, and you'd be good to remember that.

With past albums like the Lady project and Queen Alone, it's hard to not acknowledge that Lady Wray plus Leon Michels production equals magic. But this magic is also coming from the fact that Lady Wray is now squarely herself, calling her shots, and singing to help heal first—everything else is secondary. "It's a beautiful thing I've always wanted in my career, and now I have it," Lady Wray says. "They encourage me to be me all day long." This is Lady Wray at her finest, and she's giving us all a piece of where she's at these days.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230207T184114Z X-ACCESS:1 X-HITS:1371 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230329T193000 DTEND;TZID=America/Denver:20230329T233000 UID:AB7A7126-A11E-4039-9BDF-D2B6C7646AF7 SUMMARY:Theo Katzman DTSTAMP:20221208T224421Z DESCRIPTION:You've seen him strut the stage with Vulfpeck at the World's Greatest Arena. You've seen his name in the credits of your favorite artist's favorite album.\NYou've seen footage from his sold-out 2020 tour and thought: is that grown man really singing an A above high C?\NWell...forget ALL that s**t...and dig this:\NLife is short. Love is eternal. Theo Katzman has captured his fiercest flame on his new album: Be The Wheel.\NHe brings his staunchly synergistic, sober psychedelic, seeker-sensitive soul service to a HERE near you, at a NOW near then.\NHe aims to pierce your heart.\NHis aim is true.\NWill you join us? X-ALT-DESC;FMTTYPE=text/html:

You've seen him strut the stage with Vulfpeck at the World's Greatest Arena. You've seen his name in the credits of your favorite artist's favorite album.

You've seen footage from his sold-out 2020 tour and thought: is that grown man really singing an A above high C?

Well...forget ALL that s**t...and dig this:

Life is short. Love is eternal. Theo Katzman has captured his fiercest flame on his new album: Be The Wheel.

He brings his staunchly synergistic, sober psychedelic, seeker-sensitive soul service to a HERE near you, at a NOW near then.

He aims to pierce your heart.

His aim is true.

Will you join us?

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230328T212650Z X-ACCESS:1 X-HITS:1867 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230330T200000 DTEND;TZID=America/Denver:20230330T233000 UID:D9432A24-EDC1-4BA5-B951-DC9DF3BFD740 SUMMARY:TSR Reggae Nights DTSTAMP:20230303T223417Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230316T191017Z X-ACCESS:1 X-HITS:990 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230404T190000 DTEND;TZID=America/Denver:20230404T233000 UID:8A1DCD1E-940C-431B-864D-297AB82DB53A SUMMARY:Ron Sexsmith DTSTAMP:20230131T182656Z DESCRIPTION:Ron Sexsmith is a three time, Juno award winning singer songwriter from St Catharines Ontario. Born in 1964, Ron was drawn to music from an early age by the melodic songs of the era, which he heard on the radio and by his Mom’s record collection.\NHis earliest musical heroes were Buddy Holly and Elton John.\NHe always loved to sing, but didn’t start playing guitar until age 14 when he formed his first band “Paper Moon” (named after the film of the same name). Although he tried to write songs throughout his teens, it wasn’t until he was 21 and living in Quebec with his partner and first child, that he truly became a songwriter.\NRon eventually moved his young family to Toronto in 1987 to further pursue a career in music. He worked as a courier by day, while performing in the clubs by night. He formed the band ‘Ron Sexsmith and The Uncool’ and started gaining attention from music label executives, though all passed on signing him.\NIn 1991 he released his first full length album on cassette called “Grand Opera Lane” produced by Bob Wiseman. The album was rejected by the Canadian music industry, although it found its way to Los Angeles where Ron ultimately signed his first music publishing deal with Interscope Records followed by a recording contract.\NWith producer Mitchell Froom, Sexsmith released his self-titled label debut album in 1995. The melancholic tone and sparse acoustic arrangements of the album were met with disapproval from Interscope. However an enthusiastic endorsement from Elvis Costello drew media attention and the album was declared a critical success. In his Sept 7, 1995 review for Rolling Stone, Bud Scoppa wrote: “He just may be the most fluent balladeer to come along since Tim Hardin or Harry Nilsson.”\NSexsmith’s songwriting style evolved into a unique and timeless blend of classic pop, contemporary folk, and roots-rock idioms. He has built a steadfast reputation with critics and with some of his own songwriting hero’s (Elton John, Ray Davies, John Prine, Gordon Lightfoot, Leonard Cohen and Paul McCartney) for his characteristically honest, sensitive, and enduringapproach to the songwriting craft.\NRon has released albums on a consistent basis since 1995 and has recorded with noted producers Mitchell Froom, Daniel Lanois, Steve Earle, Jim Scott, Don Kerr, Brad Jones, Bob Rock, and Martin Terefe.\NHis extensive song and album catalog has garnered Sexsmith a substantive cult following and an international touring career. His early years of touring included opening for established artists such as, John Hiatt, Elvis Costello, Sarah McLaughlin, Tori Amos, Squeeze, Aimee Mann, Coldplay, Nick Lowe, John Prine, Lucinda Williams and many others.\NHis songs as well, have been covered by the likes of Rod Stewart, Nick Lowe, Emmy Lou Harris, Feist, and Michael Buble to name a few.\NIn the past few decades as a headlining artist, Ron has performed at some of the most prestigious venues in the world, such as Massey Hall, Royal Albert Hall, and Carnegie Hall.\NIn 2017, Ron penned his first novel ‘Deer Life, A Fairy Tale’ published worldwide by Dundurn Press Limited. He has written a ‘yet to be released’ complete musical score to accompany the tale, for his vision to someday bring the story to the stage as musical theatre or adapt to film.\NRon completed work on a brand new album which is scheduled to be released in early 2023 and is in keeping with his reputation for catchy but graceful melodies, drawing on love, and the trials of everyday life.\NHe currently lives in Stratford, Ontario and continues to be inspired to write, record and perform live worldwide. X-ALT-DESC;FMTTYPE=text/html:

Ron Sexsmith is a three time, Juno award winning singer songwriter from St Catharines Ontario. Born in 1964, Ron was drawn to music from an early age by the melodic songs of the era, which he heard on the radio and by his Mom’s record collection.

His earliest musical heroes were Buddy Holly and Elton John.

He always loved to sing, but didn’t start playing guitar until age 14 when he formed his first band “Paper Moon” (named after the film of the same name). Although he tried to write songs throughout his teens, it wasn’t until he was 21 and living in Quebec with his partner and first child, that he truly became a songwriter.

Ron eventually moved his young family to Toronto in 1987 to further pursue a career in music. He worked as a courier by day, while performing in the clubs by night. He formed the band ‘Ron Sexsmith and The Uncool’ and started gaining attention from music label executives, though all passed on signing him.

In 1991 he released his first full length album on cassette called “Grand Opera Lane” produced by Bob Wiseman. The album was rejected by the Canadian music industry, although it found its way to Los Angeles where Ron ultimately signed his first music publishing deal with Interscope Records followed by a recording contract.

With producer Mitchell Froom, Sexsmith released his self-titled label debut album in 1995. The melancholic tone and sparse acoustic arrangements of the album were met with disapproval from Interscope. However an enthusiastic endorsement from Elvis Costello drew media attention and the album was declared a critical success. In his Sept 7, 1995 review for Rolling Stone, Bud Scoppa wrote: “He just may be the most fluent balladeer to come along since Tim Hardin or Harry Nilsson.”

Sexsmith’s songwriting style evolved into a unique and timeless blend of classic pop, contemporary folk, and roots-rock idioms. He has built a steadfast reputation with critics and with some of his own songwriting hero’s (Elton John, Ray Davies, John Prine, Gordon Lightfoot, Leonard Cohen and Paul McCartney) for his characteristically honest, sensitive, and enduring
approach to the songwriting craft.

Ron has released albums on a consistent basis since 1995 and has recorded with noted producers Mitchell Froom, Daniel Lanois, Steve Earle, Jim Scott, Don Kerr, Brad Jones, Bob Rock, and Martin Terefe.

His extensive song and album catalog has garnered Sexsmith a substantive cult following and an international touring career. His early years of touring included opening for established artists such as, John Hiatt, Elvis Costello, Sarah McLaughlin, Tori Amos, Squeeze, Aimee Mann, Coldplay, Nick Lowe, John Prine, Lucinda Williams and many others.

His songs as well, have been covered by the likes of Rod Stewart, Nick Lowe, Emmy Lou Harris, Feist, and Michael Buble to name a few.

In the past few decades as a headlining artist, Ron has performed at some of the most prestigious venues in the world, such as Massey Hall, Royal Albert Hall, and Carnegie Hall.

In 2017, Ron penned his first novel ‘Deer Life, A Fairy Tale’ published worldwide by Dundurn Press Limited. He has written a ‘yet to be released’ complete musical score to accompany the tale, for his vision to someday bring the story to the stage as musical theatre or adapt to film.

Ron completed work on a brand new album which is scheduled to be released in early 2023 and is in keeping with his reputation for catchy but graceful melodies, drawing on love, and the trials of everyday life.

He currently lives in Stratford, Ontario and continues to be inspired to write, record and perform live worldwide.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230323T230039Z X-ACCESS:1 X-HITS:1215 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230405T200000 DTEND;TZID=America/Denver:20230405T233000 UID:59073B75-6622-47AB-A455-87176D7688ED SUMMARY:The War And Treaty DTSTAMP:20221114T202016Z DESCRIPTION: UPDATE: The War And Treaty show on April 5th has been moved to The State Room. We are looking forward to a memorable night of incredible music next week!\N-\NThe War And Treaty have amassed a following as eclectic as their sound itself with "voices that will stop you in your tracks”(Garden and Gun) and their bluesy but joyful fusion of Southern soul, gospel, Country, and rock-and-roll. The husband-and-wife team of Michael Trotter Jr. andTanya Trotter "continue their commando, no-limits journey to the top of the music world"(AssociatedPress)following their latest widely acclaimed release, HEARTS TOWN. Known fora live show nearly revival-like in its intensity, they "build up waves of emotion that crash into a cathartic release of a tour-de-force performance,"(Austin-AmericanStatesman)as the versatile duo has opened for artists such as Al Green, Brandi Carlile, Jason Isbell, John Legend and Lauren Daigle while their multifaceted collaborative efforts include Dierks Bentley, Elvis Costello, Emmylou Harris, Leslie Jordan, Mumford & Sons, Nitty Gritty Dirt Band and Sturgill Simpson.The 2021 International Folk Music Awards “Artist of the Year” an Americana Music Association’s 2019 “Emerging Artist of the Year”continue to reveal new headlining dates and will serve as direct support for Van Morrison (5/7-5/10) ahead of their overseas trek this summer to Australia, Denmark, Ireland, Netherlands, United Kingdom and Scotland. For more information visit www.thewarandtreaty.com. X-ALT-DESC;FMTTYPE=text/html:

 UPDATE: The War And Treaty show on April 5th has been moved to The State Room. We are looking forward to a memorable night of incredible music next week!

-

The War And Treaty have amassed a following as eclectic as their sound itself with "voices that will stop you in your tracks”(Garden and Gun) and their bluesy but joyful fusion of Southern soul, gospel, Country, and rock-and-roll. The husband-and-wife team of Michael Trotter Jr. andTanya Trotter "continue their commando, no-limits journey to the top of the music world"(AssociatedPress)following their latest widely acclaimed release, HEARTS TOWN. Known fora live show nearly revival-like in its intensity, they "build up waves of emotion that crash into a cathartic release of a tour-de-force performance,"(Austin-AmericanStatesman)as the versatile duo has opened for artists such as Al Green, Brandi Carlile, Jason Isbell, John Legend and Lauren Daigle while their multifaceted collaborative efforts include Dierks Bentley, Elvis Costello, Emmylou Harris, Leslie Jordan, Mumford & Sons, Nitty Gritty Dirt Band and Sturgill Simpson.The 2021 International Folk Music Awards “Artist of the Year” an Americana Music Association’s 2019 “Emerging Artist of the Year”continue to reveal new headlining dates and will serve as direct support for Van Morrison (5/7-5/10) ahead of their overseas trek this summer to Australia, Denmark, Ireland, Netherlands, United Kingdom and Scotland. For more information visit www.thewarandtreaty.com.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230331T011046Z X-ACCESS:1 X-HITS:1988 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230406T200000 DTEND;TZID=America/Denver:20230406T233000 UID:151EDB7A-D72B-4020-9957-2166D6CF0CC4 SUMMARY:PechaKucha DTSTAMP:20230306T184216Z DESCRIPTION:Women in Architecture, a local non-profit focused on gender equity in the profession of architecture, hosts a Powered by PK Night. PechaKucha is a presentation format that uses 20 slides that advance automatically every 20 seconds. 20x20. The event will highlight and celebrate local women from a variety of professions and walks of life. Audience participation is encouraged. X-ALT-DESC;FMTTYPE=text/html:

Women in Architecture, a local non-profit focused on gender equity in the profession of architecture, hosts a Powered by PK Night. PechaKucha is a presentation format that uses 20 slides that advance automatically every 20 seconds. 20x20. The event will highlight and celebrate local women from a variety of professions and walks of life. Audience participation is encouraged.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230309T191732Z X-ACCESS:1 X-HITS:1105 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230407T190000 DTEND;TZID=America/Denver:20230407T233000 UID:90F9630D-8F62-4F27-94C9-FA2017A164A2 SUMMARY:Shook Twins & Daniel Rodriguez DTSTAMP:20230117T165910Z DESCRIPTION:It just happened.\NPerhaps, it could be attributed to cosmic design, good old-fashioned magic, or the unspoken, yet understood bond all twins share. One day back in 2007, identical twin sisters Katelyn Shook [vocals, guitar] and Laurie Shook [banjo, vocals] found themselves writing, recording, and performing as Shook Twins. To their recollection, the pair never hatched a plan or even properly discussed it.\NHundreds of shows, four albums and 2 EPs later, the duo continue to tread this path.\N“Neither of us remember a time where we planned things out, it all unfolded naturally,” affirms Katelyn. “We simply started to play out and call ourselves Shook Twins, because that’s simply who we are.”\N“We never set specific goals either,” adds Laurie. “We talk about our hopes and dreams, but we’ve just let everything grow organically with the band. We’ll see what happens next.”\NSince their 2008 debut You Can Have The Rest, Shook Twins have conjured up dreamy folk with ghostly traces of Americana tradition uplifted by transcendently hummable melodies and lilting cinematic instrumentation. Along the way, legendary New York Times best-selling author Neil Gaiman, USA Today, Langhorne Slim, Mason Jennings, and more fell under their spell and publicly professed adoration.\NSimultaneously, they’ve graced legendary stages such as Red Rocks Amphitheatre with Gregory Alan Isakov and Ani DiFranco in addition to sharing bills with The Lumineers, The Head and the Heart, Sarah Jarosz, The Wood Brothers, and many others. Not to mention, they’ve carved a home for themselves after playing Northwest String Summit and Oregon County Fair over ten times each as well as appearing at High Sierra Music Festival, Lightning In A Bottle, Bumbershoot, Hulaween, Telluride Bluegrass Festival, Electric Forest, Summer Camp Music Festival, and beyond. During 2012, the band welcomed multi-instrumentalist and “everything dude” Niko Slice on guitar, mandolin, and bass. Rounding out the sound (and the family) further, keyboardist and bassist Aber Miller joined the fold in 2018. Additionally, they welcome a rotating quiver of dynamic drummers, namely Alex Radakovich, Darren Garvey, and Simon Lucas.\N“We essentially morph into different settings,” observes Katelyn. “We can be a mellow duo, folk-rock club band, or weird late-night band. We love this sense of musical diversity.”\NHoning their vision like never before yet again, the group reached a critical and creative high watermark with 2019’s Some Good Lives. The standout “Stay Wild” generated nearly 4 million total streams. In addition to praise from Glide Magazine, Relix, and more, Paste praised, “Shook Twins have real sonic versatility,” while Atwood Magazine hailed it as “a record of musical and emotional maturity that goes beyond in nearly every aspect of the word.” Popmatters put it best, “‘Some Good Lives’ is as affirming as it is magical.”\NAfter a quiet 2020, Shook Twins take another step forward in 2021, writing their next chapter. As always, each album, song, and show services a higher calling for the group.\N“For us, music is a way to give back,” states Laurie. “It’s wonderful when our songs help someone through something. At each show, we have an offering to give. It’s our way to hopefully bring joy to people.”\N“When we play, it’s a night for everyone to escape,” Katelyn concurs. “We all need that as humans—maybe now more than ever.”\NWhether or not they plan to, Shook Twins foster a lasting bond with listeners worldwide as familiar and familial as their own.\N“When you listen to us, we want you to remember how to feel more comfortable in your own skin,” they agree. “That goes beyond the show. We hope you walk away feeling more like yourself, because we’re fully ourselves on stage. We’re not shy. We have a sense of humor. We don’t ever take ourselves too seriously. We have fun up there. That’s our message through the music.” X-ALT-DESC;FMTTYPE=text/html:

It just happened.

Perhaps, it could be attributed to cosmic design, good old-fashioned magic, or the unspoken, yet understood bond all twins share. One day back in 2007, identical twin sisters Katelyn Shook [vocals, guitar] and Laurie Shook [banjo, vocals] found themselves writing, recording, and performing as Shook Twins. To their recollection, the pair never hatched a plan or even properly discussed it.

Hundreds of shows, four albums and 2 EPs later, the duo continue to tread this path.

“Neither of us remember a time where we planned things out, it all unfolded naturally,” affirms Katelyn. “We simply started to play out and call ourselves Shook Twins, because that’s simply who we are.”

“We never set specific goals either,” adds Laurie. “We talk about our hopes and dreams, but we’ve just let everything grow organically with the band. We’ll see what happens next.”

Since their 2008 debut You Can Have The Rest, Shook Twins have conjured up dreamy folk with ghostly traces of Americana tradition uplifted by transcendently hummable melodies and lilting cinematic instrumentation. Along the way, legendary New York Times best-selling author Neil Gaiman, USA Today, Langhorne Slim, Mason Jennings, and more fell under their spell and publicly professed adoration.

Simultaneously, they’ve graced legendary stages such as Red Rocks Amphitheatre with Gregory Alan Isakov and Ani DiFranco in addition to sharing bills with The Lumineers, The Head and the Heart, Sarah Jarosz, The Wood Brothers, and many others. Not to mention, they’ve carved a home for themselves after playing Northwest String Summit and Oregon County Fair over ten times each as well as appearing at High Sierra Music Festival, Lightning In A Bottle, Bumbershoot, Hulaween, Telluride Bluegrass Festival, Electric Forest, Summer Camp Music Festival, and beyond. During 2012, the band welcomed multi-instrumentalist and “everything dude” Niko Slice on guitar, mandolin, and bass. Rounding out the sound (and the family) further, keyboardist and bassist Aber Miller joined the fold in 2018. Additionally, they welcome a rotating quiver of dynamic drummers, namely Alex Radakovich, Darren Garvey, and Simon Lucas.

“We essentially morph into different settings,” observes Katelyn. “We can be a mellow duo, folk-rock club band, or weird late-night band. We love this sense of musical diversity.”

Honing their vision like never before yet again, the group reached a critical and creative high watermark with 2019’s Some Good Lives. The standout “Stay Wild” generated nearly 4 million total streams. In addition to praise from Glide Magazine, Relix, and more, Paste praised, “Shook Twins have real sonic versatility,” while Atwood Magazine hailed it as “a record of musical and emotional maturity that goes beyond in nearly every aspect of the word.” Popmatters put it best, “‘Some Good Lives’ is as affirming as it is magical.”

After a quiet 2020, Shook Twins take another step forward in 2021, writing their next chapter. As always, each album, song, and show services a higher calling for the group.

“For us, music is a way to give back,” states Laurie. “It’s wonderful when our songs help someone through something. At each show, we have an offering to give. It’s our way to hopefully bring joy to people.”

“When we play, it’s a night for everyone to escape,” Katelyn concurs. “We all need that as humans—maybe now more than ever.”

Whether or not they plan to, Shook Twins foster a lasting bond with listeners worldwide as familiar and familial as their own.

“When you listen to us, we want you to remember how to feel more comfortable in your own skin,” they agree. “That goes beyond the show. We hope you walk away feeling more like yourself, because we’re fully ourselves on stage. We’re not shy. We have a sense of humor. We don’t ever take ourselves too seriously. We have fun up there. That’s our message through the music.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230120T172440Z X-ACCESS:1 X-HITS:1927 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230414T200000 DTEND;TZID=America/Denver:20230414T233000 UID:E04BD2FB-A768-4ED7-AF59-29F02A53E31E SUMMARY:The Garcia Project (Night 1) DTSTAMP:20230215T170000Z DESCRIPTION:The Garcia Project’s performances are recreations of full, classic Jerry Garcia Band set lists from 1976-1995. More than just a Jerry Garcia Band Tribute Band or Jerry Garcia Cover Band, using thoughtful arrangements and the proper instrumentation and feel, The Garcia Project faithfully channels and projects the feelings, emotions and music that propelled the Jerry Garcia Band and their fans through the years.\NFor anyone that never had a chance to experience the Jerry Garcia Band or for fans that want to relive a classic show, The Garcia Project delivers.\NThe Garcia Project has received rave reviews from the press and from fans. Touring across the country, The Garcia Project has made many fans extremely happy.\NThe Garcia Project is THE Jerry Garcia Band Tribute Band or Jerry Garcia Band Cover Band – and it’s about family, soul searching, rejoicing, contemplating, celebrating, seeking truth and loving one another. X-ALT-DESC;FMTTYPE=text/html:

The Garcia Project’s performances are recreations of full, classic Jerry Garcia Band set lists from 1976-1995. More than just a Jerry Garcia Band Tribute Band or Jerry Garcia Cover Band, using thoughtful arrangements and the proper instrumentation and feel, The Garcia Project faithfully channels and projects the feelings, emotions and music that propelled the Jerry Garcia Band and their fans through the years.

For anyone that never had a chance to experience the Jerry Garcia Band or for fans that want to relive a classic show, The Garcia Project delivers.

The Garcia Project has received rave reviews from the press and from fans. Touring across the country, The Garcia Project has made many fans extremely happy.

The Garcia Project is THE Jerry Garcia Band Tribute Band or Jerry Garcia Band Cover Band – and it’s about family, soul searching, rejoicing, contemplating, celebrating, seeking truth and loving one another.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230317T222820Z X-ACCESS:1 X-HITS:2547 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230415T200000 DTEND;TZID=America/Denver:20230415T233000 UID:1068FD1B-970A-4650-A76B-775E9584A592 SUMMARY:The Garcia Project (Night 2) DTSTAMP:20230215T051355Z DESCRIPTION:The Garcia Project’s performances are recreations of full, classic Jerry Garcia Band set lists from 1976-1995. More than just a Jerry Garcia Band Tribute Band or Jerry Garcia Cover Band, using thoughtful arrangements and the proper instrumentation and feel, The Garcia Project faithfully channels and projects the feelings, emotions and music that propelled the Jerry Garcia Band and their fans through the years.\NFor anyone that never had a chance to experience the Jerry Garcia Band or for fans that want to relive a classic show, The Garcia Project delivers.\NThe Garcia Project has received rave reviews from the press and from fans. Touring across the country, The Garcia Project has made many fans extremely happy.\NThe Garcia Project is THE Jerry Garcia Band Tribute Band or Jerry Garcia Band Cover Band – and it’s about family, soul searching, rejoicing, contemplating, celebrating, seeking truth and loving one another. X-ALT-DESC;FMTTYPE=text/html:

The Garcia Project’s performances are recreations of full, classic Jerry Garcia Band set lists from 1976-1995. More than just a Jerry Garcia Band Tribute Band or Jerry Garcia Cover Band, using thoughtful arrangements and the proper instrumentation and feel, The Garcia Project faithfully channels and projects the feelings, emotions and music that propelled the Jerry Garcia Band and their fans through the years.

For anyone that never had a chance to experience the Jerry Garcia Band or for fans that want to relive a classic show, The Garcia Project delivers.

The Garcia Project has received rave reviews from the press and from fans. Touring across the country, The Garcia Project has made many fans extremely happy.

The Garcia Project is THE Jerry Garcia Band Tribute Band or Jerry Garcia Band Cover Band – and it’s about family, soul searching, rejoicing, contemplating, celebrating, seeking truth and loving one another.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230317T222855Z X-ACCESS:1 X-HITS:873 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230419T190000 DTEND;TZID=America/Denver:20230419T233000 UID:DD6FC62E-2864-4913-9C9D-4B462597B635 SUMMARY:The Nude Party DTSTAMP:20230112T194317Z DESCRIPTION:For The Nude Party, nearly a decade has flown by in the blink of an eye. In that time, the New York-based band has released a pair of well-received albums, an EP, and played countless shows. Prior to the pandemic, the band was really starting to hit its stride. They had a system in place and were spreading their brand of melodic rock to the masses. In fact, they could count Jack White, Arctic Monkeys, and Orville Peck as vocal supporters, which led to support slots for each. Soon, incredible live appearances at Bonnaroo, Lollapalooza, Newport Folk Festival, and Shaky Knees became the norm. In late 2020, The Nude Party released its sophomore album, Midnight Manor, which debuted at #1 on the Alternative New Artists Album Chart. The sextet was unable to tour behind it and compared its release to skipping a stone over a raging river. A byproduct was that it showed the band that on their third album, they couldn’t lean on their tried-and-true method of testing out new material live and then hunker down to record. Instead of sitting around, the band got busy. Setting up shop in their Upstate New York headquarters, the group used the funds they’d saved and spent a year building a studio space out of a barn. Tired of paying for studio time and being rushed, The Nude Party methodically worked at their own pace. Out were the sessions lasting a strict handful of days. In were impromptu writing moments and picking every sound as they went along.\NWhen the band met the Tampa based engineer Matthew Horner, they discovered that they had the opposite problems: Matthew had a collection of incredible gear with no studio and The Nude Party had a great new studio with no gear. So they invited him to move his equipment up to the Catskills to record an album together. Such was the origin of the band’s third album, Rides On.  Unlike their first two albums, The Nude Party decided to produce Rides On themselves. With their new space and the help of Horner, The Nude Party had as much fun creating as they ever had at any other point in their career. The lack of pressure allowed them to record over 20 songs, including some that dabbled in electro-pop and stripped-down country before settling on the final 14 songs. \NRides On, the band confidently says, is their best record. It’s also the most homegrown and the most organic record The Nude Party has created to date. Working on the album themselves allowed for a democratic process where each band member could take a fuller role in producing the songs they wrote. There was some initial trepidation about there being too many cooks in the kitchen. But as is the benefit of owning your own studio space, time was not a factor. In turn, it allowed for the band’s ideas to blossom, everyone’s voice be taken into account and create an exciting, collaborative vibe. \NThe relaxed atmosphere of the sessions, and arriving with only loosely structured material, allowed the band to thrive in the studio. It also unleashed a diverse sonic texture compared to their previous releases, as best demonstrated by the title track, “Ride On.” Sonically, the song is reminiscent of Sticky Fingers-era Stones, but its lyrics are mini-vignettes where Magee sings about persevering through adversity. The twangy, blues-drenched licks of the title track, the breezy desert dust encapsulated by the ‘70s infused “Hard Times,” the Shaun Couture-led “Sold Out of Love,” the swinging ‘60s garage vibes of “Cherry Red Boots,” which captures the spirit of what The Nude Party are going for — and showcases their growth as a band. As does expanding the band’s sonic palate with a cover of Dr. John’s “Somebody Tryin' To Hoodoo Me.” It would have been easy to stick to the New Orleans musician’s format, but the band showed off their prowess with their own darker, electric version of the deep cut.\NThe Nude Party coalesced and embraced the spirit of collaboration. They’re excited to begin the next chapter of their career. At a time when it would have been easy to pack it in, the band continues to persevere. X-ALT-DESC;FMTTYPE=text/html:

For The Nude Party, nearly a decade has flown by in the blink of an eye. In that time, the New York-based band has released a pair of well-received albums, an EP, and played countless shows. Prior to the pandemic, the band was really starting to hit its stride. They had a system in place and were spreading their brand of melodic rock to the masses. In fact, they could count Jack White, Arctic Monkeys, and Orville Peck as vocal supporters, which led to support slots for each. Soon, incredible live appearances at Bonnaroo, Lollapalooza, Newport Folk Festival, and Shaky Knees became the norm.
 
In late 2020, The Nude Party released its sophomore album, Midnight Manor, which debuted at #1 on the Alternative New Artists Album Chart. The sextet was unable to tour behind it and compared its release to skipping a stone over a raging river. A byproduct was that it showed the band that on their third album, they couldn’t lean on their tried-and-true method of testing out new material live and then hunker down to record.
 
Instead of sitting around, the band got busy. Setting up shop in their Upstate New York headquarters, the group used the funds they’d saved and spent a year building a studio space out of a barn. Tired of paying for studio time and being rushed, The Nude Party methodically worked at their own pace. Out were the sessions lasting a strict handful of days. In were impromptu writing moments and picking every sound as they went along.

When the band met the Tampa based engineer Matthew Horner, they discovered that they had the opposite problems: Matthew had a collection of incredible gear with no studio and The Nude Party had a great new studio with no gear. So they invited him to move his equipment up to the Catskills to record an album together. Such was the origin of the band’s third album, Rides On. 
 
Unlike their first two albums, The Nude Party decided to produce Rides On themselves. With their new space and the help of Horner, The Nude Party had as much fun creating as they ever had at any other point in their career. The lack of pressure allowed them to record over 20 songs, including some that dabbled in electro-pop and stripped-down country before settling on the final 14 songs. 

Rides On, the band confidently says, is their best record. It’s also the most homegrown and the most organic record The Nude Party has created to date. Working on the album themselves allowed for a democratic process where each band member could take a fuller role in producing the songs they wrote. There was some initial trepidation about there being too many cooks in the kitchen. But as is the benefit of owning your own studio space, time was not a factor. In turn, it allowed for the band’s ideas to blossom, everyone’s voice be taken into account and create an exciting, collaborative vibe. 

The relaxed atmosphere of the sessions, and arriving with only loosely structured material, allowed the band to thrive in the studio. It also unleashed a diverse sonic texture compared to their previous releases, as best demonstrated by the title track, “Ride On.” Sonically, the song is reminiscent of Sticky Fingers-era Stones, but its lyrics are mini-vignettes where Magee sings about persevering through adversity. The twangy, blues-drenched licks of the title track, the breezy desert dust encapsulated by the ‘70s infused “Hard Times,” the Shaun Couture-led “Sold Out of Love,” the swinging ‘60s garage vibes of “Cherry Red Boots,” which captures the spirit of what The Nude Party are going for — and showcases their growth as a band. As does expanding the band’s sonic palate with a cover of Dr. John’s “Somebody Tryin' To Hoodoo Me.” It would have been easy to stick to the New Orleans musician’s format, but the band showed off their prowess with their own darker, electric version of the deep cut.

The Nude Party coalesced and embraced the spirit of collaboration. They’re excited to begin the next chapter of their career.
At a time when it would have been easy to pack it in, the band continues to persevere.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230214T203105Z X-ACCESS:1 X-HITS:3741 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230421T200000 DTEND;TZID=America/Denver:20230421T203000 UID:CB43B93F-DB5E-411A-9A09-3D7DCA5A5A50 SUMMARY:Head for the Hills DTSTAMP:20230301T235652Z DESCRIPTION:Head for the Hills--Adam Kinghorn, Joe Lessard, Matt Loewen, Riley Williams--come out swinging and invigorated with fresh sounds on their latest EP, Say Your Mind. Recorded at Swingfingers Studios in Fort Collins (Colorado), the band brought a larger band than ever before, including drummer Darren Garvey of Elephant Revival, Vocalist Kim Dawson, Dobroist Todd Livingston, a horn section and more. The material reflects both the turbulent social rhythms of our current era and more timeless moments of joy, growth, and change.\NLike a painter that starts in acrylic and graduates to oils, Head for the Hills is deeper and richer in their 15th year as a band, with a wider palette of sonic textures at their disposal. Dorm room jam sessions have turned into a decade plus on the road--from humble coffee shops to theaters, festivals, roadhouses and clubs all across the country. Over time those sounds and influences have crept more and more into the bluegrass beginnings of the band, morphing into the seasoned eclecticism of Say Your Mind. The new songs are quinnessential Head for the Hills; genre-stradling, lyrically deep, and danceable, with a crew of collaborators bringing the best of Colorado acoustic, roots, and soul music together.\NHead for the Hills numerous festival appearances include notables Telluride Bluegrass Festival, High Sierra Music Festival, South by Southwest, FloydFest, RockyGrass, DelFest, Summer Camp Music Festival, WinterWonderGrass Festival, Blue Ox Music Festival, Northwest String Summit, Strawberry Music Festival, Chicago Bluegrass & Blues Festival, Folk Alliance, Grandoozy and many more. The band charted on the CMJ Top 200 twice, has been featured on NPR Ideastream and eTown, and was awarded Best Bluegrass in Colorado four times via Denver’s Westword Magazine. X-ALT-DESC;FMTTYPE=text/html:

Head for the Hills--Adam Kinghorn, Joe Lessard, Matt Loewen, Riley Williams--come out swinging and invigorated with fresh sounds on their latest EP, Say Your Mind. Recorded at Swingfingers Studios in Fort Collins (Colorado), the band brought a larger band than ever before, including drummer Darren Garvey of Elephant Revival, Vocalist Kim Dawson, Dobroist Todd Livingston, a horn section and more. The material reflects both the turbulent social rhythms of our current era and more timeless moments of joy, growth, and change.

Like a painter that starts in acrylic and graduates to oils, Head for the Hills is deeper and richer in their 15th year as a band, with a wider palette of sonic textures at their disposal. Dorm room jam sessions have turned into a decade plus on the road--from humble coffee shops to theaters, festivals, roadhouses and clubs all across the country. Over time those sounds and influences have crept more and more into the bluegrass beginnings of the band, morphing into the seasoned eclecticism of Say Your Mind. The new songs are quinnessential Head for the Hills; genre-stradling, lyrically deep, and danceable, with a crew of collaborators bringing the best of Colorado acoustic, roots, and soul music together.

Head for the Hills numerous festival appearances include notables Telluride Bluegrass Festival, High Sierra Music Festival, South by Southwest, FloydFest, RockyGrass, DelFest, Summer Camp Music Festival, WinterWonderGrass Festival, Blue Ox Music Festival, Northwest String Summit, Strawberry Music Festival, Chicago Bluegrass & Blues Festival, Folk Alliance, Grandoozy and many more. The band charted on the CMJ Top 200 twice, has been featured on NPR Ideastream and eTown, and was awarded Best Bluegrass in Colorado four times via Denver’s Westword Magazine.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230418T232935Z X-ACCESS:1 X-HITS:1260 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230426T190000 DTEND;TZID=America/Denver:20230426T233000 UID:D6E4DD5F-D7FE-4373-9770-911C724C51C4 SUMMARY:Haley Heynderickx DTSTAMP:20230214T212950Z DESCRIPTION:Haley Heynderickx’s songwriting is crushingly intimate, vivid, melodically inventive, and completely unpredictable. Her debut album I Need to Start a Garden seamlessly contrasts her unconventional tunings and American-Primitive-inspired fingerpicking with enveloping sonic outbursts. Lead by her raw, immersive vocals, the Portland songwriter’s music defies categorization. NPR called her “an utterly distinct and wonderfully nervy, idiosyncratic presence,” while Stereogum named the album “one of the most intriguing and immersive debuts of the year.” X-ALT-DESC;FMTTYPE=text/html:

Haley Heynderickx’s songwriting is crushingly intimate, vivid, melodically inventive, and completely unpredictable. Her debut album I Need to Start a Garden seamlessly contrasts her unconventional tunings and American-Primitive-inspired fingerpicking with enveloping sonic outbursts. Lead by her raw, immersive vocals, the Portland songwriter’s music defies categorization. NPR called her “an utterly distinct and wonderfully nervy, idiosyncratic presence,” while Stereogum named the album “one of the most intriguing and immersive debuts of the year.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230424T224320Z X-ACCESS:1 X-HITS:1617 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230427T190000 DTEND;TZID=America/Denver:20230427T233000 UID:AD61D24C-909C-47CE-936A-4A7727A2A5A7 SUMMARY:Ron Pope DTSTAMP:20221025T192034Z DESCRIPTION:After his world tour was canceled in early-2020, Ron Pope passed three hundred afternoons at his living room piano, tinkering quietly as his daughter napped. He took to being a stay-at-home dad more naturally than anyone imagined he could, feeding ducks, singing countless duets of You Are My Sunshine with his three year old, and only writing songs for the joy he derived from it. Creating without agenda was freeing for Pope; after a lifetime on the write-record-tour-repeat treadmill of a working musician, he found it liberating to make music without any concern for schedule, genre or expectations. The resulting music is rife with Pope’s trademark heartfelt lyrics and feels like the older, wiser brother of his 2008 debut, Daylight. The love that a younger Ron Pope prayed for on his ubiquitous calling-card A Drop In The Ocean comes to fruition all these years later on songs like Love Is A Thing You Do and The Good Old Days. \NAs you might’ve expected, many songwriters stumbled bleary-eyed out of the pandemic with a pile of tunes about desperation and hopelessness. Pope, however, found quiet solace in the warm embrace of a home life that his tireless touring schedule had never allowed him to fully experience before, and in turn, he churned out an album’s worth of delicate, expertly crafted songs about lasting love, the joys of parenthood, and living with gratitude. To some, quiet ballads are synonymous with Pope’s name. Personally, he struggled with that notion and hated to pigeonhole himself, chasing a variety of muses through the past decade, from art-rock noise to Southern soul rave-ups. With an abundance of time to reflect, Pope circled back to how his solo career began - simple, honest, lived-in lyrics and melodies that take up residence inside your brain and refuse to be evicted. To listen to these recordings as he intended, close your eyes and pretend you’re sitting right there in his living room as the piano comes to life for an audience of one. Please remember to be quiet; the baby’s asleep in the next room.  X-ALT-DESC;FMTTYPE=text/html:

After his world tour was canceled in early-2020, Ron Pope passed three hundred afternoons at his living room piano, tinkering quietly as his daughter napped. He took to being a stay-at-home dad more naturally than anyone imagined he could, feeding ducks, singing countless duets of You Are My Sunshine with his three year old, and only writing songs for the joy he derived from it. Creating without agenda was freeing for Pope; after a lifetime on the write-record-tour-repeat treadmill of a working musician, he found it liberating to make music without any concern for schedule, genre or expectations. The resulting music is rife with Pope’s trademark heartfelt lyrics and feels like the older, wiser brother of his 2008 debut, Daylight. The love that a younger Ron Pope prayed for on his ubiquitous calling-card A Drop In The Ocean comes to fruition all these years later on songs like Love Is A Thing You Do and The Good Old Days. 

As you might’ve expected, many songwriters stumbled bleary-eyed out of the pandemic with a pile of tunes about desperation and hopelessness. Pope, however, found quiet solace in the warm embrace of a home life that his tireless touring schedule had never allowed him to fully experience before, and in turn, he churned out an album’s worth of delicate, expertly crafted songs about lasting love, the joys of parenthood, and living with gratitude. To some, quiet ballads are synonymous with Pope’s name. Personally, he struggled with that notion and hated to pigeonhole himself, chasing a variety of muses through the past decade, from art-rock noise to Southern soul rave-ups. With an abundance of time to reflect, Pope circled back to how his solo career began - simple, honest, lived-in lyrics and melodies that take up residence inside your brain and refuse to be evicted. To listen to these recordings as he intended, close your eyes and pretend you’re sitting right there in his living room as the piano comes to life for an audience of one. Please remember to be quiet; the baby’s asleep in the next room. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230426T235258Z X-ACCESS:1 X-HITS:1590 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230428T210000 DTEND;TZID=America/Denver:20230428T233000 UID:079B7C98-4981-439C-94BD-56F2A979AAF8 SUMMARY:Triggers & Slips DTSTAMP:20230321T234712Z DESCRIPTION:TRIGGER: TO INITIATE OR PRECIPITATE (A CHAIN OF EVENTS, SCIENTIFIC REACTION, PSYCHOLOGICAL PROCESS, ETC.)\NSLIP: A MISTAKE IN JUDGMENT OR TO LOSE ONE'S FOOTING.\NExisting somewhere between country, folk, and roots rock, Triggers & Slips have been making music blurring the lines of genre for over a decade. Breaking these rules and proverbial boundaries has resulted in a fiercely-loyal following akin to other genre-benders like Lucero and Frank Turner in their hometown of Salt Lake City.\NWhile the music is unabashedly honky-tonk in its origins – rife with pedal steel, twangy electric/acoustic guitar work, and lead singer/songwriter Morgan Snow’s country drawl that belies his roots as a sixth-generation Utah native – the songs themselves subvert classic country storylines of love, loss, and substance abuse by viewing them through a gritty, real-world lens. Snow has lived every line and every phrase within.\NThere's a lot of heartache in country music, and Triggers & Slips aren’t afraid to lean into those traditional themes in their songwriting. What sets them apart is their ability to find hope and resilience in their work, rather than a punchline (as so much modern country music does). It’s meant to be a light in the darkness. In fact, Snow credits his foray into songwriting and performing as the very thing that saved him from himself over a decade ago, and it remains the rock on which he leans — the band’s name itself being a reminder the constant struggles we all face as individuals. X-ALT-DESC;FMTTYPE=text/html:

TRIGGER: TO INITIATE OR PRECIPITATE (A CHAIN OF EVENTS, SCIENTIFIC REACTION, PSYCHOLOGICAL PROCESS, ETC.)

SLIP: A MISTAKE IN JUDGMENT OR TO LOSE ONE'S FOOTING.

Existing somewhere between country, folk, and roots rock, Triggers & Slips have been making music blurring the lines of genre for over a decade. Breaking these rules and proverbial boundaries has resulted in a fiercely-loyal following akin to other genre-benders like Lucero and Frank Turner in their hometown of Salt Lake City.

While the music is unabashedly honky-tonk in its origins – rife with pedal steel, twangy electric/acoustic guitar work, and lead singer/songwriter Morgan Snow’s country drawl that belies his roots as a sixth-generation Utah native – the songs themselves subvert classic country storylines of love, loss, and substance abuse by viewing them through a gritty, real-world lens. Snow has lived every line and every phrase within.

There's a lot of heartache in country music, and Triggers & Slips aren’t afraid to lean into those traditional themes in their songwriting. What sets them apart is their ability to find hope and resilience in their work, rather than a punchline (as so much modern country music does). It’s meant to be a light in the darkness. In fact, Snow credits his foray into songwriting and performing as the very thing that saved him from himself over a decade ago, and it remains the rock on which he leans — the band’s name itself being a reminder the constant struggles we all face as individuals.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230420T180715Z X-ACCESS:1 X-HITS:924 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230429T200000 DTEND;TZID=America/Denver:20230429T233000 UID:FE24B6C2-4820-40B2-A97E-25C24B427A61 SUMMARY:Shrine & Softcore DTSTAMP:20230307T185247Z DESCRIPTION:SHRINE IS A BLACK AMERICAN MUSIC BAND BASED, LOCALLY, IN SALT LAKE CITY, UTAH. AS A SIX-PERSON BAND, SHRINE TAKES MUSICAL INSPIRATION AND INFLUENCE FROM HERBY HANCOCK, EARTH, WIND, AND FIRE, AND BUTCHER BROWN. SHRINE ENJOYS PLAYING FOR LOCALVENUES AND SHARING THEIR MUSIC WITH THEIR AUDIENCES. COLLABORATING LOCALLY, AND WORKING WITH VARIOUS TYPES OF MUSICIANS IS WHAT DRIVES THEM, AND THEY HOPE TO CONTINUE DOING SO. X-ALT-DESC;FMTTYPE=text/html:

SHRINE IS A BLACK AMERICAN MUSIC BAND BASED, LOCALLY, IN SALT LAKE CITY, UTAH. AS A SIX-PERSON BAND, SHRINE TAKES MUSICAL INSPIRATION AND INFLUENCE FROM HERBY HANCOCK, EARTH, WIND, AND FIRE, AND BUTCHER BROWN. SHRINE ENJOYS PLAYING FOR LOCAL
VENUES AND SHARING THEIR MUSIC WITH THEIR AUDIENCES. COLLABORATING LOCALLY, AND WORKING WITH VARIOUS TYPES OF MUSICIANS IS WHAT DRIVES THEM, AND THEY HOPE TO CONTINUE DOING SO.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230421T163230Z X-ACCESS:1 X-HITS:2372 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230501T200000 DTEND;TZID=America/Denver:20230501T233000 UID:D88BEF21-4D3B-4CCF-9444-5AA225A76D2D SUMMARY:Brooks Nielsen — The Voice of The Growlers DTSTAMP:20221208T164200Z DESCRIPTION:Uncompromising, enigmatic, and wildly ambitious, Brooks Nielsen (lead singer of Southern California surf-psych icons The Growlers) is proud to announce his first full-length solo album One Match Left: a double-vinyl, twenty-song journey into the heart of darkness, and toward the light that eventually remains.\N“There’s happiness in there,” says Nielsen, speaking from his Los Angeles home. “The bands that I like have a sense of humor, like Television Personalities or Jonathan Richman, but there’s tragedy too. That’s the old theatrical tradition.” One Match Left showcases these aspects in epic fashion, with Nielsen playing the role of carnival barker, lullaby crooner, and rock & roll priest, depending on the track. It’s actually Nielsen’s first time around without his partners from The Growlers; he’s now joined by old friends Christopher Darley (guitarist for Father John Misty) and Levi Prairie on songwriting duties.\NNo stranger to the emotional landscapes of modern pop life, producer Michael Andrews expands the songs from the theatrical and into the cinematic. From his Elgin Park Recordings studio in Glendale, Andrews makes chart-topping hits (like the song “Mad World” from his soundtrack to Donnie Darko) and cult favorites (he scored the entirety of Freaks & Geeks and Pete Davidson’s King of Staten Island). “He’s an encyclopedia and extremely talented,” says Nielsen of Andrews. “Which meant he could be a great commander in the studio.”\NAssembling a core team of himself on guitar and bass, Robert Walter (The Greyboy Allstars) on keys, and Joey Waronker (Beck, Atoms For Peace) on drums, Andrews infuses the material with a lush palette, more akin to Harry Nilsson and Serge Gainsbourg than anything we’ve heard before from Nielsen. Album opener “All That You’ll See is Everything” sets a carnivalesque tone, a loopy and optimistic revelation about the songs that follow. “Virgin Lady Luck” alternately thunders and whispers, a standout single that’s already turning heads on social media. “Long Train” channels Charanjit Singh’s Ten Ragas to a Disco Beat and West African jammers Tinariwen into a driving dance party. “How Do You Like It So Far (This Life)” attempts the impossible: thoughtful reggae pop, free of beach bum clichés, woven together into an atmospheric dub soundscape.\N“It’s all a bit of smoke and mirrors,” says Nielsen, speaking both of One Match Left in general, and of the cover art made with photographer Pamela Littky (known for her surrealist ad campaigns for hit shows like Dave and Pam & Tommy). Nielsen as magician, as clown, as poetic trickster. Through the prism of time, we’ll see One Match Left for the many things that it is: a reflection on the death of a relationship, a public reckoning for a fan-favorite band, a love letter to his wife (and mother of their three young children), a survey of global sound and vision, and a daring step forward for one of contemporary music’s most essential voices, Mr. Brooks Nielsen. X-ALT-DESC;FMTTYPE=text/html:

Uncompromising, enigmatic, and wildly ambitious, Brooks Nielsen (lead singer of Southern California surf-psych icons The Growlers) is proud to announce his first full-length solo album One Match Left: a double-vinyl, twenty-song journey into the heart of darkness, and toward the light that eventually remains.

“There’s happiness in there,” says Nielsen, speaking from his Los Angeles home. “The bands that I like have a sense of humor, like Television Personalities or Jonathan Richman, but there’s tragedy too. That’s the old theatrical tradition.” One Match Left showcases these aspects in epic fashion, with Nielsen playing the role of carnival barker, lullaby crooner, and rock & roll priest, depending on the track. It’s actually Nielsen’s first time around without his partners from The Growlers; he’s now joined by old friends Christopher Darley (guitarist for Father John Misty) and Levi Prairie on songwriting duties.

No stranger to the emotional landscapes of modern pop life, producer Michael Andrews expands the songs from the theatrical and into the cinematic. From his Elgin Park Recordings studio in Glendale, Andrews makes chart-topping hits (like the song “Mad World” from his soundtrack to Donnie Darko) and cult favorites (he scored the entirety of Freaks & Geeks and Pete Davidson’s King of Staten Island). “He’s an encyclopedia and extremely talented,” says Nielsen of Andrews. “Which meant he could be a great commander in the studio.”

Assembling a core team of himself on guitar and bass, Robert Walter (The Greyboy Allstars) on keys, and Joey Waronker (Beck, Atoms For Peace) on drums, Andrews infuses the material with a lush palette, more akin to Harry Nilsson and Serge Gainsbourg than anything we’ve heard before from Nielsen. Album opener “All That You’ll See is Everything” sets a carnivalesque tone, a loopy and optimistic revelation about the songs that follow. “Virgin Lady Luck” alternately thunders and whispers, a standout single that’s already turning heads on social media. “Long Train” channels Charanjit Singh’s Ten Ragas to a Disco Beat and West African jammers Tinariwen into a driving dance party. “How Do You Like It So Far (This Life)” attempts the impossible: thoughtful reggae pop, free of beach bum clichés, woven together into an atmospheric dub soundscape.

“It’s all a bit of smoke and mirrors,” says Nielsen, speaking both of One Match Left in general, and of the cover art made with photographer Pamela Littky (known for her surrealist ad campaigns for hit shows like Dave and Pam & Tommy). Nielsen as magician, as clown, as poetic trickster. Through the prism of time, we’ll see One Match Left for the many things that it is: a reflection on the death of a relationship, a public reckoning for a fan-favorite band, a love letter to his wife (and mother of their three young children), a survey of global sound and vision, and a daring step forward for one of contemporary music’s most essential voices, Mr. Brooks Nielsen.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230426T233115Z X-ACCESS:1 X-HITS:1779 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230506T200000 DTEND;TZID=America/Denver:20230506T233000 UID:2DFB20B4-5063-4883-8F9A-76E5A602C380 SUMMARY:Church of Cash DTSTAMP:20230123T204009Z DESCRIPTION:Jay Ernest formed Church of Cash in sunny Honolulu back in 2010. With an uncanny grasp of the Man in Black’s catalog and many years of experience touring the United States, Europe, and Asia, Jay has returned to his Minnesota home to spread the gospel of one of the world’s most important and enduring songwriters.\NThe Church of Cash is true to the music of Johnny Cash, and singer Jay’s deep baritone voice sings like a prairie breeze and stomps like a boot heel. Church of Cash is not a country band. Church of Cash is a tribute band with the express purpose of honoring the indelible legacy of Johnny Cash. Road-tested and always road-ready, The Church of Cash is celebrating the soul of American music.\NWhether you are an old timer that grew up listening to Mr. Cash in your tractor or a young soldier driving your tank across the deserts of the Middle East with the Man in Black in your headphones, the Church of Cash will bring his music, with style and energy to fans everywhere.\NWhat the Church of Cash has that no one else can match is their loyalty to the song and the message that Johnny left to all of us. The band merely keeps this word alive with a youthful spirit that has entertained audiences completely. X-ALT-DESC;FMTTYPE=text/html:

Jay Ernest formed Church of Cash in sunny Honolulu back in 2010. With an uncanny grasp of the Man in Black’s catalog and many years of experience touring the United States, Europe, and Asia, Jay has returned to his Minnesota home to spread the gospel of one of the world’s most important and enduring songwriters.

The Church of Cash is true to the music of Johnny Cash, and singer Jay’s deep baritone voice sings like a prairie breeze and stomps like a boot heel. Church of Cash is not a country band. Church of Cash is a tribute band with the express purpose of honoring the indelible legacy of Johnny Cash. Road-tested and always road-ready, The Church of Cash is celebrating the soul of American music.

Whether you are an old timer that grew up listening to Mr. Cash in your tractor or a young soldier driving your tank across the deserts of the Middle East with the Man in Black in your headphones, the Church of Cash will bring his music, with style and energy to fans everywhere.

What the Church of Cash has that no one else can match is their loyalty to the song and the message that Johnny left to all of us. The band merely keeps this word alive with a youthful spirit that has entertained audiences completely.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230420T223533Z X-ACCESS:1 X-HITS:1368 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230512T190000 DTEND;TZID=America/Denver:20230512T233000 UID:56DA905A-1667-43A8-9BD9-B80C4A704E1F SUMMARY:Terrapin Flyer (Night 1) DTSTAMP:20230214T210733Z DESCRIPTION:Terrapin Flyer began touring in 2001 with Grateful Dead keyboardist Vince Welnick and then in 2005 with Tom Constanten, another Grateful Dead keyboardist and Rock and Roll Hall of Fame inductee. Also they toured coast to coast for 15 years with Melvin Seals from the Jerry Garcia Band. And over the band’s history so many iconic musicians have joined the band that Terrapin Flyer has been weaved into the fabric of the Grateful Dead legacy. Jambase recently named them one of the top 20 post-Grateful Dead bands in a list that included Phil Lesh and Friends and Bob Weir’s Wolf Brothers. Current lead guitarist Josh Olken is known as one of the best interpreters of Jerry Garcia’s playing. Bassist Wavy Dave also plays in the influential bluegrass band Cornmeal. The band’s provenance is evidenced in their authentic sound and attention to detail and that has gained them fans across the nation. If you like the Grateful Dead, you don’t want to miss this one! X-ALT-DESC;FMTTYPE=text/html:

Terrapin Flyer began touring in 2001 with Grateful Dead keyboardist Vince Welnick and then in 2005 with Tom Constanten, another Grateful Dead keyboardist and Rock and Roll Hall of Fame inductee. Also they toured coast to coast for 15 years with Melvin Seals from the Jerry Garcia Band. And over the band’s history so many iconic musicians have joined the band that Terrapin Flyer has been weaved into the fabric of the Grateful Dead legacy. Jambase recently named them one of the top 20 post-Grateful Dead bands in a list that included Phil Lesh and Friends and Bob Weir’s Wolf Brothers. Current lead guitarist Josh Olken is known as one of the best interpreters of Jerry Garcia’s playing. Bassist Wavy Dave also plays in the influential bluegrass band Cornmeal. The band’s provenance is evidenced in their authentic sound and attention to detail and that has gained them fans across the nation. If you like the Grateful Dead, you don’t want to miss this one!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230511T173719Z X-ACCESS:1 X-HITS:1559 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230513T190000 DTEND;TZID=America/Denver:20230513T233000 UID:2D2C6033-CECF-4C8D-AACF-6CD03BBD9689 SUMMARY:Terrapin Flyer (Night 2) DTSTAMP:20230214T211627Z DESCRIPTION:Terrapin Flyer began touring in 2001 with Grateful Dead keyboardist Vince Welnick and then in 2005 with Tom Constanten, another Grateful Dead keyboardist and Rock and Roll Hall of Fame inductee. Also they toured coast to coast for 15 years with Melvin Seals from the Jerry Garcia Band. And over the band’s history so many iconic musicians have joined the band that Terrapin Flyer has been weaved into the fabric of the Grateful Dead legacy. Jambase recently named them one of the top 20 post-Grateful Dead bands in a list that included Phil Lesh and Friends and Bob Weir’s Wolf Brothers. Current lead guitarist Josh Olken is known as one of the best interpreters of Jerry Garcia’s playing. Bassist Wavy Dave also plays in the influential bluegrass band Cornmeal. The band’s provenance is evidenced in their authentic sound and attention to detail and that has gained them fans across the nation. If you like the Grateful Dead, you don’t want to miss this one! X-ALT-DESC;FMTTYPE=text/html:

Terrapin Flyer began touring in 2001 with Grateful Dead keyboardist Vince Welnick and then in 2005 with Tom Constanten, another Grateful Dead keyboardist and Rock and Roll Hall of Fame inductee. Also they toured coast to coast for 15 years with Melvin Seals from the Jerry Garcia Band. And over the band’s history so many iconic musicians have joined the band that Terrapin Flyer has been weaved into the fabric of the Grateful Dead legacy. Jambase recently named them one of the top 20 post-Grateful Dead bands in a list that included Phil Lesh and Friends and Bob Weir’s Wolf Brothers. Current lead guitarist Josh Olken is known as one of the best interpreters of Jerry Garcia’s playing. Bassist Wavy Dave also plays in the influential bluegrass band Cornmeal. The band’s provenance is evidenced in their authentic sound and attention to detail and that has gained them fans across the nation. If you like the Grateful Dead, you don’t want to miss this one!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230511T173729Z X-ACCESS:1 X-HITS:949 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230516T190000 DTEND;TZID=America/Denver:20230516T233000 UID:F44E972D-7AF7-4BD8-8E69-A5D3F94C41D2 SUMMARY:Morgan James DTSTAMP:20221114T174351Z DESCRIPTION:"A phenomenal talent whose feel for classic soul music is bone deep...This woman is on fire." -- The New York Times\NMorgan James is a Juilliard trained singer, actress, songwriter and recording artist in New York City. Morgan recently co-produced and starred in an all-female concept recording of “Jesus Christ Superstar” entitled “She Is Risen”. She independently released her studio albums of original soul music, entitled Memphis Magnetic, and A Very Magnetic Christmas recorded to analog tape in Memphis, Tennessee. Other albums include "Reckless Abandon", which prompted the Huffington Post to call MJ the "Brightest Breakout Artist of the Year". Last year, Morgan took on a full album cover of the Beatles’ iconic ‘White Album’ to celebrate the 50th anniversary; available on CD, vinyl, digital and full length concept video on her YouTube channel. She also took on Joni Mitchell’s “Blue” and covered it in its entirety. Morgan recorded two full-length albums with Epic Records: “Hunter”, an album of original R&B, and “Morgan James Live, a celebration of Nina Simone“. All of her music can be found on all streaming platforms, and hard copies on her website or at shows. On Broadway, Morgan was in five back-to-back original companies: The Addams Family (starring Nathan Lane and Bebe Neuwirth), Wonderland, Godspell and Motown: The Musical, and as a guest at Kristin Chenoweth’s For The Girls. With viral sensation Postmodern Jukebox and with her own YouTube channel, Morgan’s music videos have accumulated more than 260 million views (and climbing). For info, tour tickets and new album updates, please visit www.morganjamesonline.com. @morganajames X-ALT-DESC;FMTTYPE=text/html:

"A phenomenal talent whose feel for classic soul music is bone deep...This woman is on fire." -- The New York Times

Morgan James is a Juilliard trained singer, actress, songwriter and recording artist in New York City.
Morgan recently co-produced and starred in an all-female concept recording of “Jesus Christ Superstar” entitled “She Is Risen”. She independently released her studio albums of original soul music, entitled Memphis Magnetic, and A Very Magnetic Christmas recorded to analog tape in Memphis, Tennessee. Other albums include "Reckless Abandon", which prompted the Huffington Post to call MJ the "Brightest Breakout Artist of the Year". Last year, Morgan took on a full album cover of the Beatles’ iconic ‘White Album’ to celebrate the 50th anniversary; available on CD, vinyl, digital and full length concept video on her YouTube channel. She also took on Joni Mitchell’s “Blue” and covered it in its entirety. Morgan recorded two full-length albums with Epic Records: “Hunter”, an album of original R&B, and “Morgan James Live, a celebration of Nina Simone“. All of her music can be found on all streaming platforms, and hard copies on her website or at shows.
On Broadway, Morgan was in five back-to-back original companies: The Addams Family (starring Nathan Lane and Bebe Neuwirth), Wonderland, Godspell and Motown: The Musical, and as a guest at Kristin Chenoweth’s For The Girls. With viral sensation Postmodern Jukebox and with her own YouTube channel, Morgan’s music videos have accumulated more than 260 million views (and climbing).
For info, tour tickets and new album updates, please visit www.morganjamesonline.com. @morganajames

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230417T200244Z X-ACCESS:1 X-HITS:1948 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230517T200000 DTEND;TZID=America/Denver:20230517T233000 UID:22BC1DF7-6C38-4CC6-A918-FC136235789C SUMMARY:Hoodoo Gurus DTSTAMP:20221005T162525Z DESCRIPTION:The legendary Hoodoo Gurus. By any measure, one of Australia’s greatest, best loved, most enduring rock bands of all time.\N“What’s My Scene”, “I Want You Back”, “Miss Freelove ‘69”, “Like Wow – Wipeout!”, “1,000 Miles Away”, “Bittersweet”, “My Girl”, “Come Anytime”, “I’m Crackin’ Up” – tracks that represent the unmistakeable sound of the irrepressible Hoodoo Gurus; but those are just a sample from their canon of instantly identifiable songs that have helped provide a soundtrack to Australian and international fans right through the 80’s to today.\NThe Hoodoo Gurus formed in Sydney on January 1, 1981 to play their first "show" in an inner city lounge room. Founding members Dave Faulkner and Brad Shepherd have been joined along the way by Rick Grossman (’89) and Nik Rieth (’19)\NThe band’s debut Stoneage Romeos, full of garage punk songs and pop references, was named Australian Debut Album of the Year and was released in America where it stayed at number 1 in the Alternative / College charts for 7 weeks, becoming one of the most played albums for the year on the college network.\NMars Needs Guitars, the band’s second album, topped the charts and went gold within three weeks and platinum shortly afterwards. Blow Your Cool, released in 1986, was a massive pop hit propelled by the band’s highest charting single 'What's My Scene”. Album 4, Magnum Cum Louder, reaches Number One on the American College and Alternative charts. Followed by albums Kinky, Crank, Blue Cave, Mach Schau and Purity of Essence the band continued to tour regularly through Europe, North America, Australia and Brazil.\NThe massive best of compilation album “Gold Watch” was released in 2011.\NTo celebrate 30 years of Gurudom that year they put together the Dig It Up national tour, featuring a line up of some 24 artists that had been part of the band’s creative life including The Sonics, Redd Krosss, The Fleshtones, Died Pretty and the 5,6,7,8’s among other. The shows sold out in all of the capital cities. In 2012 the Dig It Up II festival included The Blue Oyster Cult, Flamin’ Groovies, The Buzzcocks and the Sunny Boys.\NThrough the span of their international triumphs with sold out tours, 9 gold and platinum records and accolades including being inducted into the Australian Music Hall of Fame, the Gurus have remained one of the most popular and successful musical acts Australia has ever produced. X-ALT-DESC;FMTTYPE=text/html:

The legendary Hoodoo Gurus. By any measure, one of Australia’s greatest, best loved, most enduring rock bands of all time.

“What’s My Scene”, “I Want You Back”, “Miss Freelove ‘69”, “Like Wow – Wipeout!”, “1,000 Miles Away”, “Bittersweet”, “My Girl”, “Come Anytime”, “I’m Crackin’ Up” – tracks that represent the unmistakeable sound of the irrepressible Hoodoo Gurus; but those are just a sample from their canon of instantly identifiable songs that have helped provide a soundtrack to Australian and international fans right through the 80’s to today.

The Hoodoo Gurus formed in Sydney on January 1, 1981 to play their first "show" in an inner city lounge room. Founding members Dave Faulkner and Brad Shepherd have been joined along the way by Rick Grossman (’89) and Nik Rieth (’19)

The band’s debut Stoneage Romeos, full of garage punk songs and pop references, was named Australian Debut Album of the Year and was released in America where it stayed at number 1 in the Alternative / College charts for 7 weeks, becoming one of the most played albums for the year on the college network.

Mars Needs Guitars, the band’s second album, topped the charts and went gold within three weeks and platinum shortly afterwards. Blow Your Cool, released in 1986, was a massive pop hit propelled by the band’s highest charting single 'What's My Scene”. Album 4, Magnum Cum Louder, reaches Number One on the American College and Alternative charts. Followed by albums Kinky, Crank, Blue Cave, Mach Schau and Purity of Essence the band continued to tour regularly through Europe, North America, Australia and Brazil.

The massive best of compilation album “Gold Watch” was released in 2011.

To celebrate 30 years of Gurudom that year they put together the Dig It Up national tour, featuring a line up of some 24 artists that had been part of the band’s creative life including The Sonics, Redd Krosss, The Fleshtones, Died Pretty and the 5,6,7,8’s among other. The shows sold out in all of the capital cities. In 2012 the Dig It Up II festival included The Blue Oyster Cult, Flamin’ Groovies, The Buzzcocks and the Sunny Boys.

Through the span of their international triumphs with sold out tours, 9 gold and platinum records and accolades including being inducted into the Australian Music Hall of Fame, the Gurus have remained one of the most popular and successful musical acts Australia has ever produced.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230307T022934Z X-ACCESS:1 X-HITS:2572 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230519T200000 DTEND;TZID=America/Denver:20230519T233000 UID:EBADFC65-F298-49E0-9CA3-B4D275F158BF SUMMARY:Brent Cobb DTSTAMP:20230328T153504Z DESCRIPTION:Brent Cobb follows in the footsteps of his country music heroes with his new gospel album, And Now, Let's Turn to Page.... By offering eight familiar hymns alongside an original song written with his wife, the collection feels reverent as well as rowdy -- and completely in his comfort zone.\NBrent cites a near-death experience as the push he needed to finally make And Now, Let's Turn to Page.... In July 2020, the vehicle he was driving, with his young son inside, got T-boned at a rural four-way stop. That crash made him think about everything that led up to that moment -- the fact that he didn't have his daughter with him because his mother offered to watch her, or that he took a different way to his parents' house that day, or that he had to turn around and get something he'd forgotten in the house before heading out. "You just start piecing together how everything is sort of intentional," he says. "And again, I'd always had it in the back of my mind to make a gospel album. That moment of clarity, of almost getting killed, made me think I should just make the gospel album now."\NProduced by Dave Cobb in RCA Studio A in Nashville, And Now, Let's Turn to Page... continues a tradition established by legends such as Jerry Lee Lewis, Willie Nelson, and Elvis Presley, who could invoke their spiritual side without losing sight of their musical foundation. "I've always wanted to make a southern gospel album because it's what I come from, but also it used to seem like a rite of passage for country singers to make a gospel album," Brent says. "It all comes from gospel music. That's where country music came from. I'm just trying to carry that torch."\NBecause Dave and Brent are cousins, there's an inherent family feeling that runs throughout these nine songs. In a literal sense, with Brent's parents and sister joining him in the studio for the first time on this heartfelt project. And also in a more symbolic manner, with Brent singing the same hymns passed down through generations of Cobb ancestors. His grandfather, whose loud singing voice still resonates in the family's memory, led the congregation singing at the Antioch Baptist Church in Ellaville, GA until he passed on that role to his Brent's father. Brent's aunts and uncles remain actively involved in the congregation, too.\NBorn and raised in Georgia, Brent returned to his home state a few years ago after establishing a career as one of Nashville's most creative and compelling songwriters. He explains that he considers each of his past albums like a message to his kids: Keep 'Em on They Toes explores his thoughts, Providence Canyon describes the people who influenced his life, and the Grammy-nominated Shine on Rainy Day reveals who he is. For the gospel album, he adds, "this is what I believe in."\N"I grew up around all of this music through my dad's gospel group," he says, "and it made me learn how to appreciate it. I grew up with rock 'n' roll and my dad's band and country music. Anything that you experience in life is going to influence who you become and who you are, so it doesn't feel like I'm changing it up on this album. It's like, this is all one thing."\NFrom the openings bars of "Just a Closer Walk With Thee," a listener is invited to a place where Jesus is found at the side of a sinner. Rather than feeling like a sermon, it's a moment of encouragement where Brent's authenticity in the gospel field is unmistakable. Following that hymn, "When It's My Time" (written with his wife, Layne Cobb, and Mike Harmeier of Mike and the Moonpies) serves as a mission statement for making the most of our years on Earth -- and for living life the way you want to. He sings, "When it's my time, I'm gonna go / There is no reason for me to stay / I did all the dancing that could have been done / I would have been gone anyway."\NThose listeners raised in the church will instantly recognize the titles -- and almost certainly the indelible melodies -- of "In the Garden" and "Softly and Tenderly." Meanwhile, the undeniable groove and powerful vocals on "Are You Washed in the Blood" wouldn't feel out of place at a revival. In contrast, "Old Rugged Cross" lends a somber air as a simple acoustic arrangement subtly expands to include a gospel choir, steel guitar, and church organ. Adding to the sense of community, rising country artist Caylee Hammack -- who also grew up in Ellaville -- harmonizes on four of the songs.\NThroughout And Now, Let's Turn to Page... Brent's rich baritone keeps the album focused, though never stiff. Not unlike an altar call, the mood elevates on "We Shall Rise," a rambunctious tune that would fit neatly into his setlist. A testimony of fellowship is found in the bluegrass gospel staple, "Old Country Church," which features his father Patrick Cobb's gospel group, Antioch. In a brief benediction of "Blessed Be the Tie That Binds," he's surrounded by the people that matter the most, including his wife, mother, father and younger sister. And as their harmonies fade, it's abundantly clear that Brent is more than capable of extending this sacred country music tradition.\N"I know what matters to me and what I think I should focus on for my own life, but it might be different for somebody else," he concludes. "I don't know a whole lot about anything, but I know that it matters to me to incorporate the way that it all makes me feel, and to try to translate that to other people. And that's what all of this is -- my family, gospel music, and the church. All of it." X-ALT-DESC;FMTTYPE=text/html:

Brent Cobb follows in the footsteps of his country music heroes with his new gospel album, And Now, Let's Turn to Page.... By offering eight familiar hymns alongside an original song written with his wife, the collection feels reverent as well as rowdy -- and completely in his comfort zone.

Brent cites a near-death experience as the push he needed to finally make And Now, Let's Turn to Page.... In July 2020, the vehicle he was driving, with his young son inside, got T-boned at a rural four-way stop. That crash made him think about everything that led up to that moment -- the fact that he didn't have his daughter with him because his mother offered to watch her, or that he took a different way to his parents' house that day, or that he had to turn around and get something he'd forgotten in the house before heading out. "You just start piecing together how everything is sort of intentional," he says. "And again, I'd always had it in the back of my mind to make a gospel album. That moment of clarity, of almost getting killed, made me think I should just make the gospel album now."

Produced by Dave Cobb in RCA Studio A in Nashville, And Now, Let's Turn to Page... continues a tradition established by legends such as Jerry Lee Lewis, Willie Nelson, and Elvis Presley, who could invoke their spiritual side without losing sight of their musical foundation. "I've always wanted to make a southern gospel album because it's what I come from, but also it used to seem like a rite of passage for country singers to make a gospel album," Brent says. "It all comes from gospel music. That's where country music came from. I'm just trying to carry that torch."

Because Dave and Brent are cousins, there's an inherent family feeling that runs throughout these nine songs. In a literal sense, with Brent's parents and sister joining him in the studio for the first time on this heartfelt project. And also in a more symbolic manner, with Brent singing the same hymns passed down through generations of Cobb ancestors. His grandfather, whose loud singing voice still resonates in the family's memory, led the congregation singing at the Antioch Baptist Church in Ellaville, GA until he passed on that role to his Brent's father. Brent's aunts and uncles remain actively involved in the congregation, too.

Born and raised in Georgia, Brent returned to his home state a few years ago after establishing a career as one of Nashville's most creative and compelling songwriters. He explains that he considers each of his past albums like a message to his kids: Keep 'Em on They Toes explores his thoughts, Providence Canyon describes the people who influenced his life, and the Grammy-nominated Shine on Rainy Day reveals who he is. For the gospel album, he adds, "this is what I believe in."

"I grew up around all of this music through my dad's gospel group," he says, "and it made me learn how to appreciate it. I grew up with rock 'n' roll and my dad's band and country music. Anything that you experience in life is going to influence who you become and who you are, so it doesn't feel like I'm changing it up on this album. It's like, this is all one thing."

From the openings bars of "Just a Closer Walk With Thee," a listener is invited to a place where Jesus is found at the side of a sinner. Rather than feeling like a sermon, it's a moment of encouragement where Brent's authenticity in the gospel field is unmistakable. Following that hymn, "When It's My Time" (written with his wife, Layne Cobb, and Mike Harmeier of Mike and the Moonpies) serves as a mission statement for making the most of our years on Earth -- and for living life the way you want to. He sings, "When it's my time, I'm gonna go / There is no reason for me to stay / I did all the dancing that could have been done / I would have been gone anyway."

Those listeners raised in the church will instantly recognize the titles -- and almost certainly the indelible melodies -- of "In the Garden" and "Softly and Tenderly." Meanwhile, the undeniable groove and powerful vocals on "Are You Washed in the Blood" wouldn't feel out of place at a revival. In contrast, "Old Rugged Cross" lends a somber air as a simple acoustic arrangement subtly expands to include a gospel choir, steel guitar, and church organ. Adding to the sense of community, rising country artist Caylee Hammack -- who also grew up in Ellaville -- harmonizes on four of the songs.

Throughout And Now, Let's Turn to Page... Brent's rich baritone keeps the album focused, though never stiff. Not unlike an altar call, the mood elevates on "We Shall Rise," a rambunctious tune that would fit neatly into his setlist. A testimony of fellowship is found in the bluegrass gospel staple, "Old Country Church," which features his father Patrick Cobb's gospel group, Antioch. In a brief benediction of "Blessed Be the Tie That Binds," he's surrounded by the people that matter the most, including his wife, mother, father and younger sister. And as their harmonies fade, it's abundantly clear that Brent is more than capable of extending this sacred country music tradition.

"I know what matters to me and what I think I should focus on for my own life, but it might be different for somebody else," he concludes. "I don't know a whole lot about anything, but I know that it matters to me to incorporate the way that it all makes me feel, and to try to translate that to other people. And that's what all of this is -- my family, gospel music, and the church. All of it."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230505T233736Z X-ACCESS:1 X-HITS:1603 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230522T190000 DTEND;TZID=America/Denver:20230522T233000 UID:E99ACA51-A070-43B8-9D02-2AFFB4F56660 SUMMARY:Blood Brothers (feat. Mike Zito and Albert Castiglia) DTSTAMP:20230419T182133Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230503T193859Z X-ACCESS:1 X-HITS:1099 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230531T190000 DTEND;TZID=America/Denver:20230531T233000 UID:7FA45731-5E65-44FC-A178-D41816F5D55C SUMMARY:Ondara DTSTAMP:20230227T184537Z DESCRIPTION:Ondara found a hero just when he really needed one: The Spanish Villager. Sure, the Grammy-nominated singer and songwriter created the character himself, but the mysterious man with the potent message has proven to be a versatile guy: he’s the subject of a short story Ondara wrote and turned into a graphic novel, and he’s also the namesake and inspiration for the Minneapolis-based musician’s gorgeous new album, Spanish Villager No: 3.\N \N“He formed himself during some of my darkest times, and as he came to life, he carried in his heart all the anxieties I had about my journey and about this new world I had moved to,” says Ondara, who grew up in Kenya before relocating to Minnesota when he was 20.\N \NIf the Spanish Villager is a proxy for Ondara’s inner turmoil about the state of the American experiment, Spanish Villager No: 3 channels those feelings into 11 new songs that are at once musically expansive and emotionally intimate. Though Ondara’s new songs take a sharp look at America and the world, Spanish Villager No: 3 is not a protest album. “I think of myself as more of a traditional journalist, reporting on the goings on within me and in the world around me in the form of art, and leaving it to the audience to make their own deductions,” he says.\N \NWith production from Mike Viola (Jenny Lewis, Dan Wilson) and contributions from Taylor Goldsmith and Griffin Goldsmith of Dawes, Sebastian Steinberg, Tim Kuhl and Jeremy Stacey, Spanish Villager No: 3 is a lush affair, full of rich piano lines, layers of guitars, flashes of brass, and harmony vocals on aching melodies that hang in the air. The album is Ondara’s third, following 2020’s Folk N' Roll, Vol 1: Tales of Isolation and his 2019 debut, Tales of America, which received a Grammy nod for Best Americana Album.\N \NWhat are the origins of the Spanish Villager character?\NI discovered that my last name, Ondara, a traditional name from my tribe in Kenya, is also incidentally the name of a small village in Spain. The exact same name appears independently in two very different cultures across oceans. The Spanish Villager moniker comes from my fascination with this odd coincidence. As for the Spanish Villager character, I didn’t consciously create him. Really, he created himself in my subconscious mind, the same way many of my poems and songs tend to be born. I believe my mind created him so he could save me from despair.\N \NWhat do you mean when you say he saved you from despair?\NOver the last few years, there has been an inescapable narrative in the consciousness of the Western world that has put to question the value of the American experiment and Western civilization as a whole.As someone who moved from quite far because I truly believed in this experiment, being in America during such a time has put me in a prolonged state of internal conflict, a state that has proved to be severely unhealthy and mentally destabilizing. Many times, I considered giving up and going back home, and maybe I would have if the Spanish Villager hadn’t shown up when he did. He bore all my anxieties for me, and suddenly I felt lighter. Light enough to sustain my own weight and push on. It’s as though my mind created him to give me some respite from worry. With worry at bay, my romance with America began to gradually resurface.\N \NWhat do you mean by romance?\NAn immigrant’s journey is one of romance. You learn about a place, you develop some kind of infatuation with it, then you reorganize your life entirely to move there. Immigration doesn’t happen without romance, for thesimple reason that you can’t move somewhere you don’t like. So, I have an ongoing romance with America, as I reckon every immigrant does, and romantic relationships can be difficult and tumultuous even when they are meaningful. That dive into the swamps of despair tested the resilience of my romance with America.\N \NHow clear an idea did you have at the start of how you wanted this album to sound?\NI was deliberately trying to make a fuller sounding record. It felt like the right next step in the evolution of my career. I listened to Fleetwood Mac’s Rumors and Dylan’s Highway 61 Revisited every morning before the sessions. I needed somewhere to point the creative arrow so I wasn’t just shooting at the dark. Those two records were my true north.\N \NGiven the heavy themes on this album, are you hopeful for the future?\NI wasn’t hopeful for a long time. I spent most of the pandemic in the depths of despair, but since the Spanish Villager came about, I have been a lot more hopeful. I have found that sometimes hope is something that you have to choose. It’s like being in a committed relationship with someone. I am currently in a committed relationship with hope. I proposed to her the same day The Spanish Villager was born and she said yes. I have a ring, in fact, that I wear to symbolize this marriage. Every day I wake up and I choose to be with her, I choose to love her. Some days are harder than others, some days I am seduced by conflict, by resentment, by despair, by hate, but I look at my ring and I remember that I must be faithful to hope. X-ALT-DESC;FMTTYPE=text/html:

Ondara found a hero just when he really needed one: The Spanish Villager. Sure, the Grammy-nominated singer and songwriter created the character himself, but the mysterious man with the potent message has proven to be a versatile guy: he’s the subject of a short story Ondara wrote and turned into a graphic novel, and he’s also the namesake and inspiration for the Minneapolis-based musician’s gorgeous new album, Spanish Villager No: 3.

 

“He formed himself during some of my darkest times, and as he came to life, he carried in his heart all the anxieties I had about my journey and about this new world I had moved to,” says Ondara, who grew up in Kenya before relocating to Minnesota when he was 20.

 

If the Spanish Villager is a proxy for Ondara’s inner turmoil about the state of the American experiment, Spanish Villager No: 3 channels those feelings into 11 new songs that are at once musically expansive and emotionally intimate. Though Ondara’s new songs take a sharp look at America and the world, Spanish Villager No: 3 is not a protest album. “I think of myself as more of a traditional journalist, reporting on the goings on within me and in the world around me in the form of art, and leaving it to the audience to make their own deductions,” he says.

 

With production from Mike Viola (Jenny Lewis, Dan Wilson) and contributions from Taylor Goldsmith and Griffin Goldsmith of Dawes, Sebastian Steinberg, Tim Kuhl and Jeremy Stacey, Spanish Villager No: 3 is a lush affair, full of rich piano lines, layers of guitars, flashes of brass, and harmony vocals on aching melodies that hang in the air. The album is Ondara’s third, following 2020’s Folk N' Roll, Vol 1: Tales of Isolation and his 2019 debut, Tales of America, which received a Grammy nod for Best Americana Album.

 

What are the origins of the Spanish Villager character?

I discovered that my last name, Ondara, a traditional name from my tribe in Kenya, is also incidentally the name of a small village in Spain. The exact same name appears independently in two very different cultures across oceans. The Spanish Villager moniker comes from my fascination with this odd coincidence. As for the Spanish Villager character, I didn’t consciously create him. Really, he created himself in my subconscious mind, the same way many of my poems and songs tend to be born. I believe my mind created him so he could save me from despair.

 

What do you mean when you say he saved you from despair?

Over the last few years, there has been an inescapable narrative in the consciousness of the Western world that has put to question the value of the American experiment and Western civilization as a whole.As someone who moved from quite far because I truly believed in this experiment, being in America during such a time has put me in a prolonged state of internal conflict, a state that has proved to be severely unhealthy and mentally destabilizing. Many times, I considered giving up and going back home, and maybe I would have if the Spanish Villager hadn’t shown up when he did. He bore all my anxieties for me, and suddenly I felt lighter. Light enough to sustain my own weight and push on. It’s as though my mind created him to give me some respite from worry. With worry at bay, my romance with America began to gradually resurface.

 

What do you mean by romance?

An immigrant’s journey is one of romance. You learn about a place, you develop some kind of infatuation with it, then you reorganize your life entirely to move there. Immigration doesn’t happen without romance, for thesimple reason that you can’t move somewhere you don’t like. So, I have an ongoing romance with America, as I reckon every immigrant does, and romantic relationships can be difficult and tumultuous even when they are meaningful. That dive into the swamps of despair tested the resilience of my romance with America.

 

How clear an idea did you have at the start of how you wanted this album to sound?

I was deliberately trying to make a fuller sounding record. It felt like the right next step in the evolution of my career. I listened to Fleetwood Mac’s Rumors and Dylan’s Highway 61 Revisited every morning before the sessions. I needed somewhere to point the creative arrow so I wasn’t just shooting at the dark. Those two records were my true north.

 

Given the heavy themes on this album, are you hopeful for the future?

I wasn’t hopeful for a long time. I spent most of the pandemic in the depths of despair, but since the Spanish Villager came about, I have been a lot more hopeful. I have found that sometimes hope is something that you have to choose. It’s like being in a committed relationship with someone. I am currently in a committed relationship with hope. I proposed to her the same day The Spanish Villager was born and she said yes. I have a ring, in fact, that I wear to symbolize this marriage. Every day I wake up and I choose to be with her, I choose to love her. Some days are harder than others, some days I am seduced by conflict, by resentment, by despair, by hate, but I look at my ring and I remember that I must be faithful to hope.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230420T180838Z X-ACCESS:1 X-HITS:1581 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230602T190000 DTEND;TZID=America/Denver:20230602T233000 UID:8B6C0907-3AED-4567-AD42-40905F090DC9 SUMMARY:Eric Heideman DTSTAMP:20230509T144352Z DESCRIPTION:Eric Heideman is a blues musician from Salt Lake City, Utah. He recorded his breakthrough record with a team of Grammy nominees, Blues Music Award, and International Blues Challenge winners. Producers Victor Wainwright and JW-Jones along with master engineer Dave Gross brought their Award-winning talents to Fat Rabbit Studios in Glen Ridge, New Jersey.\N"This is my most exciting release yet, and I am thrilled to have worked with such a critically acclaimed team," says Heideman. "This is the most soulful and high-quality record I've made, and in an intimate studio (Fat Rabbit Studios) where artists like Bob Margolin, Seth Walker, Debbie Davies, Candye Kane, Bruce Katz, Victor Wainwright, Tony Holiday, and the late David Maxwell have recorded.”\NCo-Producer JW-Jones says "Victor Wainwright and I really brought out the very best of Eric's abilities. I have been working with him weekly for over eighteen months and he's just getting better and more refined with every session. I can't wait for music fans to hear this breakthrough release!"\NIn addition to playing over 20 local venues, Heideman was a featured performer at the 2022 Utah Blues Festival and has traded riffs alongside some of the top blues artists in the world Including Victor Wainwright, Nick Moss, JW-Jones, Albert Castiglia, Tony Holiday, Terrie Odabi, Marquise Knox, Vanessa Collier, Laura Chavez, and Mitch Woods.\NEric graduated from the University of Utah with a Bachelor's Degree in Jazz Guitar Performance where he studied under and played with Grammy-nominated Artist Kris Johnson.\N  X-ALT-DESC;FMTTYPE=text/html:

Eric Heideman is a blues musician from Salt Lake City, Utah. He recorded his breakthrough record with a team of Grammy nominees, Blues Music Award, and International Blues Challenge winners. Producers Victor Wainwright and JW-Jones along with master engineer Dave Gross brought their Award-winning talents to Fat Rabbit Studios in Glen Ridge, New Jersey.

"This is my most exciting release yet, and I am thrilled to have worked with such a critically acclaimed team," says Heideman. "This is the most soulful and high-quality record I've made, and in an intimate studio (Fat Rabbit Studios) where artists like Bob Margolin, Seth Walker, Debbie Davies, Candye Kane, Bruce Katz, Victor Wainwright, Tony Holiday, and the late David Maxwell have recorded.”

Co-Producer JW-Jones says "Victor Wainwright and I really brought out the very best of Eric's abilities. I have been working with him weekly for over eighteen months and he's just getting better and more refined with every session. I can't wait for music fans to hear this breakthrough release!"

In addition to playing over 20 local venues, Heideman was a featured performer at the 2022 Utah Blues Festival and has traded riffs alongside some of the top blues artists in the world Including Victor Wainwright, Nick Moss, JW-Jones, Albert Castiglia, Tony Holiday, Terrie Odabi, Marquise Knox, Vanessa Collier, Laura Chavez, and Mitch Woods.

Eric graduated from the University of Utah with a Bachelor's Degree in Jazz Guitar Performance where he studied under and played with Grammy-nominated Artist Kris Johnson.

 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230510T224656Z X-ACCESS:1 X-HITS:2778 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230616T200000 DTEND;TZID=America/Denver:20230616T233000 UID:56300AB6-583E-4C9A-8E47-5EAA3F642F89 SUMMARY:Kash'd Out DTSTAMP:20230411T153856Z DESCRIPTION:Straight out of Orlando, FL, Kash'd Out hits the Reggae/Rock scene with plenty of experience. Kash'd Out are no strangers to getting by and rolling with the punches while maintaining good vibes through it all. The band’s signature, positive energy and uncommon entrepreneurial hustle exemplifies the spirit behind their Music. X-ALT-DESC;FMTTYPE=text/html:

Straight out of Orlando, FL, Kash'd Out hits the Reggae/Rock scene with plenty of experience. Kash'd Out are no strangers to getting by and rolling with the punches while maintaining good vibes through it all. The band’s signature, positive energy and uncommon entrepreneurial hustle exemplifies the spirit behind their Music.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230606T182745Z X-ACCESS:1 X-HITS:2276 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230620T190000 DTEND;TZID=America/Denver:20230620T233000 UID:DB9F6C96-14BA-41A4-B39E-EA4A679E9DDA SUMMARY:Wild Child DTSTAMP:20230403T195605Z DESCRIPTION:Wilson and Beggins, whose voices fit each other as naturally as any family act, pushed their boundaries as writers, drawing freely from the stories they've lived as well as the artists around the world that have inspired their growth. Their rate of output over that last year got them thinking differently about producing, focusing on one track at a time. “We’ve always focused on the record as a whole. We wanted to think about each track as it’s own piece- but somehow it all fits together” Wilson says of the approach.\NThat route took them around the world — from Chris Walla's (Death Cab For Cutie) studio in Tromsø, Norway, where the Northern Lights are the brightest in the world, to a home-built warehouse studio on the outskirts of Philadelphia, where Dr. Dog's Scott McMicken picked up the bass and “joined the band for a week,” arranging harmonies and sharing living and recording space. Back in Wimberley, Texas, Matthew Logan Vasquez (Delta Spirit) set up a makeshift studio in Kelsey Wilson’s beloved childhood home — abandoned since the floods of 2015 — where they found the muses were eager to resurface. The group also tapped the talents of frequent tour mate Chris Boosahda (Shakey Graves), Atlantic Records recording artist Max Frost, and Grammy-winning producer Adrian Quesada (Groupo Fantasma, Brown Sabbath, Spanish Gold). X-ALT-DESC;FMTTYPE=text/html:

Wilson and Beggins, whose voices fit each other as naturally as any family act, pushed their boundaries as writers, drawing freely from the stories they've lived as well as the artists around the world that have inspired their growth. Their rate of output over that last year got them thinking differently about producing, focusing on one track at a time. “We’ve always focused on the record as a whole. We wanted to think about each track as it’s own piece- but somehow it all fits together” Wilson says of the approach.

That route took them around the world — from Chris Walla's (Death Cab For Cutie) studio in Tromsø, Norway, where the Northern Lights are the brightest in the world, to a home-built warehouse studio on the outskirts of Philadelphia, where Dr. Dog's Scott McMicken picked up the bass and “joined the band for a week,” arranging harmonies and sharing living and recording space. Back in Wimberley, Texas, Matthew Logan Vasquez (Delta Spirit) set up a makeshift studio in Kelsey Wilson’s beloved childhood home — abandoned since the floods of 2015 — where they found the muses were eager to resurface. The group also tapped the talents of frequent tour mate Chris Boosahda (Shakey Graves), Atlantic Records recording artist Max Frost, and Grammy-winning producer Adrian Quesada (Groupo Fantasma, Brown Sabbath, Spanish Gold).

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230615T173522Z X-ACCESS:1 X-HITS:2602 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230626T150000 DTEND;TZID=America/Denver:20230626T160000 UID:21FE94DA-34DF-46A7-94CA-FE9B2BF27335 SUMMARY:Coco Montoya DTSTAMP:20230626T220803Z DESCRIPTION:“’Just play what you feel, be real about it, and enjoy yourself.’ That’s what Albert Collins taught me,” says the award-winning guitar virtuoso and soul-deep singer Coco Montoya. The self-taught, left-handed Montoya mastered his craft under Collins’ tutelage. Incorporating lessons learned from his mentors, the iconic Collins (for whom he originally drummed), and UK legend John Mayall, Montoya puts his own stamp onto every song he performs. Since his first solo album in 1995 (which won him the Blues Music Award for Best New Artist), Montoya’s endlessly inventive guitar work and passionate, hard-hitting vocals have kept him at the top of the blues world. With his new Alligator Records album, Writing On The Wall (his sixth for the label), Montoya delivers what he is already calling one of the best records he’s ever made. For the very first time on Alligator, he decided to bring his road-tested band—noted keyboardist and songwriter Jeff Paris (Keb’ Mo’, Bill Withers), bassist Nathan Brown, and drummer Rena Beavers—into the studio with him. Between the camaraderie of the long-time bandmates and the sheer talent of all involved, the results have left Coco, in his words, “over the moon.”\NProduced by Grammy Award-winner Tony Braunagel (Bonnie Raitt, Taj Mahal) and co-produced by Jeff Paris, Writing On The Wall is a tour-de-force of memorable, hook-filled songs, sung with passion and fueled by equally memorable, top shelf musicianship. The 13 tracks include five written or co-written by Montoya. The set opens with a signature, career-defining performance of the soul-baring I Was Wrong, written for Coco by songwriter Dave Steen. From the blistering Save It For The Next Fool to the enjoy now/pay later philosophy of Jeff Paris’ (I’d Rather Feel) Bad About Doin’ It to the riveting reinvention of Lonnie Mack’s Stop, Montoya delivers each song with heart-pounding emotion. Special guest Lee Roy Parnell adds his well-seasoned slide guitar to the smoldering A Chip And A Chair. And Coco’s friend, guitarist Ronnie Baker Brooks (son of late Alligator star Lonnie Brooks), joins in for some good-natured fun on the droll Baby, You’re A Drag and adds his blistering playing to the searing cover of Bobby Bland’s You Got Me.\N“I am so proud of this one,” Montoya says of Writing On The Wall. “We recorded in Jeff Paris’ studio and everything just gelled together. And the band inspired me; they all gave extra effort at every turn. Jeff, Nathan and Rena played so great, they ended up making me play even harder. They made me sound better than I am!”\NHenry “Coco” Montoya was born in Santa Monica, California, on October 2, 1951, and raised in a working-class family. Growing up, Coco immersed himself in his parents’ record collection. He listened to big band jazz, salsa, doo-wop and rock ‘n’ roll. His first love was drums; he acquired a kit at age 11. He got a guitar two years later. “I’m sure the Beatles had something to do with this,” Montoya recalls. “I wanted to make notes as well as beats.” But guitar was his secondary instrument. Montoya turned his love of drumming into his profession, playing in a number of area rock bands while still in his teens and becoming an in-demand drummer.\NIn 1969, Montoya saw Albert King opening a Creedence Clearwater Revival/Iron Butterfly concert at the Shrine Auditorium in Los Angeles. He was transformed. “After King got done playing,” says Montoya, “my life was changed. When he played, the music went right into my soul. It grabbed me so emotionally that I had tears welling up in my eyes. Nothing had ever affected me to this level. He showed me what music and playing the blues were all about. I knew that was what I wanted to do.”\NThe next chapter of Montoya’s story was kick-started by a chance meeting in the mid-1970s with legendary bluesman Albert Collins. Montoya says, “Albert was coming through Los Angeles and needed to borrow my drum set, which I left at the club where he was going to be playing. I went down to see his show that night and it just tore my head off. The thing that I had seen and felt with Albert King came pouring back on me when I saw Albert Collins.”\NA short time later, Collins hired Montoya as his band’s drummer. With Albert mentoring Coco on the guitar during the band’s downtime, Coco soon became Collins’ second guitarist. “We’d sit in hotel rooms for hours and play guitar,” remembers Montoya. “He’d play that beautiful rhythm of his and just have me play along. He was always saying, ‘Don’t think about it, just feel it.’ He was like a father to me,” says Coco, who often slept at Collins’ home. When Collins declared Montoya his “son,” it was the highest praise and affection he could offer. In return, Montoya learned everything he could from the legendary Master of the Telecaster.\NNeeding a more regular paycheck, Montoya left Collins’ band after two years and took a job tending bar, jamming on weekends at Los Angeles clubs. One day, legendary British musician John Mayall heard Coco playing Otis Rush’s All Your Love (I Miss Loving) onstage. Soon after, Mayall called on Montoya to join his famous Bluesbreakers. Filling the shoes of previous Bluesbreaker guitarists Eric Clapton, Peter Green and Mick Taylor would not be easy, but Montoya knew he could not pass up the opportunity to play with another legend. For the next ten years he toured the world and recorded with Mayall on seven albums, soaking up the experience of life on the road and in the recording studio.\NMontoya’s recorded debut as a bandleader came with 1995’s Gotta Mind To Travel (originally on Silvertone Records in England and later issued in the USA on Blind Pig Records). The album became an instant fan favorite. Blues enthusiasts, radio programmers and critics sent praise from all corners. The album immediately made it clear that Montoya ranked among the best players on the contemporary scene. Two more Blind Pig albums followed, and Coco was well on his way.\NIn 2000, Montoya’s Alligator debut, Suspicion, quickly became the best-selling album of his career, earning regular radio airplay on over 120 stations nationwide. Montoya’s fan base exploded. After two more highly successful and massively popular Alligator releases—2002’s Can’t Look Back and 2007’s Dirty Deal—Montoya signed with Ruf Records, cutting both a live and a studio album. Returning to Alligator with 2017’s Hard Truth and 2019’s Coming In Hot, the guitar master continued to blaze his trail. “Montoya unleashes one career-topping performance after another,” declared the UK’s Blues Matters.\NStill an indefatigable road warrior, Montoya continues to tour virtually nonstop, bringing audiences to their feet from New York to New Orleans to Chicago to San Francisco. Across the globe, he’s performed in countries including Australia, Belgium, Switzerland, Germany, Norway, England, Brazil, Argentina, Spain, Mexico, Ecuador, Italy, Poland, Russia, the Czech Republic and Canada.\NNow, with the dynamic Writing On The Wall and a tour calendar busting at the seams, Coco Montoya is as excited as he’s ever been to perform the new songs live with his burning-hot band. Montoya’s well-earned reputation as an eye-popping live performer precedes him. Vintage Guitar states, “Coco keeps getting better and better. He plays with fire and passion rarely seen in this day and age.” Billboard declares, “In a world of blues guitar pretenders, Coco Montoya is the real McCoy. He exudes power and authenticity. Be prepared to get scorched by the real thing.”  X-ALT-DESC;FMTTYPE=text/html:

“’Just play what you feel, be real about it, and enjoy yourself.’ That’s what Albert Collins taught me,” says the award-winning guitar virtuoso and soul-deep singer Coco Montoya. The self-taught, left-handed Montoya mastered his craft under Collins’ tutelage. Incorporating lessons learned from his mentors, the iconic Collins (for whom he originally drummed), and UK legend John Mayall, Montoya puts his own stamp onto every song he performs. Since his first solo album in 1995 (which won him the Blues Music Award for Best New Artist), Montoya’s endlessly inventive guitar work and passionate, hard-hitting vocals have kept him at the top of the blues world. With his new Alligator Records album, Writing On The Wall (his sixth for the label), Montoya delivers what he is already calling one of the best records he’s ever made. For the very first time on Alligator, he decided to bring his road-tested band—noted keyboardist and songwriter Jeff Paris (Keb’ Mo’, Bill Withers), bassist Nathan Brown, and drummer Rena Beavers—into the studio with him. Between the camaraderie of the long-time bandmates and the sheer talent of all involved, the results have left Coco, in his words, “over the moon.”

Produced by Grammy Award-winner Tony Braunagel (Bonnie Raitt, Taj Mahal) and co-produced by Jeff Paris, Writing On The Wall is a tour-de-force of memorable, hook-filled songs, sung with passion and fueled by equally memorable, top shelf musicianship. The 13 tracks include five written or co-written by Montoya. The set opens with a signature, career-defining performance of the soul-baring I Was Wrong, written for Coco by songwriter Dave Steen. From the blistering Save It For The Next Fool to the enjoy now/pay later philosophy of Jeff Paris’ (I’d Rather Feel) Bad About Doin’ It to the riveting reinvention of Lonnie Mack’s Stop, Montoya delivers each song with heart-pounding emotion. Special guest Lee Roy Parnell adds his well-seasoned slide guitar to the smoldering A Chip And A Chair. And Coco’s friend, guitarist Ronnie Baker Brooks (son of late Alligator star Lonnie Brooks), joins in for some good-natured fun on the droll Baby, You’re A Drag and adds his blistering playing to the searing cover of Bobby Bland’s You Got Me.

“I am so proud of this one,” Montoya says of Writing On The Wall. “We recorded in Jeff Paris’ studio and everything just gelled together. And the band inspired me; they all gave extra effort at every turn. Jeff, Nathan and Rena played so great, they ended up making me play even harder. They made me sound better than I am!”

Henry “Coco” Montoya was born in Santa Monica, California, on October 2, 1951, and raised in a working-class family. Growing up, Coco immersed himself in his parents’ record collection. He listened to big band jazz, salsa, doo-wop and rock ‘n’ roll. His first love was drums; he acquired a kit at age 11. He got a guitar two years later. “I’m sure the Beatles had something to do with this,” Montoya recalls. “I wanted to make notes as well as beats.” But guitar was his secondary instrument. Montoya turned his love of drumming into his profession, playing in a number of area rock bands while still in his teens and becoming an in-demand drummer.

In 1969, Montoya saw Albert King opening a Creedence Clearwater Revival/Iron Butterfly concert at the Shrine Auditorium in Los Angeles. He was transformed. “After King got done playing,” says Montoya, “my life was changed. When he played, the music went right into my soul. It grabbed me so emotionally that I had tears welling up in my eyes. Nothing had ever affected me to this level. He showed me what music and playing the blues were all about. I knew that was what I wanted to do.”

The next chapter of Montoya’s story was kick-started by a chance meeting in the mid-1970s with legendary bluesman Albert Collins. Montoya says, “Albert was coming through Los Angeles and needed to borrow my drum set, which I left at the club where he was going to be playing. I went down to see his show that night and it just tore my head off. The thing that I had seen and felt with Albert King came pouring back on me when I saw Albert Collins.”

A short time later, Collins hired Montoya as his band’s drummer. With Albert mentoring Coco on the guitar during the band’s downtime, Coco soon became Collins’ second guitarist. “We’d sit in hotel rooms for hours and play guitar,” remembers Montoya. “He’d play that beautiful rhythm of his and just have me play along. He was always saying, ‘Don’t think about it, just feel it.’ He was like a father to me,” says Coco, who often slept at Collins’ home. When Collins declared Montoya his “son,” it was the highest praise and affection he could offer. In return, Montoya learned everything he could from the legendary Master of the Telecaster.

Needing a more regular paycheck, Montoya left Collins’ band after two years and took a job tending bar, jamming on weekends at Los Angeles clubs. One day, legendary British musician John Mayall heard Coco playing Otis Rush’s All Your Love (I Miss Loving) onstage. Soon after, Mayall called on Montoya to join his famous Bluesbreakers. Filling the shoes of previous Bluesbreaker guitarists Eric Clapton, Peter Green and Mick Taylor would not be easy, but Montoya knew he could not pass up the opportunity to play with another legend. For the next ten years he toured the world and recorded with Mayall on seven albums, soaking up the experience of life on the road and in the recording studio.

Montoya’s recorded debut as a bandleader came with 1995’s Gotta Mind To Travel (originally on Silvertone Records in England and later issued in the USA on Blind Pig Records). The album became an instant fan favorite. Blues enthusiasts, radio programmers and critics sent praise from all corners. The album immediately made it clear that Montoya ranked among the best players on the contemporary scene. Two more Blind Pig albums followed, and Coco was well on his way.

In 2000, Montoya’s Alligator debut, Suspicion, quickly became the best-selling album of his career, earning regular radio airplay on over 120 stations nationwide. Montoya’s fan base exploded. After two more highly successful and massively popular Alligator releases—2002’s Can’t Look Back and 2007’s Dirty Deal—Montoya signed with Ruf Records, cutting both a live and a studio album. Returning to Alligator with 2017’s Hard Truth and 2019’s Coming In Hot, the guitar master continued to blaze his trail. “Montoya unleashes one career-topping performance after another,” declared the UK’s Blues Matters.

Still an indefatigable road warrior, Montoya continues to tour virtually nonstop, bringing audiences to their feet from New York to New Orleans to Chicago to San Francisco. Across the globe, he’s performed in countries including Australia, Belgium, Switzerland, Germany, Norway, England, Brazil, Argentina, Spain, Mexico, Ecuador, Italy, Poland, Russia, the Czech Republic and Canada.

Now, with the dynamic Writing On The Wall and a tour calendar busting at the seams, Coco Montoya is as excited as he’s ever been to perform the new songs live with his burning-hot band. Montoya’s well-earned reputation as an eye-popping live performer precedes him. Vintage Guitar states, “Coco keeps getting better and better. He plays with fire and passion rarely seen in this day and age.” Billboard declares, “In a world of blues guitar pretenders, Coco Montoya is the real McCoy. He exudes power and authenticity. Be prepared to get scorched by the real thing.” 

LAST-MODIFIED:20230626T220827Z X-ACCESS:1 X-HITS:94 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230721T190000 DTEND;TZID=America/Denver:20230721T233000 UID:29DF05CA-62A5-4B8C-8385-F9723030D943 SUMMARY:The Pickpockets x High Country Hustle DTSTAMP:20230605T161209Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230718T180456Z X-ACCESS:1 X-HITS:1079 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230802T190000 DTEND;TZID=America/Denver:20230802T233000 UID:8BD54577-6D3A-4E92-84C6-2897A3639F7A SUMMARY:Jorma Kaukonen DTSTAMP:20230215T045602Z DESCRIPTION:In a career that has already spanned a half-century, Jorma Kaukonen has been one of the most highly respected interpreters of American roots music, blues, and rock. A member of the Rock & Roll Hall of Fame and a Grammy recipient, Jorma was at the forefront of popular rock and roll, one of the founders of the San Francisco sound and a progenitor of Psychedelic Rock. He is a founding member of two legendary bands, Jefferson Airplane and the still-touring Hot Tuna. Jorma Kaukonen is a music legend and one of the finest singer-songwriters in his field. He continues to tour the world bringing his unique styling to old blues tunes while presenting new songs of weight and dimension. His secret is in playing spontaneous and unfiltered music, with an individual expression of personality. In 2016, Jorma, Jack Casady and the other members of Jefferson Airplane were awarded The GRAMMY Lifetime Achievement Award for their contributions to American music.\N"A mesmerizing storyteller, Kaukonen delivers a memoir as intricate and dazzling as his music." —Publishers Weekly, starred review\NIn 2019 St. Martin’s Press published Jorma‘s autobiography, Been So Long: My Life and Music, written to express his life both in and out of the music world. As Kaukonen describes, “My story is my story. Having told bits and pieces of it over my lifetime to a treasured few, it was time to tell all to a bigger audience...From rehearsals and jams in small apartments and tiny back rooms to Monterey, Woodstock, Altamont, the Rock And Roll Hall Of Fame, the world of the Grammys and beyond… this is part of the road I live on. This is my embryonic journey and much, much more!”\N"At a time when many rock stars are releasing memoirs, Jorma Kaukonen's Been So Long: My Life and Music stands apart.... an incredibly insightful look inside the life of a musician who was not only influenced by some of America’s greatest music but who also left an indelible mark on that very same musical landscape." —AXS\NThe son of a State Department official, Jorma Kaukonen, Jr. was born and raised in the Washington D.C. area, with occasional extended trips outside the United States. He was a devotee of rock and roll in the Buddy Holly era but soon developed a love for the blues and bluegrass that were profuse in the clubs and concerts in the nation’s capital. It inspired him to take up guitar and play that kind of music himself. Soon he met Jack Casady, the younger brother of a friend and a wonderful guitar player in his own right. Though they could not have known it, they were beginning a musical partnership that has continued for more than 50 years.\NJorma graduated from high school and headed off for Antioch College in Ohio, where he met Ian Buchanan, who introduced him to the elaborate fingerstyle fretwork of the Rev. Gary Davis. A work-study program in New York introduced Jorma, the increasingly skilled guitarist, to that city’s burgeoning folk-blues-bluegrass scene and many of its players. After a break from college and travel overseas, Jorma moved to California, where he returned to classes at Santa Clara University and earned money by teaching guitar. It was at this time, in 1965, that he met Paul Kantner and was invited to join a new not-yet-named rock band Kantner was forming with Marty Balin. As a self-described blues purist, Kaukonen was initially reluctant, but found his imagination excited by the arsenal of effects available to electric guitar, later remarking that he was "sucked in by technology." With the group still looking for a name, Kaukonen suggested Jefferson Airplane, inspired by an eccentric friend who had given his dog the name "Blind Lemon Jefferson Airplane." Jorma invited his old musical partner Jack Casady to come out to San Francisco and play electric bass for the new band, and together they created much of Jefferson Airplane’s signature sound.\NA pioneer of counterculture-era psychedelic rock, the group was the first band from the San Francisco scene to achieve international mainstream success. Their 1967 record Surrealistic Pillow is regarded as one of the key recordings of the "Summer of Love."\N“Jorma Kaukonen is a force in American music, equally adept at fingerpicked acoustic folk and blues as he is at wailing on an electric.” – Acoustic Guitar\NJorma and Jack would jam whenever they could and would sometimes perform sets within sets at Airplane concerts. The two would often play clubs following Airplane performances. Making a name for themselves as a duo, they struck a record deal, and Hot Tuna was born. Jorma left Jefferson Airplane after the band’s most productive five years, pursuing his full-time job with Hot Tuna. Over the past five decades Hot Tuna has performed thousands of concerts and released more than two-dozen records. The musicians who have performed with them are many and widely varied, as are their styles — from acoustic to long and loud electric jams, but never straying far from their musical roots. What is remarkable is that they have never coasted. Hot Tuna today sounds better than ever.\N“It is Kaukonen’s original material that best tells the story.” – Forbes\NJorma’s originals from his poignant instrumentals, “Embryonic Journey” (Jefferson Airplane - Surrealistic Pillow) and “The Water Song” (Hot Tuna - Burgers), to his insightful lyrics, “Genesis” (Jorma Kaukonen - Quah), have stood the test of time. Having an undeniable feeling of significance, they have been included in films and covered by many artists who have been inspired by his depth and continuity of spirit.\N“[His] dexterity runs circles around most players … His material stands the test of time in a way that most others will not.” – Billboard\NIn addition to his work with Hot Tuna, Jorma has recorded more than a dozen solo albums on major labels beginning with 1974’s Quah and continuing with his recent acoustic releases on Red House Records — Stars in My Crown (2007) produced by Byron House, River of Time (2009) produced by Larry Campbell and featuring Levon Helm and Jorma’s latest solo album, Ain’t in No Hurry (2015) also produced by Larry Campbell and featuring Jack Casady.\N"Clearly not content on resting on any of his legendary laurels, Jorma Kaukonen continues to find ways to wed his muse to the right material and create a colorful tableau." – Relix\NBut performance and recording are only part of the story.\NAs the leading practitioner and teacher of fingerstyle guitar, Jorma and his wife Vanessa Lillian operate one of the world’s most unique centers for the study of guitar and other instruments. Jorma Kaukonen’s Fur Peace Ranch Guitar Camp is located on 125 acres of fields, woods, hills, and streams in the Appalachian foothills of Southeastern Ohio. Since it opened in 1998, thousands of musicians whose skills range from basic to highly accomplished gather for weekends of master instruction offered by Jorma and other instructors who are leaders in their musical fields. A multitude of renowned performers make the trek to Ohio to teach at Fur Peace Ranch and play at the performance hall, Fur Peace Station. It has become an important stop on the touring circuit for artists who do not normally play intimate 200-seat venues, bringing such artists as David Bromberg, Roger McGuinn, Arlo Guthrie, Dave Alvin, Ramblin’ Jack Elliott, Warren Haynes, Lee Roy Parnell, Chris Hillman and more. Students, instructors, and visiting artists alike welcome the peace and tranquility -- as well as the great music and great instruction -- that Fur Peace Ranch offers.\NAt Fur Peace Ranch the Kaukonens have created the Psylodelic Gallery, a museum in a silo, celebrating the music, art, culture, and literature of the 1960's, tracing important events and movements of the psychedelic era. They produce concerts at the Fur Peace Station which are streamed internationally on YouTube as well as broadcast on WOUB 91.3 FM. The Kaukonens there support their local community through art festivals and a restaurant on site.\NJorma Kaukonen is constantly looking to take his musical horizons further still, always moving forward and he is quick to say that teaching is among the most rewarding aspects of his career. “You just can’t go backward. The arrow of time only goes in one direction.” X-ALT-DESC;FMTTYPE=text/html:

In a career that has already spanned a half-century, Jorma Kaukonen has been one of the most highly respected interpreters of American roots music, blues, and rock. A member of the Rock & Roll Hall of Fame and a Grammy recipient, Jorma was at the forefront of popular rock and roll, one of the founders of the San Francisco sound and a progenitor of Psychedelic Rock. He is a founding member of two legendary bands, Jefferson Airplane and the still-touring Hot Tuna. Jorma Kaukonen is a music legend and one of the finest singer-songwriters in his field. He continues to tour the world bringing his unique styling to old blues tunes while presenting new songs of weight and dimension. His secret is in playing spontaneous and unfiltered music, with an individual expression of personality. In 2016, Jorma, Jack Casady and the other members of Jefferson Airplane were awarded The GRAMMY Lifetime Achievement Award for their contributions to American music.

"A mesmerizing storyteller, Kaukonen delivers a memoir as intricate and dazzling as his music." —Publishers Weekly, starred review

In 2019 St. Martin’s Press published Jorma‘s autobiography, Been So Long: My Life and Music, written to express his life both in and out of the music world. As Kaukonen describes, “My story is my story. Having told bits and pieces of it over my lifetime to a treasured few, it was time to tell all to a bigger audience...From rehearsals and jams in small apartments and tiny back rooms to Monterey, Woodstock, Altamont, the Rock And Roll Hall Of Fame, the world of the Grammys and beyond… this is part of the road I live on. This is my embryonic journey and much, much more!”

"At a time when many rock stars are releasing memoirs, Jorma Kaukonen's Been So Long: My Life and Music stands apart.... an incredibly insightful look inside the life of a musician who was not only influenced by some of America’s greatest music but who also left an indelible mark on that very same musical landscape." —AXS

The son of a State Department official, Jorma Kaukonen, Jr. was born and raised in the Washington D.C. area, with occasional extended trips outside the United States. He was a devotee of rock and roll in the Buddy Holly era but soon developed a love for the blues and bluegrass that were profuse in the clubs and concerts in the nation’s capital. It inspired him to take up guitar and play that kind of music himself. Soon he met Jack Casady, the younger brother of a friend and a wonderful guitar player in his own right. Though they could not have known it, they were beginning a musical partnership that has continued for more than 50 years.

Jorma graduated from high school and headed off for Antioch College in Ohio, where he met Ian Buchanan, who introduced him to the elaborate fingerstyle fretwork of the Rev. Gary Davis. A work-study program in New York introduced Jorma, the increasingly skilled guitarist, to that city’s burgeoning folk-blues-bluegrass scene and many of its players. After a break from college and travel overseas, Jorma moved to California, where he returned to classes at Santa Clara University and earned money by teaching guitar. It was at this time, in 1965, that he met Paul Kantner and was invited to join a new not-yet-named rock band Kantner was forming with Marty Balin. As a self-described blues purist, Kaukonen was initially reluctant, but found his imagination excited by the arsenal of effects available to electric guitar, later remarking that he was "sucked in by technology." With the group still looking for a name, Kaukonen suggested Jefferson Airplane, inspired by an eccentric friend who had given his dog the name "Blind Lemon Jefferson Airplane." Jorma invited his old musical partner Jack Casady to come out to San Francisco and play electric bass for the new band, and together they created much of Jefferson Airplane’s signature sound.

A pioneer of counterculture-era psychedelic rock, the group was the first band from the San Francisco scene to achieve international mainstream success. Their 1967 record Surrealistic Pillow is regarded as one of the key recordings of the "Summer of Love."

“Jorma Kaukonen is a force in American music, equally adept at fingerpicked acoustic folk and blues as he is at wailing on an electric.” – Acoustic Guitar

Jorma and Jack would jam whenever they could and would sometimes perform sets within sets at Airplane concerts. The two would often play clubs following Airplane performances. Making a name for themselves as a duo, they struck a record deal, and Hot Tuna was born. Jorma left Jefferson Airplane after the band’s most productive five years, pursuing his full-time job with Hot Tuna. Over the past five decades Hot Tuna has performed thousands of concerts and released more than two-dozen records. The musicians who have performed with them are many and widely varied, as are their styles — from acoustic to long and loud electric jams, but never straying far from their musical roots. What is remarkable is that they have never coasted. Hot Tuna today sounds better than ever.

“It is Kaukonen’s original material that best tells the story.” – Forbes

Jorma’s originals from his poignant instrumentals, “Embryonic Journey” (Jefferson Airplane - Surrealistic Pillow) and “The Water Song” (Hot Tuna - Burgers), to his insightful lyrics, “Genesis” (Jorma Kaukonen - Quah), have stood the test of time. Having an undeniable feeling of significance, they have been included in films and covered by many artists who have been inspired by his depth and continuity of spirit.

“[His] dexterity runs circles around most players … His material stands the test of time in a way that most others will not.” – Billboard

In addition to his work with Hot Tuna, Jorma has recorded more than a dozen solo albums on major labels beginning with 1974’s Quah and continuing with his recent acoustic releases on Red House Records — Stars in My Crown (2007) produced by Byron House, River of Time (2009) produced by Larry Campbell and featuring Levon Helm and Jorma’s latest solo album, Ain’t in No Hurry (2015) also produced by Larry Campbell and featuring Jack Casady.

"Clearly not content on resting on any of his legendary laurels, Jorma Kaukonen continues to find ways to wed his muse to the right material and create a colorful tableau." – Relix

But performance and recording are only part of the story.

As the leading practitioner and teacher of fingerstyle guitar, Jorma and his wife Vanessa Lillian operate one of the world’s most unique centers for the study of guitar and other instruments. Jorma Kaukonen’s Fur Peace Ranch Guitar Camp is located on 125 acres of fields, woods, hills, and streams in the Appalachian foothills of Southeastern Ohio. Since it opened in 1998, thousands of musicians whose skills range from basic to highly accomplished gather for weekends of master instruction offered by Jorma and other instructors who are leaders in their musical fields. A multitude of renowned performers make the trek to Ohio to teach at Fur Peace Ranch and play at the performance hall, Fur Peace Station. It has become an important stop on the touring circuit for artists who do not normally play intimate 200-seat venues, bringing such artists as David Bromberg, Roger McGuinn, Arlo Guthrie, Dave Alvin, Ramblin’ Jack Elliott, Warren Haynes, Lee Roy Parnell, Chris Hillman and more. Students, instructors, and visiting artists alike welcome the peace and tranquility -- as well as the great music and great instruction -- that Fur Peace Ranch offers.

At Fur Peace Ranch the Kaukonens have created the Psylodelic Gallery, a museum in a silo, celebrating the music, art, culture, and literature of the 1960's, tracing important events and movements of the psychedelic era. They produce concerts at the Fur Peace Station which are streamed internationally on YouTube as well as broadcast on WOUB 91.3 FM. The Kaukonens there support their local community through art festivals and a restaurant on site.

Jorma Kaukonen is constantly looking to take his musical horizons further still, always moving forward and he is quick to say that teaching is among the most rewarding aspects of his career. “You just can’t go backward. The arrow of time only goes in one direction.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230420T223431Z X-ACCESS:1 X-HITS:3154 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230804T190000 DTEND;TZID=America/Denver:20230804T233000 UID:2BAAFA7C-E544-438A-8F70-B41B1A26F330 SUMMARY:The Medicine Company DTSTAMP:20230605T161526Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230714T001451Z X-ACCESS:1 X-HITS:1173 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230818T190000 DTEND;TZID=America/Denver:20230818T233000 UID:A49CFB30-33E5-4189-9AE9-7F8F890935AF SUMMARY:Ally Venable DTSTAMP:20230605T161948Z DESCRIPTION: \NTexas blues/rock guitarist, vocalist, and songwriter Ally Venable has made her fiery presence known around the world since the release of her debut album at 16. Now, with her fifth solo effort Real Gone! dropping on Ruf Records March 10th, 2023, Venable has come of age.\NAt 23, Venable is already an important artist in the roots music world. Her name has grown in stature with each new album and high-energy gig. She’s an absolutely ripping guitar player with style and tone for days, a commanding singer, and a songwriter with the power to make blues music that speaks to contemporary fans. The new record, produced by Grammy winner Tom Hambridge (Buddy Guy, Susan Tedeschi), features guest appearances by Joe Bonamassa and living legend Buddy Guy.\NVenable is that rare musician who can take her old-school influences like Guy and Stevie Ray Vaughan and create music that brings their spirits to today’s listeners where they live. Together with Isaac Pulido (drums) EJ Bedford (bass), she gives audiences an entertaining show packed with musical muscle and relatable songs about living, growing, and evolving. When asked where her songs emerge from, Ally replied “I try to write about what goes on in my life, or try to write about something I know others can relate to. We all go through things and it’s okay to have feelings about something going on in your life.”\NThe first single from Real Gone! is “Texas Louisiana,” which is a crackling duet with the one-and-only Buddy Guy. Ally and Buddy are an absolute dream team together, intertwining their guitars and voices into one without either losing any identity or impact. The title track “Real Gone” is a straight-up, body-moving rocker that will also be a single. Venable shouts down the microphone like a star while her guitar snarls and sings.\NOn the soulful ballad “Next Time I See You,” Ally downshifts her vocals and shows every dynamic degree of her impressive range. Her guitar work here is equally lyrical and emotive, displaying a gift for phrasing that few players ever attain. The grinding slow jam “Blues Is My Best Friend” lays out the ups and downs of the guitar lifestyle in no uncertain terms and features some of Venable’s most intense playing and singing on the entire set. Ally’s deep, cliche-free authenticity is the common thread running through every song on Real Gone!. She speaks her mind without hesitation or apology, turning each track into an honest statement of purpose.\NIn 2022, Guitar World Magazine named Ally one of the Top 15 ‘Young Guns’ Making the Gibson Les Paul Cool Again and she also received the Road Warrior Award from the Independent Blues Music Awards. She performed as a featured artist on the Experience Hendrix Show in Austin, TX and appeared alongside Kenny Wayne Shepherd, Zack Wilde, Eric Johnson, Dweezil Zappa, and other luminaries.\NWith 2019’s Texas Honey and 2021’s Heart of Fire, Venable found herself topping the Billboard charts. Early releases No Glass Shoes (2016) and Puppet Show (2018) created her fanbase, charted on radio, and won several East Texas Music Awards. Venable’s acclaimed performances on Ruf Records’ European Blues Caravan tour brought her international recognition. She has toured the U.S. with Buddy Guy and Kenny Wayne Shepherd and Canada with Colin James.\NThis year, Ally will be opening for Buddy Guy on his farewell tour, rocking Europe again on the Blues Caravan Tour, and doing her own headline shows domestically and abroad. She’s had a rapid rise to fame but gives off the vibe of someone who loves her life and is ok with it all. X-ALT-DESC;FMTTYPE=text/html:

 

Texas blues/rock guitarist, vocalist, and songwriter Ally Venable has made her fiery presence known around the world since the release of her debut album at 16. Now, with her fifth solo effort Real Gone! dropping on Ruf Records March 10th, 2023, Venable has come of age.

At 23, Venable is already an important artist in the roots music world. Her name has grown in stature with each new album and high-energy gig. She’s an absolutely ripping guitar player with style and tone for days, a commanding singer, and a songwriter with the power to make blues music that speaks to contemporary fans. The new record, produced by Grammy winner Tom Hambridge (Buddy Guy, Susan Tedeschi), features guest appearances by Joe Bonamassa and living legend Buddy Guy.

Venable is that rare musician who can take her old-school influences like Guy and Stevie Ray Vaughan and create music that brings their spirits to today’s listeners where they live. Together with Isaac Pulido (drums) EJ Bedford (bass), she gives audiences an entertaining show packed with musical muscle and relatable songs about living, growing, and evolving. When asked where her songs emerge from, Ally replied “I try to write about what goes on in my life, or try to write about something I know others can relate to. We all go through things and it’s okay to have feelings about something going on in your life.”

The first single from Real Gone! is “Texas Louisiana,” which is a crackling duet with the one-and-only Buddy Guy. Ally and Buddy are an absolute dream team together, intertwining their guitars and voices into one without either losing any identity or impact. The title track “Real Gone” is a straight-up, body-moving rocker that will also be a single. Venable shouts down the microphone like a star while her guitar snarls and sings.

On the soulful ballad “Next Time I See You,” Ally downshifts her vocals and shows every dynamic degree of her impressive range. Her guitar work here is equally lyrical and emotive, displaying a gift for phrasing that few players ever attain. The grinding slow jam “Blues Is My Best Friend” lays out the ups and downs of the guitar lifestyle in no uncertain terms and features some of Venable’s most intense playing and singing on the entire set. Ally’s deep, cliche-free authenticity is the common thread running through every song on Real Gone!. She speaks her mind without hesitation or apology, turning each track into an honest statement of purpose.

In 2022, Guitar World Magazine named Ally one of the Top 15 ‘Young Guns’ Making the Gibson Les Paul Cool Again and she also received the Road Warrior Award from the Independent Blues Music Awards. She performed as a featured artist on the Experience Hendrix Show in Austin, TX and appeared alongside Kenny Wayne Shepherd, Zack Wilde, Eric Johnson, Dweezil Zappa, and other luminaries.

With 2019’s Texas Honey and 2021’s Heart of Fire, Venable found herself topping the Billboard charts. Early releases No Glass Shoes (2016) and Puppet Show (2018) created her fanbase, charted on radio, and won several East Texas Music Awards. Venable’s acclaimed performances on Ruf Records’ European Blues Caravan tour brought her international recognition. She has toured the U.S. with Buddy Guy and Kenny Wayne Shepherd and Canada with Colin James.

This year, Ally will be opening for Buddy Guy on his farewell tour, rocking Europe again on the Blues Caravan Tour, and doing her own headline shows domestically and abroad. She’s had a rapid rise to fame but gives off the vibe of someone who loves her life and is ok with it all.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230807T192044Z X-ACCESS:1 X-HITS:1381 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230820T190000 DTEND;TZID=America/Denver:20230820T233000 UID:099E4ADF-6BE7-413A-B707-486E0C4DF4D0 SUMMARY:Dale Watson & His Lone Stars DTSTAMP:20230502T142359Z DESCRIPTION:Over the last three decades, Dale Watson has been labeled as everything from alt-country to Ameripolitan. But the most humble description may come from the title of his newest album, CALL ME LUCKY, out February 15 on Red House/Ameripolitan Records.\NA fixture of the Austin, Texas, music scene for years, Watson recorded all but one song on CALL ME LUCKY at historic Sam Phillips Recording studio in Memphis. The album features some of Memphis’ finest as well as Dale’s longtime band, His Lone Stars, and includes a horn section on some of the tracks. In early 2018, he bought a house there and now divides his downtime equally between Texas and Tennessee. He also sold the bars he owned in Texas and purchased the fabled Memphis nightclub Hernando’s Hideaway in an effort to provide a hospitable place for touring musicians to perform.\N“Memphis is an amazing city,” he says. “It reminds me of Austin back in the ‘80s but it’s got more roots than any town I’ve ever been to, especially the musical roots. And the people that were there then, a lot of them are still there now.”\NWatson wrote the song “Call Me Lucky” while thinking about two dedicated fans in Milwaukee – one blonde, one brunette – who have a tradition of taking a picture while kissing him on each side of his face. That freewheeling vibe flows throughout the project, especially when Carl Perkins’ original drummer and Johnny Cash’s only drummer, W.S. Holland, shouts out a “YES!!” at the end of “The Dumb Song,” which he he played on. The Memphis legend’s name surfaces again in “Johnny and June,” a romantic number written and sung with rockabilly artist, Celine Lee.\NThroughout CALL ME LUCKY, Watson’s songwriting is so descriptive that you can almost see him cruising into Memphis as he sings “Tupelo Mississippi and a ‘57 Fairlane,” a throwback tune backed by a Memphis-style horn section. Meanwhile, a Hank Williams influence seeps into “Haul Off and Do It,” which is already a favorite in Watson’s live shows. And like the music from his musical heroes, many of the new songs clock in at roughly three minutes long – sometimes less.\N“I’ve always been a fan of keeping songs short,” Watson confirms. “Long ago, I went to a library and checked out Tom T. Hall’s How I Write Songs. And in there, he said it’s not about keeping the songs short, it’s keeping the point. Make your point and get out. That’s always been my way of writing. There are some songs I’ve written that go on a bit more like a story, but I guess it’s probably my ADD that I don’t drag it out too much.\NOn that note, the song “Restless” fits perfectly into Watson’s repertoire. Watson wrote it in 2000, not long after his girlfriend at the time was killed in a car accident. Although he’s played it live, Watson waited until now to release it on an album. “You move on, and that’s the same thing I tell people. You gotta go through the grieving period. You do heal, and then you just don’t forget. It’s a scar and you learn to live with it. But time does definitely make it livable,” he says.\NLike the country stars of the golden era, Watson remains surprisingly accessible. One day he opened an email from a fan named David Buckskimper who said he especially enjoyed Watson’s albums about truck-driving. Watson was so charmed by the folksy letter that he asked for more details about the farmer’s day-to-day life, with the reply distilled into the charming song, “David Buckskimper.” In the studio, longtime band member Don Pawlak ran his steel guitar through a Leslie keyboard, giving the down-to-earth storyline a space-age musical twist.\NWatson’s crowds can inspire him on the spot, too. During a show at the Continental Club in Austin, he heard two girls at the side of the stage yelling, “Inside view! Inside view!” Watson didn’t have a song called “Inside View.” As he recalls, “They were just laughing and giggling like they had no idea what the hell they were talking about, so I just said, ‘All right, “Inside View.”’ And I wrote the song on stage. My drummer and Road Manager , Mike Bernal, usually records stuff and then sends it to me later so I can refine it, you know, to make it make more sense. So that’s how that song came about. The audience is where I get most of my ideas.”\NAsked about his knack for wordplay and rhymes, Watson gives credit to a childhood watching variety shows hosted by Johnny Cash and Mac Davis. When he was 10 he started writing songs for a girlfriend who lived across the street. Those early ambitions led him from Houston to Los Angeles, then to Nashville (briefly) and finally to Austin, Texas. He’s released dozens of albums since his auspicious 1995 debut, CHEATIN’ HEART ATTACK, which helped define the alt-country movement.\NOn CALL ME LUCKY, Watson sings with fondness about Celine Lee on “You Weren’t Supposed to Feel This Good,” while “Mama’s Smile” would have been perfectly suited for a young Elvis. Later, Watson’s electric guitar roars on “Who Needs This Man,” a clever number about finding a date through the personal ads. He concludes the album with “Run Away,” a country-tinged tune that echoes the records Johnny Cash made in Memphis in the 1950s.\NLooking ahead, Watson will once again be a featured artist on the sold-out Outlaw Country Cruise joining Margo Price, Lucinda Williams and others. He’ll then gear up for the Sixth Annual Ameripolitan Music Awards in Memphis in February. Founded and operated by Watson, the ambitious event celebrates touring roots artists who write their own music – a winning formula that Watson has embodied for more than 30 years.\N“I write a lot. It doesn’t mean I write good songs, but I do write a lot of songs. So I think as with anything, you keep at it and you get better at it. But as for writing just a simple country song, I can accept that I’m good at that,” Watson says. “I’m just really, really grateful to be able to do what I do for a living, for as long as I’ve been doing it.” X-ALT-DESC;FMTTYPE=text/html:

Over the last three decades, Dale Watson has been labeled as everything from alt-country to Ameripolitan. But the most humble description may come from the title of his newest album, CALL ME LUCKY, out February 15 on Red House/Ameripolitan Records.

A fixture of the Austin, Texas, music scene for years, Watson recorded all but one song on CALL ME LUCKY at historic Sam Phillips Recording studio in Memphis. The album features some of Memphis’ finest as well as Dale’s longtime band, His Lone Stars, and includes a horn section on some of the tracks. In early 2018, he bought a house there and now divides his downtime equally between Texas and Tennessee. He also sold the bars he owned in Texas and purchased the fabled Memphis nightclub Hernando’s Hideaway in an effort to provide a hospitable place for touring musicians to perform.

“Memphis is an amazing city,” he says. “It reminds me of Austin back in the ‘80s but it’s got more roots than any town I’ve ever been to, especially the musical roots. And the people that were there then, a lot of them are still there now.”

Watson wrote the song “Call Me Lucky” while thinking about two dedicated fans in Milwaukee – one blonde, one brunette – who have a tradition of taking a picture while kissing him on each side of his face. That freewheeling vibe flows throughout the project, especially when Carl Perkins’ original drummer and Johnny Cash’s only drummer, W.S. Holland, shouts out a “YES!!” at the end of “The Dumb Song,” which he he played on. The Memphis legend’s name surfaces again in “Johnny and June,” a romantic number written and sung with rockabilly artist, Celine Lee.

Throughout CALL ME LUCKY, Watson’s songwriting is so descriptive that you can almost see him cruising into Memphis as he sings “Tupelo Mississippi and a ‘57 Fairlane,” a throwback tune backed by a Memphis-style horn section. Meanwhile, a Hank Williams influence seeps into “Haul Off and Do It,” which is already a favorite in Watson’s live shows. And like the music from his musical heroes, many of the new songs clock in at roughly three minutes long – sometimes less.

“I’ve always been a fan of keeping songs short,” Watson confirms. “Long ago, I went to a library and checked out Tom T. Hall’s How I Write Songs. And in there, he said it’s not about keeping the songs short, it’s keeping the point. Make your point and get out. That’s always been my way of writing. There are some songs I’ve written that go on a bit more like a story, but I guess it’s probably my ADD that I don’t drag it out too much.

On that note, the song “Restless” fits perfectly into Watson’s repertoire. Watson wrote it in 2000, not long after his girlfriend at the time was killed in a car accident. Although he’s played it live, Watson waited until now to release it on an album. “You move on, and that’s the same thing I tell people. You gotta go through the grieving period. You do heal, and then you just don’t forget. It’s a scar and you learn to live with it. But time does definitely make it livable,” he says.

Like the country stars of the golden era, Watson remains surprisingly accessible. One day he opened an email from a fan named David Buckskimper who said he especially enjoyed Watson’s albums about truck-driving. Watson was so charmed by the folksy letter that he asked for more details about the farmer’s day-to-day life, with the reply distilled into the charming song, “David Buckskimper.” In the studio, longtime band member Don Pawlak ran his steel guitar through a Leslie keyboard, giving the down-to-earth storyline a space-age musical twist.

Watson’s crowds can inspire him on the spot, too. During a show at the Continental Club in Austin, he heard two girls at the side of the stage yelling, “Inside view! Inside view!” Watson didn’t have a song called “Inside View.” As he recalls, “They were just laughing and giggling like they had no idea what the hell they were talking about, so I just said, ‘All right, “Inside View.”’ And I wrote the song on stage. My drummer and Road Manager , Mike Bernal, usually records stuff and then sends it to me later so I can refine it, you know, to make it make more sense. So that’s how that song came about. The audience is where I get most of my ideas.”

Asked about his knack for wordplay and rhymes, Watson gives credit to a childhood watching variety shows hosted by Johnny Cash and Mac Davis. When he was 10 he started writing songs for a girlfriend who lived across the street. Those early ambitions led him from Houston to Los Angeles, then to Nashville (briefly) and finally to Austin, Texas. He’s released dozens of albums since his auspicious 1995 debut, CHEATIN’ HEART ATTACK, which helped define the alt-country movement.

On CALL ME LUCKY, Watson sings with fondness about Celine Lee on “You Weren’t Supposed to Feel This Good,” while “Mama’s Smile” would have been perfectly suited for a young Elvis. Later, Watson’s electric guitar roars on “Who Needs This Man,” a clever number about finding a date through the personal ads. He concludes the album with “Run Away,” a country-tinged tune that echoes the records Johnny Cash made in Memphis in the 1950s.

Looking ahead, Watson will once again be a featured artist on the sold-out Outlaw Country Cruise joining Margo Price, Lucinda Williams and others. He’ll then gear up for the Sixth Annual Ameripolitan Music Awards in Memphis in February. Founded and operated by Watson, the ambitious event celebrates touring roots artists who write their own music – a winning formula that Watson has embodied for more than 30 years.

“I write a lot. It doesn’t mean I write good songs, but I do write a lot of songs. So I think as with anything, you keep at it and you get better at it. But as for writing just a simple country song, I can accept that I’m good at that,” Watson says. “I’m just really, really grateful to be able to do what I do for a living, for as long as I’ve been doing it.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230808T170023Z X-ACCESS:1 X-HITS:1496 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230822T190000 DTEND;TZID=America/Denver:20230822T233000 UID:B6781768-E5CC-4079-9AF9-F0D58092A658 SUMMARY:Futurebirds DTSTAMP:20230606T143418Z DESCRIPTION:Rock juggernaut Futurebirds’ newest EP, Bloomin’ Too, is a benchmark that not only celebrates 13 years together, it’s also a testament to the sheer iron will of a group of musicians hungry for the fruits of its labor.\N“Futurebirds is the best it’s been right now, far and away,” says singer/guitarist Carter King. “We’ve been unintentionally carving out our own space since the beginning, since we never exactly fit in anywhere else musically. We were always too indie rock for the jam festival, too country for the indie scene, a little too psych-rock to feel like we were Americana. The music over the years just kind of created its own weird little ecosystem — it's thriving and it feels great.”\NThe Athens, Georgia-based group once again tapped storied My Morning Jacket guitarist/producer Carl Broemel in the latest chapter of this seamless, bountiful partnership that initially came to fruition with the 2021 EP, Bloomin’.\N“Carl is extremely perceptive and an all-around smart dude. He’s really in tune with what the band is and what it strives to be. He’s engaged and understands our vision,” King says. “He’s a longtime hero of ours, and now is a friend and collaborator. It’s wild. And it’s great to be able to defer to someone you respect so much with creative decisions in the studio — we don’t just give that trust to just anybody.”\NCaptured this past spring at the legendary Ronnie’s Place in Nashville, Tennessee, the seven-song Bloomin’ Too is a vortex of sonic textures. The album ricochets from cosmic space, rock to rough around the edges, alt-country dreamscapes, sandy beach bum odes to kick in your step pop ballads — all signature tones and musical avenues at the core of the Birds' wide musical palette.\N“This is probably the quickest turnaround we’ve ever had for a record — we felt confident right when we got into the studio and just cranked it out,” says singer/guitarist Daniel Womack. “All of our frequencies are aligned as a band, where we’ve got this free-flow of ideas happening. We’re all on the same page right now and we have a lot of momentum going.”\NFor Broemel, he finds a sincere kinship and solidarity with Futurebirds. Witnessing first-hand the band’s blue-collar work ethic in the studio, Broemel was impressed and inspired by the ‘Birds’ democratic ways and means in how music is created and cultivated in the studio.\N“Futurebirds have this unique vibe with three singer-songwriters in the band, where everyone is constantly shifting their function depending on the song,” Broemel says. “Everyone just kind of falls into place and finds something to contribute. Someone will lead the charge on one song, then fall back and let another take charge on the next — it’s something rare to see and behold in rock music, where normally there’s just one songwriter and one leader.”\NThat camaraderie between founding members King, Womack, singer/guitarist Thomas Johnson and bassist Brannen Miles began when they were college students at the University of Georgia. In recent years, the quartet has added pedal steel player Kiffy Myers, keyboardist Spencer Thomas and drummer Tom Myers.\N“It’s the best feeling in the world to be up there onstage, to look across and see these other super talented dudes all stoked to be there,” King says. “We’re brothers and family and all that, but what's truly most impressive is that we’ve remained good friends on top of that. At the end of the day, for us, it’s always been about having a good time. That's what keeps this thing moving.”\NFrom there, it’s been endless miles on that old lost highway. It’s this rollercoaster of emotions, thoughts and actions — gig after gig, year after year — where now the band will be making its debut at Red Rocks Amphitheatre for a highly-anticipated two-night run (Oct. 3-4) alongside indie-rock darlings Caamp.\N“It was pure elation when we were offered Red Rocks,” Womack says. “Everything we’ve been working towards has always included being able to play Red Rocks someday — it’s a big win for us and such a gratifying feeling.”\NAnd though Futurebirds have offered up another instant classic release with Bloomin’ Too, the foundation of the group’s ethos, attitude, and rabid fan base remains its live shows — these undulating waves of sound, energy and passion spilling out onto the audience in this two-way street of respect and admiration.\N“The line between the stage and the audience has always been blurred, and we’ve definitely carried ourselves that way since the beginning,” Womack says. “The early days of rock-n-roll were about the mysticism surrounding musicians and bands. That’s never been us. We want to embrace our fans, to actually hang out and get to know them — they’re all part of the BirdFam.’”\NReflecting on the last 13 years, King can only shake his head in awe of what has transpired over that time period for Futurebirds, personally and professionally. From playing empty dive bars to selling out theaters coast to coast, from college kids to now husbands and fathers — the sacred flame of music, creativity and performance continually cradling and nurturing deeply-held dreams.\N“You start out doing this solely because it’s fun and you have no preconceived notion of what’s going to happen or what it should be. And then, you get a taste of this possibly being your actual life,” King says. “Maybe you get too serious about it, or too wrapped up in how you are being received, or the industry watermarks of success. But, life’s just a perception game. It’s about having fun and aligning yourself with the right people. The community that’s built up around us has made it real easy to peel back all that brush and noise and see this thing for what it really is." X-ALT-DESC;FMTTYPE=text/html:

Rock juggernaut Futurebirds’ newest EP, Bloomin’ Too, is a benchmark that not only celebrates 13 years together, it’s also a testament to the sheer iron will of a group of musicians hungry for the fruits of its labor.

“Futurebirds is the best it’s been right now, far and away,” says singer/guitarist Carter King. “We’ve been unintentionally carving out our own space since the beginning, since we never exactly fit in anywhere else musically. We were always too indie rock for the jam festival, too country for the indie scene, a little too psych-rock to feel like we were Americana. The music over the years just kind of created its own weird little ecosystem — it's thriving and it feels great.”

The Athens, Georgia-based group once again tapped storied My Morning Jacket guitarist/producer Carl Broemel in the latest chapter of this seamless, bountiful partnership that initially came to fruition with the 2021 EP, Bloomin’.

“Carl is extremely perceptive and an all-around smart dude. He’s really in tune with what the band is and what it strives to be. He’s engaged and understands our vision,” King says. “He’s a longtime hero of ours, and now is a friend and collaborator. It’s wild. And it’s great to be able to defer to someone you respect so much with creative decisions in the studio — we don’t just give that trust to just anybody.”

Captured this past spring at the legendary Ronnie’s Place in Nashville, Tennessee, the seven-song Bloomin’ Too is a vortex of sonic textures. The album ricochets from cosmic space, rock to rough around the edges, alt-country dreamscapes, sandy beach bum odes to kick in your step pop ballads — all signature tones and musical avenues at the core of the Birds' wide musical palette.

“This is probably the quickest turnaround we’ve ever had for a record — we felt confident right when we got into the studio and just cranked it out,” says singer/guitarist Daniel Womack. “All of our frequencies are aligned as a band, where we’ve got this free-flow of ideas happening. We’re all on the same page right now and we have a lot of momentum going.”

For Broemel, he finds a sincere kinship and solidarity with Futurebirds. Witnessing first-hand the band’s blue-collar work ethic in the studio, Broemel was impressed and inspired by the ‘Birds’ democratic ways and means in how music is created and cultivated in the studio.

“Futurebirds have this unique vibe with three singer-songwriters in the band, where everyone is constantly shifting their function depending on the song,” Broemel says. “Everyone just kind of falls into place and finds something to contribute. Someone will lead the charge on one song, then fall back and let another take charge on the next — it’s something rare to see and behold in rock music, where normally there’s just one songwriter and one leader.”

That camaraderie between founding members King, Womack, singer/guitarist Thomas Johnson and bassist Brannen Miles began when they were college students at the University of Georgia. In recent years, the quartet has added pedal steel player Kiffy Myers, keyboardist Spencer Thomas and drummer Tom Myers.

“It’s the best feeling in the world to be up there onstage, to look across and see these other super talented dudes all stoked to be there,” King says. “We’re brothers and family and all that, but what's truly most impressive is that we’ve remained good friends on top of that. At the end of the day, for us, it’s always been about having a good time. That's what keeps this thing moving.”

From there, it’s been endless miles on that old lost highway. It’s this rollercoaster of emotions, thoughts and actions — gig after gig, year after year — where now the band will be making its debut at Red Rocks Amphitheatre for a highly-anticipated two-night run (Oct. 3-4) alongside indie-rock darlings Caamp.

“It was pure elation when we were offered Red Rocks,” Womack says. “Everything we’ve been working towards has always included being able to play Red Rocks someday — it’s a big win for us and such a gratifying feeling.”

And though Futurebirds have offered up another instant classic release with Bloomin’ Too, the foundation of the group’s ethos, attitude, and rabid fan base remains its live shows — these undulating waves of sound, energy and passion spilling out onto the audience in this two-way street of respect and admiration.

“The line between the stage and the audience has always been blurred, and we’ve definitely carried ourselves that way since the beginning,” Womack says. “The early days of rock-n-roll were about the mysticism surrounding musicians and bands. That’s never been us. We want to embrace our fans, to actually hang out and get to know them — they’re all part of the BirdFam.’”

Reflecting on the last 13 years, King can only shake his head in awe of what has transpired over that time period for Futurebirds, personally and professionally. From playing empty dive bars to selling out theaters coast to coast, from college kids to now husbands and fathers — the sacred flame of music, creativity and performance continually cradling and nurturing deeply-held dreams.

“You start out doing this solely because it’s fun and you have no preconceived notion of what’s going to happen or what it should be. And then, you get a taste of this possibly being your actual life,” King says. “Maybe you get too serious about it, or too wrapped up in how you are being received, or the industry watermarks of success. But, life’s just a perception game. It’s about having fun and aligning yourself with the right people. The community that’s built up around us has made it real easy to peel back all that brush and noise and see this thing for what it really is."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230804T182518Z X-ACCESS:1 X-HITS:1625 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230824T190000 DTEND;TZID=America/Denver:20230824T233000 UID:687F83B7-AB19-4CFE-ADC2-A040D3CC80E5 SUMMARY:Jesse Daniel DTSTAMP:20230424T205334Z DESCRIPTION:It is no secret that Jesse Daniel puts on one hell of a live show. With his top notch band, he’s been touring the country for years and earning fans the old fashioned way; with honest songs played well. The California native is blazing the trail for a new wave of traditional artists, bringing his hard core country music to stages all over the US. There are many making traditional country music in modern times, but there is no one making it like Daniel. His sound is uniquely his own, while rooted in the tradition of his Bakersfield heroes like Merle Haggard and Buck Owens. This one-of-a-kind sound has earned Jesse a place at the table among the best of the country music world and has garnered the support of his contemporaries and fans alike. Over the past few years, he and his band have toured and shared stages with artists like Colter Wall, Tyler Childers, Sierra Ferrell, Charley Crockett, American Aquarium, Turnpike Troubadours, Shane Smith, Mike and the Moonpies, Raul Malo and many others. Jesse’s touring schedule has taken him and his band over 50,000 miles in 2022 alone and this year they aim to surpass that by a longshot. Touring this extensively can be tough on a band, but it has proven to be what truly makes a band great. There is nothing that will make a group tighter than grinding it out on the road, night after night, club after club. That is why Jesse and his songwriting partner, fellow band member, manager and fiance Jodi Lyford decided it was time to make a live album.\N“My Kind Of Country Live at The Catalyst '' was recorded in front of a sold out crowd at Santa Cruz, CA’s biggest live music venue. It’s the only album made at The Catalyst since Neil Young & Crazy Horse recorded “Touch The Night - Santa Cruz 1984” on the same stage. This was a monumental achievement for Daniel, considering he used to work as a stage hand and security at the venue years ago. He played his first ever show at the tiny upstairs bar and spent years battling addiction on the very street that The Catalyst resides. “The Catalyst was kind of as big as it gets in my world. I grew up there, going to shows, playing shows on their smaller stages. To headline the main stage, let alone sell it out and make a record there, is a huge accomplishment for me and I’m forever grateful to my Santa Cruz County friends, fans and family for supporting what we do.” said Daniel. What better way to thank the community that raised and supported you than to make a live album with them.\NThis recording includes songs from all three of Daniel’s studio albums - Jesse Daniel (2018), Rollin’ On (2020) and Beyond These Walls (2021), as well as his own hometown rendition of Homer Joy’s country classic “Streets Of Bakersfield”, made famous by Dwight Yoakam and Buck Owens. When the band breaks down you can hear every soul in the room shouting, singing along and celebrating the phrase that they themselves coined - “My Kind Of Country”. This captured live performance showcases Daniel and his band’s live energy and transports you directly to that place in time, as if you were there for it all. X-ALT-DESC;FMTTYPE=text/html:

It is no secret that Jesse Daniel puts on one hell of a live show. With his top notch band, he’s been touring the country for years and earning fans the old fashioned way; with honest songs played well. The California native is blazing the trail for a new wave of traditional artists, bringing his hard core country music to stages all over the US. There are many making traditional country music in modern times, but there is no one making it like Daniel. His sound is uniquely his own, while rooted in the tradition of his Bakersfield heroes like Merle Haggard and Buck Owens. This one-of-a-kind sound has earned Jesse a place at the table among the best of the country music world and has garnered the support of his contemporaries and fans alike. Over the past few years, he and his band have toured and shared stages with artists like Colter Wall, Tyler Childers, Sierra Ferrell, Charley Crockett, American Aquarium, Turnpike Troubadours, Shane Smith, Mike and the Moonpies, Raul Malo and many others. Jesse’s touring schedule has taken him and his band over 50,000 miles in 2022 alone and this year they aim to surpass that by a longshot. Touring this extensively can be tough on a band, but it has proven to be what truly makes a band great. There is nothing that will make a group tighter than grinding it out on the road, night after night, club after club. That is why Jesse and his songwriting partner, fellow band member, manager and fiance Jodi Lyford decided it was time to make a live album.

“My Kind Of Country Live at The Catalyst '' was recorded in front of a sold out crowd at Santa Cruz, CA’s biggest live music venue. It’s the only album made at The Catalyst since Neil Young & Crazy Horse recorded “Touch The Night - Santa Cruz 1984” on the same stage. This was a monumental achievement for Daniel, considering he used to work as a stage hand and security at the venue years ago. He played his first ever show at the tiny upstairs bar and spent years battling addiction on the very street that The Catalyst resides. “The Catalyst was kind of as big as it gets in my world. I grew up there, going to shows, playing shows on their smaller stages. To headline the main stage, let alone sell it out and make a record there, is a huge accomplishment for me and I’m forever grateful to my Santa Cruz County friends, fans and family for supporting what we do.” said Daniel. What better way to thank the community that raised and supported you than to make a live album with them.

This recording includes songs from all three of Daniel’s studio albums - Jesse Daniel (2018), Rollin’ On (2020) and Beyond These Walls (2021), as well as his own hometown rendition of Homer Joy’s country classic “Streets Of Bakersfield”, made famous by Dwight Yoakam and Buck Owens. When the band breaks down you can hear every soul in the room shouting, singing along and celebrating the phrase that they themselves coined - “My Kind Of Country”. This captured live performance showcases Daniel and his band’s live energy and transports you directly to that place in time, as if you were there for it all.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230804T190459Z X-ACCESS:1 X-HITS:1077 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230826T190000 DTEND;TZID=America/Denver:20230826T200000 UID:485DBFFA-4315-43D1-8F66-7F5315E2EE3B SUMMARY:Surprise Chef DTSTAMP:20230526T220502Z DESCRIPTION:Surprise Chef’s music is based on evoking mood; their vivid arrangements utilize time and space to build soundscapes that invite the listener into their world. The quintet’s distinct sound pulls from 70s film scores, the funkier side of jazz, and the samples that form the foundation of hip hop. They push the boundaries of instrumental soul and funk with their own approach honed by countless hours in the studio, studying the masters, and perhaps most importantly, the ‘tyranny of distance’ that dictates a unique perspective to their music.\NHailing from just outside of Melbourne, Australia their first two albums, All News Is Good News and Daylight Savings amassed a die-hard fanbase and brought their sound from their home studio to every corner of the globe. The band is now signed to Big Crown Records, joining a lineage of contemporary and classic sounds that have influenced Surprise Chef’s music since their formation in 2017.\NTheir self proclaimed “moody shades of instrumental jazz-funk” have a bit of everything: punchy drums, infectious keys, rhythm guitar you might hear on a Studio One record, and flute lines that could be from a Blue Note session. But when you step back and take in the entirety of their sound and approach, you’ll hear and see a group greater than the sum of its parts. X-ALT-DESC;FMTTYPE=text/html:

Surprise Chef’s music is based on evoking mood; their vivid arrangements utilize time and space to build soundscapes that invite the listener into their world. The quintet’s distinct sound pulls from 70s film scores, the funkier side of jazz, and the samples that form the foundation of hip hop. They push the boundaries of instrumental soul and funk with their own approach honed by countless hours in the studio, studying the masters, and perhaps most importantly, the ‘tyranny of distance’ that dictates a unique perspective to their music.

Hailing from just outside of Melbourne, Australia their first two albums, All News Is Good News and Daylight Savings amassed a die-hard fanbase and brought their sound from their home studio to every corner of the globe. The band is now signed to Big Crown Records, joining a lineage of contemporary and classic sounds that have influenced Surprise Chef’s music since their formation in 2017.

Their self proclaimed “moody shades of instrumental jazz-funk” have a bit of everything: punchy drums, infectious keys, rhythm guitar you might hear on a Studio One record, and flute lines that could be from a Blue Note session. But when you step back and take in the entirety of their sound and approach, you’ll hear and see a group greater than the sum of its parts.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230721T152826Z X-ACCESS:1 X-HITS:1455 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230903T190000 DTEND;TZID=America/Denver:20230903T233000 UID:595B4ADD-608A-4F5B-832D-7DEC69CC3C49 SUMMARY:Nick Shoulders and The Okay Crawdad DTSTAMP:20230424T210243Z DESCRIPTION:Wielding an ethereal croon and masterful whistle crafted from a lifetime chasing lizards through the Ozark hills, Nick Shoulders is a living link to roots of country music with a penchant for the absurd. Combining his family's deep ties to regional traditional singing with his years of playing to crowded street corners, Nick has sought to forge a hybridized form of raucously clever country music; born of forgotten rocky hollers and bred to confront the tensions of the 21st century South. As evidenced by his surreal album art and anachronistic songwriting, Nick’s creative output is steeped in the complicated history of his beloved home of rural Arkansas, but crafted as a conscious rebuke of country music’s blind allegiance to historical seats of power and repression. With a kind word and a mean yodel, Nick hopes to put the ‘Try’ in country. X-ALT-DESC;FMTTYPE=text/html:

Wielding an ethereal croon and masterful whistle crafted from a lifetime chasing lizards through the Ozark hills, Nick Shoulders is a living link to roots of country music with a penchant for the absurd. Combining his family's deep ties to regional traditional singing with his years of playing to crowded street corners, Nick has sought to forge a hybridized form of raucously clever country music; born of forgotten rocky hollers and bred to confront the tensions of the 21st century South. As evidenced by his surreal album art and anachronistic songwriting, Nick’s creative output is steeped in the complicated history of his beloved home of rural Arkansas, but crafted as a conscious rebuke of country music’s blind allegiance to historical seats of power and repression. With a kind word and a mean yodel, Nick hopes to put the ‘Try’ in country.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230830T175607Z X-ACCESS:1 X-HITS:1787 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230906T200000 DTEND;TZID=America/Denver:20230906T233000 UID:C9093875-D45E-4F53-BEAF-E292D7AF2E00 SUMMARY:Danielle Nicole DTSTAMP:20230620T154539Z DESCRIPTION:"That girl gets down to the nitty gritty." ~ Koko Taylor  \NDanielle Nicole Schnebelen's  Musical influences originate from generations on both sides of her parent's families, and ensured that a love of playing music would continue to be passed among her and her siblings.  \NNicole began singing publicly with her parent's bands as a youth and took ahold of her full time in her early 20s.  "My Father really loved the Blues.  He'd go to all the true Blues guys that were around in KC, specifically Little Hatch.  He'd played for Abb Locke (saxophonist for Muddy Waters) and we'd get brought along sometimes.  The pure, raw emotion relayed through the Blues was what really drew me to it.  Its history is the foundation of American Music and is THE one that must be respected and not buried as myth or legend."  \NAs a founding member of the "Heavy Blues" sibling band Trampled Under Foot, she and her brothers took top honors at the International Blues Challenge in the US, propelling them into Canada, Scandinavia, Europe, UK and to be featured on several Legendary Rhythm & Blues Cruises. It wasn't until 2015, when Nicole set out on her own with over a decade of touring experience with the release of "Wolf Den" recorded in New Orleans with Anders Osborne, that she began to find her sound as an Artist all on her own.  \NNicole's "distinctive, inventive bass work"—which resulted in her not only becoming the first woman to ever be nominated in the category of Instrumentalist ~ Bass in The Blues Foundation's 2012 Blues Music Awards,  but also the first woman to receive the honor twice -"is the product of years of intensive roadwork.  Although she had no experience with the instrument when she became Trampled Under Foot's bassist, now Nicole can't  imagine life without it."  \NNicole's 2017 release of "Cry No More" ushered in not only a heavier  sound and style differentiating Nicole's already broadening voice and writing, but also accrued a slew of accolades including debuting at #1 on Billboard Music Chart, a 2019 Grammy Nomination for Contemporary Blues Album; 2 Blues Music Awards, one for Contemporary Female Artist and her second Instrumentalist ~ Bass, and 3 Independent Blue Music Awards. \NNicole has continued to tour the world and hone her sound.  She's recently received her 6th Blues Music Award; most notably her 4th for the category of Bass Instrumentalist.  "To be recognized for artistry on my instrument, for bass as a woman, is extremely humbling.   I was shocked to find out I was the first woman ever nominated, but I'm glad that the steps are happening and it's process is becoming more inclusive in genres that have traditionally been reserved for men." X-ALT-DESC;FMTTYPE=text/html:

"That girl gets down to the nitty gritty." ~ Koko Taylor  

Danielle Nicole Schnebelen's  Musical influences originate from generations on both sides of her parent's families, and ensured that a love of playing music would continue to be passed among her and her siblings.  

Nicole began singing publicly with her parent's bands as a youth and took ahold of her full time in her early 20s.  "My Father really loved the Blues.  He'd go to all the true Blues guys that were around in KC, specifically Little Hatch.  He'd played for Abb Locke (saxophonist for Muddy Waters) and we'd get brought along sometimes.  The pure, raw emotion relayed through the Blues was what really drew me to it.  Its history is the foundation of American Music and is THE one that must be respected and not buried as myth or legend."  

As a founding member of the "Heavy Blues" sibling band Trampled Under Foot, she and her brothers took top honors at the International Blues Challenge in the US, propelling them into Canada, Scandinavia, Europe, UK and to be featured on several Legendary Rhythm & Blues Cruises. It wasn't until 2015, when Nicole set out on her own with over a decade of touring experience with the release of "Wolf Den" recorded in New Orleans with Anders Osborne, that she began to find her sound as an Artist all on her own.  

Nicole's "distinctive, inventive bass work"—which resulted in her not only becoming the first woman to ever be nominated in the category of Instrumentalist ~ Bass in The Blues Foundation's 2012 Blues Music Awards,  but also the first woman to receive the honor twice -"is the product of years of intensive roadwork.  Although she had no experience with the instrument when she became Trampled Under Foot's bassist, now Nicole can't  imagine life without it."  

Nicole's 2017 release of "Cry No More" ushered in not only a heavier  sound and style differentiating Nicole's already broadening voice and writing, but also accrued a slew of accolades including debuting at #1 on Billboard Music Chart, a 2019 Grammy Nomination for Contemporary Blues Album; 2 Blues Music Awards, one for Contemporary Female Artist and her second Instrumentalist ~ Bass, and 3 Independent Blue Music Awards. 

Nicole has continued to tour the world and hone her sound.  She's recently received her 6th Blues Music Award; most notably her 4th for the category of Bass Instrumentalist.  "To be recognized for artistry on my instrument, for bass as a woman, is extremely humbling.   I was shocked to find out I was the first woman ever nominated, but I'm glad that the steps are happening and it's process is becoming more inclusive in genres that have traditionally been reserved for men."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230830T182431Z X-ACCESS:1 X-HITS:1066 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230909T200000 DTEND;TZID=America/Denver:20230909T233000 UID:8E00B42A-F6EA-4FE8-8485-CEFCCF6C58D9 SUMMARY:Caitlyn Smith DTSTAMP:20230308T162812Z DESCRIPTION:Last year, Monument Records’ powerhouse vocalist Caitlyn Smith released High, which Forbes called “captivating” and the Tennessean stated, “showcases an artist finally in control of her life and career.” It was the first half of a record that the critically acclaimed singer/songwriter self-produced. Now Smith is poised to release the complete project, adding six new songs to make her full record, High & Low, due April 14.\NFor Smith, the making of High & Low represented a metamorphosis. Looking back, the award-winning songwriter, who has graced the pages of both TIME Magazine and The New York Times and been named to Rolling Stone’s 10 country artists to know and Paste ’s 10 country artists to watch, realized she, as many do in the era of social media, had celebrated the “highs” of life publicly – while navigating the “lows” in private. Instead of showing vulnerability, it was easier to pretend everything was fine. But over the course of writing and producing High & Low, Smith learned to peel back the curtain, embracing all aspects of her life, including the “lows” she once held so close to vest.\NAvailable now, “Lately” is another taste of what’s to come from High & Low with Billboard calling it “yet another testament to her ineluctable talents.” The track delves even further into the human experience, detailing the attempt to overcome loss using a series of distractions.\NThe additional five new tracks balance 2022’s critically-acclaimed High, celebrated by NPR as “her most fully realized project yet,” with High & Low capturing the full picture of who Smith is as an artist and as a creator – where embracing the yin and yang simply makes you more human.\NWhile writing, producing, and recording her latest album, the Pollstar “Hotstar” has also spent the last few years on the road opening for George Strait, Reba, Little Big Town and Old Dominion which led to her debut on “The Kelly Clarkson Show” after Clarkson saw Smith’s opening “Strait to Vegas” set, taking to Twitter to share praise for the performance. She has also performed on Late Night with Seth Meyers, The Tonight Show Starring Jimmy Fallon, The TODAY Show, and CBS This Morning. Last year, Smith headlined her High & Low Tour, as well as headed overseas to perform as part of C2C in London. Stay tuned here and on social media for the latest news and tour dates for Smith. X-ALT-DESC;FMTTYPE=text/html:

Last year, Monument Records’ powerhouse vocalist Caitlyn Smith released High, which Forbes called “captivating” and the Tennessean stated, “showcases an artist finally in control of her life and career.” It was the first half of a record that the critically acclaimed singer/songwriter self-produced. Now Smith is poised to release the complete project, adding six new songs to make her full record, High & Low, due April 14.

For Smith, the making of High & Low represented a metamorphosis. Looking back, the award-winning songwriter, who has graced the pages of both TIME Magazine and The New York Times and been named to Rolling Stone’s 10 country artists to know and Paste ’s 10 country artists to watch, realized she, as many do in the era of social media, had celebrated the “highs” of life publicly – while navigating the “lows” in private. Instead of showing vulnerability, it was easier to pretend everything was fine. But over the course of writing and producing High & Low, Smith learned to peel back the curtain, embracing all aspects of her life, including the “lows” she once held so close to vest.

Available now, “Lately” is another taste of what’s to come from High & Low with Billboard calling it “yet another testament to her ineluctable talents.” The track delves even further into the human experience, detailing the attempt to overcome loss using a series of distractions.

The additional five new tracks balance 2022’s critically-acclaimed High, celebrated by NPR as “her most fully realized project yet,” with High & Low capturing the full picture of who Smith is as an artist and as a creator – where embracing the yin and yang simply makes you more human.

While writing, producing, and recording her latest album, the Pollstar “Hotstar” has also spent the last few years on the road opening for George Strait, Reba, Little Big Town and Old Dominion which led to her debut on “The Kelly Clarkson Show” after Clarkson saw Smith’s opening “Strait to Vegas” set, taking to Twitter to share praise for the performance. She has also performed on Late Night with Seth Meyers, The Tonight Show Starring Jimmy Fallon, The TODAY Show, and CBS This Morning. Last year, Smith headlined her High & Low Tour, as well as headed overseas to perform as part of C2C in London. Stay tuned here and on social media for the latest news and tour dates for Smith.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230814T201021Z X-ACCESS:1 X-HITS:2015 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230912T190000 DTEND;TZID=America/Denver:20230912T233000 UID:F2835B78-F22C-4926-98EF-5489038AC99D SUMMARY:Generationals DTSTAMP:20230328T220443Z DESCRIPTION:As Generationals, Grant Widmer and Ted Joyner have been stretching the boundaries of pop music for over a decade. From Con Law, their ebullient 2009 debut, to their adventurous and groove-infused sixth LP from 2019 Reader As Detective, the New Orleans based duo have made songs that are consistently immediate and memorable. Even though their music always sounds effortless, they approach their songwriting with an auteur-like perfectionism: constantly tweaking and fine-tuning their craft. Their latest, the ILEANA EP, is four tracks that showcase the two at their most free and confident, the triumphant product of taking studio risks and welcoming outside voices. ILEANA is a testament to Generationals’ longevity as well as Joyner and Widmer’s enduring friendship. These are some of the best songs they have ever written with each track revealing surprises and subtle hooks with every listen. “The trajectory of how we’ve gotten to where we are is knowing how to use our voices and how to arrange songs better,” said Widmer. “We feel more confident in what we're doing." X-ALT-DESC;FMTTYPE=text/html:

As Generationals, Grant Widmer and Ted Joyner have been stretching the boundaries of pop music for over a decade. From Con Law, their ebullient 2009 debut, to their adventurous and groove-infused sixth LP from 2019 Reader As Detective, the New Orleans based duo have made songs that are consistently immediate and memorable. Even though their music always sounds effortless, they approach their songwriting with an auteur-like perfectionism: constantly tweaking and fine-tuning their craft. Their latest, the ILEANA EP, is four tracks that showcase the two at their most free and confident, the triumphant product of taking studio risks and welcoming outside voices. ILEANA is a testament to Generationals’ longevity as well as Joyner and Widmer’s enduring friendship. These are some of the best songs they have ever written with each track revealing surprises and subtle hooks with every listen. “The trajectory of how we’ve gotten to where we are is knowing how to use our voices and how to arrange songs better,” said Widmer. “We feel more confident in what we're doing."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230824T185207Z X-ACCESS:1 X-HITS:1371 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230913T200000 DTEND;TZID=America/Denver:20230913T233000 UID:5478C4CB-01A3-4A42-A2D5-04756C55BBF2 SUMMARY:Dexter and the Moonrocks DTSTAMP:20230717T231357Z DESCRIPTION:Hailing from Abilene, Texas, Dexter and The Moonrocks deliver a unique Southern Alternativefusion lovingly dubbed “Western Space Grunge” by their fans. The band released their firstsingle “Couch” in August of 2021, taking the internet by storm. After massive success with thehit single, the band released their self-titled EP featuring a number of hits like “Where I Steer”or “Behave” and received overwhelmingly positive responses. Lead vocalist/rhythm guitaristJames Tuffs, lead guitarist/vocal harmonizer Ryan Anderson, bassist Ty Anderson, anddrummer/vocal harmonizer Fox, draw on their favorite elements of bands like Nirvana,Rainbow Kitten Surprise, and Whiskey Myers in order to create the unique sound that can onlybe described as “Western Space Grunge”. X-ALT-DESC;FMTTYPE=text/html:

Hailing from Abilene, Texas, Dexter and The Moonrocks deliver a unique Southern Alternativefusion lovingly dubbed “Western Space Grunge” by their fans. The band released their firstsingle “Couch” in August of 2021, taking the internet by storm. After massive success with thehit single, the band released their self-titled EP featuring a number of hits like “Where I Steer”or “Behave” and received overwhelmingly positive responses. Lead vocalist/rhythm guitaristJames Tuffs, lead guitarist/vocal harmonizer Ryan Anderson, bassist Ty Anderson, anddrummer/vocal harmonizer Fox, draw on their favorite elements of bands like Nirvana,Rainbow Kitten Surprise, and Whiskey Myers in order to create the unique sound that can onlybe described as “Western Space Grunge”.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230823T221204Z X-ACCESS:1 X-HITS:1089 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230915T200000 DTEND;TZID=America/Denver:20230915T233000 UID:11BECBF4-23D3-49A2-94E0-80D7157464B2 SUMMARY:Tony Holiday DTSTAMP:20230620T153922Z DESCRIPTION:There’s something about Tony Holiday that draws people together. In fact, community has been at the core of Holiday’s young career from the beginning. Since relocating from Salt Lake City to Memphis in 2017, Holiday has been at the center of a soul blues revival in Memphis, anchored by a contingent of young, savvy well-schooled musicians with a “family-like” attitude and a strong belief in one another. Mentored by past legends, Holiday and this loose Memphis collective are building on the city’s rich traditions and carrying them forward. \NMotel Mississippi, Holiday’s 2nd solo album, was recorded about an hour outside Memphis in Coldwater, Mississippi, at Zebra Ranch, the studio of the late great Memphis legend Jim Dickinson (The Rolling Stones, Big Star). Combining the sounds of North Mississippi Hill Country, Delta Blues, and Memphis soul, Motel Mississippi is equal parts hypnotic blues, driving soul, and juke joint stomper. The album consists of six originals and two covers, “Rob & Steal” by Paul Wine Jones and “Nobody But You” by Asie Payton. \NLike with previous projects, Motel Mississippi began as a collaborative effort, this time between Holiday, guitarist/songwriter A.J. Fullerton and guitarist/producer Dave Gross who shared production duties with Fullerton. Rich sonic layers provide a forward-thinking quality to these productions, conjuring up a vibe that’s modern and retro at the same time. \NThe drone and drive of songs like “Rob & Steal” and “Get By” contrast with juke joint grooves like “Just As Gone” while diving into new territory with the Cajun-infused double harmonica instrumental “Yazoo River.” The album was recorded by another mainstay of recent Memphis recording, Kevin Houston (Southern Avenue, North Mississippi Allstars, G. Love). Other musicians on the album include Lee Williams Jr. on drums, Terrance Grayson on Bass, Aubrey McCrady on guitar, Jake Friel on Harmonica, and Mikey Junior on backup vocals.\NMotel Mississippi follows 2020’s Soul Service, produced by another regular collaborator, Southern Avenue’s Ori Naftaly. This followed two volumes of Tony Holiday’s Porch Sessions, which saw Holiday traveling across the United States and throughout Europe recording blues musicians on their very own front porches, in front of juke joints, in the countryside, and even on the front stoops of raucous night spots in bustling cities, resulting in two critically acclaimed albums. The guestlist struck a balance between older legends like Grammy® winners Charlie Musselwhite and Bobby Rush, former Muddy Waters guitarist John Primer and the iconic Lurie Bell, alongside some of Holiday’s peers Southern Avenue, Victor Wainwright, and John Németh. The latter two have served as important mentors for Holiday since his move to Memphis.\NThere’s something in the water in Memphis, and Tony Holiday has tapped into it to contribute to an exciting new chapter unfolding in this storied region. X-ALT-DESC;FMTTYPE=text/html:

There’s something about Tony Holiday that draws people together. In fact, community has been at the core of Holiday’s young career from the beginning. Since relocating from Salt Lake City to Memphis in 2017, Holiday has been at the center of a soul blues revival in Memphis, anchored by a contingent of young, savvy well-schooled musicians with a “family-like” attitude and a strong belief in one another. Mentored by past legends, Holiday and this loose Memphis collective are building on the city’s rich traditions and carrying them forward. 

Motel Mississippi, Holiday’s 2nd solo album, was recorded about an hour outside Memphis in Coldwater, Mississippi, at Zebra Ranch, the studio of the late great Memphis legend Jim Dickinson (The Rolling Stones, Big Star). Combining the sounds of North Mississippi Hill Country, Delta Blues, and Memphis soul, Motel Mississippi is equal parts hypnotic blues, driving soul, and juke joint stomper. The album consists of six originals and two covers, “Rob & Steal” by Paul Wine Jones and “Nobody But You” by Asie Payton. 

Like with previous projects, Motel Mississippi began as a collaborative effort, this time between Holiday, guitarist/songwriter A.J. Fullerton and guitarist/producer Dave Gross who shared production duties with Fullerton. Rich sonic layers provide a forward-thinking quality to these productions, conjuring up a vibe that’s modern and retro at the same time. 

The drone and drive of songs like “Rob & Steal” and “Get By” contrast with juke joint grooves like “Just As Gone” while diving into new territory with the Cajun-infused double harmonica instrumental “Yazoo River.” The album was recorded by another mainstay of recent Memphis recording, Kevin Houston (Southern Avenue, North Mississippi Allstars, G. Love). Other musicians on the album include Lee Williams Jr. on drums, Terrance Grayson on Bass, Aubrey McCrady on guitar, Jake Friel on Harmonica, and Mikey Junior on backup vocals.

Motel Mississippi follows 2020’s Soul Service, produced by another regular collaborator, Southern Avenue’s Ori Naftaly. This followed two volumes of Tony Holiday’s Porch Sessions, which saw Holiday traveling across the United States and throughout Europe recording blues musicians on their very own front porches, in front of juke joints, in the countryside, and even on the front stoops of raucous night spots in bustling cities, resulting in two critically acclaimed albums. The guestlist struck a balance between older legends like Grammy® winners Charlie Musselwhite and Bobby Rush, former Muddy Waters guitarist John Primer and the iconic Lurie Bell, alongside some of Holiday’s peers Southern Avenue, Victor Wainwright, and John Németh. The latter two have served as important mentors for Holiday since his move to Memphis.

There’s something in the water in Memphis, and Tony Holiday has tapped into it to contribute to an exciting new chapter unfolding in this storied region.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230630T175230Z X-ACCESS:1 X-HITS:1196 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230916T200000 DTEND;TZID=America/Denver:20230916T233000 UID:29F017D8-51C4-4892-B0A0-9099274D4EB7 SUMMARY:Petty Theft - An evening celebrating Tom Petty DTSTAMP:20230424T212600Z DESCRIPTION:At the forefront of legendary Rock and Roll bands, you are sure to find Tom Petty and The Heartbreakers.\NSince 2003, San Francisco based Petty Theft has been touring the western United States performing Tom Petty’s songs true to the originals and in the spirit of the Heartbreaker’s live shows. X-ALT-DESC;FMTTYPE=text/html:

At the forefront of legendary Rock and Roll bands, you are sure to find Tom Petty and The Heartbreakers.

Since 2003, San Francisco based Petty Theft has been touring the western United States performing Tom Petty’s songs true to the originals and in the spirit of the Heartbreaker’s live shows.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230911T190610Z X-ACCESS:1 X-HITS:1705 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230917T190000 DTEND;TZID=America/Denver:20230917T233000 UID:1E5F4442-BDE5-465A-901A-439BA0DAC35C SUMMARY:Devon Allman & Donavon Frankenreiter DTSTAMP:20230411T155257Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230908T215019Z X-ACCESS:1 X-HITS:1297 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230918T190000 DTEND;TZID=America/Denver:20230918T233000 UID:52CFA067-9BF8-4E09-8AD1-C84DE1A7E7BA SUMMARY:Foy Vance DTSTAMP:20230503T200906Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230914T183056Z X-ACCESS:1 X-HITS:1551 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230919T200000 DTEND;TZID=America/Denver:20230919T233000 UID:2646D104-CFED-4740-A03D-A1F2C681A519 SUMMARY:Vince Herman (of Leftover Salmon) DTSTAMP:20230717T222416Z DESCRIPTION:Vince Herman is out to have some fun. 33 years after founding Leftover Salmon, Vince is releasing an album of his own and hitting the road to play a batch of songs developed in his new Nashville home. It’s a bit of a departure from the salmon sound as he digs into his idea of what country music is. There’s some bluegrass and Cajun influences and honky tonk ballads all piled atop great players taking the tunes for a ride. He’s hitting the road soon with his new band so keep an eye out and enjoy the ride. X-ALT-DESC;FMTTYPE=text/html:

Vince Herman is out to have some fun. 33 years after founding Leftover Salmon, Vince is releasing an album of his own and hitting the road to play a batch of songs developed in his new Nashville home. It’s a bit of a departure from the salmon sound as he digs into his idea of what country music is. There’s some bluegrass and Cajun influences and honky tonk ballads all piled atop great players taking the tunes for a ride. He’s hitting the road soon with his new band so keep an eye out and enjoy the ride.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230919T182243Z X-ACCESS:1 X-HITS:770 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230921T200000 DTEND;TZID=America/Denver:20230921T233000 UID:06470A8F-DE4A-4342-B0C4-902BBAF9C274 SUMMARY:Coco Montoya DTSTAMP:20230629T061840Z DESCRIPTION:"One of the most prodigious and gifted electric bluesmen on the planet...a deeply soulful singer and incendiary guitarist [with] a seemingly endless penchant for invention." –AllMusic\N"Smoking songs and heavy hitting guitar full of fire and passion...Montoya’s rough-edged voice is filled with feeling. Bluesy, powerful and unpredictable...[It]really gets the blood flowing." –Blues Music Magazine\N"Montoya is a show-stopper...heartfelt singing and merciless guitar with a wicked icy burn. He is one of the truly gifted blues artists of his generation." –Living Blues\N“’Just play what you feel, be real about it, and enjoy yourself.’ That’s what Albert Collins taught me,” says the award-winning guitar virtuoso and soul-deep singer Coco Montoya. The self-taught, left-handed Montoya mastered his craft under Collins’ tutelage. Incorporating lessons learned from his mentors, the iconic Collins (for whom he originally drummed), and UK legend John Mayall, Montoya puts his own stamp onto every song he performs. Since his first solo album in 1995 (which won him the Blues Music Award for Best New Artist), Montoya’s endlessly inventive guitar work and passionate, hard-hitting vocals have kept him at the top of the blues world. With his new Alligator Records album, Writing On The Wall (his sixth for the label), Montoya delivers what he is already calling one of the best records he’s ever made. For the very first time on Alligator, he decided to bring his road-tested band—noted keyboardist and songwriter Jeff Paris (Keb’ Mo’, Bill Withers), bassist Nathan Brown, and drummer Rena Beavers—into the studio with him. Between the camaraderie of the long-time bandmates and the sheer talent of all involved, the results have left Coco, in his words, “over the moon.”Produced by Grammy Award-winner Tony Braunagel (Bonnie Raitt, Taj Mahal) and co-produced by Jeff Paris, Writing On The Wall is a tour-de-force of memorable, hook-filled songs, sung with passion and fueled by equally memorable, top shelf musicianship. The 13 tracks include five written or co-written by Montoya. The set opens with a signature, career-defining performance of the soul-baring I Was Wrong, written for Coco by songwriter Dave Steen. From the blistering Save It For The Next Fool to the enjoy now/pay later philosophy of Jeff Paris’ (I’d Rather Feel) Bad About Doin’ It to the riveting reinvention of Lonnie Mack’s Stop, Montoya delivers each song with heart-pounding emotion. Special guest Lee Roy Parnell adds his well-seasoned slide guitar to the smoldering A Chip And A Chair. And Coco’s friend, guitarist Ronnie Baker Brooks (son of late Alligator star Lonnie Brooks), joins in for some good-natured fun on the droll Baby, You’re A Drag and adds his blistering playing to the searing cover of Bobby Bland’s You Got Me.“I am so proud of this one,” Montoya says of Writing On The Wall. “We recorded in Jeff Paris’ studio and everything just gelled together. And the band inspired me; they all gave extra effort at every turn. Jeff, Nathan and Rena played so great, they ended up making me play even harder. They made me sound better than I am!”Henry “Coco” Montoya was born in Santa Monica, California, on October 2, 1951, and raised in a working-class family. Growing up, Coco immersed himself in his parents’ record collection. He listened to big band jazz, salsa, doo-wop and rock ‘n’ roll. His first love was drums; he acquired a kit at age 11. He got a guitar two years later. “I’m sure the Beatles had something to do with this,” Montoya recalls. “I wanted to make notes as well as beats.” But guitar was his secondary instrument. Montoya turned his love of drumming into his profession, playing in a number of area rock bands while still in his teens and becoming an in-demand drummer.In 1969, Montoya saw Albert King opening a Creedence Clearwater Revival/Iron Butterfly concert at the Shrine Auditorium in Los Angeles. He was transformed. “After King got done playing,” says Montoya, “my life was changed. When he played, the music went right into my soul. It grabbed me so emotionally that I had tears welling up in my eyes. Nothing had ever affected me to this level. He showed me what music and playing the blues were all about. I knew that was what I wanted to do.”The next chapter of Montoya’s story was kick-started by a chance meeting in the mid-1970s with legendary bluesman Albert Collins. Montoya says, “Albert was coming through Los Angeles and needed to borrow my drum set, which I left at the club where he was going to be playing. I went down to see his show that night and it just tore my head off. The thing that I had seen and felt with Albert King came pouring back on me when I saw Albert Collins.”A short time later, Collins hired Montoya as his band’s drummer. With Albert mentoring Coco on the guitar during the band’s downtime, Coco soon became Collins’ second guitarist. “We’d sit in hotel rooms for hours and play guitar,” remembers Montoya. “He’d play that beautiful rhythm of his and just have me play along. He was always saying, ‘Don’t think about it, just feel it.’ He was like a father to me,” says Coco, who often slept at Collins’ home. When Collins declared Montoya his “son,” it was the highest praise and affection he could offer. In return, Montoya learned everything he could from the legendary Master of the Telecaster.Needing a more regular paycheck, Montoya left Collins’ band after two years and took a job tending bar, jamming on weekends at Los Angeles clubs. One day, legendary British musician John Mayall heard Coco playing Otis Rush’s All Your Love (I Miss Loving) onstage. Soon after, Mayall called on Montoya to join his famous Bluesbreakers. Filling the shoes of previous Bluesbreaker guitarists Eric Clapton, Peter Green and Mick Taylor would not be easy, but Montoya knew he could not pass up the opportunity to play with another legend. For the next ten years he toured the world and recorded with Mayall on seven albums, soaking up the experience of life on the road and in the recording studio.Montoya’s recorded debut as a bandleader came with 1995’s Gotta Mind To Travel (originally on Silvertone Records in England and later issued in the USA on Blind Pig Records). The album became an instant fan favorite. Blues enthusiasts, radio programmers and critics sent praise from all corners. The album immediately made it clear that Montoya ranked among the best players on the contemporary scene. Two more Blind Pig albums followed, and Coco was well on his way.In 2000, Montoya’s Alligator debut, Suspicion, quickly became the best-selling album of his career, earning regular radio airplay on over 120 stations nationwide. Montoya’s fan base exploded. After two more highly successful and massively popular Alligator releases—2002’s Can’t Look Back and 2007’s Dirty Deal—Montoya signed with Ruf Records, cutting both a live and a studio album. Returning to Alligator with 2017’s Hard Truth and 2019’s Coming In Hot, the guitar master continued to blaze his trail. “Montoya unleashes one career-topping performance after another,” declared the UK’s Blues Matters.Still an indefatigable road warrior, Montoya continues to tour virtually nonstop, bringing audiences to their feet from New York to New Orleans to Chicago to San Francisco. Across the globe, he’s performed in countries including Australia, Belgium, Switzerland, Germany, Norway, England, Brazil, Argentina, Spain, Mexico, Ecuador, Italy, Poland, Russia, the Czech Republic and Canada.Now, with the dynamic Writing On The Wall and a tour calendar busting at the seams, Coco Montoya is as excited as he’s ever been to perform the new songs live with his burning-hot band. Montoya’s well-earned reputation as an eye-popping live performer precedes him. Vintage Guitar states, “Coco keeps getting better and better. He plays with fire and passion rarely seen in this day and age.” Billboard declares, “In a world of blues guitar pretenders, Coco Montoya is the real McCoy. He exudes power and authenticity. Be prepared to get scorched by the real thing.” X-ALT-DESC;FMTTYPE=text/html:

"One of the most prodigious and gifted electric bluesmen on the planet...a deeply soulful singer and incendiary guitarist [with] a seemingly endless penchant for invention." –AllMusic

"Smoking songs and heavy hitting guitar full of fire and passion...Montoya’s rough-edged voice is filled with feeling. Bluesy, powerful and unpredictable...[It]really gets the blood flowing." –Blues Music Magazine

"Montoya is a show-stopper...heartfelt singing and merciless guitar with a wicked icy burn. He is one of the truly gifted blues artists of his generation." –Living Blues

“’Just play what you feel, be real about it, and enjoy yourself.’ That’s what Albert Collins taught me,” says the award-winning guitar virtuoso and soul-deep singer Coco Montoya. The self-taught, left-handed Montoya mastered his craft under Collins’ tutelage. Incorporating lessons learned from his mentors, the iconic Collins (for whom he originally drummed), and UK legend John Mayall, Montoya puts his own stamp onto every song he performs. Since his first solo album in 1995 (which won him the Blues Music Award for Best New Artist), Montoya’s endlessly inventive guitar work and passionate, hard-hitting vocals have kept him at the top of the blues world. With his new Alligator Records album, Writing On The Wall (his sixth for the label), Montoya delivers what he is already calling one of the best records he’s ever made. For the very first time on Alligator, he decided to bring his road-tested band—noted keyboardist and songwriter Jeff Paris (Keb’ Mo’, Bill Withers), bassist Nathan Brown, and drummer Rena Beavers—into the studio with him. Between the camaraderie of the long-time bandmates and the sheer talent of all involved, the results have left Coco, in his words, “over the moon.”Produced by Grammy Award-winner Tony Braunagel (Bonnie Raitt, Taj Mahal) and co-produced by Jeff Paris, Writing On The Wall is a tour-de-force of memorable, hook-filled songs, sung with passion and fueled by equally memorable, top shelf musicianship. The 13 tracks include five written or co-written by Montoya. The set opens with a signature, career-defining performance of the soul-baring I Was Wrong, written for Coco by songwriter Dave Steen. From the blistering Save It For The Next Fool to the enjoy now/pay later philosophy of Jeff Paris’ (I’d Rather Feel) Bad About Doin’ It to the riveting reinvention of Lonnie Mack’s Stop, Montoya delivers each song with heart-pounding emotion. Special guest Lee Roy Parnell adds his well-seasoned slide guitar to the smoldering A Chip And A Chair. And Coco’s friend, guitarist Ronnie Baker Brooks (son of late Alligator star Lonnie Brooks), joins in for some good-natured fun on the droll Baby, You’re A Drag and adds his blistering playing to the searing cover of Bobby Bland’s You Got Me.“I am so proud of this one,” Montoya says of Writing On The Wall. “We recorded in Jeff Paris’ studio and everything just gelled together. And the band inspired me; they all gave extra effort at every turn. Jeff, Nathan and Rena played so great, they ended up making me play even harder. They made me sound better than I am!”Henry “Coco” Montoya was born in Santa Monica, California, on October 2, 1951, and raised in a working-class family. Growing up, Coco immersed himself in his parents’ record collection. He listened to big band jazz, salsa, doo-wop and rock ‘n’ roll. His first love was drums; he acquired a kit at age 11. He got a guitar two years later. “I’m sure the Beatles had something to do with this,” Montoya recalls. “I wanted to make notes as well as beats.” But guitar was his secondary instrument. Montoya turned his love of drumming into his profession, playing in a number of area rock bands while still in his teens and becoming an in-demand drummer.In 1969, Montoya saw Albert King opening a Creedence Clearwater Revival/Iron Butterfly concert at the Shrine Auditorium in Los Angeles. He was transformed. “After King got done playing,” says Montoya, “my life was changed. When he played, the music went right into my soul. It grabbed me so emotionally that I had tears welling up in my eyes. Nothing had ever affected me to this level. He showed me what music and playing the blues were all about. I knew that was what I wanted to do.”The next chapter of Montoya’s story was kick-started by a chance meeting in the mid-1970s with legendary bluesman Albert Collins. Montoya says, “Albert was coming through Los Angeles and needed to borrow my drum set, which I left at the club where he was going to be playing. I went down to see his show that night and it just tore my head off. The thing that I had seen and felt with Albert King came pouring back on me when I saw Albert Collins.”A short time later, Collins hired Montoya as his band’s drummer. With Albert mentoring Coco on the guitar during the band’s downtime, Coco soon became Collins’ second guitarist. “We’d sit in hotel rooms for hours and play guitar,” remembers Montoya. “He’d play that beautiful rhythm of his and just have me play along. He was always saying, ‘Don’t think about it, just feel it.’ He was like a father to me,” says Coco, who often slept at Collins’ home. When Collins declared Montoya his “son,” it was the highest praise and affection he could offer. In return, Montoya learned everything he could from the legendary Master of the Telecaster.Needing a more regular paycheck, Montoya left Collins’ band after two years and took a job tending bar, jamming on weekends at Los Angeles clubs. One day, legendary British musician John Mayall heard Coco playing Otis Rush’s All Your Love (I Miss Loving) onstage. Soon after, Mayall called on Montoya to join his famous Bluesbreakers. Filling the shoes of previous Bluesbreaker guitarists Eric Clapton, Peter Green and Mick Taylor would not be easy, but Montoya knew he could not pass up the opportunity to play with another legend. For the next ten years he toured the world and recorded with Mayall on seven albums, soaking up the experience of life on the road and in the recording studio.Montoya’s recorded debut as a bandleader came with 1995’s Gotta Mind To Travel (originally on Silvertone Records in England and later issued in the USA on Blind Pig Records). The album became an instant fan favorite. Blues enthusiasts, radio programmers and critics sent praise from all corners. The album immediately made it clear that Montoya ranked among the best players on the contemporary scene. Two more Blind Pig albums followed, and Coco was well on his way.In 2000, Montoya’s Alligator debut, Suspicion, quickly became the best-selling album of his career, earning regular radio airplay on over 120 stations nationwide. Montoya’s fan base exploded. After two more highly successful and massively popular Alligator releases—2002’s Can’t Look Back and 2007’s Dirty Deal—Montoya signed with Ruf Records, cutting both a live and a studio album. Returning to Alligator with 2017’s Hard Truth and 2019’s Coming In Hot, the guitar master continued to blaze his trail. “Montoya unleashes one career-topping performance after another,” declared the UK’s Blues Matters.Still an indefatigable road warrior, Montoya continues to tour virtually nonstop, bringing audiences to their feet from New York to New Orleans to Chicago to San Francisco. Across the globe, he’s performed in countries including Australia, Belgium, Switzerland, Germany, Norway, England, Brazil, Argentina, Spain, Mexico, Ecuador, Italy, Poland, Russia, the Czech Republic and Canada.Now, with the dynamic Writing On The Wall and a tour calendar busting at the seams, Coco Montoya is as excited as he’s ever been to perform the new songs live with his burning-hot band. Montoya’s well-earned reputation as an eye-popping live performer precedes him. Vintage Guitar states, “Coco keeps getting better and better. He plays with fire and passion rarely seen in this day and age.” Billboard declares, “In a world of blues guitar pretenders, Coco Montoya is the real McCoy. He exudes power and authenticity. Be prepared to get scorched by the real thing.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230804T205227Z X-ACCESS:1 X-HITS:1253 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230922T200000 DTEND;TZID=America/Denver:20230922T210000 UID:3B11E559-9DC1-4779-B2C7-EED6A08B6B85 SUMMARY:The Pranksters DTSTAMP:20230717T225825Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230919T194602Z X-ACCESS:1 X-HITS:1228 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230923T200000 DTEND;TZID=America/Denver:20230923T233000 UID:ABC1ED02-6C12-4CA5-8DF1-5AF59D8741F0 SUMMARY:Ezra Bell DTSTAMP:20230619T175907Z DESCRIPTION:Ezra Bell was founded late in the summer of 2013. It was warm enough to sit on the porch into the evening and learn a couple of songs. A lap drum a banjo and an out-of-tune guitar.  Years on, it’s surprising Ezra Bell is still at it. Streaming services have surprisingly worked in Ezra Bell’s favor and listeners resonate with the tales spinning out of order around disconcerting musical interludes. Somehow, a licensing company commissioned Ezra Bell to play and record Sam Cooke’s worst song for an insurance commercial. The commercial aired on Superbowl Sunday. Ezra Bell espouses neither football nor insurance but sold out accordingly for the pittance that was paid and the exposure. Such is the music industry. Many heartfelt messages from unknown listeners have kept Ezra Bell busy writing and recording. Eventually, a booking agency caught on to the growing cult following and propped Ezra Bell up in front of audiences outside of Portland, forcing the band to drive thousands of miles, sometimes in single day, to play for crowds. Then there was COVID. Now the touring has (mostly) ceased and the band focuses on recording and self-releasing independent music. X-ALT-DESC;FMTTYPE=text/html:

Ezra Bell was founded late in the summer of 2013. It was warm enough to sit on the porch into the evening and learn a couple of songs. A lap drum a banjo and an out-of-tune guitar.  Years on, it’s surprising Ezra Bell is still at it. Streaming services have surprisingly worked in Ezra Bell’s favor and listeners resonate with the tales spinning out of order around disconcerting musical interludes. Somehow, a licensing company commissioned Ezra Bell to play and record Sam Cooke’s worst song for an insurance commercial. The commercial aired on Superbowl Sunday. Ezra Bell espouses neither football nor insurance but sold out accordingly for the pittance that was paid and the exposure. Such is the music industry. Many heartfelt messages from unknown listeners have kept Ezra Bell busy writing and recording. Eventually, a booking agency caught on to the growing cult following and propped Ezra Bell up in front of audiences outside of Portland, forcing the band to drive thousands of miles, sometimes in single day, to play for crowds. Then there was COVID. Now the touring has (mostly) ceased and the band focuses on recording and self-releasing independent music.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230711T225721Z X-ACCESS:1 X-HITS:1423 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230927T190000 DTEND;TZID=America/Denver:20230927T233000 UID:69AF00EE-7D70-452F-AD98-F4FDA2D38CB4 SUMMARY:Son Volt DTSTAMP:20230327T185247Z DESCRIPTION:In 2020, Son Volt planned to celebrate the 25th anniversary of seminal album, Trace, with a tour that played the album from top to bottom. The pandemic had other plans. Flash forward to 2023 and they are on the road with a setlist that features Trace from beginning to end, an homage to Doug Sahm (Sir Douglas Quintet, Texas Tornados) and a celebration of 28 years of Son Volt. Son Volt’s latest record, Day of the Doug, revisits the music of legendary Texas troubadour Doug Sahm. But it’s much more than fond remembrance and colorful tribute. It is a summoning and a celebration of a songwriter and performer whose work forged country, Tex-Mex, rock, rhythm and blues, folk, and psychedelia into an utterly unique American sound. Day of the Doug steps confidently on the trails Sahm blazed. Like any journey to find a grail, Day of the Doug also seeks out all the things that make young artists fall in love with making music in the first place: adventure, youth novelty, and a chance to snatch a bit of immortality. “It's like reconnecting with a hero,” says Son Volt founder Jay Farrar. “And getting back to the same kind of perspective I had when I was starting out as a younger musician. I think it's just important to step back from what you normally do. Take stock. Take inspiration. And see where it leads from there.” X-ALT-DESC;FMTTYPE=text/html:

In 2020, Son Volt planned to celebrate the 25th anniversary of seminal album, Trace, with a tour that played the album from top to bottom. The pandemic had other plans. Flash forward to 2023 and they are on the road with a setlist that features Trace from beginning to end, an homage to Doug Sahm (Sir Douglas Quintet, Texas Tornados) and a celebration of 28 years of Son Volt. Son Volt’s latest record, Day of the Doug, revisits the music of legendary Texas troubadour Doug Sahm. But it’s much more than fond remembrance and colorful tribute. It is a summoning and a celebration of a songwriter and performer whose work forged country, Tex-Mex, rock, rhythm and blues, folk, and psychedelia into an utterly unique American sound. Day of the Doug steps confidently on the trails Sahm blazed. Like any journey to find a grail, Day of the Doug also seeks out all the things that make young artists fall in love with making music in the first place: adventure, youth novelty, and a chance to snatch a bit of immortality. “It's like reconnecting with a hero,” says Son Volt founder Jay Farrar. “And getting back to the same kind of perspective I had when I was starting out as a younger musician. I think it's just important to step back from what you normally do. Take stock. Take inspiration. And see where it leads from there.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230908T203242Z X-ACCESS:1 X-HITS:1955 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230928T200000 DTEND;TZID=America/Denver:20230928T233000 UID:3C44B3E2-9025-4C56-AF5F-6350B4C3F622 SUMMARY:Eggy DTSTAMP:20230626T222351Z DESCRIPTION:Song by timeless song Eggy reaches out a hand, inviting you along as a great story unfolds. Eggy's music traces the full spectrum of emotions evoked by a life well-lived alongside friends well-loved. X-ALT-DESC;FMTTYPE=text/html:

Song by timeless song Eggy reaches out a hand, inviting you along as a great story unfolds. Eggy's music traces the full spectrum of emotions evoked by a life well-lived alongside friends well-loved.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230823T205954Z X-ACCESS:1 X-HITS:1513 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231001T200000 DTEND;TZID=America/Denver:20231001T233000 UID:60528D6B-2350-4991-A251-074C81262025 SUMMARY:Jalen Ngonda DTSTAMP:20230613T003740Z DESCRIPTION:Jalen Ngonda is one of the most captivating performers on today’s soul scene. His voice, equal parts raw feeling and elegance, exudes confidence and charm. At 28, his resume reads more like that of a seasoned veteran: He has performed at New York City’s Summer Stage Festival, Picktathon, Newport Folk Festival, opened for Laura Mvula and Lauryn Hill at the Montreal Jazz Festival and sold-out houses on his own in Germany, the UK and Switzerland. Most recently, Jalen thrilled audiences and garnered rave reviews with his powerful solo performance in support of Thee Sacred Souls’ US tour. Now with a pair of widely revered singles under his belt at his new home, Daptone Records, Jalen prepares for the release of his debut LP, Come Around and Love Me.\NJalen Ngonda grew up in a music loving family on the outskirts of Washington D.C. He began musical studies in grade school, where he dabbled in violin, ultimately moving on to the guitar and piano. His inspiration came from listening to his father’s collection of Motown CDs (The Temptations, Mary Wells, and Smokey Robinson and the Miracles), which opened his eyes to the vastness of American music, guiding him along a path of constant study and discovery–from early blues, to gospel to jazz to rock & soul.\NLike many of the legends before him, Jalen cut his teeth in the church where he played organ, honing his craft to the organic pulse of soul-grooving parishioners. And it was this very church that helped raise the money to send Jalen to the Liverpool Institute for the Performing Arts, where he honed his rich, nuanced voice and sublime falsetto.\NSome years later, after a serendipitous, last minute opening slot for Jools Holland–attended by Daptone Co-Founder, Neal Sugarman–the pair hit it off and plans for an album on Daptone were struck. Unfortunately, this happened to be a month before the COVID 19 pandemic shut down the world. Notwithstanding, Jalen eventually made it to Hive Mind Studios in Brooklyn, NY where he began writing and recording with the help of producer/arrangers Mike Buckley and Vincent Chiarito (both members of Charles Bradley's Extraordinaires) and a crack team of a-list musicians from the Daptone family. The team skillfully blends heavy arrangements and introspective lyrics with motown sophistication, leaving the listener in a blissful wash of wonderment–culminating in quite possibly one of the finest soul albums of the decade.\NJalen has been writing songs since he was 14, and his compositions are also very much of these times. He explains, “I love music from the 20th century— I listen to it all the time, but I’m in this world and the 21st century. ...to a stranger, I’d describe my music as modern soul and R&B, while trying to fit in the Beach Boys and the Beatles somewhere in between.” Come Around and Love Me reveals how he creates a classic approach that is rooted in the sounds of revered pioneers, without falling into imitation–leaving no doubt that Jalen will continue to shine within the superlative, timeless musical tradition that is Daptone’s hallmark. X-ALT-DESC;FMTTYPE=text/html:

Jalen Ngonda is one of the most captivating performers on today’s soul scene. His voice, equal parts raw feeling and elegance, exudes confidence and charm. At 28, his resume reads more like that of a seasoned veteran: He has performed at New York City’s Summer Stage Festival, Picktathon, Newport Folk Festival, opened for Laura Mvula and Lauryn Hill at the Montreal Jazz Festival and sold-out houses on his own in Germany, the UK and Switzerland. Most recently, Jalen thrilled audiences and garnered rave reviews with his powerful solo performance in support of Thee Sacred Souls’ US tour. Now with a pair of widely revered singles under his belt at his new home, Daptone Records, Jalen prepares for the release of his debut LP, Come Around and Love Me.

Jalen Ngonda grew up in a music loving family on the outskirts of Washington D.C. He began musical studies in grade school, where he dabbled in violin, ultimately moving on to the guitar and piano. His inspiration came from listening to his father’s collection of Motown CDs (The Temptations, Mary Wells, and Smokey Robinson and the Miracles), which opened his eyes to the vastness of American music, guiding him along a path of constant study and discovery–from early blues, to gospel to jazz to rock & soul.

Like many of the legends before him, Jalen cut his teeth in the church where he played organ, honing his craft to the organic pulse of soul-grooving parishioners. And it was this very church that helped raise the money to send Jalen to the Liverpool Institute for the Performing Arts, where he honed his rich, nuanced voice and sublime falsetto.

Some years later, after a serendipitous, last minute opening slot for Jools Holland–attended by Daptone Co-Founder, Neal Sugarman–the pair hit it off and plans for an album on Daptone were struck. Unfortunately, this happened to be a month before the COVID 19 pandemic shut down the world. Notwithstanding, Jalen eventually made it to Hive Mind Studios in Brooklyn, NY where he began writing and recording with the help of producer/arrangers Mike Buckley and Vincent Chiarito (both members of Charles Bradley's Extraordinaires) and a crack team of a-list musicians from the Daptone family. The team skillfully blends heavy arrangements and introspective lyrics with motown sophistication, leaving the listener in a blissful wash of wonderment–culminating in quite possibly one of the finest soul albums of the decade.

Jalen has been writing songs since he was 14, and his compositions are also very much of these times. He explains, “I love music from the 20th century— I listen to it all the time, but I’m in this world and the 21st century. ...to a stranger, I’d describe my music as modern soul and R&B, while trying to fit in the Beach Boys and the Beatles somewhere in between.” Come Around and Love Me reveals how he creates a classic approach that is rooted in the sounds of revered pioneers, without falling into imitation–leaving no doubt that Jalen will continue to shine within the superlative, timeless musical tradition that is Daptone’s hallmark.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230929T193249Z X-ACCESS:1 X-HITS:2616 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231002T200000 DTEND;TZID=America/Denver:20231002T233000 UID:AD168296-3B8E-484A-A245-3148449D20F3 SUMMARY:The NYChillharmonic DTSTAMP:20230725T191931Z DESCRIPTION:The NYChillharmonic is a Brooklyn-based, 18 piece, progressive-rock orchestra led by Sara McDonald. The music fuses multiple genres including rock, pop, classical, and jazz while sonically embracing unconventional textures, arrangements, and harmonies - ultimately creating an ensemble sound like nothing you've ever heard before.  X-ALT-DESC;FMTTYPE=text/html:

The NYChillharmonic is a Brooklyn-based, 18 piece, progressive-rock orchestra led by Sara McDonald. The music fuses multiple genres including rock, pop, classical, and jazz while sonically embracing unconventional textures, arrangements, and harmonies - ultimately creating an ensemble sound like nothing you've ever heard before. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230928T175702Z X-ACCESS:1 X-HITS:1137 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231003T200000 DTEND;TZID=America/Denver:20231003T233000 UID:F40810F5-03E0-482E-9D9D-663A959BD7F3 SUMMARY:Ballyhoo! DTSTAMP:20230825T170000Z DESCRIPTION:A rock band with punk energy and pop reggae grooves, Baltimore’s BALLYHOO! are a fun, fan-loving powerhouse. These road dogs have tirelessly toured coast-to-coast taking their music to the people. Between the road and the studio, BALLYHOO! have crafted a sound distinctly their own; fresh, fun, and embodied by the soul of the party lifestyle. Lead singer and guitarist, Howi Spangler, has a reputation for mixing slick lyrics with his smooth but powerful voice. Drummer Donald Spangler lays out the hard-hitting beats. Scott Vandrey layers in the finishing touches to the band’s signature sound on keys. The guys recently welcomed Nick Lucera as their new bass player.BALLYHOO! released their 5th studio album Pineapple Grenade on June 25th 2013. It broke through the Billboard Top 200 at #189 as well as reaching #4 Billboard Heatseekers and #5 at iTunes Alternative charts.The album features “No Good,” produced by Rome Ramirez (Sublime with Rome) and mixed by Paul Leary (U2, Sublime); while the first single “Run” saw an early radio add from KRAB Bakersfield and early radio spins by KROQ Los Angeles, WHFS Baltimore, KTCL Denver, and KCXX Riverside among others. Alongside the album release, BALLYHOO! co-headlined the 2013 Summer Sickness Tour with Authority Zero and special guests Versus The World. Pineapple Grenade is the band’s follow-up to the 2011 LAW Records release of “Daydreams,” which debuted at #1 on the iTunes Reggae Charts and #4 on Amazon.BALLYHOO!’s unique yet melodic blend of genres, along with their hardcore devotion to the road and their fans have pitched them into snowballing success. The band has performed with a myriad of national touring acts; 311, Slightly Stoopid, SOJA, The Dirty Heads, Matisyahu, and more. Tour highlights include the 2011 311 Pow Wow Festival, the 2012 and 2013 311 Caribbean Cruise, Bamboozle 2012, 2012 Charm City Music Festival, 2013 Cali Roots Festival & the entire 2012 Vans Warped Tour. In 2011, after concluding the Last Calls and Liabilities tour with respected contemporaries, Pepper, they were honored with being included on the ever-popular Hollister Holiday Playlist. They were listed on MTV’s Top 100 Bands to Watch and even featured 2 downloadable songs on the popular video game ROCK BAND. X-ALT-DESC;FMTTYPE=text/html:

A rock band with punk energy and pop reggae grooves, Baltimore’s BALLYHOO! are a fun, fan-loving powerhouse. These road dogs have tirelessly toured coast-to-coast taking their music to the people. Between the road and the studio, BALLYHOO! have crafted a sound distinctly their own; fresh, fun, and embodied by the soul of the party lifestyle. Lead singer and guitarist, Howi Spangler, has a reputation for mixing slick lyrics with his smooth but powerful voice. Drummer Donald Spangler lays out the hard-hitting beats. Scott Vandrey layers in the finishing touches to the band’s signature sound on keys. The guys recently welcomed Nick Lucera as their new bass player.BALLYHOO! released their 5th studio album Pineapple Grenade on June 25th 2013. It broke through the Billboard Top 200 at #189 as well as reaching #4 Billboard Heatseekers and #5 at iTunes Alternative charts.The album features “No Good,” produced by Rome Ramirez (Sublime with Rome) and mixed by Paul Leary (U2, Sublime); while the first single “Run” saw an early radio add from KRAB Bakersfield and early radio spins by KROQ Los Angeles, WHFS Baltimore, KTCL Denver, and KCXX Riverside among others. Alongside the album release, BALLYHOO! co-headlined the 2013 Summer Sickness Tour with Authority Zero and special guests Versus The World. Pineapple Grenade is the band’s follow-up to the 2011 LAW Records release of “Daydreams,” which debuted at #1 on the iTunes Reggae Charts and #4 on Amazon.BALLYHOO!’s unique yet melodic blend of genres, along with their hardcore devotion to the road and their fans have pitched them into snowballing success. The band has performed with a myriad of national touring acts; 311, Slightly Stoopid, SOJA, The Dirty Heads, Matisyahu, and more. Tour highlights include the 2011 311 Pow Wow Festival, the 2012 and 2013 311 Caribbean Cruise, Bamboozle 2012, 2012 Charm City Music Festival, 2013 Cali Roots Festival & the entire 2012 Vans Warped Tour. In 2011, after concluding the Last Calls and Liabilities tour with respected contemporaries, Pepper, they were honored with being included on the ever-popular Hollister Holiday Playlist. They were listed on MTV’s Top 100 Bands to Watch and even featured 2 downloadable songs on the popular video game ROCK BAND.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230825T194455Z X-ACCESS:1 X-HITS:910 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231004T200000 DTEND;TZID=America/Denver:20231004T233000 UID:DE93BEAE-1696-454E-96D9-18347B972426 SUMMARY:Bombino DTSTAMP:20230717T225255Z DESCRIPTION:Guitar luminary + Tuareg folk hero Omara “Bombino” Moctar knows the nomadic life well. Being constantly on the road for his music while also perpetually on the move throughout the Sahel region of Africa is the norm. So when the pandemic brought the world to a screeching halt, Bombino found himself in an unfamiliar space: being in one place. “I’m used to traveling virtually every week and then I was locked down for two years,” he says from his home in Niamey, the capital of Niger. “On the positive side, I get back in touch with my home and spend real time there with my family for the first time in a long time.” What resulted was the follow-up to 2018’s Deran, a record that turned Bombino into the first-ever Grammy-nominated artist from Niger. This new collection of songs, entitled Sahel after the African region spanning East-West from the Atlantic Ocean to the Red Sea, is Bombino’s most personal, powerful, and politically-minded work to date. It’s also his most sonically diverse, a quality he set out to achieve from the start, and one that is meant to directly mirror the complex tapestry of cultures and people that make up the Sahel region itself. He says, “the general plight of the Tuaeg is always on my mind and while I’ve addressed it in my music all along, I wanted to give it a special focus on this album.” To bring the songs to life, Bombino worked closely with Welsh producer/ mixer David Wrench (David Byrne, Frank Ocean, Caribou, Goldfrapp, Erasure, The xx, Sampha), decamping with his bandmates to a studio in Casablanca for ten days to lay down the album. “Bombino’s an incredible musician, easily one of the best musicians I ever worked with,” Wrench says with fondness of seeing the Tuareg guitarist up close. “What he does looks effortless, but it's so complex. It’s such a refined style, it’s so him, it’s unique. It contains all this history in it, it’s amazing.” The feeling is mutual. While Bombino has been fortunate to have sympathetic guitarists like Dan Auerbach and David Longstreth sit in the producer’s chair in the past, Wrench provided a new level of expertise.\N“What I love about working with David is just how incredibly fine-tuned his ear is, how incredibly focused he gets in the studio,” Bombino says. “Nothing escapes him. Even the tiniest little things would grab his attention and he would put great focus into the smallest details of the sound.” Time and time again, Wrench would watch Bombino blaze through an amazing take in the studio, then go right back “and double-track it and it’s just perfect. He’s operating on some different level somewhere.”\NThe ten songs that comprise Sahel range in theme from the plight of the Tuareg to the ache of lost love to the follies of youth. Opener “Tazidert” preaches patience even as the music itself urges you to stand up and move. The driving “Aitma” features Bombino’s sparks-spraying guitar pyrotechnics, punctuated by howling ululations. It’s a call-to-arms delivered in his native Tamasheq. “Let's defend our people because we are the same regardless of our geographical position,” he says as he shouts out the Tuareg throughout the region. He explains: “When you look at the situations in each of the five countries that make up the Sahel (Libya, Algeria, Mauritania, Mali, and parts of Burkina Faso), the Tuareg people are not represented in these governments.” And only recently did that situation change in Niger.\NSahel looks forward and to the past, a mix of new and old songs, but each one of them resonated with Bombino for one reason or another. “A lot of bands go into the studio with a set of tracks that they’ve rehearsed, but that’s not how Bombino works,” Wrench says. “He goes with what he’s feeling at the time and it’s a much more instinctive way of recording. He’s drawing from this memory of these hundreds of songs he’s written. He pulls from that well of his own work and the history of his culture; he pulls out of that what he feels is right.”\N“Si Chilan” (Two Days) is one of the oldest songs in Bombino’s extensive repertoire, first written in the 1980s. “I like to put a spotlight on songs that have persisted in my repertoire for a really long time, but haven’t made their way onto an album,” he says. “When you’ve lived with a song for that long, you’re always finding new things in it, new ways to express it. They’re dynamic in that sense – the song will continue to evolve, at least in how I relate to it and perform it. I liken it to honey, a good old song is like honey, it just gets better and better with age.”\NSimilarly, “Nik Sant Awanha” (My Brothers I Know our Situation) dates to the late ‘90s and is one of Bombino’s most incisive political commentaries to date, lamenting the divisions amid the Tuareg people, the risks of exile, and an even greater existential threat, the loss of Tuareg culture. “Even though geographically the Sahara desert is our home, so many of the Tuareg people are denied or deprived of certain basic necessities throughout the region,” he says. “This has been motivating me a lot, the types of songs I sing and why. I want to get people thinking about the Tuareg, to represent those people who haven’t been represented. They really need a voice.”\NAside from loss of representation in these countries’ governments and the absence of the Tuareg in mainstream culture, Bombino sees that even with the instant interconnectedness that smartphones can bring, “the biggest threat I see is technology and modernization. A small, marginalized culture like the Tuareg risks getting lost in the homogenization of culture.”\NFor the broader topics that Bombino addresses throughout the album, the hushed acoustic closer “Mes Amis” sings of youth and unrequited love. “It’s important to reflect the personal themes, to connect with people on a personal level, giving them stories and themes they can relate to,” Bombino says, adding that the extra time he spent at home, being with his children, helped to clarify his purpose. “Everything I do is in service to my family, to give to them and to better their situation.”\NWrench’s role was to present Bombino and his band in a way that captured the Tuareg sound (which spans centuries) while connecting it to our immediate present. It’s not a museum artifact, but a living ‘now.’ While Wrench made his name mixing and recording psychedelic rock and electronic music, he heard Bombino as part of that spectrum. “To me, I see him not that far outside of those realms. The rhythms are all in 3s instead of 4s, but it has a similar effect: the repetition and intensity and the feeling it has, it’s not a million miles away from techno. Listening to his music has a similar effect on you: it can definitely take you somewhere quite different.”\NWith Bombino as your guide, let Sahel take you there as well. X-ALT-DESC;FMTTYPE=text/html:

Guitar luminary + Tuareg folk hero Omara “Bombino” Moctar knows the nomadic life well. Being constantly on the road for his music while also perpetually on the move throughout the Sahel region of Africa is the norm. So when the pandemic brought the world to a screeching halt, Bombino found himself in an unfamiliar space: being in one place. “I’m used to traveling virtually every week and then I was locked down for two years,” he says from his home in Niamey, the capital of Niger. “On the positive side, I get back in touch with my home and spend real time there with my family for the first time in a long time.” What resulted was the follow-up to 2018’s Deran, a record that turned Bombino into the first-ever Grammy-nominated artist from Niger. This new collection of songs, entitled Sahel after the African region spanning East-West from the Atlantic Ocean to the Red Sea, is Bombino’s most personal, powerful, and politically-minded work to date. It’s also his most sonically diverse, a quality he set out to achieve from the start, and one that is meant to directly mirror the complex tapestry of cultures and people that make up the Sahel region itself. He says, “the general plight of the Tuaeg is always on my mind and while I’ve addressed it in my music all along, I wanted to give it a special focus on this album.” To bring the songs to life, Bombino worked closely with Welsh producer/ mixer David Wrench (David Byrne, Frank Ocean, Caribou, Goldfrapp, Erasure, The xx, Sampha), decamping with his bandmates to a studio in Casablanca for ten days to lay down the album. “Bombino’s an incredible musician, easily one of the best musicians I ever worked with,” Wrench says with fondness of seeing the Tuareg guitarist up close. “What he does looks effortless, but it's so complex. It’s such a refined style, it’s so him, it’s unique. It contains all this history in it, it’s amazing.” The feeling is mutual. While Bombino has been fortunate to have sympathetic guitarists like Dan Auerbach and David Longstreth sit in the producer’s chair in the past, Wrench provided a new level of expertise.

“What I love about working with David is just how incredibly fine-tuned his ear is, how incredibly focused he gets in the studio,” Bombino says. “Nothing escapes him. Even the tiniest little things would grab his attention and he would put great focus into the smallest details of the sound.” Time and time again, Wrench would watch Bombino blaze through an amazing take in the studio, then go right back “and double-track it and it’s just perfect. He’s operating on some different level somewhere.”

The ten songs that comprise Sahel range in theme from the plight of the Tuareg to the ache of lost love to the follies of youth. Opener “Tazidert” preaches patience even as the music itself urges you to stand up and move. The driving “Aitma” features Bombino’s sparks-spraying guitar pyrotechnics, punctuated by howling ululations. It’s a call-to-arms delivered in his native Tamasheq. “Let's defend our people because we are the same regardless of our geographical position,” he says as he shouts out the Tuareg throughout the region. He explains: “When you look at the situations in each of the five countries that make up the Sahel (Libya, Algeria, Mauritania, Mali, and parts of Burkina Faso), the Tuareg people are not represented in these governments.” And only recently did that situation change in Niger.

Sahel looks forward and to the past, a mix of new and old songs, but each one of them resonated with Bombino for one reason or another. “A lot of bands go into the studio with a set of tracks that they’ve rehearsed, but that’s not how Bombino works,” Wrench says. “He goes with what he’s feeling at the time and it’s a much more instinctive way of recording. He’s drawing from this memory of these hundreds of songs he’s written. He pulls from that well of his own work and the history of his culture; he pulls out of that what he feels is right.”

“Si Chilan” (Two Days) is one of the oldest songs in Bombino’s extensive repertoire, first written in the 1980s. “I like to put a spotlight on songs that have persisted in my repertoire for a really long time, but haven’t made their way onto an album,” he says. “When you’ve lived with a song for that long, you’re always finding new things in it, new ways to express it. They’re dynamic in that sense – the song will continue to evolve, at least in how I relate to it and perform it. I liken it to honey, a good old song is like honey, it just gets better and better with age.”

Similarly, “Nik Sant Awanha” (My Brothers I Know our Situation) dates to the late ‘90s and is one of Bombino’s most incisive political commentaries to date, lamenting the divisions amid the Tuareg people, the risks of exile, and an even greater existential threat, the loss of Tuareg culture. “Even though geographically the Sahara desert is our home, so many of the Tuareg people are denied or deprived of certain basic necessities throughout the region,” he says. “This has been motivating me a lot, the types of songs I sing and why. I want to get people thinking about the Tuareg, to represent those people who haven’t been represented. They really need a voice.”

Aside from loss of representation in these countries’ governments and the absence of the Tuareg in mainstream culture, Bombino sees that even with the instant interconnectedness that smartphones can bring, “the biggest threat I see is technology and modernization. A small, marginalized culture like the Tuareg risks getting lost in the homogenization of culture.”

For the broader topics that Bombino addresses throughout the album, the hushed acoustic closer “Mes Amis” sings of youth and unrequited love. “It’s important to reflect the personal themes, to connect with people on a personal level, giving them stories and themes they can relate to,” Bombino says, adding that the extra time he spent at home, being with his children, helped to clarify his purpose. “Everything I do is in service to my family, to give to them and to better their situation.”

Wrench’s role was to present Bombino and his band in a way that captured the Tuareg sound (which spans centuries) while connecting it to our immediate present. It’s not a museum artifact, but a living ‘now.’ While Wrench made his name mixing and recording psychedelic rock and electronic music, he heard Bombino as part of that spectrum. “To me, I see him not that far outside of those realms. The rhythms are all in 3s instead of 4s, but it has a similar effect: the repetition and intensity and the feeling it has, it’s not a million miles away from techno. Listening to his music has a similar effect on you: it can definitely take you somewhere quite different.”

With Bombino as your guide, let Sahel take you there as well.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231003T181600Z X-ACCESS:1 X-HITS:1120 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231006T200000 DTEND;TZID=America/Denver:20231006T233000 UID:F23A7307-8FE2-4A90-B9F5-DF0D1AE04E0F SUMMARY:Say She She DTSTAMP:20230803T193721Z DESCRIPTION:Say She She, the soulful female-led trio, stand rock solid on discodelic duty with\Ntheir boundary breaking sophomore album Silver.\N“Tell them what you want - the time will soon be gone...” Like the lyrics from their latest single C’est si Bon (it's so good!) that features on the album, the honeyed harmonising trio - consisting of the three strong voices of Piya Malik (El Michels Aair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown who front the band - stay true to their word. These women have something to say and they are not afraid to play with the medium. Leaning into their “boundary busting discodelic soul” (The Guardian), their flawless harmonies twist and writhe, capturing listeners hearts with buttery vocals, fat funky basslines, catchy hooks and up-tempo grooves.\NSilver oozes with quirk and the album is an adventure through 16 songs - a double sided LP that opens with an incantation and ends with the title track that will lull you into a dreamscape with a locked groove of silver noise.\NThe needle drops on the powerful opening track “Reeling.” Released in January, it immediately made #1 in KCRW’s Top 10 charts. The track was playlisted at BBC’s 6 Music and the 45 (w/ “Don’t You Dare Stop”) charted in the UK. Opening with the fiery incantation to “Kick the door down, smash the ceiling, leave ‘em reeling!” the song sets the mood for a musical journey imbued with political grit, along with “Echo in The Chamber,” a song addressing gun control. It includes the tongue-in-cheek wit of “Entry Level,” which satirizes the condescending underestimation of a boss.\NSilver span’s the depth of modern relationships - debunking fairytale myths and remembering how Romeo and Juliet actually ended up. “Never Say Never” toys with the irony of having so many choices that you can’t make any. Nevertheless the lyrics are indented with moments of romantic fantasy...because even the unblinded cynic still holds hope and wants to fall in love.\N“Are we ever together? Do we even remember nothing last forever...but we never say never.”\NThe album shakes it all up with a laissez-faire, celebratory attitude in full-on french discodelia of “C’est si Bon,” encouraging listeners to throw their hands up and concede to joy because its all going to be alright and peaks with heightened elements of operatic funk that shine through in tracks like “Bleeding Heart” and “Questions.”\NThe LP further features their beloved debut single “Forget Me Not,” a gritty funk send-up inspired by NYC’s Guerilla Girls, which made a huge first splash. It was premiered by DJ Novena Carmel on KCRW’s Morning Becomes Eclectic and described by Jeremy Sole as “the funkiest sh*t I’ve heard in a while!”\NUltimately Silver is an exhilarating roller coaster ride, embracing the multifaceted nature of what it means to be a modern femme. Pillared with political grit, the trio skillfully employs double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention. “We will not go back!!”, they exclaim in their billowing protest anthem “NORMA,” written in response to the decision to overturn Roe v Wade and in support of access to abortion rights.\NSilver was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone).\NWhile these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian). Sonically, it’s reminiscent of the likes of Rotary Connection, Asha Puthli, Liquid Liquid, Grace Jones and Tom Tom Club. Say She She formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the Lower East Side floorboards and up to the rooftops of Harlem. Their debut album, Prism, was released last fall and celebrated by NPR Music, LA Times, 5 stars from The Guardian and rave reviews from countless others, including MOJO, calling the album “a superb psych soul-disco debut.”\NPrism hit #1 on KCRW’s Top 30 Albums and Best of 2022 lists and received significant spins from several tastemaker radio stations across the US and UK. The band also had key live performances with KCRW, KEXP, WFUV (including last year’s annual Holiday Cheer event at the Beacon Theater), and WXPN (with a World Cafe Live performance). The band made their national television debut this year with a 3-song performance on CBS Saturday Sessions and a corresponding billboard in Times Square.\NSay She She has collaborated with a roaring roster of musicians including members of The Dap-Kings, The Extraordinaires, Peanut Butter Wolf, The Shacks and Chicano Batman. Their current band plays as a seven piece and includes members of Los Angeles cult-funk band Orgone, who they have been touring with extensively. Live concert highlights for a band that just began touring include their Glastonbury Festival debut this year, at Central Park Summerstage’s 2023 opening night and the Hollywood Bowl. Their live show injects funk and pop with a heavy dose of dance and disco beats, and is an outrageous time like no other.\NCondensed Bio:\NSay She She, the soulful female-led trio, stand rock solid on their discodelic duty with their boundary breaking sophomore album Silver.\NThe three strong voices of Piya Malik (El Michels Aair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. Following the NYC siren song, the trio was pulled from their respective cities — Piya from London, Nya from DC, and Sabrina from NYC — to Manhattan’s downtown dance floors, through the Lower East Side floorboards, and up to the rooftops of Harlem, where their friendship was formed on one momentous, kismet eve.\NSilver was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian). Musical inspirations include Rotary Connection, Asha Puthli, Liquid Liquid, Grace Jones and Tom Tom Club.\NUltimately, Silver oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. Say She She fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention. X-ALT-DESC;FMTTYPE=text/html:

Say She She, the soulful female-led trio, stand rock solid on discodelic duty with

their boundary breaking sophomore album Silver.

“Tell them what you want - the time will soon be gone...” Like the lyrics from their latest single C’est si Bon (it's so good!) that features on the album, the honeyed harmonising trio - consisting of the three strong voices of Piya Malik (El Michels Aair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown who front the band - stay true to their word. These women have something to say and they are not afraid to play with the medium. Leaning into their “boundary busting discodelic soul” (The Guardian), their flawless harmonies twist and writhe, capturing listeners hearts with buttery vocals, fat funky basslines, catchy hooks and up-tempo grooves.

Silver oozes with quirk and the album is an adventure through 16 songs - a double sided LP that opens with an incantation and ends with the title track that will lull you into a dreamscape with a locked groove of silver noise.

The needle drops on the powerful opening track “Reeling.” Released in January, it immediately made #1 in KCRW’s Top 10 charts. The track was playlisted at BBC’s 6 Music and the 45 (w/ “Don’t You Dare Stop”) charted in the UK. Opening with the fiery incantation to “Kick the door down, smash the ceiling, leave ‘em reeling!” the song sets the mood for a musical journey imbued with political grit, along with “Echo in The Chamber,” a song addressing gun control. It includes the tongue-in-cheek wit of “Entry Level,” which satirizes the condescending underestimation of a boss.

Silver span’s the depth of modern relationships - debunking fairytale myths and remembering how Romeo and Juliet actually ended up. “Never Say Never” toys with the irony of having so many choices that you can’t make any. Nevertheless the lyrics are indented with moments of romantic fantasy...because even the unblinded cynic still holds hope and wants to fall in love.

“Are we ever together? Do we even remember nothing last forever...but we never say never.”

The album shakes it all up with a laissez-faire, celebratory attitude in full-on french discodelia of “C’est si Bon,” encouraging listeners to throw their hands up and concede to joy because its all going to be alright and peaks with heightened elements of operatic funk that shine through in tracks like “Bleeding Heart” and “Questions.”

The LP further features their beloved debut single “Forget Me Not,” a gritty funk send-up inspired by NYC’s Guerilla Girls, which made a huge first splash. It was premiered by DJ Novena Carmel on KCRW’s Morning Becomes Eclectic and described by Jeremy Sole as “the funkiest sh*t I’ve heard in a while!”

Ultimately Silver is an exhilarating roller coaster ride, embracing the multifaceted nature of what it means to be a modern femme. Pillared with political grit, the trio skillfully employs double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention. “We will not go back!!”, they exclaim in their billowing protest anthem “NORMA,” written in response to the decision to overturn Roe v Wade and in support of access to abortion rights.

Silver was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone).

While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian). Sonically, it’s reminiscent of the likes of Rotary Connection, Asha Puthli, Liquid Liquid, Grace Jones and Tom Tom Club. Say She She formed in a classic New York tale of friends that met by following the music: the downtown dancefloors, through the Lower East Side floorboards and up to the rooftops of Harlem. Their debut album, Prism, was released last fall and celebrated by NPR Music, LA Times, 5 stars from The Guardian and rave reviews from countless others, including MOJO, calling the album “a superb psych soul-disco debut.”

Prism hit #1 on KCRW’s Top 30 Albums and Best of 2022 lists and received significant spins from several tastemaker radio stations across the US and UK. The band also had key live performances with KCRW, KEXP, WFUV (including last year’s annual Holiday Cheer event at the Beacon Theater), and WXPN (with a World Cafe Live performance). The band made their national television debut this year with a 3-song performance on CBS Saturday Sessions and a corresponding billboard in Times Square.

Say She She has collaborated with a roaring roster of musicians including members of The Dap-Kings, The Extraordinaires, Peanut Butter Wolf, The Shacks and Chicano Batman. Their current band plays as a seven piece and includes members of Los Angeles cult-funk band Orgone, who they have been touring with extensively. Live concert highlights for a band that just began touring include their Glastonbury Festival debut this year, at Central Park Summerstage’s 2023 opening night and the Hollywood Bowl. Their live show injects funk and pop with a heavy dose of dance and disco beats, and is an outrageous time like no other.

Condensed Bio:

Say She She, the soulful female-led trio, stand rock solid on their discodelic duty with their boundary breaking sophomore album Silver.

The three strong voices of Piya Malik (El Michels Aair staple feature, and former backing singer for Chicano Batman), Sabrina Mileo Cunningham and Nya Gazelle Brown front the band. Following the NYC siren song, the trio was pulled from their respective cities — Piya from London, Nya from DC, and Sabrina from NYC — to Manhattan’s downtown dance floors, through the Lower East Side floorboards, and up to the rooftops of Harlem, where their friendship was formed on one momentous, kismet eve.

Silver was entirely written and recorded live to tape at Killion Sound studio in North Hollywood earlier this year and produced by Sergio Rios (of Orgone). While these analog recording techniques help root Say She She’s sound in a bedrock of tonal warmth that only tape can achieve, it is also their process of cutting the track in the moment and capturing the magic of communal creativity that has seen their sound described as “a glorious overload of joyful elation and spiritual elevation” (MOJO) and “infused with the wonky post-disco spirit of early '80s NYC” (The Guardian). Musical inspirations include Rotary Connection, Asha Puthli, Liquid Liquid, Grace Jones and Tom Tom Club.

Ultimately, Silver oozes with quirk and adventure and embraces the multifaceted nature of what it means to be a modern femme. Say She She fully embrace their role as beauticians, actively reminding people of the inherent beauty in the world. They skillfully employ double entendres and humor to encourage open dialogue and fearlessly address important matters that demand attention.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231002T202458Z X-ACCESS:1 X-HITS:1284 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231007T200000 DTEND;TZID=America/Denver:20231007T233000 UID:C56C428B-D8BF-40E3-B6B3-B641E5F52D6B SUMMARY:The Halluci Nation (formally A Tribe Called Red) DTSTAMP:20230828T192625Z DESCRIPTION:The Halluci Nation is real. \NAs they enter a new cycle, Bear Witness and Tim “2oolman” Hill of A Tribe Called Red are reintroducing themselves as The Halluci Nation, to reflect the evolution of their music and mission. The Halluci Nation, takes its name from a phrase coined by John Trudell, to describe the vast global community of people who remember at their core what it means to be human. As a visionary artist and activist, Trudell recognized the connection between his accomplishments and what ATCR did intuitively through music and art. \NTrudell’s voice was the first heard on Tribe’s last record, We Are The Halluci Nation, and will, fittingly, be the first you hear on The Halluci Nation’s upcoming record, One More Saturday Night. The album is a love letter to the Electric Pow Wow gatherings launched at Ottawa’s Babylon nightclub in 2007. It represents an imagined denouement to the biweekly Saturday-night parties that ended abruptly in 2017, without ever getting the proper send-off. One More Saturday Night thus pays homage to the parties’ energy and momentum that elevated The Halluci Nation to this pivotal point in their career of fully mastering their own music style while also moving beyond club music; or “mixing dance music with dance music,” as Bear Witness succinctly puts it. \N“We wanted to pay homage to the Electric Pow Wow and wrap that whole decade of experience up and close the cycle, and in doing so give direct coordinates of where the future was headed. In a nutshell, that’s what this album is about,” says Bear. “We just wanted to make a party record, as well, one that people could dance to while still having the strong message we are known for.” \NAs was the case with its proud legacy, The Halluci Nation’s future revolves around collaboration. From hip-hop star, Yasiin Bey (AKA Mos Def), to the Indigenous Australian band, OKA, to the Wayuu-Colombian powerhouse, Lido Pimienta, the group has always sought out artists from around the world who would join the Halluci Nation family to form a like minded community as well as an international indigenous alliance.  The upcoming record will be no exception – with features as inspired and unpredictable as the music from Texas “electro-cumbia” producer, El Dusty, Anishnaabeg drum group, Chippewa Travellers, Maori artist, Rob Ruha, Inuk singer, Tanya Tagaq, and round-dance/R&B singer Antoine, among many others.“We wanted to take the music to another place,” says 2oolman. “We showed a little bit of our ambitious side on this record and we got to do a lot of songs that we’d been wanting to do for a long time. And this is just the beginning. I wouldn’t be surprised if you heard The Halluci Nation produce a project for someone else. We’ve got so much more coming.”\NThis is a beginning, not an end, after all. The Halluci Nation maintains focus on what they feel they can impact most: how Indigenous people are seen. Through groundbreaking stage shows and ever-changing visuals, Bear Witness and 2oolman are working to create media that reflects today’s Indigenous identity. By partnering with striking visual artists such as Whess Harman, Saige Mukash and Cedar-Eve Peters along with a growing community of musical collaborators. They see themselves simply as contributors to a necessary conversation around a subtle and complex representation of the contemporary Indigenous experience.  X-ALT-DESC;FMTTYPE=text/html:

The Halluci Nation is real. 

As they enter a new cycle, Bear Witness and Tim “2oolman” Hill of A Tribe Called Red are reintroducing themselves as The Halluci Nation, to reflect the evolution of their music and mission. The Halluci Nation, takes its name from a phrase coined by John Trudell, to describe the vast global community of people who remember at their core what it means to be human. As a visionary artist and activist, Trudell recognized the connection between his accomplishments and what ATCR did intuitively through music and art. 

Trudell’s voice was the first heard on Tribe’s last record, We Are The Halluci Nation, and will, fittingly, be the first you hear on The Halluci Nation’s upcoming record, One More Saturday Night. The album is a love letter to the Electric Pow Wow gatherings launched at Ottawa’s Babylon nightclub in 2007. It represents an imagined denouement to the biweekly Saturday-night parties that ended abruptly in 2017, without ever getting the proper send-off. One More Saturday Night thus pays homage to the parties’ energy and momentum that elevated The Halluci Nation to this pivotal point in their career of fully mastering their own music style while also moving beyond club music; or “mixing dance music with dance music,” as Bear Witness succinctly puts it. 

“We wanted to pay homage to the Electric Pow Wow and wrap that whole decade of experience up and close the cycle, and in doing so give direct coordinates of where the future was headed. In a nutshell, that’s what this album is about,” says Bear. “We just wanted to make a party record, as well, one that people could dance to while still having the strong message we are known for.” 

As was the case with its proud legacy, The Halluci Nation’s future revolves around collaboration. From hip-hop star, Yasiin Bey (AKA Mos Def), to the Indigenous Australian band, OKA, to the Wayuu-Colombian powerhouse, Lido Pimienta, the group has always sought out artists from around the world who would join the Halluci Nation family to form a like minded community as well as an international indigenous alliance.  The upcoming record will be no exception – with features as inspired and unpredictable as the music from Texas “electro-cumbia” producer, El Dusty, Anishnaabeg drum group, Chippewa Travellers, Maori artist, Rob Ruha, Inuk singer, Tanya Tagaq, and round-dance/R&B singer Antoine, among many others.“We wanted to take the music to another place,” says 2oolman. “We showed a little bit of our ambitious side on this record and we got to do a lot of songs that we’d been wanting to do for a long time. And this is just the beginning. I wouldn’t be surprised if you heard The Halluci Nation produce a project for someone else. We’ve got so much more coming.”

This is a beginning, not an end, after all. The Halluci Nation maintains focus on what they feel they can impact most: how Indigenous people are seen. Through groundbreaking stage shows and ever-changing visuals, Bear Witness and 2oolman are working to create media that reflects today’s Indigenous identity. By partnering with striking visual artists such as Whess Harman, Saige Mukash and Cedar-Eve Peters along with a growing community of musical collaborators. They see themselves simply as contributors to a necessary conversation around a subtle and complex representation of the contemporary Indigenous experience. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230906T214940Z X-ACCESS:1 X-HITS:1982 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231009T190000 DTEND;TZID=America/Denver:20231009T223000 UID:2F94E894-213F-4CEB-82DD-25F1232B5DE7 SUMMARY:Pacing the Pacific: Film Premiere DTSTAMP:20231002T171309Z DESCRIPTION:Few hikers start the PCT and finish. Even fewer clock a time faster than five months. Professional dentist, dedicated dad, and casual ultrarunner Karel Sabbe is not like most hikers. Backcountry’s new full-length documentary follows Karel as he vies to set the speed record... again.  \NWith support from On.\NJoin us October 9 at The State Room for the world premiere of Pacing The Pacific. \NDoors at 6pm, film screening at 7pm, raffle at 8pm \NEvent is free.  \NOnly 299 tickets available.\N(Event is 21+)\N100% of raffle ticket proceeds will be donated to The Pacific Crest Trail Association. X-ALT-DESC;FMTTYPE=text/html:

Few hikers start the PCT and finish. Even fewer clock a time faster than five months. Professional dentist, dedicated dad, and casual ultrarunner Karel Sabbe is not like most hikers. Backcountry’s new full-length documentary follows Karel as he vies to set the speed record... again.  

With support from On.

Join us October 9 at The State Room for the world premiere of Pacing The Pacific. 

Doors at 6pm, film screening at 7pm, raffle at 8pm 

Event is free.  

Only 299 tickets available.

(Event is 21+)

100% of raffle ticket proceeds will be donated to The Pacific Crest Trail Association.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231002T183647Z X-ACCESS:1 X-HITS:2672 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231011T200000 DTEND;TZID=America/Denver:20231011T233000 UID:1FC0BAE4-AAFE-4B3C-81BF-F1159E72DC28 SUMMARY:Jeffrey Martin DTSTAMP:20230717T223109Z DESCRIPTION:"Dogs in the Daylight is as close to a masterpiece as a folk album by an emerging singer-songwriter can get." — No Depression\NPortland, Oregon's Jeffrey Martin is a minister's son who can build a house with his bare hands and holds a master's degree in English. He worked his way through school as a carpenter, then, following graduation, spent four years teaching high school.\NIt was during that time that his career as a songwriter came into bloom. Struggling to strike a balance between his increasingly rigorous Northwest/West Coast touring and his efforts to get teenagers to love words as much as he did, Martin found himself in the tricky position of having to choose between his two passions.\NMuch to the delight of his fans, music won the day. Now, with three intensely lyric-driven albums under his belt, two of which were released on the Portland indie-label, Fluff & Gravy Records, Martin has developed a loyal and growing audience, both domestically and abroad. Prior to the halting effects that a global pandemic placed on his ability to do so, Martin kept a restless touring schedule. It's taken him on several laps around the U.S. and Europe and landed him on stages with luminaries from the genre including Courtney Marie Andrews, Joe Pug, Gregory Alan Isakov, Jeffrey Foucault, Sean Hayes, Peter Mulvey, Amanda Shires, Colter Wall, Ruth Moody, Caitlin Canty, and others.\NJeffrey Martin writes music that probes the depths of the human experience and doesn't shy away from its darkest corners. His songs can feel like short stories from literary giants like Steinbeck, Burroughs, or Cormac McCarthy and possess a raw intensity that comes from seeing his subjects up close. All the struggle, hurt, strife, and heartbreak that comes from living in this world are laid bare and unvarnished, yet somehow, Martin manages to mine and make space for what beauty remains.\NPresently, Jeffrey Martin is writing for his fourth full-length album at a deliberative pace and making plans to enter the studio to record this winter. He's recently signed with Tommy Alexander of the Wassermann Agency and has returned to the road for an extended 52-date tour of the US and Canada. An extensive summer tour originally planned for 2020 is now scheduled for 2022 and will include stops in the U.K., Netherlands, Sweden, Denmark, Belgium, and Ireland. X-ALT-DESC;FMTTYPE=text/html:

"Dogs in the Daylight is as close to a masterpiece as a folk album by an emerging singer-songwriter can get." — No Depression

Portland, Oregon's Jeffrey Martin is a minister's son who can build a house with his bare hands and holds a master's degree in English. He worked his way through school as a carpenter, then, following graduation, spent four years teaching high school.

It was during that time that his career as a songwriter came into bloom. Struggling to strike a balance between his increasingly rigorous Northwest/West Coast touring and his efforts to get teenagers to love words as much as he did, Martin found himself in the tricky position of having to choose between his two passions.

Much to the delight of his fans, music won the day. Now, with three intensely lyric-driven albums under his belt, two of which were released on the Portland indie-label, Fluff & Gravy Records, Martin has developed a loyal and growing audience, both domestically and abroad. Prior to the halting effects that a global pandemic placed on his ability to do so, Martin kept a restless touring schedule. It's taken him on several laps around the U.S. and Europe and landed him on stages with luminaries from the genre including Courtney Marie Andrews, Joe Pug, Gregory Alan Isakov, Jeffrey Foucault, Sean Hayes, Peter Mulvey, Amanda Shires, Colter Wall, Ruth Moody, Caitlin Canty, and others.

Jeffrey Martin writes music that probes the depths of the human experience and doesn't shy away from its darkest corners. His songs can feel like short stories from literary giants like Steinbeck, Burroughs, or Cormac McCarthy and possess a raw intensity that comes from seeing his subjects up close. All the struggle, hurt, strife, and heartbreak that comes from living in this world are laid bare and unvarnished, yet somehow, Martin manages to mine and make space for what beauty remains.

Presently, Jeffrey Martin is writing for his fourth full-length album at a deliberative pace and making plans to enter the studio to record this winter. He's recently signed with Tommy Alexander of the Wassermann Agency and has returned to the road for an extended 52-date tour of the US and Canada. An extensive summer tour originally planned for 2020 is now scheduled for 2022 and will include stops in the U.K., Netherlands, Sweden, Denmark, Belgium, and Ireland.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230926T213243Z X-ACCESS:1 X-HITS:712 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231012T190000 DTEND;TZID=America/Denver:20231012T233000 UID:4BF05D5D-0D16-4828-8A73-D4591ABC84A9 SUMMARY:Carbon Leaf DTSTAMP:20230515T190254Z DESCRIPTION:A touring mainstay and an indie folk rock staple, this Virginia quintet’s well-hewn live show and musical style drift in and out of Americana, bluegrass, rock, folk, Celtic and pop traditions with ease, using an arsenal of instruments - acoustic & electric guitars, mandolin, fiddle, banjo, cello, bass, drums, accordion, penny whistle and rich vocal harmonies – to define the band’s lively stage presence and sonic landscape.\N“We call it ether-electrified porch music,” says frontman Barry Privett, using a phrase nicked from an earlier album of the same name when describing the band’s expansive sound.\N“It’s the sweet spot between the earnest roots music we grew up on and the textured electric rock side that gives us different places to go musically during the course of an evening.\NWhether they are plugged in to amplifiers or huddled around a single ‘Grand Ole Opry’ style microphone, Carbon Leaf radiates a warm, magnetic onstage presence that pulls the audience closer. Lyrically poetic with a wide range of musical styles, the band’s live charm is its ability to make the concert feel as much of an electrifying event as it would be an intimate gathering of just family and friends.\NWith a history spanning 27 years, 20 albums and 3,000 live shows, Carbon Leaf’s independent music and spirit continue to resonate with its fans. X-ALT-DESC;FMTTYPE=text/html:

A touring mainstay and an indie folk rock staple, this Virginia quintet’s well-hewn live show and musical style drift in and out of Americana, bluegrass, rock, folk, Celtic and pop traditions with ease, using an arsenal of instruments - acoustic & electric guitars, mandolin, fiddle, banjo, cello, bass, drums, accordion, penny whistle and rich vocal harmonies – to define the band’s lively stage presence and sonic landscape.

“We call it ether-electrified porch music,” says frontman Barry Privett, using a phrase nicked from an earlier album of the same name when describing the band’s expansive sound.

“It’s the sweet spot between the earnest roots music we grew up on and the textured electric rock side that gives us different places to go musically during the course of an evening.

Whether they are plugged in to amplifiers or huddled around a single ‘Grand Ole Opry’ style microphone, Carbon Leaf radiates a warm, magnetic onstage presence that pulls the audience closer. Lyrically poetic with a wide range of musical styles, the band’s live charm is its ability to make the concert feel as much of an electrifying event as it would be an intimate gathering of just family and friends.

With a history spanning 27 years, 20 albums and 3,000 live shows, Carbon Leaf’s independent music and spirit continue to resonate with its fans.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230615T201048Z X-ACCESS:1 X-HITS:1163 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231017T190000 DTEND;TZID=America/Denver:20231017T233000 UID:8AB7934D-7897-46C8-AB35-C655CE840492 SUMMARY:Tommy Castro & The Painkillers DTSTAMP:20230606T143819Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231013T185751Z X-ACCESS:1 X-HITS:3134 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231018T200000 DTEND;TZID=America/Denver:20231018T233000 UID:EB61A2EB-4E6C-4A3F-AFB2-960FFAA33743 SUMMARY:The Steel Wheels DTSTAMP:20230815T235403Z DESCRIPTION:The Steel Wheels have long been at home in the creative space between tradition and innovation, informed by the familiar sounds of the Virginia mountains where the band was formed, but always moving forward with insightful lyrics and an evolving sound. In 2005, Jay Lapp (vocals, guitars, mandolin) and Eric Brubaker (vocals, fiddle) joined lead singer Trent Wagler (guitar, banjo) in forming the band as a vehicle for Wagler’s songwriting. They released several albums under Wagler’s moniker, before officially adopting the The Steel Wheels name with the 2010 release of Red Wing. Quickly staking their claim as independent upstarts in the burgeoning Americana scene, The Steel Wheels followed up this release with three more self-produced albums in the next five years, before joining forces with producer Sam Kassirer for Wild As We Came Here (2017) and Over The Trees (2019). Kevin Garcia (drums, percussion, keys) joined in 2017, bringing a new level of sonic depth and polish to the outfit. Newest member Jeremy Darrow rounds out the rhythm section and grounds the band as they continue to explore deeply rooted yet fresh folk rock sounds. Having gained the experience of thousands of shows, festivals and many miles on the road, the stubbornly independent band has formed deep bonds with each other and the audience that sustains them.\NThe Steel Wheels have responded to this time of isolation and loss by seeking to connect with their audience in new ways. In 2020, unable to perform their rootsy brand of Americana for crowds in live settings, the musicians turned their creative powers to crafting songs for individuals. Produced in isolation in the band’s home studios, the Everyone a Song albums are part of an ongoing project to collect the personal experiences of fans and forge them into that most enduring, yet ephemeral, format we call “song.” An accompanying podcast, We Made You a Song, explores the stories behind these songs, and the songwriting process itself. While each song was commissioned to honor a specific relationship or event—a birth, a wedding, a memory of home—the emotions evoked are universal.\NNowhere is this shared humanity more evident than at the band’s own Red Wing Roots Music Festival, a weekend-long celebration of music, community, and the beautiful Shenandoah Valley. Hosted by The Steel Wheels every summer, the festival provides a space for the band to shine, from their high energy Saturday night main stage set to their afternoon showcase with young Red Wing Academy students. At Sunday’s gospel hour you are as likely to hear Steel Wheels originals or Warren Zevon covers as you are traditional gospel fare. The weekend is rounded out by the beloved tribute set in which the band collaborates with a cadre of fellow artists to honor an influential figure in American music, with past tributes ranging from Dolly Parton to John Prine.\NWhether at a joyous summer festival, in their many shows across the country and beyond, or in the studio, The Steel Wheels continue their mission set out over a decade ago; shaking up traditions to see what sticks, telling stories, and joining communities through song. X-ALT-DESC;FMTTYPE=text/html:

The Steel Wheels have long been at home in the creative space between tradition and innovation, informed by the familiar sounds of the Virginia mountains where the band was formed, but always moving forward with insightful lyrics and an evolving sound. In 2005, Jay Lapp (vocals, guitars, mandolin) and Eric Brubaker (vocals, fiddle) joined lead singer Trent Wagler (guitar, banjo) in forming the band as a vehicle for Wagler’s songwriting. They released several albums under Wagler’s moniker, before officially adopting the The Steel Wheels name with the 2010 release of Red Wing. Quickly staking their claim as independent upstarts in the burgeoning Americana scene, The Steel Wheels followed up this release with three more self-produced albums in the next five years, before joining forces with producer Sam Kassirer for Wild As We Came Here (2017) and Over The Trees (2019). Kevin Garcia (drums, percussion, keys) joined in 2017, bringing a new level of sonic depth and polish to the outfit. Newest member Jeremy Darrow rounds out the rhythm section and grounds the band as they continue to explore deeply rooted yet fresh folk rock sounds. Having gained the experience of thousands of shows, festivals and many miles on the road, the stubbornly independent band has formed deep bonds with each other and the audience that sustains them.

The Steel Wheels have responded to this time of isolation and loss by seeking to connect with their audience in new ways. In 2020, unable to perform their rootsy brand of Americana for crowds in live settings, the musicians turned their creative powers to crafting songs for individuals. Produced in isolation in the band’s home studios, the Everyone a Song albums are part of an ongoing project to collect the personal experiences of fans and forge them into that most enduring, yet ephemeral, format we call “song.” An accompanying podcast, We Made You a Song, explores the stories behind these songs, and the songwriting process itself. While each song was commissioned to honor a specific relationship or event—a birth, a wedding, a memory of home—the emotions evoked are universal.

Nowhere is this shared humanity more evident than at the band’s own Red Wing Roots Music Festival, a weekend-long celebration of music, community, and the beautiful Shenandoah Valley. Hosted by The Steel Wheels every summer, the festival provides a space for the band to shine, from their high energy Saturday night main stage set to their afternoon showcase with young Red Wing Academy students. At Sunday’s gospel hour you are as likely to hear Steel Wheels originals or Warren Zevon covers as you are traditional gospel fare. The weekend is rounded out by the beloved tribute set in which the band collaborates with a cadre of fellow artists to honor an influential figure in American music, with past tributes ranging from Dolly Parton to John Prine.

Whether at a joyous summer festival, in their many shows across the country and beyond, or in the studio, The Steel Wheels continue their mission set out over a decade ago; shaking up traditions to see what sticks, telling stories, and joining communities through song.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230823T221451Z X-ACCESS:1 X-HITS:1089 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231020T210000 DTEND;TZID=America/Denver:20231020T233000 UID:FF3C46E8-F513-4D9C-BE1D-40CFF320827D SUMMARY:Michael Minelli DTSTAMP:20230725T191146Z DESCRIPTION:When Michael Minelli sings, you know it’s him. With show-stopping delivery, dynamic range, and timeless panache, the Connecticut born & raised singer/songwriter immediately sets himself apart. It’s no surprise he’s earned the praise of everyone from Ryan Seacrest to BuzzFeed.\NFor Minelli, it’s all a matter of soul. “Soul is the core of everything,” he affirms. “It’s that thing you can’t put your finger on. Anytime somebody hears my music, I want them to immediately say, ‘That’s a Michael Minelli record’.”\NWith over a decade of experience as an artist, Minelli seems to finally have hit his stride gaining over 20 million views, hundreds of thousands of followers & a 300% increase in streams all during the first month of being active on tiktok singing his song in public all over the country.\NMichael set the foundation in 2022 with major labels calling, huge sponsorships, and a 30 city, nationwide tour with fellow artist, Anees. With 2023 on the horizon, Michael is set for his long awaited explosion. One thing is for sure. When the time comes, he’ll be ready X-ALT-DESC;FMTTYPE=text/html:

When Michael Minelli sings, you know it’s him. With show-stopping delivery, dynamic range, and timeless panache, the Connecticut born & raised singer/songwriter immediately sets himself apart. It’s no surprise he’s earned the praise of everyone from Ryan Seacrest to BuzzFeed.

For Minelli, it’s all a matter of soul. “Soul is the core of everything,” he affirms. “It’s that thing you can’t put your finger on. Anytime somebody hears my music, I want them to immediately say, ‘That’s a Michael Minelli record’.”

With over a decade of experience as an artist, Minelli seems to finally have hit his stride gaining over 20 million views, hundreds of thousands of followers & a 300% increase in streams all during the first month of being active on tiktok singing his song in public all over the country.

Michael set the foundation in 2022 with major labels calling, huge sponsorships, and a 30 city, nationwide tour with fellow artist, Anees. With 2023 on the horizon, Michael is set for his long awaited explosion. One thing is for sure. When the time comes, he’ll be ready

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231006T184029Z X-ACCESS:1 X-HITS:2087 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231021T210000 DTEND;TZID=America/Denver:20231021T220000 UID:19D7F730-E590-4377-99EA-F3338BCDF41C SUMMARY:Bearly Dead DTSTAMP:20230612T195845Z DESCRIPTION:Founded during an intense snowstorm in April 2015, Bearly Dead played its first show at Church of Boston, marking the beginning of its hallowed Wednesday Night Residency. In September of that year, Church was sold and the band found a new home on Wednesday nights at Thunder Road in Somerville, MA. During their 5 years at Thunder Road, Bearly Dead was nominated twice for the Boston Music Award’s “Live Music Residency of the Year,” and burst onto the scene as New England’s premier Grateful Dead tribute band. The phrase “Never Miss A Wednesday Show” became ubiquitous around Boston...and you really never knew what might happen…THEY never knew what might happen! Bearly Dead’s Wednesday Night Residency at Thunder Road continued unabated every week since its inception in September 2015 until the venue closed in 2020. \NThunder Road was a beacon to all musicians on Wednesday nights to join in the fun, with notable appearances by Mike Campbell (Tom Petty & The Heartbreakers), Paul Wolstencroft (Slightly Stoopid), Steve Molitz (Particle/Phil Lesh & Friends), Kebbi Williams (Tedeschi Trucks Band), Rob Compa (Dopapod), Hayley Jane (Hayley Jane & The Primates), Richard James (Neighbor), and Johnny Trama (Dub Apocalypse) — and a surprise appearance by Jerry Garcia’s “Wolf” guitar in 2018 on Jerry Garcia’s birthday! The Wednesday Night Residency was briefly revived in 2021 at The Burren (Somerville, MA) and Sonia (Cambridge, MA) before officially ending in May 2022. \NBearly Dead has had the opportunity to play at some of Massachusetts’ most prestigious venues, including The Paradise Rock Club, The Sinclair, Brighton Music Hall, and the Worcester Palladium, as well as headlining turns at MGM Music Hall at Fenway and The House of Blues Boston. The band has also become a staple in the New England festival scene with appearances at Camp Creek, Jerry Jam, Strange Creek Campout, Dead of Summer, Wild Woods, Luna Light, Wormtown, Yasgur Road Reunion, Great North, Kind Mind Campout, and many more. \NIn October 2022 Bearly Dead began touring nationally and shows no signs of slowing down…so look out for a show soon in your area! X-ALT-DESC;FMTTYPE=text/html:

Founded during an intense snowstorm in April 2015, Bearly Dead played its first show at Church of Boston, marking the beginning of its hallowed Wednesday Night Residency. In September of that year, Church was sold and the band found a new home on Wednesday nights at Thunder Road in Somerville, MA. During their 5 years at Thunder Road, Bearly Dead was nominated twice for the Boston Music Award’s “Live Music Residency of the Year,” and burst onto the scene as New England’s premier Grateful Dead tribute band. The phrase “Never Miss A Wednesday Show” became ubiquitous around Boston...and you really never knew what might happen…THEY never knew what might happen! Bearly Dead’s Wednesday Night Residency at Thunder Road continued unabated every week since its inception in September 2015 until the venue closed in 2020. 

Thunder Road was a beacon to all musicians on Wednesday nights to join in the fun, with notable appearances by Mike Campbell (Tom Petty & The Heartbreakers), Paul Wolstencroft (Slightly Stoopid), Steve Molitz (Particle/Phil Lesh & Friends), Kebbi Williams (Tedeschi Trucks Band), Rob Compa (Dopapod), Hayley Jane (Hayley Jane & The Primates), Richard James (Neighbor), and Johnny Trama (Dub Apocalypse) — and a surprise appearance by Jerry Garcia’s “Wolf” guitar in 2018 on Jerry Garcia’s birthday! The Wednesday Night Residency was briefly revived in 2021 at The Burren (Somerville, MA) and Sonia (Cambridge, MA) before officially ending in May 2022. 

Bearly Dead has had the opportunity to play at some of Massachusetts’ most prestigious venues, including The Paradise Rock Club, The Sinclair, Brighton Music Hall, and the Worcester Palladium, as well as headlining turns at MGM Music Hall at Fenway and The House of Blues Boston. The band has also become a staple in the New England festival scene with appearances at Camp Creek, Jerry Jam, Strange Creek Campout, Dead of Summer, Wild Woods, Luna Light, Wormtown, Yasgur Road Reunion, Great North, Kind Mind Campout, and many more. 

In October 2022 Bearly Dead began touring nationally and shows no signs of slowing down…so look out for a show soon in your area!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230616T185245Z X-ACCESS:1 X-HITS:1779 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231028T210000 DTEND;TZID=America/Denver:20231028T233000 UID:985ECF42-B0B0-477D-9944-5C0A2C885061 SUMMARY:The Pour DTSTAMP:20230918T194637Z DESCRIPTION:Salt Lake City based band The Pour offers up their unique recipe of Funk, Soul, and Psychedelic Rock n’ Roll with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead. With over 15 years of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge.  Colorfully accompanied on keys is Jesse Howerton and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for an energy rich live music experience full of deep grooves, tasteful solos, and open-ended improvisation.  \NMembers of The Pour have had the privilege of sharing the stage with John Popper and Blues Traveler, Robby Krieger of The Doors, Karl Denson, Matisyahu, JJ Grey, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, The Mother Hips, MonoNeon, Allen Aucoin, Steve Molitz, DJ Logic and others. X-ALT-DESC;FMTTYPE=text/html:

Salt Lake City based band The Pour offers up their unique recipe of Funk, Soul, and Psychedelic Rock n’ Roll with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead. With over 15 years of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge.  Colorfully accompanied on keys is Jesse Howerton and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for an energy rich live music experience full of deep grooves, tasteful solos, and open-ended improvisation.  

Members of The Pour have had the privilege of sharing the stage with John Popper and Blues Traveler, Robby Krieger of The Doors, Karl Denson, Matisyahu, JJ Grey, John Medeski, Stockholm Syndrome, Steve Miller, Eric McFadden, Orgone, Big Head Todd, The Mother Hips, MonoNeon, Allen Aucoin, Steve Molitz, DJ Logic and others.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230922T181252Z X-ACCESS:1 X-HITS:1310 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231031T200000 DTEND;TZID=America/Denver:20231031T233000 UID:13002960-089F-4413-8358-03D13B1C5512 SUMMARY:TAUK DTSTAMP:20230614T150820Z DESCRIPTION:TAUK may be an instrumental band, but even without words, the group’s extraordinary new album, Chaos Companion, manages to speak volumes about the ups and downs of a year that challenged—and transformed—us all.\N“Everyone’s got a chaos companion, something that keeps you grounded in the midst of all the madness,” says bassist Charlie Dolan. “Maybe it’s your spouse, maybe it’s your kids, maybe it’s your dog. For us, it was the music.”\NRecorded at the band’s newly completed studio on their native Long Island, Chaos Companion is indeed a work of profound comfort and catharsis, but more than that, it’s a testament to the kind of growth and evolution that can emerge in the face of struggle and uncertainty. Forced off the road for the first time in years by the COVID-19 pandemic, Dolan and his bandmates—guitarist Matt Jalbert, drummer Isaac Teel, and keyboardist Alric Carter—used the rare break from touring to stretch themselves as writers and instrumentalists, leaning into the sense of liberation and possibility that came with an empty calendar and letting it guide them toward uncharted musical territory. The resulting songs push TAUK’s sound to bold new heights, fearlessly fusing elements of progressive rock, funk, soul, EDM, and hip-hop into a richly melodic, groove-driven blend, one that’s complemented perfectly here by the equally adventurous production work of longtime collaborator Robert Carranza. Add it all up and you’ve got an evocative, cinematic collection that hints at everything from 70’s film scores and 80’s videogame soundtracks to 90’s R&B and modern dance music, an immersive, transportive record that blurs the lines between the analog and the electronic as it balances old school grit and futuristic sheen in equal measure.\N“Being in an instrumental band already comes with a lot of freedom,” says Carter, “but having all that time away from the road really allowed each of us to experiment and explore in our own ways. It opened up whole new palettes for us to paint with.” TAUK has been painting with sound for nearly a decade now, pushing boundaries and reinventing themselves every chance they get. Founded by Dolan, Jalbert, and Carter, who began playing together as middle schoolers on Long Island, the band landed on its present incarnation in 2012, when college pal Teel joined full time. Since then, the quartet has gone on to tour with the likes of Umphrey’s McGee, Widespread Panic, and Lettuce, landed festival slots everywhere from Bonnaroo to Electric Forest, racked up millions of streams across platforms, and garnered extensive critical praise with a series of widely lauded studio and live albums. The Washington Post hailed the band’s music as “a hard-charging, often melodic fusion that—thanks to a penchant for improv—offers limitless possibilities,” while Keyboard Magazine declared that their sound “doesn’t adhere to a single genre but, instead, creates its own,” and Relix dubbed them “an incredibly impressive ensemble of talent.” Thrilling as it was, TAUK’s breakout success and relentless tour schedule left the band with little opportunity to catch their breath. That all changed in 2020, though, when the coronavirus pandemic brought the entire live music industry to a grinding halt. “More than anything, being forced to take a break allowed us to reset and refocus,” says Teel. “It was a chance get back to basics and put 100% of our energy into writing, a chance for each of us to dig deeper into our own personal influences.” When the band finally reunited in late 2020, they found themselves with such a glut of new ideas that they could afford to be more intentional than ever before, taking their time to craft a deliberate sonic and emotional arc with the material. “Being able to work in our own studio every day and just live with the songs was a game changer, too” says Jalbert. “When you don’t have a tour coming up, you have the freedom to move more slowly and experiment in ways that can wind up pushing the music in whole new directions.” In addition to having more time on their hands, TAUK was also able to hit the ground running in the studio thanks to the most fully realized set of demos they’d ever created. “With the four of us all writing and working on ideas independently during the pandemic, we started exploring more of the possibilities that come with recording software like Logic and Ableton,” says Carter. “For me as a keyboard player, it was like adding another four arms to my body in terms of what I could play.” “Writing on Ableton actually changed my whole approach,” adds Jalbert. “Working with sampled drums and then recording bass and keys on top made it so that I could really flesh everything out, and a lot of those sounds from early in the writing process ended up making it onto the final record.” Using those more fleshed out demos as a jumping off point, TAUK cut much of what would become Chaos Companion live in the studio, embracing the energy of the moment and their undeniable chemistry as a quartet to deliver vibrant, arresting performances that ranged from the hypnotic to the explosive and back again, sometimes within the very same track. Meditative album opener “Chandara” sets the stage, with a spacious, dreamy soundscape that evokes the break of day on some serene and distant planet. Like much of the album, there’s an air of science fiction to the track, a sense that the song itself may be an invitation to some alternate dimension where all of our earthly fears and anxieties are nothing more than a memory. The mesmerizing “Moon Dub” soars and swaggers its way through the stars, while the driving “Make Your Move” brims with the rousing confidence and determination of an action movie montage, and “The Let Out” offers an impossibly smooth blend of sensual R&B and heavy guitars that lands somewhere between Erykah Badu and Tom Morello. Elsewhere on the album, special guests—like The Shady Horns, who add some extra punch to the urgent “Dormammu,” and celebrated film composer Tyler Bates (John Wick, Guardians of the Galaxy), who contributes additional production to the epic “Lonely Robot”—help the band break down even more sonic barriers. “In the past, we’ve been pretty conscious about having our live show sound consistent with our albums,” says Carter, “ but this time around we wanted to ditch all the limitations and rethink what our live show could be. I think people are going to be blown away by what we’re doing when we hit the road again.” In the end, that’s what Chaos Companion is all about: defying expectations, transcending reality, reimagining what’s possible. It’s a dose of the familiar in the midst of the foreign, a wordless album that’ll leave you speechless. X-ALT-DESC;FMTTYPE=text/html:

TAUK may be an instrumental band, but even without words, the group’s extraordinary new album, Chaos Companion, manages to speak volumes about the ups and downs of a year that challenged—and transformed—us all.

“Everyone’s got a chaos companion, something that keeps you grounded in the midst of all the madness,” says bassist Charlie Dolan. “Maybe it’s your spouse, maybe it’s your kids, maybe it’s your dog. For us, it was the music.”

Recorded at the band’s newly completed studio on their native Long Island, Chaos Companion is indeed a work of profound comfort and catharsis, but more than that, it’s a testament to the kind of growth and evolution that can emerge in the face of struggle and uncertainty. Forced off the road for the first time in years by the COVID-19 pandemic, Dolan and his bandmates—guitarist Matt Jalbert, drummer Isaac Teel, and keyboardist Alric Carter—used the rare break from touring to stretch themselves as writers and instrumentalists, leaning into the sense of liberation and possibility that came with an empty calendar and letting it guide them toward uncharted musical territory. The resulting songs push TAUK’s sound to bold new heights, fearlessly fusing elements of progressive rock, funk, soul, EDM, and hip-hop into a richly melodic, groove-driven blend, one that’s complemented perfectly here by the equally adventurous production work of longtime collaborator Robert Carranza. Add it all up and you’ve got an evocative, cinematic collection that hints at everything from 70’s film scores and 80’s videogame soundtracks to 90’s R&B and modern dance music, an immersive, transportive record that blurs the lines between the analog and the electronic as it balances old school grit and futuristic sheen in equal measure.

“Being in an instrumental band already comes with a lot of freedom,” says Carter, “but having all that time away from the road really allowed each of us to experiment and explore in our own ways. It opened up whole new palettes for us to paint with.” TAUK has been painting with sound for nearly a decade now, pushing boundaries and reinventing themselves every chance they get. Founded by Dolan, Jalbert, and Carter, who began playing together as middle schoolers on Long Island, the band landed on its present incarnation in 2012, when college pal Teel joined full time. Since then, the quartet has gone on to tour with the likes of Umphrey’s McGee, Widespread Panic, and Lettuce, landed festival slots everywhere from Bonnaroo to Electric Forest, racked up millions of streams across platforms, and garnered extensive critical praise with a series of widely lauded studio and live albums. The Washington Post hailed the band’s music as “a hard-charging, often melodic fusion that—thanks to a penchant for improv—offers limitless possibilities,” while Keyboard Magazine declared that their sound “doesn’t adhere to a single genre but, instead, creates its own,” and Relix dubbed them “an incredibly impressive ensemble of talent.” Thrilling as it was, TAUK’s breakout success and relentless tour schedule left the band with little opportunity to catch their breath. That all changed in 2020, though, when the coronavirus pandemic brought the entire live music industry to a grinding halt. “More than anything, being forced to take a break allowed us to reset and refocus,” says Teel. “It was a chance get back to basics and put 100% of our energy into writing, a chance for each of us to dig deeper into our own personal influences.” When the band finally reunited in late 2020, they found themselves with such a glut of new ideas that they could afford to be more intentional than ever before, taking their time to craft a deliberate sonic and emotional arc with the material. “Being able to work in our own studio every day and just live with the songs was a game changer, too” says Jalbert. “When you don’t have a tour coming up, you have the freedom to move more slowly and experiment in ways that can wind up pushing the music in whole new directions.” In addition to having more time on their hands, TAUK was also able to hit the ground running in the studio thanks to the most fully realized set of demos they’d ever created. “With the four of us all writing and working on ideas independently during the pandemic, we started exploring more of the possibilities that come with recording software like Logic and Ableton,” says Carter. “For me as a keyboard player, it was like adding another four arms to my body in terms of what I could play.” “Writing on Ableton actually changed my whole approach,” adds Jalbert. “Working with sampled drums and then recording bass and keys on top made it so that I could really flesh everything out, and a lot of those sounds from early in the writing process ended up making it onto the final record.” Using those more fleshed out demos as a jumping off point, TAUK cut much of what would become Chaos Companion live in the studio, embracing the energy of the moment and their undeniable chemistry as a quartet to deliver vibrant, arresting performances that ranged from the hypnotic to the explosive and back again, sometimes within the very same track. Meditative album opener “Chandara” sets the stage, with a spacious, dreamy soundscape that evokes the break of day on some serene and distant planet. Like much of the album, there’s an air of science fiction to the track, a sense that the song itself may be an invitation to some alternate dimension where all of our earthly fears and anxieties are nothing more than a memory. The mesmerizing “Moon Dub” soars and swaggers its way through the stars, while the driving “Make Your Move” brims with the rousing confidence and determination of an action movie montage, and “The Let Out” offers an impossibly smooth blend of sensual R&B and heavy guitars that lands somewhere between Erykah Badu and Tom Morello. Elsewhere on the album, special guests—like The Shady Horns, who add some extra punch to the urgent “Dormammu,” and celebrated film composer Tyler Bates (John Wick, Guardians of the Galaxy), who contributes additional production to the epic “Lonely Robot”—help the band break down even more sonic barriers. “In the past, we’ve been pretty conscious about having our live show sound consistent with our albums,” says Carter, “ but this time around we wanted to ditch all the limitations and rethink what our live show could be. I think people are going to be blown away by what we’re doing when we hit the road again.” In the end, that’s what Chaos Companion is all about: defying expectations, transcending reality, reimagining what’s possible. It’s a dose of the familiar in the midst of the foreign, a wordless album that’ll leave you speechless.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231101T190148Z X-ACCESS:1 X-HITS:2064 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231101T200000 DTEND;TZID=America/Denver:20231101T233000 UID:FEF35B22-4591-4B67-B6F5-7565D1AA5791 SUMMARY:Noah Gundersen DTSTAMP:20230619T174126Z DESCRIPTION:In November of 2021, we started this record at Sage Arts Studio in Arlington, Washington. The south fork of the Stillaguamish River runs through the property – a rapid, churning force. There is a deep, smoldering green and gray that envelops the Pacific Northwest in the winter. The sun sets around 4:30 p.m. It’s the perfect time to make an album.\NAndy Park, Dave Dalton, Sean Lane, Harrison Whitford, Dave Dawda, and I learned and tracked 11 songs in five days. Most of it was done live, with all of us playing together in the same room. These guys are incredibly talented musicians and it was a privilege to make this record with them. This is the third record Andy and I have made together and I am continuously grateful for his guidance. My sister, Abby, contributed beautiful string arrangements and harmonies, once again playing an integral part as she has on all my records.\NThese last several years have been ones of significant personal change. I got married to my lovely wife, Misha, taking a deeper step into the uncharted territory of building a life with another person, pushing past my former limits of commitment. We bought a little house in a small town in Washington with our two (now three) dogs and our cat. It’s a quiet life, but a good one.\NFor a while, I stopped actively pursuing music and took a job working construction. I found myself disillusioned with the industry and no longer knew my place in it. The world around me has changed rapidly and I sometimes have difficulty grasping it. There were moments when I felt I had lost the wind from my sails – but I still love creating music and I love these songs.\NIt’s been a challenging but rewarding period of my life, which I feel throughout this record. A lot of regret and failure, but also hope and the transformative power of love. Acceptance of the way things have been, and the way they are, and how little control we really have – acceptance that everything is transient. My hope is that these songs will find you in the ways you need. Here’s another message in a bottle – I hope it washed up on your shore at just the right time. X-ALT-DESC;FMTTYPE=text/html:

In November of 2021, we started this record at Sage Arts Studio in Arlington, Washington. The south fork of the Stillaguamish River runs through the property – a rapid, churning force. There is a deep, smoldering green and gray that envelops the Pacific Northwest in the winter. The sun sets around 4:30 p.m. It’s the perfect time to make an album.

Andy Park, Dave Dalton, Sean Lane, Harrison Whitford, Dave Dawda, and I learned and tracked 11 songs in five days. Most of it was done live, with all of us playing together in the same room. These guys are incredibly talented musicians and it was a privilege to make this record with them. This is the third record Andy and I have made together and I am continuously grateful for his guidance. My sister, Abby, contributed beautiful string arrangements and harmonies, once again playing an integral part as she has on all my records.

These last several years have been ones of significant personal change. I got married to my lovely wife, Misha, taking a deeper step into the uncharted territory of building a life with another person, pushing past my former limits of commitment. We bought a little house in a small town in Washington with our two (now three) dogs and our cat. It’s a quiet life, but a good one.

For a while, I stopped actively pursuing music and took a job working construction. I found myself disillusioned with the industry and no longer knew my place in it. The world around me has changed rapidly and I sometimes have difficulty grasping it. There were moments when I felt I had lost the wind from my sails – but I still love creating music and I love these songs.

It’s been a challenging but rewarding period of my life, which I feel throughout this record. A lot of regret and failure, but also hope and the transformative power of love. Acceptance of the way things have been, and the way they are, and how little control we really have – acceptance that everything is transient. My hope is that these songs will find you in the ways you need. Here’s another message in a bottle – I hope it washed up on your shore at just the right time.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230630T175712Z X-ACCESS:1 X-HITS:1505 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231103T200000 DTEND;TZID=America/Denver:20231103T233000 UID:E387ADF3-36B2-4544-A65C-A31ACF9CF79A SUMMARY:Zach Nugent's Dead Set DTSTAMP:20230626T215934Z DESCRIPTION:Dead Set is more than just a cover band; they are an extraordinary ensemble that brings the Grateful Dead's timeless music to life with remarkable precision and passion.\NLed by the incomparable Zach Nugent, Dead Set's uncanny ability to channel the spirit of Jerry Garcia is nothing short of astounding. Nugent's virtuosic guitar work captures Garcia's essence, enchanting audiences with spellbinding solos and breathtaking improvisations. The band's tight-knit chemistry and unwavering dedication ensure that every note resonates with the same magic that made the Grateful Dead legendary.\NExperience a musical journey like no other as Dead Set transports you through the ethereal realms of the Dead's extensive catalog. From the cosmic explorations of "Dark Star" to the uplifting anthems of "Sugar Magnolia," every song is delivered with unwavering authenticity and a contagious enthusiasm that will leave you dancing and singing along all night long. Don't miss your chance to be part of this extraordinary celebration of Jerry Garcia's enduring legacy. Get your tickets now and immerse yourself in a one-of-a-kind experience that will ignite your soul and create memories to last a lifetime. X-ALT-DESC;FMTTYPE=text/html:

Dead Set is more than just a cover band; they are an extraordinary ensemble that brings the Grateful Dead's timeless music to life with remarkable precision and passion.

Led by the incomparable Zach Nugent, Dead Set's uncanny ability to channel the spirit of Jerry Garcia is nothing short of astounding. Nugent's virtuosic guitar work captures Garcia's essence, enchanting audiences with spellbinding solos and breathtaking improvisations. The band's tight-knit chemistry and unwavering dedication ensure that every note resonates with the same magic that made the Grateful Dead legendary.

Experience a musical journey like no other as Dead Set transports you through the ethereal realms of the Dead's extensive catalog. From the cosmic explorations of "Dark Star" to the uplifting anthems of "Sugar Magnolia," every song is delivered with unwavering authenticity and a contagious enthusiasm that will leave you dancing and singing along all night long. Don't miss your chance to be part of this extraordinary celebration of Jerry Garcia's enduring legacy. Get your tickets now and immerse yourself in a one-of-a-kind experience that will ignite your soul and create memories to last a lifetime.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231103T212949Z X-ACCESS:1 X-HITS:2556 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231104T200000 DTEND;TZID=America/Denver:20231104T233000 UID:AF38C7A5-6513-40F3-8E7F-55B6056D9A16 SUMMARY:Cam Cole DTSTAMP:20230524T150510Z DESCRIPTION:It‘s an exciting time to listen to Cam Cole and follow his journey. From the streets of Camden in London his songs, his guitars, his Farmer footdrums and most importantly his followers have taken him across the world.\NShows in Sweden, Norway, the Netherlands, an Irish tour, a 20 date UK tour, a standout performance at Festival Vaiven in Mexico which gained him thousands of new fans at the other end of the world and most importantly his first 3-month USA tour where Cam sold out venues in cities he had never been to before are all part of an incredible journey that only two years ago seemed impossible.\NAll these experiences have taken Cam’s stagecraft and musicianship to another level which are at display in his new single "Truth Be Told". Take the feel from the Mississippi Delta, mix the soaring guitars of White Stripes with the stomp and aggression of Rage Against The Machine, then add the lessons learned after a decade of living on the road and you got a whole new take on these old 12 bars. Mixed by long-term producer Markus Stretz and mastered by Brian Lucey (The Black Keys), dirty rock fans are in for the song that will get them out of bed this fall. X-ALT-DESC;FMTTYPE=text/html:

It‘s an exciting time to listen to Cam Cole and follow his journey. From the streets of Camden in London his songs, his guitars, his Farmer footdrums and most importantly his followers have taken him across the world.

Shows in Sweden, Norway, the Netherlands, an Irish tour, a 20 date UK tour, a standout performance at Festival Vaiven in Mexico which gained him thousands of new fans at the other end of the world and most importantly his first 3-month USA tour where Cam sold out venues in cities he had never been to before are all part of an incredible journey that only two years ago seemed impossible.

All these experiences have taken Cam’s stagecraft and musicianship to another level which are at display in his new single "Truth Be Told". Take the feel from the Mississippi Delta, mix the soaring guitars of White Stripes with the stomp and aggression of Rage Against The Machine, then add the lessons learned after a decade of living on the road and you got a whole new take on these old 12 bars. Mixed by long-term producer Markus Stretz and mastered by Brian Lucey (The Black Keys), dirty rock fans are in for the song that will get them out of bed this fall.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231101T231449Z X-ACCESS:1 X-HITS:1299 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231106T200000 DTEND;TZID=America/Denver:20231106T233000 UID:D0D08794-39D7-4917-825F-4D5C248A51FF SUMMARY:ZZ Ward DTSTAMP:20230626T161548Z DESCRIPTION:With two critically-acclaimed albums under her belt, 2012’s Til The Casket Drops and 2017’s The Storm, ZZ has amassed over 355MM streams, 1MM overall sales, 36MM combined video views, multiple radio hits and has been featured in the LA Times, Complex, FADER, Chicago Tribune, NPR, W, NYLON, USA Today and the New York Times to name a few. She has collaborated with some of the biggest names in music including Grammy Award winners, Kendrick Lamar, Fantastic Negrito and Gary Clark, Jr., as well as Fitz and the Tantrums. ZZ has launched multiple, sold out headline tours, performed at high profile festivals including Coachella, Bonnaroo, Made in America, Firefly and appeared on The Tonight Show, Jimmy Kimmel Live, The Late, Late Show with James Corden and Good Morning America. Her release of “Giant,” is the latest of a series of new songs released over the past 10 months including “Sex & Stardust,” “Break Her Heart” and “The Dark” which carry the theme of equal parts warrior and vulnerability delivered with her powerhouse vocals and plenty of sass. X-ALT-DESC;FMTTYPE=text/html:

With two critically-acclaimed albums under her belt, 2012’s Til The Casket Drops and 2017’s The Storm, ZZ has amassed over 355MM streams, 1MM overall sales, 36MM combined video views, multiple radio hits and has been featured in the LA Times, Complex, FADER, Chicago Tribune, NPR, W, NYLON, USA Today and the New York Times to name a few. She has collaborated with some of the biggest names in music including Grammy Award winners, Kendrick Lamar, Fantastic Negrito and Gary Clark, Jr., as well as Fitz and the Tantrums. ZZ has launched multiple, sold out headline tours, performed at high profile festivals including Coachella, Bonnaroo, Made in America, Firefly and appeared on The Tonight Show, Jimmy Kimmel Live, The Late, Late Show with James Corden and Good Morning America. Her release of “Giant,” is the latest of a series of new songs released over the past 10 months including “Sex & Stardust,” “Break Her Heart” and “The Dark” which carry the theme of equal parts warrior and vulnerability delivered with her powerhouse vocals and plenty of sass.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231106T195634Z X-ACCESS:1 X-HITS:1149 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231108T200000 DTEND;TZID=America/Denver:20231108T233000 UID:90B2C8FA-55E3-4926-8498-29C9D7CC5CB0 SUMMARY:AJ Lee & Blue Summit DTSTAMP:20230731T181416Z DESCRIPTION:AJ Lee and Blue Summit made their first appearance in Santa Cruz in 2015. Led by singer, songwriter, and mandolinist, AJ Lee, the bluegrass band has performed all over the world, but finds home in California’s Bay Area.\NThe latest full length project, I’ll Come Back, debuted August 2021 - with national touring in support of the record ongoing. Although falling loosely under the bluegrass label, AJLBS generally plays sans banjo, with Sullivan Tuttle and Scott Gates on steel stringed acoustic guitars, AJ on mandolin, Jan Purat on fiddle, and Chad Bowen on upright bass - a configuration effectively used to create unique space and texture in the arrangements not as commonly found in the music of their peers. Drawing from influences such as country, soul, swing, rock, and jam music, the band uses the lens of bluegrass as a vessel through which to express and explore the thread that binds and unifies all great music. X-ALT-DESC;FMTTYPE=text/html:

AJ Lee and Blue Summit made their first appearance in Santa Cruz in 2015. Led by singer, songwriter, and mandolinist, AJ Lee, the bluegrass band has performed all over the world, but finds home in California’s Bay Area.

The latest full length project, I’ll Come Back, debuted August 2021 - with national touring in support of the record ongoing. Although falling loosely under the bluegrass label, AJLBS generally plays sans banjo, with Sullivan Tuttle and Scott Gates on steel stringed acoustic guitars, AJ on mandolin, Jan Purat on fiddle, and Chad Bowen on upright bass - a configuration effectively used to create unique space and texture in the arrangements not as commonly found in the music of their peers. Drawing from influences such as country, soul, swing, rock, and jam music, the band uses the lens of bluegrass as a vessel through which to express and explore the thread that binds and unifies all great music.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230804T174603Z X-ACCESS:1 X-HITS:2108 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231110T200000 DTEND;TZID=America/Denver:20231110T233000 UID:61D23F3E-9969-4186-A77A-C00C47CAA9F3 SUMMARY:The Band of Heathens DTSTAMP:20230816T000352Z DESCRIPTION:With their ninth studio album, Simple Things, The Band of Heathens came home—geographically, as they returned to their longtime base of Austin for the recording; sonically, in an embrace of the rootsy, guitar-based rock with which they made their name; and thematically, with lyrics that speak to appreciating friends and family and our limited time on this planet. It’s a confident, assured statement of a group finding its place in the world amid uncertain and troubled times.\N“It was a return to embracing our influences, our natural instincts, the way we sound when we get on stage,” says guitarist-vocalist Gordy Quist. “Many times in the past, we'd take a song and stretch to make it into something else sonically, because that's exciting and fun to do in the studio. This time around, we tried to use some restraint and embraced our first instincts, trusting the songs were strong enough. With the subject matter, there’s a sentiment of focusing on what's important as we go through this journey together—don't waste time, because this is all we've got.”\N“Gordy and I each have a natural sound when we sing, but there's something even more special and unique when our voices blend together” says guitarist-vocalist Ed Jurdi. “So it was just about harnessing and embracing that. Good, mid-tempo rock and roll—that's our breadbasket, and there's not a lot of that music being made right now.”\NThough the members of The Band of Heathens now live scattered across the country, coming back to Austin (where they first formed in the early 2000s when Quist and Jurdi were among four songwriters playing regular weekly sets at the late, lamented club Momo's) was crucial to the making of Simple Things. “The city has grown and undergone many changes over the years, but the intangibles that make Austin a unique place are still alive and well,” says Jurdi. “I feel like the band wouldn't have come together anywhere else. As Austin has evolved, the band has evolved too, and now coming back feels like a very full circle moment.”\NThey worked in a studio called the Finishing School, which was founded by the band’s close friend and sometime producer George Reiff; Quist took over the studio after Reiff passed away in 2017, and upgraded with gear including three of Freddie Mercury's actual vocal mics, which have previously been used on recordings by David Bowie, the Rolling Stones, and AC/DC. “It’s our own communal space and we’re very comfortable there,” says Quist.\NIn some ways, the new album is a logical extension of Remote Transmissions, the livestream series that Band of Heathens started soon after the pandemic shut down the world in 2020 (and which was documented in last year’s Remote Transmissions, Vol. 1 album). Unable to tour, the group convened every week for a year, playing covers of songs new and old, responding to a disorienting time by reconnecting with music they love.\N“These were all the songs we grew up on and learned how to play in garage bands,” says Jurdi. “It was good to get back in touch with that, as a survival mechanism and as a creative outlet.”\NAs opportunities started to open back up, they extended the experiment with the “Good Times Supper Club” on Patreon, offering fans the chance to watch the band work and to participate in the creative process. “Rather than get together once a year for two weeks and make a record, now we're getting together almost every month, for three or four days or a week, and trying out some new songs,” says Quist. “The frequency of having to do that really dovetailed well into the workflow of making this record—taking little bites and small chunks of stuff, and then taking some time to listen and then go home and write. As we started putting some of this new material together, it started snowballing in terms of, ‘Oh, there's a good direction here. I got an idea for something that could work with this batch of songs.’”\NAfter almost twenty years on the road, the domestic solitude of lockdown led to new sources of inspiration for the musicians. “Being at home and going out in the backyard to play with my daughter,” says Jurdi, “taking a walk and talking my neighbors, things that normally are incredibly mundane—but they weren’t mundane, because that hadn't been our mundane life.”\NThe title track of Simple Things took a while to cohere but started in the early days of the pandemic. “I just remember the world feeling like it was exploding,” says Jurdi, “I was talking to Gordy a lot—What the fuck are we going to do? How are we going to keep the band together?’ On a deeper level, my daughter is going to school on the computer at home and isn't out in the world, spending time with her friends. So the song is about figuring out what's important, what we need to be thankful for, and how we address this adversity without it being overwhelming and overcoming us. How can we harness the beauty in that and appreciate the moments and be present in them, without being swallowed whole by what's going on around us in the world?”\NQuist ponders coming home in a different way on “Long Lost Son,” which he co-wrote with his friend Jeff Whitehead. It’s the experience of leaving home, seeing the world, and that feeling you get when you come back,” he says. “It's that special spot in your heart where the place you've been running from retains a new kind of charm and you realize how fortunate you are to have grown up there."\NJurdi recalls that “Don't Let the Darkness” began with a couple of simple but profound observations—a friend remaking one night that “If you weren't here, we wouldn't all be together,” and then bass player Jesse Wilson talking about being “a lot closer to a little further away.”\N“I started thinking that there's a lot of sadness in the world,” says Jurdi. “That song is like a pep talk for my friends and myself. Like, ‘Hey, there's a lot of stuff coming at you, but how do we keep these forces the forces of darkness out?’ It’s sort of a mantra, to figure out how to get closer to being in the spot you want to be and keep the bad shit further away.”\NFrom day one, The Band of Heathens have remained proudly, fiercely independent—turning down label offers, maintaining complete ownership of their catalog, building their audience one show at a time. ‘There's a survivor's spirit within this band that we've had from the first record,” says Quist. “I see a lot of artists out there screaming, ‘Hey, we're outlaws, we're independent!’ and they're signed to a subsidiary of a major label and live completely within that model. Now we don't necessarily go around waving that outlaw flag in everybody's face, but I truly feel we've been the ultimate indie band for 17 years. We've always been living outside the lines, industry-wise, and that spirit helped us during this time when it was all taken away from us.”\NWith Simple Things, they extend this achievement—creatively, personally, and practically—in the face of a challenging and turbulent landscape in music and beyond. “We’ve been able to grow with each record,” says Jurdi, “all the while doing exactly what we wanted to do—which, believe me, has not always been the best thing for our career or commercial success. There's never been anyone there to tell us, ‘Guys, don’t do this, you're fucking up completely.’ That was the whole thing to us, the idea of being in a rock and roll band is freedom, right? We grew up with icons and heroes that not only represented music, but a lifestyle, an attitude, and a way of doing things.  Those ideas molded us in our youth and we've carried them with us ever since."\N“We've realized,” says Quist, “it's us, it’s our families, and it's our fans, and that's really all that matters.” X-ALT-DESC;FMTTYPE=text/html:

With their ninth studio album, Simple Things, The Band of Heathens came home—geographically, as they returned to their longtime base of Austin for the recording; sonically, in an embrace of the rootsy, guitar-based rock with which they made their name; and thematically, with lyrics that speak to appreciating friends and family and our limited time on this planet. It’s a confident, assured statement of a group finding its place in the world amid uncertain and troubled times.

“It was a return to embracing our influences, our natural instincts, the way we sound when we get on stage,” says guitarist-vocalist Gordy Quist. “Many times in the past, we'd take a song and stretch to make it into something else sonically, because that's exciting and fun to do in the studio. This time around, we tried to use some restraint and embraced our first instincts, trusting the songs were strong enough. With the subject matter, there’s a sentiment of focusing on what's important as we go through this journey together—don't waste time, because this is all we've got.”

“Gordy and I each have a natural sound when we sing, but there's something even more special and unique when our voices blend together” says guitarist-vocalist Ed Jurdi. “So it was just about harnessing and embracing that. Good, mid-tempo rock and roll—that's our breadbasket, and there's not a lot of that music being made right now.”

Though the members of The Band of Heathens now live scattered across the country, coming back to Austin (where they first formed in the early 2000s when Quist and Jurdi were among four songwriters playing regular weekly sets at the late, lamented club Momo's) was crucial to the making of Simple Things. “The city has grown and undergone many changes over the years, but the intangibles that make Austin a unique place are still alive and well,” says Jurdi. “I feel like the band wouldn't have come together anywhere else. As Austin has evolved, the band has evolved too, and now coming back feels like a very full circle moment.”

They worked in a studio called the Finishing School, which was founded by the band’s close friend and sometime producer George Reiff; Quist took over the studio after Reiff passed away in 2017, and upgraded with gear including three of Freddie Mercury's actual vocal mics, which have previously been used on recordings by David Bowie, the Rolling Stones, and AC/DC. “It’s our own communal space and we’re very comfortable there,” says Quist.

In some ways, the new album is a logical extension of Remote Transmissions, the livestream series that Band of Heathens started soon after the pandemic shut down the world in 2020 (and which was documented in last year’s Remote Transmissions, Vol. 1 album). Unable to tour, the group convened every week for a year, playing covers of songs new and old, responding to a disorienting time by reconnecting with music they love.

“These were all the songs we grew up on and learned how to play in garage bands,” says Jurdi. “It was good to get back in touch with that, as a survival mechanism and as a creative outlet.”

As opportunities started to open back up, they extended the experiment with the “Good Times Supper Club” on Patreon, offering fans the chance to watch the band work and to participate in the creative process. “Rather than get together once a year for two weeks and make a record, now we're getting together almost every month, for three or four days or a week, and trying out some new songs,” says Quist. “The frequency of having to do that really dovetailed well into the workflow of making this record—taking little bites and small chunks of stuff, and then taking some time to listen and then go home and write. As we started putting some of this new material together, it started snowballing in terms of, ‘Oh, there's a good direction here. I got an idea for something that could work with this batch of songs.’”

After almost twenty years on the road, the domestic solitude of lockdown led to new sources of inspiration for the musicians. “Being at home and going out in the backyard to play with my daughter,” says Jurdi, “taking a walk and talking my neighbors, things that normally are incredibly mundane—but they weren’t mundane, because that hadn't been our mundane life.”

The title track of Simple Things took a while to cohere but started in the early days of the pandemic. “I just remember the world feeling like it was exploding,” says Jurdi, “I was talking to Gordy a lot—What the fuck are we going to do? How are we going to keep the band together?’ On a deeper level, my daughter is going to school on the computer at home and isn't out in the world, spending time with her friends. So the song is about figuring out what's important, what we need to be thankful for, and how we address this adversity without it being overwhelming and overcoming us. How can we harness the beauty in that and appreciate the moments and be present in them, without being swallowed whole by what's going on around us in the world?”

Quist ponders coming home in a different way on “Long Lost Son,” which he co-wrote with his friend Jeff Whitehead. It’s the experience of leaving home, seeing the world, and that feeling you get when you come back,” he says. “It's that special spot in your heart where the place you've been running from retains a new kind of charm and you realize how fortunate you are to have grown up there."

Jurdi recalls that “Don't Let the Darkness” began with a couple of simple but profound observations—a friend remaking one night that “If you weren't here, we wouldn't all be together,” and then bass player Jesse Wilson talking about being “a lot closer to a little further away.”

“I started thinking that there's a lot of sadness in the world,” says Jurdi. “That song is like a pep talk for my friends and myself. Like, ‘Hey, there's a lot of stuff coming at you, but how do we keep these forces the forces of darkness out?’ It’s sort of a mantra, to figure out how to get closer to being in the spot you want to be and keep the bad shit further away.”

From day one, The Band of Heathens have remained proudly, fiercely independent—turning down label offers, maintaining complete ownership of their catalog, building their audience one show at a time. ‘There's a survivor's spirit within this band that we've had from the first record,” says Quist. “I see a lot of artists out there screaming, ‘Hey, we're outlaws, we're independent!’ and they're signed to a subsidiary of a major label and live completely within that model. Now we don't necessarily go around waving that outlaw flag in everybody's face, but I truly feel we've been the ultimate indie band for 17 years. We've always been living outside the lines, industry-wise, and that spirit helped us during this time when it was all taken away from us.”

With Simple Things, they extend this achievement—creatively, personally, and practically—in the face of a challenging and turbulent landscape in music and beyond. “We’ve been able to grow with each record,” says Jurdi, “all the while doing exactly what we wanted to do—which, believe me, has not always been the best thing for our career or commercial success. There's never been anyone there to tell us, ‘Guys, don’t do this, you're fucking up completely.’ That was the whole thing to us, the idea of being in a rock and roll band is freedom, right? We grew up with icons and heroes that not only represented music, but a lifestyle, an attitude, and a way of doing things.  Those ideas molded us in our youth and we've carried them with us ever since."

“We've realized,” says Quist, “it's us, it’s our families, and it's our fans, and that's really all that matters.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230818T160752Z X-ACCESS:1 X-HITS:1727 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231111T200000 DTEND;TZID=America/Denver:20231111T233000 UID:3A7D2DA8-AF4A-4A4C-B6D9-1DDD7E3F190E SUMMARY:Madison Ryann Ward DTSTAMP:20230922T182035Z DESCRIPTION:Having started off set to be a professional volleyball player, Madison's career plans took a dramatic turn when a video of her singing in the college cafeteria went viral. From Oklahoma to Los Angeles, she was taken under the wing of legendary producer Rick Rubin (Def Jam) and signed a record deal with American Recordings/Republic Records.\NFrom touring with The Zac Brown Band, Lukas Nelson and Hozier, recording vocals for U2’s Bono’s ‘Women of the World’ campaign, and performing her first single ‘Mirror’ on the Jay-Z episode of David Letterman’s ‘My Next Guest Needs No Introduction’, Madison made the difficult decision to part ways with her record label in 2020 with plans to release her debut album independently the spring of 2023. X-ALT-DESC;FMTTYPE=text/html:

Having started off set to be a professional volleyball player, Madison's career plans took a dramatic turn when a video of her singing in the college cafeteria went viral. From Oklahoma to Los Angeles, she was taken under the wing of legendary producer Rick Rubin (Def Jam) and signed a record deal with American Recordings/Republic Records.

From touring with The Zac Brown Band, Lukas Nelson and Hozier, recording vocals for U2’s Bono’s ‘Women of the World’ campaign, and performing her first single ‘Mirror’ on the Jay-Z episode of David Letterman’s ‘My Next Guest Needs No Introduction’, Madison made the difficult decision to part ways with her record label in 2020 with plans to release her debut album independently the spring of 2023.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 X-ACCESS:1 X-HITS:2016 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231113T200000 DTEND;TZID=America/Denver:20231113T233000 UID:FEDB2E51-EF48-4648-BCF2-D01ADE40EEB6 SUMMARY:Allison Russell DTSTAMP:20230808T000855Z DESCRIPTION:The book I loved most as a child was The People Could Fly, Virginia Hamilton’s book of black folktales about not only escape, but the brilliance of life beyond whatever was left behind. The cover, a group of black folks in colorful headscarves and tattered but well- fitting suits, ascending beyond the clouds, into a sky that was blue, and tilting towards orange. It is what some would consider to be a children’s book, or a book suited for a child’s imagination. But the child’s imagination is not far from where we, grown folks in an ever-burning atmosphere, return to. Another escape, if you will.\NI believe Allison Russell to be a writer in many traditions, but I am now, upon sitting with the beauty of The Returner, considering Russell in the tradition of Virginia Hamilton. Hamilton, a black woman writer who understood the urgency of the times she was living in, and responded in an urgent fashion. Urgency, not in a sense of frantic output, or exhortations of chaos. But urgency in building a different version of events, and bringing as many people into the world as possible. Whoever wants to come along is welcome to come along.\NWhile I hesitate to say that anything comes easy to a writer, but it does feel especially challenging to situate oneself in the present. The past is a place rich with both the fluorescence of nostalgia and the challenges of our own memory, and the future is, to some degree, unknown. Can be written by us as we tumble towards it. The Returner is an achievement for how it sits, firm and unflinching, in the present, or in a space that demands the present be something beyond simply discomfort. I take seriously the charge of song lyric-as-poetry, which is one way of saying that while I do like the idea of the lyric overrun with literary devices, it doesn’t do as much for me if the devices aren’t grounded in some kind of narrative blooming. Allison Russell is, in my mind, a writer’s writer. It is wonderful to read and apply what one loves about literature to the work of a song, but it is another thing to think of the song as a piece of literature, the two inextricably linked in both approach and execution. And so, a song like “Eve Was Black,” wherein the biblical callback goes a step further, channeling an origin story of rage, of dismissal, reformatting of a holy text to map it upon present tension.\NOn Outside Child, Russell’s heavily lauded 2021 debut solo effort, there was a reckoning with all that her past self made it through. It was a daring, brave album. One where the speaker in the songs is both child and survivor, looking back on the child’s life. And, still, for all of Outside Child’s bravery, The Returner rises to an equal challenge of brave ambition. After not only presenting that history of a self to the world, but untangling it on her own, Russell made an album that brings her back to her present self. One that delights in her present self. And album that is abundant in scope, in color (sonic color and vocal color, but also, very plainly, in it’s stunning album cover,) and abundant in possibility for a variety of next turns.\NI am overjoyed by the act of communal singing, and even more so when it just so happens to be black folks in communion doing the singing, shouting, clapping, stomping, and whatever else moves them to make noise. The Returner, for all of its gifts, is an album that feels like an invitation, the way walking by a loud, boisterous church service where the praise and worship spills out into the sidewalk might seem like an\Nan invitation, even if you aren’t the churchgoing type, but you just don’t want to miss a good time, a loud time. This is an album of beautiful, holy noise. You can hear individual notes of laughter, you can hear each individual voice reaching for the next individual voice to link hands with and ascend.\NI am not much of a fool for optimism, but I am always seeking some optimisms within very specific truths. One of those being how do we, as people, pour generously back into ourselves in the midst of a world, a time, an ongoing era that takes and takes, relentlessly. It happens in small bursts, I think. Short paths, maybe, but wide ones. That’s where freedom lives. A place where you have survived and what you survived isn’t left behind, but it also isn’t the burden it once might have been. How fitting, that the album begins with the luminous “Springtime,” Russell singing so long / farewell / adieu adieu / to that tunnel I went through. And from there, light floods in. X-ALT-DESC;FMTTYPE=text/html:

The book I loved most as a child was The People Could Fly, Virginia Hamilton’s book of black folktales about not only escape, but the brilliance of life beyond whatever was left behind. The cover, a group of black folks in colorful headscarves and tattered but well- fitting suits, ascending beyond the clouds, into a sky that was blue, and tilting towards orange. It is what some would consider to be a children’s book, or a book suited for a child’s imagination. But the child’s imagination is not far from where we, grown folks in an ever-burning atmosphere, return to. Another escape, if you will.

I believe Allison Russell to be a writer in many traditions, but I am now, upon sitting with the beauty of The Returner, considering Russell in the tradition of Virginia Hamilton. Hamilton, a black woman writer who understood the urgency of the times she was living in, and responded in an urgent fashion. Urgency, not in a sense of frantic output, or exhortations of chaos. But urgency in building a different version of events, and bringing as many people into the world as possible. Whoever wants to come along is welcome to come along.

While I hesitate to say that anything comes easy to a writer, but it does feel especially challenging to situate oneself in the present. The past is a place rich with both the fluorescence of nostalgia and the challenges of our own memory, and the future is, to some degree, unknown. Can be written by us as we tumble towards it. The Returner is an achievement for how it sits, firm and unflinching, in the present, or in a space that demands the present be something beyond simply discomfort. I take seriously the charge of song lyric-as-poetry, which is one way of saying that while I do like the idea of the lyric overrun with literary devices, it doesn’t do as much for me if the devices aren’t grounded in some kind of narrative blooming. Allison Russell is, in my mind, a writer’s writer. It is wonderful to read and apply what one loves about literature to the work of a song, but it is another thing to think of the song as a piece of literature, the two inextricably linked in both approach and execution. And so, a song like “Eve Was Black,” wherein the biblical callback goes a step further, channeling an origin story of rage, of dismissal, reformatting of a holy text to map it upon present tension.

On Outside Child, Russell’s heavily lauded 2021 debut solo effort, there was a reckoning with all that her past self made it through. It was a daring, brave album. One where the speaker in the songs is both child and survivor, looking back on the child’s life. And, still, for all of Outside Child’s bravery, The Returner rises to an equal challenge of brave ambition. After not only presenting that history of a self to the world, but untangling it on her own, Russell made an album that brings her back to her present self. One that delights in her present self. And album that is abundant in scope, in color (sonic color and vocal color, but also, very plainly, in it’s stunning album cover,) and abundant in possibility for a variety of next turns.

I am overjoyed by the act of communal singing, and even more so when it just so happens to be black folks in communion doing the singing, shouting, clapping, stomping, and whatever else moves them to make noise. The Returner, for all of its gifts, is an album that feels like an invitation, the way walking by a loud, boisterous church service where the praise and worship spills out into the sidewalk might seem like an

an invitation, even if you aren’t the churchgoing type, but you just don’t want to miss a good time, a loud time. This is an album of beautiful, holy noise. You can hear individual notes of laughter, you can hear each individual voice reaching for the next individual voice to link hands with and ascend.

I am not much of a fool for optimism, but I am always seeking some optimisms within very specific truths. One of those being how do we, as people, pour generously back into ourselves in the midst of a world, a time, an ongoing era that takes and takes, relentlessly. It happens in small bursts, I think. Short paths, maybe, but wide ones. That’s where freedom lives. A place where you have survived and what you survived isn’t left behind, but it also isn’t the burden it once might have been. How fitting, that the album begins with the luminous “Springtime,” Russell singing so long / farewell / adieu adieu / to that tunnel I went through. And from there, light floods in.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231103T201142Z X-ACCESS:1 X-HITS:1726 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231116T200000 DTEND;TZID=America/Denver:20231116T233000 UID:2816DE49-C149-4D93-9D32-54093A0BB0AC SUMMARY:The Nick Moss Trio DTSTAMP:20231101T185107Z DESCRIPTION:Nick Moss has been recognized as one the great guitarists of his generation, garnering accolades from Buddy Guy and praise from Jambase, Relix, and Gratefulweb.com among many others. His recording career spans decades and his albums are staples at blues radio outlets worldwide, and are now in rotation at stations with jam and rock formats.\NNick Moss Band has a legion of fans that flock to his shows, knowing that each night will be a grand musical experiment. There will be sonic textures to discover and new sounds to stir the soul. X-ALT-DESC;FMTTYPE=text/html:

Nick Moss has been recognized as one the great guitarists of his generation, garnering accolades from Buddy Guy and praise from Jambase, Relix, and Gratefulweb.com among many others. His recording career spans decades and his albums are staples at blues radio outlets worldwide, and are now in rotation at stations with jam and rock formats.

Nick Moss Band has a legion of fans that flock to his shows, knowing that each night will be a grand musical experiment. There will be sonic textures to discover and new sounds to stir the soul.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231113T180511Z X-ACCESS:1 X-HITS:1087 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231117T190000 DTEND;TZID=America/Denver:20231117T233000 UID:9DEB8827-6566-4872-A76A-13FADB9702A5 SUMMARY:DURRY DTSTAMP:20230605T162320Z DESCRIPTION:D-TOUR\NAs a band, Taryn and Austin's journey happened both unexpectedly and fortuitously. At the start of the COVID pandemic, Austin and his wife moved back into his parents' house, where Taryn was also living at the time. Faced with nothing but time, he got back to songwriting, regularly asking Taryn for input -- or as the two playfully put it, "Gen Z quality control."\NThe immediate result of their musical partnership was the pop-punk/alternative anthem "Who's Laughing Now," which leads with wry, tongue-in-cheek lyrics about the futility of young adulthood in 2023. After posting an unfinished version of "Who's Laughing Now" on TikTok, it swiftly took off, galvanizing thousands of viewers who shared their coming-of-age frustrations. Clearly, the song's sentiments -- which land somewhere between a shrug and a clenched fist -- resonated with millions of listeners, and today Durry have recorded a fully fleshed-out version of "Who's Laughing Now," which is set to appear on their riveting, perfectly sardonic debut LP, Suburban Legend due out Sept 8 2023.\NDurry's live show, which is as infectious as their music, has won the hearts and minds of fans in real life, and they'll be taking their new album on the road, with US tour dates kicking off in November for the Suburban Legend Tour.\NWhether Suburban Legend is tackling romantic love, late-stage capitalism, mental health woes, or teen nostalgia, the thread tying it all together is its utter relatability.\NRegardless of where you are in life -- city or suburbs, school or work, or pursuing a creative dream of your own -- Durry will meet you there with a wink and a high five. X-ALT-DESC;FMTTYPE=text/html:

D-TOUR

As a band, Taryn and Austin's journey happened both unexpectedly and fortuitously. At the start of the COVID pandemic, Austin and his wife moved back into his parents' house, where Taryn was also living at the time. Faced with nothing but time, he got back to songwriting, regularly asking Taryn for input -- or as the two playfully put it, "Gen Z quality control."

The immediate result of their musical partnership was the pop-punk/alternative anthem "Who's Laughing Now," which leads with wry, tongue-in-cheek lyrics about the futility of young adulthood in 2023. After posting an unfinished version of "Who's Laughing Now" on TikTok, it swiftly took off, galvanizing thousands of viewers who shared their coming-of-age frustrations. Clearly, the song's sentiments -- which land somewhere between a shrug and a clenched fist -- resonated with millions of listeners, and today Durry have recorded a fully fleshed-out version of "Who's Laughing Now," which is set to appear on their riveting, perfectly sardonic debut LP, Suburban Legend due out Sept 8 2023.

Durry's live show, which is as infectious as their music, has won the hearts and minds of fans in real life, and they'll be taking their new album on the road, with US tour dates kicking off in November for the Suburban Legend Tour.

Whether Suburban Legend is tackling romantic love, late-stage capitalism, mental health woes, or teen nostalgia, the thread tying it all together is its utter relatability.

Regardless of where you are in life -- city or suburbs, school or work, or pursuing a creative dream of your own -- Durry will meet you there with a wink and a high five.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231116T162200Z X-ACCESS:1 X-HITS:2774 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231118T200000 DTEND;TZID=America/Denver:20231118T233000 UID:2C869AEE-AF8B-4E37-BA69-54B2F46CE4D8 SUMMARY:Geordie Kieffer DTSTAMP:20230522T162038Z DESCRIPTION:Sometimes known as simply Geordie, is an American singer, songwriter and record producer born and raised in Los Angeles, CA. X-ALT-DESC;FMTTYPE=text/html:

Sometimes known as simply Geordie, is an American singer, songwriter and record producer born and raised in Los Angeles, CA.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231118T200932Z X-ACCESS:1 X-HITS:2246 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231122T193000 DTEND;TZID=America/Denver:20231122T233000 UID:B02366AA-7693-44B9-8195-F2728EA9DFE9 SUMMARY:Katatonia DTSTAMP:20231120T171231Z DESCRIPTION:Do not go gentle into that good night…\NWe are all, as Oscar Wilde once so famously remarked, in the gutter. However, some of us are looking at the stars. On their latest journey Sky Void of Stars, Swedish grand seigneurs of gloom Katatonia solemnly set the stage for a nocturne both crushing and exhilarating; for it is only in the absence of stars that we can truly shine.\N Carving their way from their nineties gothic-tinged doom metal to the ethereal post-metal entity they are today, the band led by founding members Jonas Renkse and Anders Nyström have always been and will forevermore be one thing—a vessel of deep emotion; shrouded in Scandinavian despair and a universal longing for salvation.\NOver the course of an unbelievable thirty years and eleven studio albums, Katatonia have never shied away from evolution. They have embraced the concept of growing through rejuvenation to soothe their blackened hearts and scarred souls—coming back stronger and more unified than ever after their hiatus with City Burials in April 2020. Yet at the very core of this entity, there still lingers the essence of their remarkable passage through time and space. Their music is pure and heartfelt from the northern wilderness; cast in mournful dirges for a world that needs renaissance. \NTheir long way out of the darkness and into our hearts has taken up many shapes ever since their first two genre-bending milestones: Dance of December Souls (1993) and the unforgettable, the immortal, the rightfully revered and oft-copied classic Brave Murder Day (1996). Whatever you might call their artful and soul-searching tunes ever since these records, they have always remained true to the very principles on which this band was based in the dawn of the nineties. Musicality over scene, progression over deadlock, collective over ego—Katatonia is their whole lives and will always be.\NWhat’s more, their ever-expanding fanbase has evolved with them. While the nineties would never have allowed such a high level of tolerance nor forgiveness towards erstwhile death/doom trailblazers, today each new Katatonia offering is greeted with veneration and gratitude. Here are musicians who truly speak from the soul to the soul—a dialogue seldom as intense, as emotionally challenging and as visceral as the gloomy and irresistible preciousness that is Sky Void of Stars. Jonas Renkse (vocals), Anders Nyström (guitar), Roger Öjersson (guitar), Niklas Sandin (bass) and Daniel Moilanen (drums) have outdone themselves yet again, which is no easy feat with a vita like theirs.\NThe Stockholm-based architects of existential dread have long since ceased to represent a band that merely makes music and have instead cultivated a living, breathing pilgrimage that mirrors humanity’s longings and shortcomings; its dreams and horrors. Clad in their dynamic trademark range of darkest metal, soaring post-rock and elaborate prog wanderlust, Katatonia wear midnight on Sky Void of Stars, delivering their very own raven-black gospel of urban dystopia, elemental longing and the universal wish for catharsis. \NWith a sonic range broader than ever, the Swedes manage to wed their gloom and doom roots on ‘Impermanence’ with the stormcloud that is ‘Austerity’ which is their most urgent material yet, and also the surprisingly crushing ‘Birds’ with the artfully moody ‘Drab Moon’. Bathing in an atmosphere that is exclusively their own and graced by a sublime yet ethereally forlorn production, Katatonia transcend boundaries in the blink of an eye. They deliver a vivid, energetic and, in the best sense of the word, touching piece of musical narrative, pregnant with some of the most noble poetry these Swedish masters have ever delivered. Written and composed by vocalist Jonas Renske, Sky Void of Stars is a stirring ode to the ones who are lost and astray; shipwrecked in the ocean, navigating the rough seas of life without a compass.\NAs autumnal in their melodies as ever with radiant vocal lines, woeful hooks and a broader-than-ever approach to their musical palette, Katatonia sink their talons deeper than ever into our hearts, forcing us to feel what we prefer to push into the very last corner of ourselves. Only through confronting the deepest demons that we hold prisoner within the fabric of our souls can we rightfully deliver ourselves from them. The power of music in its truest, rawest and most carnal force will forever be this: a means to a new beginning and a dim light at the end of a long, long tunnel; its own dark materials shapeshifting, awe-inspiring, guiding.\NProduced, mixed and mastered by Danish icon Jacob Hansen, Sky Void of Stars is music for the fools who still dream in the dead of night; a manifesto for the hopelessly-hoping amongst us. Here’s to the hearts that ache, here’s to the mess we make. X-ALT-DESC;FMTTYPE=text/html:

Do not go gentle into that good night…

We are all, as Oscar Wilde once so famously remarked, in the gutter. However, some of us are looking at the stars. On their latest journey Sky Void of Stars, Swedish grand seigneurs of gloom Katatonia solemnly set the stage for a nocturne both crushing and exhilarating; for it is only in the absence of stars that we can truly shine.

 Carving their way from their nineties gothic-tinged doom metal to the ethereal post-metal entity they are today, the band led by founding members Jonas Renkse and Anders Nyström have always been and will forevermore be one thing—a vessel of deep emotion; shrouded in Scandinavian despair and a universal longing for salvation.

Over the course of an unbelievable thirty years and eleven studio albums, Katatonia have never shied away from evolution. They have embraced the concept of growing through rejuvenation to soothe their blackened hearts and scarred souls—coming back stronger and more unified than ever after their hiatus with City Burials in April 2020. Yet at the very core of this entity, there still lingers the essence of their remarkable passage through time and space. Their music is pure and heartfelt from the northern wilderness; cast in mournful dirges for a world that needs renaissance. 

Their long way out of the darkness and into our hearts has taken up many shapes ever since their first two genre-bending milestones: Dance of December Souls (1993) and the unforgettable, the immortal, the rightfully revered and oft-copied classic Brave Murder Day (1996). Whatever you might call their artful and soul-searching tunes ever since these records, they have always remained true to the very principles on which this band was based in the dawn of the nineties. Musicality over scene, progression over deadlock, collective over ego—Katatonia is their whole lives and will always be.

What’s more, their ever-expanding fanbase has evolved with them. While the nineties would never have allowed such a high level of tolerance nor forgiveness towards erstwhile death/doom trailblazers, today each new Katatonia offering is greeted with veneration and gratitude. Here are musicians who truly speak from the soul to the soul—a dialogue seldom as intense, as emotionally challenging and as visceral as the gloomy and irresistible preciousness that is Sky Void of Stars. Jonas Renkse (vocals), Anders Nyström (guitar), Roger Öjersson (guitar), Niklas Sandin (bass) and Daniel Moilanen (drums) have outdone themselves yet again, which is no easy feat with a vita like theirs.

The Stockholm-based architects of existential dread have long since ceased to represent a band that merely makes music and have instead cultivated a living, breathing pilgrimage that mirrors humanity’s longings and shortcomings; its dreams and horrors. Clad in their dynamic trademark range of darkest metal, soaring post-rock and elaborate prog wanderlust, Katatonia wear midnight on Sky Void of Stars, delivering their very own raven-black gospel of urban dystopia, elemental longing and the universal wish for catharsis. 

With a sonic range broader than ever, the Swedes manage to wed their gloom and doom roots on ‘Impermanence’ with the stormcloud that is ‘Austerity’ which is their most urgent material yet, and also the surprisingly crushing ‘Birds’ with the artfully moody ‘Drab Moon’. Bathing in an atmosphere that is exclusively their own and graced by a sublime yet ethereally forlorn production, Katatonia transcend boundaries in the blink of an eye. They deliver a vivid, energetic and, in the best sense of the word, touching piece of musical narrative, pregnant with some of the most noble poetry these Swedish masters have ever delivered. Written and composed by vocalist Jonas Renske, Sky Void of Stars is a stirring ode to the ones who are lost and astray; shipwrecked in the ocean, navigating the rough seas of life without a compass.

As autumnal in their melodies as ever with radiant vocal lines, woeful hooks and a broader-than-ever approach to their musical palette, Katatonia sink their talons deeper than ever into our hearts, forcing us to feel what we prefer to push into the very last corner of ourselves. Only through confronting the deepest demons that we hold prisoner within the fabric of our souls can we rightfully deliver ourselves from them. The power of music in its truest, rawest and most carnal force will forever be this: a means to a new beginning and a dim light at the end of a long, long tunnel; its own dark materials shapeshifting, awe-inspiring, guiding.

Produced, mixed and mastered by Danish icon Jacob Hansen, Sky Void of Stars is music for the fools who still dream in the dead of night; a manifesto for the hopelessly-hoping amongst us. Here’s to the hearts that ache, here’s to the mess we make.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231120T181304Z X-ACCESS:1 X-HITS:51 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231216T200000 DTEND;TZID=America/Denver:20231216T233000 UID:EF88413A-782F-486E-B09F-0E76BBD373DC SUMMARY:Jimmy Rockstar's 42nd Birthday Bash DTSTAMP:20231016T225034Z DESCRIPTION:Jimmy Rockstar's 42nd Birthday Bash at The State Room where he will hopefully learn the meaning of life, the universe, and everything. Three awesome bands, Jimmy's crappy art, and Mia's soaps so you can clean up your melted faces after the show. X-ALT-DESC;FMTTYPE=text/html:

Jimmy Rockstar's 42nd Birthday Bash at The State Room where he will hopefully learn the meaning of life, the universe, and everything. Three awesome bands, Jimmy's crappy art, and Mia's soaps so you can clean up your melted faces after the show.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231018T221206Z X-ACCESS:1 X-HITS:3018 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240106T190000 DTEND;TZID=America/Denver:20240106T233000 UID:B04E0412-6F9D-4ED1-98E1-D30163D26EC3 SUMMARY:Jamesfest DTSTAMP:20231220T233949Z DESCRIPTION:Join us for a night of celebration, music and memories. We honor the late, great, Minister of Meat, James Trevino. DAD! \NJames was a beloved member of many communities in Utah. He was a huge part of the local music scene. He played bass in many bands and also hosted blues jams and open mics. \NA lover of all things music, Greyhounds and good times - James was a legend. \NThere will be music from James’ various bands as well as an open jam at the end.\NMusic from Talia Keys and Marinade, You Topple Over, Naked April, Christian Coleman, Mitch Olsen, Gary Tada and many more.   \NWe will send James off to the great gig in the sky, the only way James would want! LIVE MUSIC!  X-ALT-DESC;FMTTYPE=text/html:

Join us for a night of celebration, music and memories. We honor the late, great, Minister of Meat, James Trevino. DAD! 

James was a beloved member of many communities in Utah. He was a huge part of the local music scene. He played bass in many bands and also hosted blues jams and open mics. 

A lover of all things music, Greyhounds and good times - James was a legend. 

There will be music from James’ various bands as well as an open jam at the end.

Music from Talia Keys and Marinade, You Topple Over, Naked April, Christian Coleman, Mitch Olsen, Gary Tada and many more.   

We will send James off to the great gig in the sky, the only way James would want! LIVE MUSIC! 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240104T185217Z X-ACCESS:1 X-HITS:1745 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240109T200000 DTEND;TZID=America/Denver:20240109T233000 UID:08671CB4-B5BA-4058-833D-12E01B8F7F71 SUMMARY:Daniel Donato's Cosmic Country DTSTAMP:20231023T193307Z DESCRIPTION:When people first meet Daniel Donato, they’re not fully braced for this walking tornado of creative energy. “They think there’s something that tips the scale in ways they don’t understand,” says Donato about his over-the-top, slightly manic vibe. “But what actually tips the scale is the amount of thought and analysis I put into my work and art, all of which is taken from the lessons of my life.”\NDonato, a 25-year-old Nashville native, has distilled those life lessons into his debut album, A Young Man’s Country, his proper introduction to the general musical audience. Recorded at Nashville’s Sound Emporium in a mere two days and produced by guitar-ace Robben Ford, the record weaves outlaw country, Grateful Dead-style Americana, and first-rate songwriting into a singular form Donato calls “21st-century cosmic country.” \NIt might surprise some that the Telecaster-wielding wunderkind, who at 16 became the youngest musician to regularly play the iconic honky tonk Robert’s Western World while gigging with the Don Kelley Band, began his musical journey in a purely millennial fashion. Before he ever picked up a guitar, he discovered he had an aptitude for music via the video game Guitar Hero. At the time, he didn’t feel compelled to try his hand at the real thing until one day, about the age of 12, he heard the electric perfection of Guns ‘N’ Roses’ “Paradise City” blast from a set of speakers and his world was changed forever. \N“It was the first time I ever had a vision for my life,” says Donato, who was partly drawn to music because he sucked royally at skateboarding. “I then took one of my dad’s old guitars . . . and I literally fell in love with it.” From then on, Donato lived and breathed music, practicing his chops around the clock. He’d play before school, during his lunch break, and in the evenings at home, sometimes falling asleep with the six-string in his hands. \NIt wasn’t long before he was busking on lower Broadway in Nashville, playing eight hours a day on weekends for tips. It was after one of those day’s sessions that he got a wild hair and snuck into Robert’s on a night when house act the Don Kelley Band was playing and his wig-dome was blown. “It was the first time I ever saw a band that was that good up close,” Donato said. “So I’m literally watching them play and I’m crying. I decided right then that I wanted to be the best guitar player in the world.”\NDonato continued busking outside arenas before John Mayer and Phish concerts and on the streets of Nashville and it was then, while playing on Broadway, that he’d give Don Kelley his business card every Saturday night, hoping for a chance to audition. One day, while still a junior in high school, he got the call to come play. Donato was more than ready, and he delivered the goods in spades. He was so good, in fact, that he became a regular member of the band, performing four nights a week for more than 450 shows with the group.\NPlaying nightly with the Don Kelley Band was a formidable education for the young musician. Jamming regularly with Nashville’s most seasoned players, stalwart pickers who may have played in Buck Owens’ band, or Dolly Parton’s, or Alan Jackson’s, expanded his musical vocabulary while honing his stage presence. Along the way he was soaking up stories of adventures on the road and learning about the ups and downs of the music business. In short, he was gaining priceless life lessons and a musical education from wells that run deep into the musical history of Nashville.   \NAround the time he turned 18, one of Donato’s high-school teachers, a serious music lover who had seen his student play at Robert’s, gave him a Grateful Dead box set. It was another eureka moment for the guitarist. His love for the Dead may have been ignited much earlier by virtue of the fact that his mother was a bona fide Deadhead who followed the group on tour when she was pregnant with the future guitarist, but it was that collection that changed the way he looked at music. “It gave me a tie to all of the classic country gold I’d been working down at the honky-tonks each weekend,” he said. “Grateful Dead and Merle Haggard had always lived in my heart, but now, the link was made, and I had a vision on how to keep it alive for this generation that I am coming from.” \NDuring the days of his Robert’s residency, Donato continued to busk at various locales, even playing the Grand Ole Opry, and it is the sum of all these gigs, experiences any teenage musician would kill for, that inform the sounds on A Young Man’s Country.\N“Ain’t Living Long Like This,” one of three covers on the album, is a song by Waylon Jennings, who was recording at the Sound Emporium the day Donato was born. “Angel From Montgomery,” a song Donato learned on the fly while busking for tourists, pays tribute to the late John Prine. Donato recorded his unique take on the tune before Prine’s death. The Grateful Dead’s “Fire On The Mountain” is tacked on to “Meet Me In Dallas,” a tune Donato wrote while on the road with Paul Cauthen. The other seven songs, all originals, showcase the promise of a young songwriter coming into his own, one of the highlights being “Luck of the Draw.” \NThe message of these songs contain the central tenet of Donato’s “Cosmic Country” ethos, which is about finding the courage to blaze your own path. As such, it is an ethos the artist extends beyond music into the channels of social media, where he’s built up a huge following of devoted “DD Heads,” as his fans call themselves. His podcast, “Daniel Donato’s Lost Highway,” brings together like-minded creatives to get at the heart of what makes artists tick, for which he’s interviewed Brothers Osborne, Brent Cobb, Orville Peck, and Garry Talent of Bruce Springsteen’s E Street Band.\NIncubated to the sounds of the Dead, educated by some of Nashville’s finest players, and having more than 2,000 shows under his belt and a social media presence, Daniel Donato is indeed a millennial whirligig of creative fire. He’s been dabbling in professional music since the age of 14 and yet he’s just getting started. A Young Man’s Country is the portrait of a restless artist as a young man, one whose story is singular and is still in its exciting, early chapters -- and as this effort shows, the future is indeed cosmic.  X-ALT-DESC;FMTTYPE=text/html:

When people first meet Daniel Donato, they’re not fully braced for this walking tornado of creative energy. “They think there’s something that tips the scale in ways they don’t understand,” says Donato about his over-the-top, slightly manic vibe. “But what actually tips the scale is the amount of thought and analysis I put into my work and art, all of which is taken from the lessons of my life.”

Donato, a 25-year-old Nashville native, has distilled those life lessons into his debut album, A Young Man’s Country, his proper introduction to the general musical audience. Recorded at Nashville’s Sound Emporium in a mere two days and produced by guitar-ace Robben Ford, the record weaves outlaw country, Grateful Dead-style Americana, and first-rate songwriting into a singular form Donato calls “21st-century cosmic country.” 

It might surprise some that the Telecaster-wielding wunderkind, who at 16 became the youngest musician to regularly play the iconic honky tonk Robert’s Western World while gigging with the Don Kelley Band, began his musical journey in a purely millennial fashion. Before he ever picked up a guitar, he discovered he had an aptitude for music via the video game Guitar Hero. At the time, he didn’t feel compelled to try his hand at the real thing until one day, about the age of 12, he heard the electric perfection of Guns ‘N’ Roses’ “Paradise City” blast from a set of speakers and his world was changed forever. 

“It was the first time I ever had a vision for my life,” says Donato, who was partly drawn to music because he sucked royally at skateboarding. “I then took one of my dad’s old guitars . . . and I literally fell in love with it.” From then on, Donato lived and breathed music, practicing his chops around the clock. He’d play before school, during his lunch break, and in the evenings at home, sometimes falling asleep with the six-string in his hands. 

It wasn’t long before he was busking on lower Broadway in Nashville, playing eight hours a day on weekends for tips. It was after one of those day’s sessions that he got a wild hair and snuck into Robert’s on a night when house act the Don Kelley Band was playing and his wig-dome was blown. “It was the first time I ever saw a band that was that good up close,” Donato said. “So I’m literally watching them play and I’m crying. I decided right then that I wanted to be the best guitar player in the world.”

Donato continued busking outside arenas before John Mayer and Phish concerts and on the streets of Nashville and it was then, while playing on Broadway, that he’d give Don Kelley his business card every Saturday night, hoping for a chance to audition. One day, while still a junior in high school, he got the call to come play. Donato was more than ready, and he delivered the goods in spades. He was so good, in fact, that he became a regular member of the band, performing four nights a week for more than 450 shows with the group.

Playing nightly with the Don Kelley Band was a formidable education for the young musician. Jamming regularly with Nashville’s most seasoned players, stalwart pickers who may have played in Buck Owens’ band, or Dolly Parton’s, or Alan Jackson’s, expanded his musical vocabulary while honing his stage presence. Along the way he was soaking up stories of adventures on the road and learning about the ups and downs of the music business. In short, he was gaining priceless life lessons and a musical education from wells that run deep into the musical history of Nashville.   

Around the time he turned 18, one of Donato’s high-school teachers, a serious music lover who had seen his student play at Robert’s, gave him a Grateful Dead box set. It was another eureka moment for the guitarist. His love for the Dead may have been ignited much earlier by virtue of the fact that his mother was a bona fide Deadhead who followed the group on tour when she was pregnant with the future guitarist, but it was that collection that changed the way he looked at music. “It gave me a tie to all of the classic country gold I’d been working down at the honky-tonks each weekend,” he said. “Grateful Dead and Merle Haggard had always lived in my heart, but now, the link was made, and I had a vision on how to keep it alive for this generation that I am coming from.” 

During the days of his Robert’s residency, Donato continued to busk at various locales, even playing the Grand Ole Opry, and it is the sum of all these gigs, experiences any teenage musician would kill for, that inform the sounds on A Young Man’s Country.

“Ain’t Living Long Like This,” one of three covers on the album, is a song by Waylon Jennings, who was recording at the Sound Emporium the day Donato was born. “Angel From Montgomery,” a song Donato learned on the fly while busking for tourists, pays tribute to the late John Prine. Donato recorded his unique take on the tune before Prine’s death. The Grateful Dead’s “Fire On The Mountain” is tacked on to “Meet Me In Dallas,” a tune Donato wrote while on the road with Paul Cauthen. The other seven songs, all originals, showcase the promise of a young songwriter coming into his own, one of the highlights being “Luck of the Draw.” 

The message of these songs contain the central tenet of Donato’s “Cosmic Country” ethos, which is about finding the courage to blaze your own path. As such, it is an ethos the artist extends beyond music into the channels of social media, where he’s built up a huge following of devoted “DD Heads,” as his fans call themselves. His podcast, “Daniel Donato’s Lost Highway,” brings together like-minded creatives to get at the heart of what makes artists tick, for which he’s interviewed Brothers Osborne, Brent Cobb, Orville Peck, and Garry Talent of Bruce Springsteen’s E Street Band.

Incubated to the sounds of the Dead, educated by some of Nashville’s finest players, and having more than 2,000 shows under his belt and a social media presence, Daniel Donato is indeed a millennial whirligig of creative fire. He’s been dabbling in professional music since the age of 14 and yet he’s just getting started. A Young Man’s Country is the portrait of a restless artist as a young man, one whose story is singular and is still in its exciting, early chapters -- and as this effort shows, the future is indeed cosmic. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240105T174606Z X-ACCESS:1 X-HITS:2010 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240112T200000 DTEND;TZID=America/Denver:20240112T233000 UID:BEC44A7D-58AD-4889-845E-E90E827E410B SUMMARY:Victor Wooten and the Wooten Brothers DTSTAMP:20230928T161009Z DESCRIPTION:Victor, bass guitar/vocals; Joseph, keyboards/vocals; Roy, percussion/vocals; and Regi, guitars/vocals. For over four decades the Wooten Brothers have been recognized as some of the most innovative musicians in existence and are collectively known as one of the most talented and dynamic band of brothers the world has ever known. Since they were young, the five brothers have been a musical tour-de-force redefining the limits of jazz, funk, soul, R&B, rock, and bluegrass. Sons of military parents, their early years were spent living in different states including Hawaii, California, and Virginia where they shared stages with the likes of Curtis Mayfield, The Temptations, Ramsey Lewis, Stephanie Mills, War, and other artists. In the mid 80’s, the brothers released an album as The Wootens for Clive Davis’ Arista Records. This will be the brother’s first tour together as a band since the untimely death of their saxophone-playing brother Rudy a few years ago.\NVictor Wooten, a five-time Grammy Award-winning artist, has graced the cover of Bass Player Magazine five times. He is a founding member of the eclectic group Bela Fleck and the Flecktones and is recognized as one of the greatest living bassist today often drawing comparisons to Jaco Pastorius, and was named one of the “Top ten bassist of all time”by Rolling Stone Magazine. He is also an award-nominated author, naturalist, and music educator and has been running his unique music/nature camps since the year 2000. Wooten’s camps are held at his own Wooten Woods, which is just outside of Nashville. In 2010, he started his own record label, Vix Records, which has released a series of acclaimed recordings over the last few years.\NJoseph Wooten has a dizzying list of talents that is impressive even by the Wooten clan’s standards. Currently the keyboardist for the Steve Miller Band (since 1993), he is also a composer, orchestrator, motivational speaker, and has been showcased as an amazing vocalist since he was a child. In 1981, Joseph became known as the “overnight accordion player” when he literally auditioned, bought an accordion, and began performing within a matter of a few days for the Busch Gardens amusement park in Williamsburg, VA. He has collaborated with the likes of Whitney Houston and Kenny G, and when not touring with Miller, leads his own band, performs with Freedom Sings, and even helps out his little brother as keyboardist, vocalist, and composer for The Victor Wooten Band. Roy “Futureman” Wooten, also a five-time Grammy Award winner, is best known for his masterful drumming and percussion skills and is a founding member Bela Fleck and the Flecktones. Roy, a seasoned drum set player, is mostly known for his frenzied, inimitable on-stage performances heightened by his surreal choice of instruments: his trademark inventions “The Drumitar” and “RoyEl” keyboard. He is also a philosopher, researcher, filmmaker, and educator. His impressive solo career and “Black Mozart” projects scan the genres of classical, jazz, soul, gospel, and spoken word.\NRegi Wooten’s signature guitar style of chording, slapping, tapping and frenzied strumming has earned him world-wide notoriety and comparisons to Jimi Hendrix, Frank Zappa and Chuck Berry. In recent years, Regi has performed with many artists including the legendary Ginger Baker. Regi, known worldwide as “The Teacher”, currently teaches music in Nashville, TN and has taught many notable musicians. He was teaching his little brothers Joseph and Victor when he himself was only 9 years old. One of his early, but lasting contributions was the composition of his and his brother’s high school Alma Mater.\NTogether The Wooten Brothers bring an uncanny level of experience, originality, and musical expertise to the stage. Their shows will be a high-energy, super-funky, artistic blend of styles including original songs and classics. In short: these brothers are the real deal and their shows are not to be missed. X-ALT-DESC;FMTTYPE=text/html:

Victor, bass guitar/vocals; Joseph, keyboards/vocals; Roy, percussion/vocals; and Regi, guitars/vocals. For over four decades the Wooten Brothers have been recognized as some of the most innovative musicians in existence and are collectively known as one of the most talented and dynamic band of brothers the world has ever known. Since they were young, the five brothers have been a musical tour-de-force redefining the limits of jazz, funk, soul, R&B, rock, and bluegrass. Sons of military parents, their early years were spent living in different states including Hawaii, California, and Virginia where they shared stages with the likes of Curtis Mayfield, The Temptations, Ramsey Lewis, Stephanie Mills, War, and other artists. In the mid 80’s, the brothers released an album as The Wootens for Clive Davis’ Arista Records. This will be the brother’s first tour together as a band since the untimely death of their saxophone-playing brother Rudy a few years ago.

Victor Wooten, a five-time Grammy Award-winning artist, has graced the cover of Bass Player Magazine five times. He is a founding member of the eclectic group Bela Fleck and the Flecktones and is recognized as one of the greatest living bassist today often drawing comparisons to Jaco Pastorius, and was named one of the “Top ten bassist of all time”by Rolling Stone Magazine. He is also an award-nominated author, naturalist, and music educator and has been running his unique music/nature camps since the year 2000. Wooten’s camps are held at his own Wooten Woods, which is just outside of Nashville. In 2010, he started his own record label, Vix Records, which has released a series of acclaimed recordings over the last few years.

Joseph Wooten has a dizzying list of talents that is impressive even by the Wooten clan’s standards. Currently the keyboardist for the Steve Miller Band (since 1993), he is also a composer, orchestrator, motivational speaker, and has been showcased as an amazing vocalist since he was a child. In 1981, Joseph became known as the “overnight accordion player” when he literally auditioned, bought an accordion, and began performing within a matter of a few days for the Busch Gardens amusement park in Williamsburg, VA. He has collaborated with the likes of Whitney Houston and Kenny G, and when not touring with Miller, leads his own band, performs with Freedom Sings, and even helps out his little brother as keyboardist, vocalist, and composer for The Victor Wooten Band. Roy “Futureman” Wooten, also a five-time Grammy Award winner, is best known for his masterful drumming and percussion skills and is a founding member Bela Fleck and the Flecktones. Roy, a seasoned drum set player, is mostly known for his frenzied, inimitable on-stage performances heightened by his surreal choice of instruments: his trademark inventions “The Drumitar” and “RoyEl” keyboard. He is also a philosopher, researcher, filmmaker, and educator. His impressive solo career and “Black Mozart” projects scan the genres of classical, jazz, soul, gospel, and spoken word.

Regi Wooten’s signature guitar style of chording, slapping, tapping and frenzied strumming has earned him world-wide notoriety and comparisons to Jimi Hendrix, Frank Zappa and Chuck Berry. In recent years, Regi has performed with many artists including the legendary Ginger Baker. Regi, known worldwide as “The Teacher”, currently teaches music in Nashville, TN and has taught many notable musicians. He was teaching his little brothers Joseph and Victor when he himself was only 9 years old. One of his early, but lasting contributions was the composition of his and his brother’s high school Alma Mater.

Together The Wooten Brothers bring an uncanny level of experience, originality, and musical expertise to the stage. Their shows will be a high-energy, super-funky, artistic blend of styles including original songs and classics. In short: these brothers are the real deal and their shows are not to be missed.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240110T195052Z X-ACCESS:1 X-HITS:2198 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240118T200000 DTEND;TZID=America/Denver:20240118T233000 UID:6422A020-C902-4D07-9AB6-4EBE4ACB1D75 SUMMARY:A Better Trip with Shane Mauss DTSTAMP:20231213T005419Z DESCRIPTION:Comedy + Science + Art + Psychedelics = A Better Trip\NJourney into the mind of a psychedelic astronaut with a consciousness-expanding comedy experience. At the intersection of science, humor, and psychedelics comes "A Better Trip," the latest work from Shane Mauss.\NOriginally a residency at AREA15 in Las Vegas–this hilariously heady event highlights Shane’s personal psychedelic experiences and examines the history, science, and culture of psychedelics.  Accompanied by a vivid display of mind-blowing visuals and custom animations that back the entire performance, this one-of-a-kind show articulates the psychedelic experience.\NAbout Shane Mauss\NStand-up credits include: Kimmel, Showtime, Netflix, multiple Comedy Central appearances and five appearances on Conan.Noteable podcast appearances include : Duncan Trussell's Family Hour, WTF, Bertcast, Whiskey Ginger, and You Made it Weird, \NAward-winning comedian, science podcaster, and mental health advocate Shane Mauss relentlessly integrates his life, interests, and imagination into creating shows that go far beyond traditional stand-up. \NKnown for his uncanny description of psychedelic experiences, Shane’s Comedy Central "Tales From The Trip" videos have millions of views and his last SOLD-OUT tour ("A Good Trip") inspired the documentary "Psychonautics: A Comic's Exploration of Psychedelics."\NAbout The Visuals\NMICHAEL STRAUSS is a VJ, digital artist, and event producer.  Providing live visuals for legends in the psychedelic space, including Shpongle, Alex Grey, Desert Dwellers; Michael has crafted psychedelic audiovisual experiences and immersive environments for nearly 20 years.\NThe Vibe\NPart trip report, part Ted Talk, all comedy show… this 90 minute performance is a celebration of the psychedelic renaissance. X-ALT-DESC;FMTTYPE=text/html:

Comedy + Science + Art + Psychedelics = A Better Trip

Journey into the mind of a psychedelic astronaut with a consciousness-expanding comedy experience. At the intersection of science, humor, and psychedelics comes "A Better Trip," the latest work from Shane Mauss.

Originally a residency at AREA15 in Las Vegas–this hilariously heady event highlights Shane’s personal psychedelic experiences and examines the history, science, and culture of psychedelics.  Accompanied by a vivid display of mind-blowing visuals and custom animations that back the entire performance, this one-of-a-kind show articulates the psychedelic experience.

About Shane Mauss

Stand-up credits include: Kimmel, Showtime, Netflix, multiple Comedy Central appearances and five appearances on Conan.Noteable podcast appearances include : Duncan Trussell's Family Hour, WTF, Bertcast, Whiskey Ginger, and You Made it Weird, 

Award-winning comedian, science podcaster, and mental health advocate Shane Mauss relentlessly integrates his life, interests, and imagination into creating shows that go far beyond traditional stand-up. 

Known for his uncanny description of psychedelic experiences, Shane’s Comedy Central "Tales From The Trip" videos have millions of views and his last SOLD-OUT tour ("A Good Trip") inspired the documentary "Psychonautics: A Comic's Exploration of Psychedelics."

About The Visuals

MICHAEL STRAUSS is a VJ, digital artist, and event producer.  Providing live visuals for legends in the psychedelic space, including Shpongle, Alex Grey, Desert Dwellers; Michael has crafted psychedelic audiovisual experiences and immersive environments for nearly 20 years.

The Vibe

Part trip report, part Ted Talk, all comedy show… this 90 minute performance is a celebration of the psychedelic renaissance.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240116T234147Z X-ACCESS:1 X-HITS:1410 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240118T200000 DTEND;TZID=America/Denver:20240118T233000 UID:08BEB4CD-D86B-42B1-89FF-FA92363A8801 SUMMARY:A Better Trip with Shane Mauss DTSTAMP:20231213T005419Z DESCRIPTION:Comedy + Science + Art + Psychedelics = A Better Trip\NJourney into the mind of a psychedelic astronaut with a consciousness-expanding comedy experience. At the intersection of science, humor, and psychedelics comes "A Better Trip," the latest work from Shane Mauss.\NOriginally a residency at AREA15 in Las Vegas–this hilariously heady event highlights Shane’s personal psychedelic experiences and examines the history, science, and culture of psychedelics.  Accompanied by a vivid display of mind-blowing visuals and custom animations that back the entire performance, this one-of-a-kind show articulates the psychedelic experience.\NAbout Shane Mauss\NStand-up credits include: Kimmel, Showtime, Netflix, multiple Comedy Central appearances and five appearances on Conan.Noteable podcast appearances include : Duncan Trussell's Family Hour, WTF, Bertcast, Whiskey Ginger, and You Made it Weird, \NAward-winning comedian, science podcaster, and mental health advocate Shane Mauss relentlessly integrates his life, interests, and imagination into creating shows that go far beyond traditional stand-up. \NKnown for his uncanny description of psychedelic experiences, Shane’s Comedy Central "Tales From The Trip" videos have millions of views and his last SOLD-OUT tour ("A Good Trip") inspired the documentary "Psychonautics: A Comic's Exploration of Psychedelics."\NAbout The Visuals\NMICHAEL STRAUSS is a VJ, digital artist, and event producer.  Providing live visuals for legends in the psychedelic space, including Shpongle, Alex Grey, Desert Dwellers; Michael has crafted psychedelic audiovisual experiences and immersive environments for nearly 20 years.\NThe Vibe\NPart trip report, part Ted Talk, all comedy show… this 90 minute performance is a celebration of the psychedelic renaissance. X-ALT-DESC;FMTTYPE=text/html:

Comedy + Science + Art + Psychedelics = A Better Trip

Journey into the mind of a psychedelic astronaut with a consciousness-expanding comedy experience. At the intersection of science, humor, and psychedelics comes "A Better Trip," the latest work from Shane Mauss.

Originally a residency at AREA15 in Las Vegas–this hilariously heady event highlights Shane’s personal psychedelic experiences and examines the history, science, and culture of psychedelics.  Accompanied by a vivid display of mind-blowing visuals and custom animations that back the entire performance, this one-of-a-kind show articulates the psychedelic experience.

About Shane Mauss

Stand-up credits include: Kimmel, Showtime, Netflix, multiple Comedy Central appearances and five appearances on Conan.Noteable podcast appearances include : Duncan Trussell's Family Hour, WTF, Bertcast, Whiskey Ginger, and You Made it Weird, 

Award-winning comedian, science podcaster, and mental health advocate Shane Mauss relentlessly integrates his life, interests, and imagination into creating shows that go far beyond traditional stand-up. 

Known for his uncanny description of psychedelic experiences, Shane’s Comedy Central "Tales From The Trip" videos have millions of views and his last SOLD-OUT tour ("A Good Trip") inspired the documentary "Psychonautics: A Comic's Exploration of Psychedelics."

About The Visuals

MICHAEL STRAUSS is a VJ, digital artist, and event producer.  Providing live visuals for legends in the psychedelic space, including Shpongle, Alex Grey, Desert Dwellers; Michael has crafted psychedelic audiovisual experiences and immersive environments for nearly 20 years.

The Vibe

Part trip report, part Ted Talk, all comedy show… this 90 minute performance is a celebration of the psychedelic renaissance.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240118T204058Z X-ACCESS:1 X-HITS:594 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240120T200000 DTEND;TZID=America/Denver:20240120T210000 UID:AD753459-CF6C-40E7-83FA-581CB5E7755E SUMMARY:The Plastic Cherries DTSTAMP:20231204T175138Z DESCRIPTION:The Plastic Cherries began as a home recording project between couple Joseph and Shelby Maddock, making songs on old tape machines that betray an affection for glam, soft rock, shoegaze, Elliott Smith, and their dog. The first iteration of their homemade pop innocence, the album Sunshine, combines the fun and experimentation of 70’s glam rock with a dreamy DIY approach.\NTogether with bandmates Wayne Burdick (drums), Stephen Cox (bass), and Natalie Hamilton (keyboards), they can be found performing regularly in the Salt Lake City area with periodic tours of the Western U.S. A second album is in the works—a sequel to Sunshine inspired by the band’s live presence. The glittery theatrics of their show are sure to leave you sparkling the next day. X-ALT-DESC;FMTTYPE=text/html:

The Plastic Cherries began as a home recording project between couple Joseph and Shelby Maddock, making songs on old tape machines that betray an affection for glam, soft rock, shoegaze, Elliott Smith, and their dog. The first iteration of their homemade pop innocence, the album Sunshine, combines the fun and experimentation of 70’s glam rock with a dreamy DIY approach.

Together with bandmates Wayne Burdick (drums), Stephen Cox (bass), and Natalie Hamilton (keyboards), they can be found performing regularly in the Salt Lake City area with periodic tours of the Western U.S. A second album is in the works—a sequel to Sunshine inspired by the band’s live presence. The glittery theatrics of their show are sure to leave you sparkling the next day.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240119T175506Z X-ACCESS:1 X-HITS:1553 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240127T193000 DTEND;TZID=America/Denver:20240127T203000 UID:443B2018-3FA9-4E55-AF96-58AF2040AF98 SUMMARY:O Sister Where Art Thou? DTSTAMP:20231204T185250Z DESCRIPTION:The Backyard Revival presents: O Sister Where Art Thou, a live musical parody of  O Brother Where Art Thou,  featuring all your favorite songs from this beloved cinema classic, brought to life by a full cast of musicians and singers!\NThis unique show will take you on a journey to the South in 1930s, and introduces you to Jack and Betty O’ Malley, a brother and sister duo that gets into trouble with the law and brings the audience along for the ride as they hideout from the sheriff in a creatively reimagined production of this timeless favorite! \NThe show will feature an ensemble of local Utah talent including members of such bands as The Backyard Revival, The Swinging Lights, Lonesome Folk, Lucy Ave, Tycoon Machete, The Magpipes, and solo artists Dylan Roe, Mavi Blue, Rocky Velvet, Zaza Historia VanDyke and more. Don’t miss out on this one of a kind experience featuring live music, stage play, and audience interaction! \NFor even more fun make memories at the photo booth, or enjoy refreshments from the bar!  X-ALT-DESC;FMTTYPE=text/html:

The Backyard Revival presents: O Sister Where Art Thou, a live musical parody of  O Brother Where Art Thou,  featuring all your favorite songs from this beloved cinema classic, brought to life by a full cast of musicians and singers!

This unique show will take you on a journey to the South in 1930s, and introduces you to Jack and Betty O’ Malley, a brother and sister duo that gets into trouble with the law and brings the audience along for the ride as they hideout from the sheriff in a creatively reimagined production of this timeless favorite! 

The show will feature an ensemble of local Utah talent including members of such bands as The Backyard Revival, The Swinging Lights, Lonesome Folk, Lucy Ave, Tycoon Machete, The Magpipes, and solo artists Dylan Roe, Mavi Blue, Rocky Velvet, Zaza Historia VanDyke and more. Don’t miss out on this one of a kind experience featuring live music, stage play, and audience interaction! 

For even more fun make memories at the photo booth, or enjoy refreshments from the bar! 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240110T194905Z X-ACCESS:1 X-HITS:1948 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240131T200000 DTEND;TZID=America/Denver:20240131T233000 UID:30D18EFF-E1C8-4CC7-9227-395F56C17A34 SUMMARY:Lydia Loveless DTSTAMP:20230920T194134Z DESCRIPTION:Endings are messy. Falling in love is messy. Change is messy. Perhaps, change is the messiest of them all. Especially when eyes are on you; when you blast out of adolescence onto stages across the country, then into your twenties, onto more stages and, finally, into your thirties—all on those same stages. The stages that Lydia Loveless has sung her heart out on, has collapsed on, and laughed on, all mirror the stages of her life thus far for the world to see. When Loveless released her first album over a decade ago, she was still a teenager whose songs of debauchery, guzzling alcohol and doing cocaine were an audio wet dream for a certain type of listener who not only wear their music tastes on their (tattooed) sleeve, but in the lifestyle that they emulate: “outlaw” music with brains – akin to Steve Earle, Drive-By Truckers and Lucinda Williams, vintage country heart with a heartland rock soul.\NIn the end, the music industry is still sadly a man’s world and, as such, Loveless grew up in the spotlight (or perhaps, more accurately, the bar lights) while she was placed on a pedestal. Her voicemail greeting is a tongue-in-cheek ode to this: “Hi, this is Lydia Loveless, savior of cowpunk. Please leave a message and I will get back to you.”\NThe time between their late adolescence to now is defined by a shelf full of records, hundreds of thousands of miles on the road, and a ribbon of heartbreaks pockmarking their trail. Loveless is a fiercely brave writer who bluntly assesses their life in song: their struggles with alcohol and depression, and the uncertainty of not only the future, but what piecing together the past will mean for the present.\NIn 2020, they put out their excellent fourth full-length Daughter on their own label, Honey, You’re Gonna Be Late Records, with encouragement from their friend Jason Isbell, but could not tour behind it; the one consistent throughline in Loveless’ life was impossible due to the pandemic. They were living in North Carolina with their boyfriend at the time, stuck, away from the stages they grew up on, isolated from their family, and going stir-crazy. As the world came undone and then back together again, Loveless returned to Columbus, where their career first began. Starting anew, Loveless found part-time work at a recording studio (Secret Studios) and began processing the last two years of their life. The title of their new album, Nothing’s Gonna Stand In My Way Again, came easy—like a mantra from the heavens.\NNothing’s Gonna Stand in My Way Again continues the evolution of Loveless. The artist who once sang that she would rather stay home and drink gallons of wine is now on the other end of the bottle, where a bit of resignation resides. She sings on “Feel”: “I’m getting older and my jets are starting to cool, if I ever get sober it’s really over for you fools.” Though a melancholic weight rests on the record—as it was written after the breakup with her longtime boyfriend and following a period of isolation and depression during the pandemic—it also feels like a triumphant moment from an artist who’s continuing her stride. Loveless has always been a brutally honest songwriter, one whose articulation of love, heartbreak and bad habits is wrapped not only in catchy melodies but also her finesse with words.\NNothing’s Gonna Stand in My Way Again musically retains the spirit of Loveless’ previous records, but also moves past the chunky drunk and almost out-of-control riffing of their earliest work. Present here is something more akin to Rumors and Tusk-era Fleetwood Mac—and it works incredibly well. Their voice is more controlled and wiser. Although the subject matter that they are mining is, at times, desolate, they mask it with the smoother production. It’s as beautiful and tragic as a woman crying in the rain, with make-up streaming down her cheeks: at once real and mesmerizing.\NGently crushing standout “Runaway” opens with a floating piano chord, slowly building with detailed, multifaceted flourishes to a memorable chorus: “I don’t like to run, I just like to run away.” It’s a stunning showcase of Loveless’ powerhouse vocals and heart-wrenching lyricism. On “Toothache,” she sings about the mundanity of daily life feeling catastrophic enough to precipitate a breakdown, as kinetic, dynamic arrangements add to the track’s intense and claustrophobic mood. Album highlight “Sex and Money” was made for driving with the windows down on a sunny summer day, and Loveless’ wry and self-deprecating sense of humor sparkles: “I know I’m not saving the world / But I gotta live in it so I might as well splurge / On 200 cotton t-shirts with my face on the front.” “Poor Boy” recalls the excitement, energy and rebellion of bands like The Replacements, but Loveless makes the mood her own with a subtle twang and a lot of vulnerability: “I need to clean up my mess and leave the poor boy alone.”\NNothing’s Gonna Stand in My Way Again is not only a break-up record drifting back to some of the best of its kind, like Richard & Linda Thompson’s Shoot Out the Lights, Superchunk’s Foolish and of course, Fleetwood Mac’s Rumors, it’s also a reminder to keep improving oneself, taking ownership and moving forward—alone, if needed. Complex and captivating, Nothing’s Gonna Stand In My Way Again is a brave declaration from a person who has survived a lot. Here they lays bare not only their raw pain, but also the strength and resiliency they’ve earned along the way, that only Loveless could hold. X-ALT-DESC;FMTTYPE=text/html:

Endings are messy. Falling in love is messy. Change is messy. Perhaps, change is the messiest of them all. Especially when eyes are on you; when you blast out of adolescence onto stages across the country, then into your twenties, onto more stages and, finally, into your thirties—all on those same stages. The stages that Lydia Loveless has sung her heart out on, has collapsed on, and laughed on, all mirror the stages of her life thus far for the world to see. When Loveless released her first album over a decade ago, she was still a teenager whose songs of debauchery, guzzling alcohol and doing cocaine were an audio wet dream for a certain type of listener who not only wear their music tastes on their (tattooed) sleeve, but in the lifestyle that they emulate: “outlaw” music with brains – akin to Steve Earle, Drive-By Truckers and Lucinda Williams, vintage country heart with a heartland rock soul.

In the end, the music industry is still sadly a man’s world and, as such, Loveless grew up in the spotlight (or perhaps, more accurately, the bar lights) while she was placed on a pedestal. Her voicemail greeting is a tongue-in-cheek ode to this: “Hi, this is Lydia Loveless, savior of cowpunk. Please leave a message and I will get back to you.”

The time between their late adolescence to now is defined by a shelf full of records, hundreds of thousands of miles on the road, and a ribbon of heartbreaks pockmarking their trail. Loveless is a fiercely brave writer who bluntly assesses their life in song: their struggles with alcohol and depression, and the uncertainty of not only the future, but what piecing together the past will mean for the present.

In 2020, they put out their excellent fourth full-length Daughter on their own label, Honey, You’re Gonna Be Late Records, with encouragement from their friend Jason Isbell, but could not tour behind it; the one consistent throughline in Loveless’ life was impossible due to the pandemic. They were living in North Carolina with their boyfriend at the time, stuck, away from the stages they grew up on, isolated from their family, and going stir-crazy. As the world came undone and then back together again, Loveless returned to Columbus, where their career first began. Starting anew, Loveless found part-time work at a recording studio (Secret Studios) and began processing the last two years of their life. The title of their new album, Nothing’s Gonna Stand In My Way Again, came easy—like a mantra from the heavens.

Nothing’s Gonna Stand in My Way Again continues the evolution of Loveless. The artist who once sang that she would rather stay home and drink gallons of wine is now on the other end of the bottle, where a bit of resignation resides. She sings on “Feel”: “I’m getting older and my jets are starting to cool, if I ever get sober it’s really over for you fools.” Though a melancholic weight rests on the record—as it was written after the breakup with her longtime boyfriend and following a period of isolation and depression during the pandemic—it also feels like a triumphant moment from an artist who’s continuing her stride. Loveless has always been a brutally honest songwriter, one whose articulation of love, heartbreak and bad habits is wrapped not only in catchy melodies but also her finesse with words.

Nothing’s Gonna Stand in My Way Again musically retains the spirit of Loveless’ previous records, but also moves past the chunky drunk and almost out-of-control riffing of their earliest work. Present here is something more akin to Rumors and Tusk-era Fleetwood Mac—and it works incredibly well. Their voice is more controlled and wiser. Although the subject matter that they are mining is, at times, desolate, they mask it with the smoother production. It’s as beautiful and tragic as a woman crying in the rain, with make-up streaming down her cheeks: at once real and mesmerizing.

Gently crushing standout “Runaway” opens with a floating piano chord, slowly building with detailed, multifaceted flourishes to a memorable chorus: “I don’t like to run, I just like to run away.” It’s a stunning showcase of Loveless’ powerhouse vocals and heart-wrenching lyricism. On “Toothache,” she sings about the mundanity of daily life feeling catastrophic enough to precipitate a breakdown, as kinetic, dynamic arrangements add to the track’s intense and claustrophobic mood. Album highlight “Sex and Money” was made for driving with the windows down on a sunny summer day, and Loveless’ wry and self-deprecating sense of humor sparkles: “I know I’m not saving the world / But I gotta live in it so I might as well splurge / On 200 cotton t-shirts with my face on the front.” “Poor Boy” recalls the excitement, energy and rebellion of bands like The Replacements, but Loveless makes the mood her own with a subtle twang and a lot of vulnerability: “I need to clean up my mess and leave the poor boy alone.”

Nothing’s Gonna Stand in My Way Again is not only a break-up record drifting back to some of the best of its kind, like Richard & Linda Thompson’s Shoot Out the Lights, Superchunk’s Foolish and of course, Fleetwood Mac’s Rumors, it’s also a reminder to keep improving oneself, taking ownership and moving forward—alone, if needed. Complex and captivating, Nothing’s Gonna Stand In My Way Again is a brave declaration from a person who has survived a lot. Here they lays bare not only their raw pain, but also the strength and resiliency they’ve earned along the way, that only Loveless could hold.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231013T185704Z X-ACCESS:1 X-HITS:1667 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240202T200000 DTEND;TZID=America/Denver:20240202T210000 UID:D65A79F6-8FC4-45AD-80DA-7ED34133E746 SUMMARY:Steve Poltz DTSTAMP:20231113T175926Z DESCRIPTION:This is the story of Steve Poltz. \NSome people start life with a plan. Not Steve. He opens himself up to the universe in a way most of us will never be loose enough to achieve, and the universe responds with a wink, a seemingly bottomless well of inspiration, and the talent to truly connect with an audience. While 2021 could have found him adrift, faced with a tour moratorium the likes of which he hadn’t experienced in decades, it opened a door — literally, his friend Oliver Wood of The Wood Brother’s door  — to creating an exuberant, thoughtful batch of songs that celebrate life in all of its stages. \NThe resulting album is called Stardust & Satellites [Red House / Compass Records]. \N“I just make stuff up,” he exclaims, quipping, “it sounded good to say that.” Steve is the sort of prolific writer and collaborator who downplays what seems like a non-stop geyser of creativity. “I have no rhyme or reason for what I do. It’s all magic. I go by instinct. It just felt right, so I went with it.”\NThe “it” in question is one of those serendipitous situations that were created by the pandemic. Steve, a road dog and performance junkie who regularly spends 300+ days a year on the road, bringing it to the people, should’ve been on tour last year. Esteemed Nashville roots rockers The Wood Brothers (Chris Wood being a former neighbor to Steve), also should’ve been on tour. Stuck in Nashville, Steve often joined the Wood Brothers for outdoor socially distant hangs, and, on a whim, decided to record one song with Oliver Wood and Jano Rix. \NThey cut “Frenemy,” a wistful, “keep your friends close and your enemies even closer” song that made it clear to all involved that they’d stumbled onto something special. With no studio clock ticking, no schedule or deadlines to meet, the companionship and ability to collaborate with like-minded musicians added a joyful diversion to what was a boring-ass year. Musically, the sky was the limit, and the group of musicians and friends embarked on a musical experience that found cast and crew reaching toward the stratosphere with Stardust & Satellites, which Oliver and Jano Rix of The Wood Brothers produced. \NThe album begins with the lithe fingerpicking of “Wrong Town,” an anthem summing up the life of an itinerant songwriter/performer, where he declares, “The truth is I have no plan at all,” going on to cite Emmylou Harris and Don Was as his style icons. It’s a “pleased to meet me” sort of song, and it was written to greet the audience at the Telluride Bluegrass Festival in 2019. “I wanted to write an opening song,” Steve recalls.“I sat down with fellow Nashville songwriter Anthony da Costa, and ‘Wrong Town’ just appeared.” \NBut even gonzo guys have their moments where the cycle of life seems to be almost too much to bear. “Conveyor Belt” is a heartfelt song, a song that could only be written at a certain point in one’s life, and that point is when you’re saying goodbye to your parents and addressing your own mortality. Steve explains, "My mom passed away, and then a few years later my dad crossed over. I started thinking that I was next on the conveyor belt in a factory on the wheel of time. Next thing I know, I grabbed my guitar and this song appeared to me like a gift. It didn’t exist and then voila, there it was. I feel lucky to be a conduit." \NThe song is written over a gentle, repetitive melody that moves along with the inevitability of ye old sands of time. For fans, it’s a different side of Steve, using a voice and a new solemnity for a song that touches a universal nerve.\NOn one of the last nights of the recording sessions, Steve locked himself up in his writing room and within an hour, had conjured the catchy, effervescent “Can O’ Pop,” destined to be the radio single. \N“Jano from The Wood Brothers was leaving the studio, and I asked him to give me a beat, and I told him I’d write a song with the beat he gave me,” recalls Steve. The exuberant, syncopated groove seems to bubble up as Steve admits, in his best mid-period Dylan, “I want to feel the fizzy rhythm with you.”  \N“Hey, Everyone loves a can of pop” he cracks.\NAmong other highlights, “It’s Baseball Season” seesaws on a sunny acoustic guitar as he pays homage to America’s favorite pastime. Poltz is a true fan, and the song’s laid-back, relaxed vibe speaks of carefree days at the ballpark. Steve even pays tribute to legendary baseball announcer Ernie Harwell.\NWith a cult following that includes fellow musicians, regular folks and festival goers who stumble onto his performances, there’s no common denominator to Steve’s fans. Born in Halifax, Nova Scotia and raised in San Diego, CA Steve toured and recorded with San Diego cult favorites The Rugburns (they still play annual sold-out reunion shows). But it was through his creative partnership with Jewel that he vaulted into the national spotlight; co-writing her multiplatinum Billboard Hot 100-busting smash, “You Were Meant For Me,” and continues to work with her to this day.\NOver the years, the Nashville-based troubadour has built a fascinating solo catalog, earmarked by his debut, One Left Shoe, Dreamhouse, Folk Singer, and 2019’s Shine On. No Depression crowned him, "A sardonic provocateur with a lighthearted acoustic-driven wit, suggesting at times a sunnier, less psychedelic Todd Snider, or maybe a less wan, washed Jackson Brown,” while the Associated Press dubbed him "part busker, part Iggy Pop and part Robin Williams, a freewheeling folkie with a quick wit and big heart.”\NAmong other collaborations, GRAMMY-winning bluegrass phenom Billy Strings tapped him to co-write “Leaders” on 2021’s Renewal and he’s co-written with Molly Tuttle, Sierra Hull, Nicki Bluhm, Oliver Wood and even Mojo Nixon.\NHe’s resumed his tour schedule, and when he comes to your town, he’ll say, as he does every night, “This is the best show I’ve ever played.” And hell, maybe it just is.\NUltimately, Steve never needed a plan. \NHe’s something of a natural, after all.  X-ALT-DESC;FMTTYPE=text/html:

This is the story of Steve Poltz. 

Some people start life with a plan. Not Steve. He opens himself up to the universe in a way most of us will never be loose enough to achieve, and the universe responds with a wink, a seemingly bottomless well of inspiration, and the talent to truly connect with an audience. While 2021 could have found him adrift, faced with a tour moratorium the likes of which he hadn’t experienced in decades, it opened a door — literally, his friend Oliver Wood of The Wood Brother’s door  — to creating an exuberant, thoughtful batch of songs that celebrate life in all of its stages. 

The resulting album is called Stardust & Satellites [Red House / Compass Records]. 

“I just make stuff up,” he exclaims, quipping, “it sounded good to say that.” Steve is the sort of prolific writer and collaborator who downplays what seems like a non-stop geyser of creativity. “I have no rhyme or reason for what I do. It’s all magic. I go by instinct. It just felt right, so I went with it.”

The “it” in question is one of those serendipitous situations that were created by the pandemic. Steve, a road dog and performance junkie who regularly spends 300+ days a year on the road, bringing it to the people, should’ve been on tour last year. Esteemed Nashville roots rockers The Wood Brothers (Chris Wood being a former neighbor to Steve), also should’ve been on tour. Stuck in Nashville, Steve often joined the Wood Brothers for outdoor socially distant hangs, and, on a whim, decided to record one song with Oliver Wood and Jano Rix. 

They cut “Frenemy,” a wistful, “keep your friends close and your enemies even closer” song that made it clear to all involved that they’d stumbled onto something special. With no studio clock ticking, no schedule or deadlines to meet, the companionship and ability to collaborate with like-minded musicians added a joyful diversion to what was a boring-ass year. Musically, the sky was the limit, and the group of musicians and friends embarked on a musical experience that found cast and crew reaching toward the stratosphere with Stardust & Satellites, which Oliver and Jano Rix of The Wood Brothers produced. 

The album begins with the lithe fingerpicking of “Wrong Town,” an anthem summing up the life of an itinerant songwriter/performer, where he declares, “The truth is I have no plan at all,” going on to cite Emmylou Harris and Don Was as his style icons. It’s a “pleased to meet me” sort of song, and it was written to greet the audience at the Telluride Bluegrass Festival in 2019. “I wanted to write an opening song,” Steve recalls.“I sat down with fellow Nashville songwriter Anthony da Costa, and ‘Wrong Town’ just appeared.” 

But even gonzo guys have their moments where the cycle of life seems to be almost too much to bear. “Conveyor Belt” is a heartfelt song, a song that could only be written at a certain point in one’s life, and that point is when you’re saying goodbye to your parents and addressing your own mortality. Steve explains, "My mom passed away, and then a few years later my dad crossed over. I started thinking that I was next on the conveyor belt in a factory on the wheel of time. Next thing I know, I grabbed my guitar and this song appeared to me like a gift. It didn’t exist and then voila, there it was. I feel lucky to be a conduit." 

The song is written over a gentle, repetitive melody that moves along with the inevitability of ye old sands of time. For fans, it’s a different side of Steve, using a voice and a new solemnity for a song that touches a universal nerve.

On one of the last nights of the recording sessions, Steve locked himself up in his writing room and within an hour, had conjured the catchy, effervescent “Can O’ Pop,” destined to be the radio single. 

“Jano from The Wood Brothers was leaving the studio, and I asked him to give me a beat, and I told him I’d write a song with the beat he gave me,” recalls Steve. The exuberant, syncopated groove seems to bubble up as Steve admits, in his best mid-period Dylan, “I want to feel the fizzy rhythm with you.”  

“Hey, Everyone loves a can of pop” he cracks.

Among other highlights, “It’s Baseball Season” seesaws on a sunny acoustic guitar as he pays homage to America’s favorite pastime. Poltz is a true fan, and the song’s laid-back, relaxed vibe speaks of carefree days at the ballpark. Steve even pays tribute to legendary baseball announcer Ernie Harwell.

With a cult following that includes fellow musicians, regular folks and festival goers who stumble onto his performances, there’s no common denominator to Steve’s fans. Born in Halifax, Nova Scotia and raised in San Diego, CA Steve toured and recorded with San Diego cult favorites The Rugburns (they still play annual sold-out reunion shows). But it was through his creative partnership with Jewel that he vaulted into the national spotlight; co-writing her multiplatinum Billboard Hot 100-busting smash, “You Were Meant For Me,” and continues to work with her to this day.

Over the years, the Nashville-based troubadour has built a fascinating solo catalog, earmarked by his debut, One Left Shoe, Dreamhouse, Folk Singer, and 2019’s Shine On. No Depression crowned him, "A sardonic provocateur with a lighthearted acoustic-driven wit, suggesting at times a sunnier, less psychedelic Todd Snider, or maybe a less wan, washed Jackson Brown,” while the Associated Press dubbed him "part busker, part Iggy Pop and part Robin Williams, a freewheeling folkie with a quick wit and big heart.”

Among other collaborations, GRAMMY-winning bluegrass phenom Billy Strings tapped him to co-write “Leaders” on 2021’s Renewal and he’s co-written with Molly Tuttle, Sierra Hull, Nicki Bluhm, Oliver Wood and even Mojo Nixon.

He’s resumed his tour schedule, and when he comes to your town, he’ll say, as he does every night, “This is the best show I’ve ever played.” And hell, maybe it just is.

Ultimately, Steve never needed a plan. 

He’s something of a natural, after all. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231207T191324Z X-ACCESS:1 X-HITS:917 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240203T200000 DTEND;TZID=America/Denver:20240203T233000 UID:C429FF21-8714-4E32-94EC-6DA5A95C08DD SUMMARY:Slothrust DTSTAMP:20231017T164218Z DESCRIPTION:There’s cover songs, and then there’s the many ways Leah Wellbaum and Will Gorin have flipped their favorite tracks over the past 15 years. Not just with their longtime band Slothrust either. The Sarah Lawrence grads first bonded over the blues, a way to apply the progressive lesson plans of teachers like Mike Longo — a pianist who played with such jazz pioneers as Dizzy Gillespie and Lee Konitz — to fearless riffs and rhythms that feel like total rewrites. \NGorin is quick to credit Longo’s “Three I’s” lesson — imitation, incubation, and innovation — in particular. The main takeaway? That the best music comes from building upon other people’s ideas, rather than simply replicating or revisiting them. \NThe clearest example of this would be the Slothrust record Show Me How You Want It to Be, a cover song compilation that dropped sand-blasted renditions of The Turtles (“Happy Together”) and Marcy’s Playground (“Sex and Candy”) alongside spare takes on Al Green (“Let’s Stay Together”) and Sam Cooke (“Cupid”). \NHeading even further out into left field is the new EP I Promise, a wild ride that includes a raw performance of “Somewhere Over the Rainbow” and not one but four different recordings of the slo-mo smash “Pony.” The latter takes its cues from Ginuwine’s cassingle, which split its sides between a vibrant album version, drawn-out director’s cut, Timbaland’s iconic beat, and Ginuwine’s carnal a cappella. \NSlothrust takes the track down two distinct paths built around the original’s three powerhouse chords and effervescent low end. One swings like a lithe slice of sludgy rock ‘n’ roll, and the other dives straight off the deep end for 10 extra minutes, playing to the pair’s strengths as well-rounded mind readers. \N“It’s always fun to leave space in the music where improvisation is possible,” explains Wellbaum, “and that is part of what is so exciting to us about the extended version of ‘Pony’; it’s entirely improvised, and we only did one performance of it in the studio.” \N“One of my all-time favorite quotes is from composer Claude Debussy,” adds Gorin. “I first discovered it in Miles Davis’ biography, when he said ‘music is the space between the notes.’ I approach my playing with that kind of energy, with an emphasis on filling negative space with symmetrical or asymmetrical patterns.” \NThe same can be said for the two snappy, tightly wound tracks that also landed on I Promise, “Maybe Maybe” and “Magic Glow.” Written by Wellbaum while she was living in Florida last year and ending a “really long and beautifully dramatic relationship,” the songs are both poetic and poppy, working in hummable nods to liminal spaces, ceremonial magic, and eco-sexuality alongside a slick rhythm section (featuring Gorin on drums and bass for the first time) and Welbaum’s manic guitar melodies.   \N“The two originals on this EP are good examples of songs that wrote themselves,” says Wellbaum. “I decided that I wanted to do guitar-driven, dynamic rock songs and I wrote these two as a pair, which happens to me a lot.”\NAnother recent example of songs that seemed to finish each other’s sentences — sonically and lyrically — would be “Courtesy” and “Waiting” from Slothrust’s last record, 2021’s Parallel Timeline LP. All of this synchronicity makes perfect sense, of course. After all, Slothrust’s breakthrough album (Of Course You Do) is about to celebrate its tenth anniversary, and the band’s core duo have connected on a kismet level ever since those early days. \N“Will and I have been playing different genres of music in different configurations together for almost 15 years now and that is a big part of our lock,” says Wellbaum. “We know how to work with each other in a variety of different settings and how to communicate outside of what we do specifically. That offers us tremendous freedom.”\N“I feel like we have developed our own unique sound to the point where we can ask ourselves ‘what would Slothrust do?’” adds` Gorin. “The paradox being that if Slothrust knew what Slothrust would do, Slothrust would do the opposite.”  X-ALT-DESC;FMTTYPE=text/html:

There’s cover songs, and then there’s the many ways Leah Wellbaum and Will Gorin have flipped their favorite tracks over the past 15 years. Not just with their longtime band Slothrust either. The Sarah Lawrence grads first bonded over the blues, a way to apply the progressive lesson plans of teachers like Mike Longo — a pianist who played with such jazz pioneers as Dizzy Gillespie and Lee Konitz — to fearless riffs and rhythms that feel like total rewrites. 

Gorin is quick to credit Longo’s “Three I’s” lesson — imitation, incubation, and innovation — in particular. The main takeaway? That the best music comes from building upon other people’s ideas, rather than simply replicating or revisiting them. 

The clearest example of this would be the Slothrust record Show Me How You Want It to Be, a cover song compilation that dropped sand-blasted renditions of The Turtles (“Happy Together”) and Marcy’s Playground (“Sex and Candy”) alongside spare takes on Al Green (“Let’s Stay Together”) and Sam Cooke (“Cupid”). 

Heading even further out into left field is the new EP I Promise, a wild ride that includes a raw performance of “Somewhere Over the Rainbow” and not one but four different recordings of the slo-mo smash “Pony.” The latter takes its cues from Ginuwine’s cassingle, which split its sides between a vibrant album version, drawn-out director’s cut, Timbaland’s iconic beat, and Ginuwine’s carnal a cappella. 

Slothrust takes the track down two distinct paths built around the original’s three powerhouse chords and effervescent low end. One swings like a lithe slice of sludgy rock ‘n’ roll, and the other dives straight off the deep end for 10 extra minutes, playing to the pair’s strengths as well-rounded mind readers. 

“It’s always fun to leave space in the music where improvisation is possible,” explains Wellbaum, “and that is part of what is so exciting to us about the extended version of ‘Pony’; it’s entirely improvised, and we only did one performance of it in the studio.” 

“One of my all-time favorite quotes is from composer Claude Debussy,” adds Gorin. “I first discovered it in Miles Davis’ biography, when he said ‘music is the space between the notes.’ I approach my playing with that kind of energy, with an emphasis on filling negative space with symmetrical or asymmetrical patterns.” 

The same can be said for the two snappy, tightly wound tracks that also landed on I Promise, “Maybe Maybe” and “Magic Glow.” Written by Wellbaum while she was living in Florida last year and ending a “really long and beautifully dramatic relationship,” the songs are both poetic and poppy, working in hummable nods to liminal spaces, ceremonial magic, and eco-sexuality alongside a slick rhythm section (featuring Gorin on drums and bass for the first time) and Welbaum’s manic guitar melodies.   

“The two originals on this EP are good examples of songs that wrote themselves,” says Wellbaum. “I decided that I wanted to do guitar-driven, dynamic rock songs and I wrote these two as a pair, which happens to me a lot.”

Another recent example of songs that seemed to finish each other’s sentences — sonically and lyrically — would be “Courtesy” and “Waiting” from Slothrust’s last record, 2021’s Parallel Timeline LP. All of this synchronicity makes perfect sense, of course. After all, Slothrust’s breakthrough album (Of Course You Do) is about to celebrate its tenth anniversary, and the band’s core duo have connected on a kismet level ever since those early days. 

“Will and I have been playing different genres of music in different configurations together for almost 15 years now and that is a big part of our lock,” says Wellbaum. “We know how to work with each other in a variety of different settings and how to communicate outside of what we do specifically. That offers us tremendous freedom.”

“I feel like we have developed our own unique sound to the point where we can ask ourselves ‘what would Slothrust do?’” adds` Gorin. “The paradox being that if Slothrust knew what Slothrust would do, Slothrust would do the opposite.” 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240202T192938Z X-ACCESS:1 X-HITS:1200 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240209T200000 DTEND;TZID=America/Denver:20240209T210000 UID:2FECAEC5-6DBC-48D3-A66C-8286C09B84D4 SUMMARY:Wildflowers DTSTAMP:20231218T232155Z DESCRIPTION:On Feb. 9, 2024, an all-star group of musicians will celebrate one of the greatest American songwriters (and bands) of the past century: Tom Petty. In honor of the 30th anniversary of Petty's iconic Wildflowers album, the band and a ridiculously great roster of guest singers will perform Wildflowers in its entirety plus more hits from the legendary albums of Tom Petty & The Heartbreakers. From the same people who brought you 2023's tribute to Neil Young's Harvest, this show features singers and musicians from The National Parks, Neon Trees, Fictionist, Goldmyth, Seaslak, The Lower Lights, Book On Tapeworm, The Hollering Pines, Cardinal Bloom, Mideau, Pinguin Mofex, Lantern By Sea, and many more. X-ALT-DESC;FMTTYPE=text/html:

On Feb. 9, 2024, an all-star group of musicians will celebrate one of the greatest American songwriters (and bands) of the past century: Tom Petty. In honor of the 30th anniversary of Petty's iconic Wildflowers album, the band and a ridiculously great roster of guest singers will perform Wildflowers in its entirety plus more hits from the legendary albums of Tom Petty & The Heartbreakers. From the same people who brought you 2023's tribute to Neil Young's Harvest, this show features singers and musicians from The National Parks, Neon Trees, Fictionist, Goldmyth, Seaslak, The Lower Lights, Book On Tapeworm, The Hollering Pines, Cardinal Bloom, Mideau, Pinguin Mofex, Lantern By Sea, and many more.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240201T164938Z X-ACCESS:1 X-HITS:4245 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240216T200000 DTEND;TZID=America/Denver:20240216T210000 UID:BE991A14-5D43-4B1C-A0C4-B214FA1D43A9 SUMMARY:John Craigie (Night 1) DTSTAMP:20231009T180012Z DESCRIPTION:Portland, OR-based singer, songwriter, and producer John Craigie adapts moments of solitude into stories perfectly suited for old Americana fiction anthologies. Instead of leaving them on dog-eared pages, he projects them widescreen in flashes of simmering soul and folk eloquence. On his 2022 full-length album, Mermaid Salt, we witness revenge unfurled in flames, watch a landlocked mermaid’s escape, and fall asleep under a meteor shower. \NAfter selling out shows consistently coast-to-coast and earning acclaim from Rolling Stone, Glide Magazine, No Depression, and many more, his unflinching honesty ties these ten tracks together.\NThe album comes from the solitude and loneliness of lockdown in the Northwest. Someone whose life was touring, traveling, and having lots of human interaction is faced with an undefinable amount of time without those things. So, he began writing new songs and envisioning an album that was different from his past records. The sound of everyone playing live in a room together was traded for the sound of song construction with an unknown amount of instruments and musicians—a quiet symphony.\NRather than steal away to a cabin or hole up in a house with friends, Craigie opted to set up shop at the OK Theater in Enterprise, OR with longtime collaborator Bart Budwig behind the board as engineer. A rotating cast of musicians shuffled in and out safely, distinguishing the process from the communal recording of previous releases. The core players included Justin Landis, Cooper Trail, and Nevada Sowle. Meanwhile, Shook Twins lent their signature vocal harmonies, Bevin Foley arranged, composed, and performed strings, and Ben Walden dropped in for guitar and violin plucking parts.\N“Instruments were scattered around the theater and microphones placed in various spots,” he recalls. “It’s hard to say who all played what exactly.”\NAs such, the spirit in the room guided everyone. On “Distance,” warm piano glows alongside a glitchy beat as he softly laments, “I could lose you to the loneliness, vast and infinite.” Then, there’s “Helena.” A jazz-y bass line snakes through head-nodding percussion as he relays an incendiary parable of a mother  and son in exile. He croons, “She said fire was how we’d make ‘em pay. As I ran across the fields, she would scream, ‘Light it up son’,” uplifted in a conflagration of Shook Twins’ harmonies. Strings echo in the background as his vocals quake front-and-center on “Street Mermaid.” \NElsewhere, the guitar-laden “Microdose” beguiles and bewitches with an intoxicating refrain dedicated to a time where he “Microdosed for months and months, dissolve my ego in the acid.” Everything culminates on the glassy beat-craft and glistening guitars of “Perseids” where he sings, “There’s always a new heart after the old heart. Maybe a new heart is enough.”\NDuring this period, he explored the environment around him “from the Oregon coasts to the waterfalls” and read books about Levon Helm, Billie Holiday, and Ani DiFranco.\N“I got time to silence all the noise and chaos of touring and look inward,” he observes.\NCraigie had reached a series of watershed moments in tandem with Mermaid Salt. Beyond headlining venues such as The Fillmore and gracing the stage of Red Rocks Amphitheater, his 2020 offering Asterisk The Universe earned unanimous tastemaker applause. Rolling Stone noted, “tracks like ‘Don’t Deny’ and ‘Climb Up’ bridge a Sixties and Seventies songwriter vibe with the laid-back cool of Jack Johnson, an early supporter of Craigie,” while Glide Magazine hailed it as “one of his best records.” Perhaps, No Depression put it best, “For many weary and heavy- listeners hearted, the album might be exactly what they need.” Along the way, he generated over 40 million total streams and counting, speaking to his unassuming impact.\NIn the end, Craigie offers a sense of peace on Mermaid Salt. X-ALT-DESC;FMTTYPE=text/html:

Portland, OR-based singer, songwriter, and producer John Craigie adapts moments of solitude into stories perfectly suited for old Americana fiction anthologies. Instead of leaving them on dog-eared pages, he projects them widescreen in flashes of simmering soul and folk eloquence. On his 2022 full-length album, Mermaid Salt, we witness revenge unfurled in flames, watch a landlocked mermaid’s escape, and fall asleep under a meteor shower. 

After selling out shows consistently coast-to-coast and earning acclaim from Rolling Stone, Glide Magazine, No Depression, and many more, his unflinching honesty ties these ten tracks together.

The album comes from the solitude and loneliness of lockdown in the Northwest. Someone whose life was touring, traveling, and having lots of human interaction is faced with an undefinable amount of time without those things. So, he began writing new songs and envisioning an album that was different from his past records. The sound of everyone playing live in a room together was traded for the sound of song construction with an unknown amount of instruments and musicians—a quiet symphony.

Rather than steal away to a cabin or hole up in a house with friends, Craigie opted to set up shop at the OK Theater in Enterprise, OR with longtime collaborator Bart Budwig behind the board as engineer. A rotating cast of musicians shuffled in and out safely, distinguishing the process from the communal recording of previous releases. The core players included Justin Landis, Cooper Trail, and Nevada Sowle. Meanwhile, Shook Twins lent their signature vocal harmonies, Bevin Foley arranged, composed, and performed strings, and Ben Walden dropped in for guitar and violin plucking parts.

“Instruments were scattered around the theater and microphones placed in various spots,” he recalls. “It’s hard to say who all played what exactly.”

As such, the spirit in the room guided everyone. On “Distance,” warm piano glows alongside a glitchy beat as he softly laments, “I could lose you to the loneliness, vast and infinite.” Then, there’s “Helena.” A jazz-y bass line snakes through head-nodding percussion as he relays an incendiary parable of a mother  and son in exile. He croons, “She said fire was how we’d make ‘em pay. As I ran across the fields, she would scream, ‘Light it up son’,” uplifted in a conflagration of Shook Twins’ harmonies. Strings echo in the background as his vocals quake front-and-center on “Street Mermaid.” 

Elsewhere, the guitar-laden “Microdose” beguiles and bewitches with an intoxicating refrain dedicated to a time where he “Microdosed for months and months, dissolve my ego in the acid.” Everything culminates on the glassy beat-craft and glistening guitars of “Perseids” where he sings, “There’s always a new heart after the old heart. Maybe a new heart is enough.”

During this period, he explored the environment around him “from the Oregon coasts to the waterfalls” and read books about Levon Helm, Billie Holiday, and Ani DiFranco.

“I got time to silence all the noise and chaos of touring and look inward,” he observes.

Craigie had reached a series of watershed moments in tandem with Mermaid Salt. Beyond headlining venues such as The Fillmore and gracing the stage of Red Rocks Amphitheater, his 2020 offering Asterisk The Universe earned unanimous tastemaker applause. Rolling Stone noted, “tracks like ‘Don’t Deny’ and ‘Climb Up’ bridge a Sixties and Seventies songwriter vibe with the laid-back cool of Jack Johnson, an early supporter of Craigie,” while Glide Magazine hailed it as “one of his best records.” Perhaps, No Depression put it best, “For many weary and heavy- listeners hearted, the album might be exactly what they need.” Along the way, he generated over 40 million total streams and counting, speaking to his unassuming impact.

In the end, Craigie offers a sense of peace on Mermaid Salt.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240209T165712Z X-ACCESS:1 X-HITS:1491 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240217T200000 DTEND;TZID=America/Denver:20240217T233000 UID:4ADC060F-725A-426D-88EA-DEDD2E1ABE82 SUMMARY:John Craigie (Night 2) DTSTAMP:20231010T000016Z DESCRIPTION:Portland, OR-based singer, songwriter, and producer John Craigie adapts moments of solitude into stories perfectly suited for old Americana fiction anthologies. Instead of leaving them on dog-eared pages, he projects them widescreen in flashes of simmering soul and folk eloquence. On his 2022 full-length album, Mermaid Salt, we witness revenge unfurled in flames, watch a landlocked mermaid’s escape, and fall asleep under a meteor shower. \NAfter selling out shows consistently coast-to-coast and earning acclaim from Rolling Stone, Glide Magazine, No Depression, and many more, his unflinching honesty ties these ten tracks together.\NThe album comes from the solitude and loneliness of lockdown in the Northwest. Someone whose life was touring, traveling, and having lots of human interaction is faced with an undefinable amount of time without those things. So, he began writing new songs and envisioning an album that was different from his past records. The sound of everyone playing live in a room together was traded for the sound of song construction with an unknown amount of instruments and musicians—a quiet symphony.\NRather than steal away to a cabin or hole up in a house with friends, Craigie opted to set up shop at the OK Theater in Enterprise, OR with longtime collaborator Bart Budwig behind the board as engineer. A rotating cast of musicians shuffled in and out safely, distinguishing the process from the communal recording of previous releases. The core players included Justin Landis, Cooper Trail, and Nevada Sowle. Meanwhile, Shook Twins lent their signature vocal harmonies, Bevin Foley arranged, composed, and performed strings, and Ben Walden dropped in for guitar and violin plucking parts.\N“Instruments were scattered around the theater and microphones placed in various spots,” he recalls. “It’s hard to say who all played what exactly.”\NAs such, the spirit in the room guided everyone. On “Distance,” warm piano glows alongside a glitchy beat as he softly laments, “I could lose you to the loneliness, vast and infinite.” Then, there’s “Helena.” A jazz-y bass line snakes through head-nodding percussion as he relays an incendiary parable of a mother  and son in exile. He croons, “She said fire was how we’d make ‘em pay. As I ran across the fields, she would scream, ‘Light it up son’,” uplifted in a conflagration of Shook Twins’ harmonies. Strings echo in the background as his vocals quake front-and-center on “Street Mermaid.” \NElsewhere, the guitar-laden “Microdose” beguiles and bewitches with an intoxicating refrain dedicated to a time where he “Microdosed for months and months, dissolve my ego in the acid.” Everything culminates on the glassy beat-craft and glistening guitars of “Perseids” where he sings, “There’s always a new heart after the old heart. Maybe a new heart is enough.”\NDuring this period, he explored the environment around him “from the Oregon coasts to the waterfalls” and read books about Levon Helm, Billie Holiday, and Ani DiFranco.\N“I got time to silence all the noise and chaos of touring and look inward,” he observes.\NCraigie had reached a series of watershed moments in tandem with Mermaid Salt. Beyond headlining venues such as The Fillmore and gracing the stage of Red Rocks Amphitheater, his 2020 offering Asterisk The Universe earned unanimous tastemaker applause. Rolling Stone noted, “tracks like ‘Don’t Deny’ and ‘Climb Up’ bridge a Sixties and Seventies songwriter vibe with the laid-back cool of Jack Johnson, an early supporter of Craigie,” while Glide Magazine hailed it as “one of his best records.” Perhaps, No Depression put it best, “For many weary and heavy- listeners hearted, the album might be exactly what they need.” Along the way, he generated over 40 million total streams and counting, speaking to his unassuming impact.\NIn the end, Craigie offers a sense of peace on Mermaid Salt. X-ALT-DESC;FMTTYPE=text/html:

Portland, OR-based singer, songwriter, and producer John Craigie adapts moments of solitude into stories perfectly suited for old Americana fiction anthologies. Instead of leaving them on dog-eared pages, he projects them widescreen in flashes of simmering soul and folk eloquence. On his 2022 full-length album, Mermaid Salt, we witness revenge unfurled in flames, watch a landlocked mermaid’s escape, and fall asleep under a meteor shower. 

After selling out shows consistently coast-to-coast and earning acclaim from Rolling Stone, Glide Magazine, No Depression, and many more, his unflinching honesty ties these ten tracks together.

The album comes from the solitude and loneliness of lockdown in the Northwest. Someone whose life was touring, traveling, and having lots of human interaction is faced with an undefinable amount of time without those things. So, he began writing new songs and envisioning an album that was different from his past records. The sound of everyone playing live in a room together was traded for the sound of song construction with an unknown amount of instruments and musicians—a quiet symphony.

Rather than steal away to a cabin or hole up in a house with friends, Craigie opted to set up shop at the OK Theater in Enterprise, OR with longtime collaborator Bart Budwig behind the board as engineer. A rotating cast of musicians shuffled in and out safely, distinguishing the process from the communal recording of previous releases. The core players included Justin Landis, Cooper Trail, and Nevada Sowle. Meanwhile, Shook Twins lent their signature vocal harmonies, Bevin Foley arranged, composed, and performed strings, and Ben Walden dropped in for guitar and violin plucking parts.

“Instruments were scattered around the theater and microphones placed in various spots,” he recalls. “It’s hard to say who all played what exactly.”

As such, the spirit in the room guided everyone. On “Distance,” warm piano glows alongside a glitchy beat as he softly laments, “I could lose you to the loneliness, vast and infinite.” Then, there’s “Helena.” A jazz-y bass line snakes through head-nodding percussion as he relays an incendiary parable of a mother  and son in exile. He croons, “She said fire was how we’d make ‘em pay. As I ran across the fields, she would scream, ‘Light it up son’,” uplifted in a conflagration of Shook Twins’ harmonies. Strings echo in the background as his vocals quake front-and-center on “Street Mermaid.” 

Elsewhere, the guitar-laden “Microdose” beguiles and bewitches with an intoxicating refrain dedicated to a time where he “Microdosed for months and months, dissolve my ego in the acid.” Everything culminates on the glassy beat-craft and glistening guitars of “Perseids” where he sings, “There’s always a new heart after the old heart. Maybe a new heart is enough.”

During this period, he explored the environment around him “from the Oregon coasts to the waterfalls” and read books about Levon Helm, Billie Holiday, and Ani DiFranco.

“I got time to silence all the noise and chaos of touring and look inward,” he observes.

Craigie had reached a series of watershed moments in tandem with Mermaid Salt. Beyond headlining venues such as The Fillmore and gracing the stage of Red Rocks Amphitheater, his 2020 offering Asterisk The Universe earned unanimous tastemaker applause. Rolling Stone noted, “tracks like ‘Don’t Deny’ and ‘Climb Up’ bridge a Sixties and Seventies songwriter vibe with the laid-back cool of Jack Johnson, an early supporter of Craigie,” while Glide Magazine hailed it as “one of his best records.” Perhaps, No Depression put it best, “For many weary and heavy- listeners hearted, the album might be exactly what they need.” Along the way, he generated over 40 million total streams and counting, speaking to his unassuming impact.

In the end, Craigie offers a sense of peace on Mermaid Salt.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240202T202342Z X-ACCESS:1 X-HITS:921 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240218T200000 DTEND;TZID=America/Denver:20240218T233000 UID:D6A16642-7D01-4106-A423-013A1F50469A SUMMARY:John Craigie (Night 3) DTSTAMP:20231010T000002Z DESCRIPTION:Portland, OR-based singer, songwriter, and producer John Craigie adapts moments of solitude into stories perfectly suited for old Americana fiction anthologies. Instead of leaving them on dog-eared pages, he projects them widescreen in flashes of simmering soul and folk eloquence. On his 2022 full-length album, Mermaid Salt, we witness revenge unfurled in flames, watch a landlocked mermaid’s escape, and fall asleep under a meteor shower. \NAfter selling out shows consistently coast-to-coast and earning acclaim from Rolling Stone, Glide Magazine, No Depression, and many more, his unflinching honesty ties these ten tracks together.\NThe album comes from the solitude and loneliness of lockdown in the Northwest. Someone whose life was touring, traveling, and having lots of human interaction is faced with an undefinable amount of time without those things. So, he began writing new songs and envisioning an album that was different from his past records. The sound of everyone playing live in a room together was traded for the sound of song construction with an unknown amount of instruments and musicians—a quiet symphony.\NRather than steal away to a cabin or hole up in a house with friends, Craigie opted to set up shop at the OK Theater in Enterprise, OR with longtime collaborator Bart Budwig behind the board as engineer. A rotating cast of musicians shuffled in and out safely, distinguishing the process from the communal recording of previous releases. The core players included Justin Landis, Cooper Trail, and Nevada Sowle. Meanwhile, Shook Twins lent their signature vocal harmonies, Bevin Foley arranged, composed, and performed strings, and Ben Walden dropped in for guitar and violin plucking parts.\N“Instruments were scattered around the theater and microphones placed in various spots,” he recalls. “It’s hard to say who all played what exactly.”\NAs such, the spirit in the room guided everyone. On “Distance,” warm piano glows alongside a glitchy beat as he softly laments, “I could lose you to the loneliness, vast and infinite.” Then, there’s “Helena.” A jazz-y bass line snakes through head-nodding percussion as he relays an incendiary parable of a mother  and son in exile. He croons, “She said fire was how we’d make ‘em pay. As I ran across the fields, she would scream, ‘Light it up son’,” uplifted in a conflagration of Shook Twins’ harmonies. Strings echo in the background as his vocals quake front-and-center on “Street Mermaid.” \NElsewhere, the guitar-laden “Microdose” beguiles and bewitches with an intoxicating refrain dedicated to a time where he “Microdosed for months and months, dissolve my ego in the acid.” Everything culminates on the glassy beat-craft and glistening guitars of “Perseids” where he sings, “There’s always a new heart after the old heart. Maybe a new heart is enough.”\NDuring this period, he explored the environment around him “from the Oregon coasts to the waterfalls” and read books about Levon Helm, Billie Holiday, and Ani DiFranco.\N“I got time to silence all the noise and chaos of touring and look inward,” he observes.\NCraigie had reached a series of watershed moments in tandem with Mermaid Salt. Beyond headlining venues such as The Fillmore and gracing the stage of Red Rocks Amphitheater, his 2020 offering Asterisk The Universe earned unanimous tastemaker applause. Rolling Stone noted, “tracks like ‘Don’t Deny’ and ‘Climb Up’ bridge a Sixties and Seventies songwriter vibe with the laid-back cool of Jack Johnson, an early supporter of Craigie,” while Glide Magazine hailed it as “one of his best records.” Perhaps, No Depression put it best, “For many weary and heavy- listeners hearted, the album might be exactly what they need.” Along the way, he generated over 40 million total streams and counting, speaking to his unassuming impact.\NIn the end, Craigie offers a sense of peace on Mermaid Salt. X-ALT-DESC;FMTTYPE=text/html:

Portland, OR-based singer, songwriter, and producer John Craigie adapts moments of solitude into stories perfectly suited for old Americana fiction anthologies. Instead of leaving them on dog-eared pages, he projects them widescreen in flashes of simmering soul and folk eloquence. On his 2022 full-length album, Mermaid Salt, we witness revenge unfurled in flames, watch a landlocked mermaid’s escape, and fall asleep under a meteor shower. 

After selling out shows consistently coast-to-coast and earning acclaim from Rolling Stone, Glide Magazine, No Depression, and many more, his unflinching honesty ties these ten tracks together.

The album comes from the solitude and loneliness of lockdown in the Northwest. Someone whose life was touring, traveling, and having lots of human interaction is faced with an undefinable amount of time without those things. So, he began writing new songs and envisioning an album that was different from his past records. The sound of everyone playing live in a room together was traded for the sound of song construction with an unknown amount of instruments and musicians—a quiet symphony.

Rather than steal away to a cabin or hole up in a house with friends, Craigie opted to set up shop at the OK Theater in Enterprise, OR with longtime collaborator Bart Budwig behind the board as engineer. A rotating cast of musicians shuffled in and out safely, distinguishing the process from the communal recording of previous releases. The core players included Justin Landis, Cooper Trail, and Nevada Sowle. Meanwhile, Shook Twins lent their signature vocal harmonies, Bevin Foley arranged, composed, and performed strings, and Ben Walden dropped in for guitar and violin plucking parts.

“Instruments were scattered around the theater and microphones placed in various spots,” he recalls. “It’s hard to say who all played what exactly.”

As such, the spirit in the room guided everyone. On “Distance,” warm piano glows alongside a glitchy beat as he softly laments, “I could lose you to the loneliness, vast and infinite.” Then, there’s “Helena.” A jazz-y bass line snakes through head-nodding percussion as he relays an incendiary parable of a mother  and son in exile. He croons, “She said fire was how we’d make ‘em pay. As I ran across the fields, she would scream, ‘Light it up son’,” uplifted in a conflagration of Shook Twins’ harmonies. Strings echo in the background as his vocals quake front-and-center on “Street Mermaid.” 

Elsewhere, the guitar-laden “Microdose” beguiles and bewitches with an intoxicating refrain dedicated to a time where he “Microdosed for months and months, dissolve my ego in the acid.” Everything culminates on the glassy beat-craft and glistening guitars of “Perseids” where he sings, “There’s always a new heart after the old heart. Maybe a new heart is enough.”

During this period, he explored the environment around him “from the Oregon coasts to the waterfalls” and read books about Levon Helm, Billie Holiday, and Ani DiFranco.

“I got time to silence all the noise and chaos of touring and look inward,” he observes.

Craigie had reached a series of watershed moments in tandem with Mermaid Salt. Beyond headlining venues such as The Fillmore and gracing the stage of Red Rocks Amphitheater, his 2020 offering Asterisk The Universe earned unanimous tastemaker applause. Rolling Stone noted, “tracks like ‘Don’t Deny’ and ‘Climb Up’ bridge a Sixties and Seventies songwriter vibe with the laid-back cool of Jack Johnson, an early supporter of Craigie,” while Glide Magazine hailed it as “one of his best records.” Perhaps, No Depression put it best, “For many weary and heavy- listeners hearted, the album might be exactly what they need.” Along the way, he generated over 40 million total streams and counting, speaking to his unassuming impact.

In the end, Craigie offers a sense of peace on Mermaid Salt.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240201T214054Z X-ACCESS:1 X-HITS:1456 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240223T200000 DTEND;TZID=America/Denver:20240223T233000 UID:4EE24D53-6023-4FA5-96B2-ACE9AE674F67 SUMMARY:Michael Nau DTSTAMP:20231023T212948Z DESCRIPTION:Michael Nau is your favorite band’s favorite songwriter. Since the mid 2000’s, he’s crafted a catalog of thoughtful, reflective songs as the frontman of indie-rock mainstays Cotton Jones, Page France, and Michael Nau & The Mighty Thread. Now, he’s set to release the fifth full-length record under his own name. Accompany is due out 12/08/2023 on Karma Chief Records.\NAll 11 tracks come together to paint a beautiful picture. The lyrics invoke the listener’s imagination throughout. They’re introspective, but vague and open-ended. The indie rock backdrop shows signs of psych-soul influence with dry and punchy drums, lush synth lines, and tastefully verb-soaked vocal production. Sweeping string arrangements and French horn runs add cinematic motion to the waltz-y “Shiftshaping” (track 4). Slide guitar and a shuffling snare drum add some get-up-and-go to “Painting a Wall” (track 2). Nau’s vocal delivery falls somewhere between crooning to a crowd, telling stories to a loved one, and musing to himself.\NThe singer-songwriter’s relaxed attitude toward making records is discernible in the sound. A while back, veteran producer and engineer Adrien Olsen (The Killers, Lucy Dacus, Fruit Bats), approached him about recording in his Richmond, Virginia-based studio. For the first time in a while, Michael had some sessions on the calendar. He called a few old friends and put together a band. “I didn’t have much of a plan before Adrien reached out, so I wrote some songs specifically for the session,” Michael explained. “I was thinking about what would be fun to play with this specific group of guys."\NThe band consisted of several long-time collaborators and musicians who had participated in Nau’s various recording and touring efforts over the years. “It had been a while since I’d made music in a room with other people,” Michael shared. “We just sort of started playing and didn’t really talk about what was happening.” The combo’s newfound chemistry was a primary source of inspiration and, with the help of Olsen, ultimately led to an album’s-worth of music.\NNau and the band spent five days at Montrose Recording and left with a plan to return and finish up a few months later. “After the first session, I took a copy of the recordings with me to overdub a few things at my spot,” Michael shared. While he was working through it, he found a bunch of beautiful moments of jamming in between the takes. “I grabbed a bunch of the pieces and tried to work them in. Then, I dumped the whole thing onto a cassette as one long stream of songs.” With the record mostly complete, the final session at Montrose would consist of some simple overdubs and finishing touches.\NBut somehow, in the months between, he lost the overdubs. “Going into the second session, all I had was the cassette,” Michael explained. The band got back together and performed another batch of songs. At the end of their second session, they had enough music to pick and choose from for the new full-length. “The songs, as they appear on the album, are basically how they were recorded as a live band.” Grab a copy of Accompany on 12/08/2023 and keep an eye out for tour dates in the coming months. X-ALT-DESC;FMTTYPE=text/html:

Michael Nau is your favorite band’s favorite songwriter. Since the mid 2000’s, he’s crafted a catalog of thoughtful, reflective songs as the frontman of indie-rock mainstays Cotton Jones, Page France, and Michael Nau & The Mighty Thread. Now, he’s set to release the fifth full-length record under his own name. Accompany is due out 12/08/2023 on Karma Chief Records.

All 11 tracks come together to paint a beautiful picture. The lyrics invoke the listener’s imagination throughout. They’re introspective, but vague and open-ended. The indie rock backdrop shows signs of psych-soul influence with dry and punchy drums, lush synth lines, and tastefully verb-soaked vocal production. Sweeping string arrangements and French horn runs add cinematic motion to the waltz-y “Shiftshaping” (track 4). Slide guitar and a shuffling snare drum add some get-up-and-go to “Painting a Wall” (track 2). Nau’s vocal delivery falls somewhere between crooning to a crowd, telling stories to a loved one, and musing to himself.

The singer-songwriter’s relaxed attitude toward making records is discernible in the sound. A while back, veteran producer and engineer Adrien Olsen (The Killers, Lucy Dacus, Fruit Bats), approached him about recording in his Richmond, Virginia-based studio. For the first time in a while, Michael had some sessions on the calendar. He called a few old friends and put together a band. “I didn’t have much of a plan before Adrien reached out, so I wrote some songs specifically for the session,” Michael explained. “I was thinking about what would be fun to play with this specific group of guys."

The band consisted of several long-time collaborators and musicians who had participated in Nau’s various recording and touring efforts over the years. “It had been a while since I’d made music in a room with other people,” Michael shared. “We just sort of started playing and didn’t really talk about what was happening.” The combo’s newfound chemistry was a primary source of inspiration and, with the help of Olsen, ultimately led to an album’s-worth of music.

Nau and the band spent five days at Montrose Recording and left with a plan to return and finish up a few months later. “After the first session, I took a copy of the recordings with me to overdub a few things at my spot,” Michael shared. While he was working through it, he found a bunch of beautiful moments of jamming in between the takes. “I grabbed a bunch of the pieces and tried to work them in. Then, I dumped the whole thing onto a cassette as one long stream of songs.” With the record mostly complete, the final session at Montrose would consist of some simple overdubs and finishing touches.

But somehow, in the months between, he lost the overdubs. “Going into the second session, all I had was the cassette,” Michael explained. The band got back together and performed another batch of songs. At the end of their second session, they had enough music to pick and choose from for the new full-length. “The songs, as they appear on the album, are basically how they were recorded as a live band.” Grab a copy of Accompany on 12/08/2023 and keep an eye out for tour dates in the coming months.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240213T181403Z X-ACCESS:1 X-HITS:1119 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240301T200000 DTEND;TZID=America/Denver:20240301T210000 UID:9C33AA4D-FB8E-4C19-9433-734DDFEA613E SUMMARY:The Discographers: Dark Side of Oz DTSTAMP:20231213T220637Z DESCRIPTION:TAKE A TRIP down the psychedelic, rainbow-colored brick road to the Dark Side of Oz. You’ve probably heard that you can loop Pink Floyd’s classic album The Dark Side of the Moon along with the 1939 film The Wizard of Oz and come across a number of striking synchronicities. We now present a 2-hour show of Pink Floyd’s music, including the full Dark Side, in sync with video celebrating the history of Pink Floyd and all things Wizard of Oz. Be a part of this new live multimedia concert experience! X-ALT-DESC;FMTTYPE=text/html:

TAKE A TRIP down the psychedelic, rainbow-colored brick road to the Dark Side of Oz. You’ve probably heard that you can loop Pink Floyd’s classic album The Dark Side of the Moon along with the 1939 film The Wizard of Oz and come across a number of striking synchronicities. We now present a 2-hour show of Pink Floyd’s music, including the full Dark Side, in sync with video celebrating the history of Pink Floyd and all things Wizard of Oz. Be a part of this new live multimedia concert experience!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240126T171656Z X-ACCESS:1 X-HITS:1199 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240305T200000 DTEND;TZID=America/Denver:20240305T210000 UID:8C830214-761A-461C-B44A-0A107EAA9B02 SUMMARY:Briscoe DTSTAMP:20231208T230140Z DESCRIPTION:West of It All, the debut album from Americana folk-rock band Briscoe, is a coming-of-agesoundtrack set against the backdrop of the Texas Hill Country. Written in the Lone Star State andrecorded in North Carolina, it's an album that charts its own musical geography, with productionfrom Grammy nominee Brad Cook (Bon Iver, Waxahatchee, Nathaniel Rateliff & The NightSweats) and adventurous songwriting that bridges the gap between classic American roots musicand its modern-day incarnation.\NFrom free backyard performances on the outskirts of UT Austin's campus to sold-out gigs at Antone's Nightclub and The Continental Club Gallery, Briscoe's growth — like the group's music itself — has been organic. Bandmates Truett Heintzelman and Philip Lupton met as teenagers, reunited as students at UT Austin, and built their grassroots following the old-school way: by carving out a sound that nodded to the golden era of folk, rock, and pop music, then getting onstage and building a genuine relationship with their audience. Signed by ATO Records while still pursuing undergraduate degrees, the Texas natives wrote West of It All as graduation loomed in the distance, funneling the stories of their college experience — from heartbreak to hard-won lessons to weekend trips into the rural countryside — into a raw, rugged blend of classic and contemporary influences.\NWith contributions from drummer Matt McCaughan (Bon Iver) and multi-instrumentalist Phil Cook (Megafaun, Hiss Golden Messenger), West of It All offers a singular version of genre-fluid folk music, from rootsy rave-ups like "The Well" to brainy, literary songs like "Sparrows." It's a self-assured album that follows no directions but its very own, stacked organic performance and sharp songwriting that negotiates the transition from adolescence to adulthood. X-ALT-DESC;FMTTYPE=text/html:

West of It All, the debut album from Americana folk-rock band Briscoe, is a coming-of-agesoundtrack set against the backdrop of the Texas Hill Country. Written in the Lone Star State andrecorded in North Carolina, it's an album that charts its own musical geography, with productionfrom Grammy nominee Brad Cook (Bon Iver, Waxahatchee, Nathaniel Rateliff & The NightSweats) and adventurous songwriting that bridges the gap between classic American roots musicand its modern-day incarnation.

From free backyard performances on the outskirts of UT Austin's campus to sold-out gigs at Antone's Nightclub and The Continental Club Gallery, Briscoe's growth — like the group's music itself — has been organic. Bandmates Truett Heintzelman and Philip Lupton met as teenagers, reunited as students at UT Austin, and built their grassroots following the old-school way: by carving out a sound that nodded to the golden era of folk, rock, and pop music, then getting onstage and building a genuine relationship with their audience. Signed by ATO Records while still pursuing undergraduate degrees, the Texas natives wrote West of It All as graduation loomed in the distance, funneling the stories of their college experience — from heartbreak to hard-won lessons to weekend trips into the rural countryside — into a raw, rugged blend of classic and contemporary influences.

With contributions from drummer Matt McCaughan (Bon Iver) and multi-instrumentalist Phil Cook (Megafaun, Hiss Golden Messenger), West of It All offers a singular version of genre-fluid folk music, from rootsy rave-ups like "The Well" to brainy, literary songs like "Sparrows." It's a self-assured album that follows no directions but its very own, stacked organic performance and sharp songwriting that negotiates the transition from adolescence to adulthood.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240118T172118Z X-ACCESS:1 X-HITS:587 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240306T200000 DTEND;TZID=America/Denver:20240306T210000 UID:7C73FC05-8840-42E9-ABED-6C217991F8BC SUMMARY:Boogarins x Levitation Room DTSTAMP:20231211T220209Z DESCRIPTION:Boogarins’ Fernando “Dino” Almeida and Benke Ferraz began playing music together as teenagers in the central Brazilian city of Goiânia — creating psychedelic pop in their parents’ gardens, filtering their country’s rich musical history through a very modern lens. By the time the group’s home-recorded debut LP, ‘As Plantas Que Curam’ (2013), was released worldwide, the band had recruited a proper rhythm section and were developing a name around Goiânia. Soon after, the group was booking regular gigs in Sao Paulo and across the country. \NSombrero Dúvida, the band’s fourth full-length release, is a question. A play on words in Boogarins’ native Brazilian Portuguese. It’s a contraction of “Sombra ou Dúvida”, the title track of the album, which translates as ‘Shadow or Doubt’. There might seem to be a darkness to the question, given that both choices aren’t exactly cheery. Yet, Dino, the smiling, Afro-donned singer of the group tells us that “shadow” refers to a feeling related to your comfort zone, whereas doubt is the uncertainty that hits people and leads them to follow their instincts.”\N“We didn’t want to write songs telling people what to do, but instead help them find their own thing. So, there are more questions in the album than answers” Dino adds. In these days of uncertainty, perhaps there’s some comfort to be found by remaining in the shadows. X-ALT-DESC;FMTTYPE=text/html:

Boogarins’ Fernando “Dino” Almeida and Benke Ferraz began playing music together as teenagers in the central Brazilian city of Goiânia — creating psychedelic pop in their parents’ gardens, filtering their country’s rich musical history through a very modern lens. By the time the group’s home-recorded debut LP, ‘As Plantas Que Curam’ (2013), was released worldwide, the band had recruited a proper rhythm section and were developing a name around Goiânia. Soon after, the group was booking regular gigs in Sao Paulo and across the country. 

Sombrero Dúvida, the band’s fourth full-length release, is a question. A play on words in Boogarins’ native Brazilian Portuguese. It’s a contraction of “Sombra ou Dúvida”, the title track of the album, which translates as ‘Shadow or Doubt’. There might seem to be a darkness to the question, given that both choices aren’t exactly cheery. Yet, Dino, the smiling, Afro-donned singer of the group tells us that “shadow” refers to a feeling related to your comfort zone, whereas doubt is the uncertainty that hits people and leads them to follow their instincts.”

“We didn’t want to write songs telling people what to do, but instead help them find their own thing. So, there are more questions in the album than answers” Dino adds. In these days of uncertainty, perhaps there’s some comfort to be found by remaining in the shadows.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231218T181405Z X-ACCESS:1 X-HITS:721 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240308T200000 DTEND;TZID=America/Denver:20240308T210000 UID:755AA81A-2089-4F41-88B7-45A27F3B7813 SUMMARY:Margo Cilker DTSTAMP:20231208T173638Z DESCRIPTION:Margo Cilker’s sophomore album, Valley of Heart’s Delight, refers to a place she can't return: California’s Santa Clara Valley, as it was known before the orchards were paved over and became more famous for Silicon than apricots. Margo is the fifth generation of Cilker’s born there, and in this 11-song collection, family and nature intertwine as guiding motifs, at once precious and endangered, beautiful and exhausting. The trees here are family trees, or they’re apricot trees, but suburban sprawl isn’t looking good for either. Cilker moved from California to the Pacific Northwest in her mid-twenties and wrote much of Valley of Heart's Delight while living in Enterprise, Oregon, a small town near the Snake River and powered by the river’s massive, publicly-funded hydroelectric dams. The dams (part of the same system Woody Guthrie was hired to write about) provide clean electricity to much of the western US but make it extraordinarily difficult for anadromous fish (such as Steelhead Trout) to return from the ocean and spawn in their native streams. Valley Of Heart’s Delight feeds off of this tension - how we live in and off of nature, how we live within and without family, and why we return to the places we were born.\NCilker and producer Sera Cahoone’s work on her critically acclaimed Pohorylle debut earned its accolades for lyric-focused production and understated musicianship. The pair maintain this approach on Valley of Heart’s Delight, bringing back the same crew to the same studio in Vancouver, Washington: Cahoone (Sub Pop, Carissa’s Weird, Band Of Horses) drums and produces, John Morgan Askew (Neko Case, Laura Gibson) engineers, Jenny Conlee-Drizos (The Decemberists) provides piano, organ, and accordion, Rebecca Young (Lindsey Fuller) plays bass, Kelly Pratt (Beirut) on horns, and of course, sister Sarah Cilker contributes harmonies. Those in need of more twang will appreciate the addition of Paul Brainard’s (M. Ward, Richmond Fontaine) pedal steel and telecaster work, Annie Staninec's (Mary Gauthier) fiddle, and the mandolin and high lonesome harmony of Portland country standard-bearer Caleb Klauder. Cilker also branched out in her song-collecting, reeling in a cover (“Steelhead Trout”) by Idaho native Ben Walden, ostensibly because of artistic and thematic reasons, but also because, in Cilker’s words, “it’s a damn good song and I wanted to record it.” Walden also sings and plays harmonica on the track.\NCilker's debut record was released in late 2021, a year swinging wildly between cloistered days of lockdown, social engagement roaring back to life like the former ‘20s, and the Greek alphabet entering the vernacular to turn us inwards again. This tumult was echoed in the artistic life of Margo Cilker, trying in vain to predict what kind of a world her first record would be released into while writing what would become her second. As it turned out, the world was welcoming of Pohorylle. The unpronouncably-titled, darkly-jacketed, quietly-released record ended up a darling of critics and fellow songwriters and notably ended up on albums-of-the-year lists in two different years (strange times indeed). The debut was also nominated for UK Americana Album of The Year alongside Brandi Carlile and Robert Plant, and earned Cilker a slew of festival performances and tours supporting American Aquarium, Hayes Carll, and Drive-By Truckers. Between tours, Cilker made time to record Valley Of Heart’s Delight, and its release on Fluff & Gravy Records (Loose Music in the UK/EU) will be followed by a US headline tour with her longtime road band. \NMargo Cilker currently lives near the Columbia River in Goldendale, Washington with her husband, songwriter and working cowboy Forrest VanTuyl, as well their dog and some horses.  X-ALT-DESC;FMTTYPE=text/html:

Margo Cilker’s sophomore album, Valley of Heart’s Delight, refers to a place she can't return: California’s Santa Clara Valley, as it was known before the orchards were paved over and became more famous for Silicon than apricots. Margo is the fifth generation of Cilker’s born there, and in this 11-song collection, family and nature intertwine as guiding motifs, at once precious and endangered, beautiful and exhausting. The trees here are family trees, or they’re apricot trees, but suburban sprawl isn’t looking good for either. Cilker moved from California to the Pacific Northwest in her mid-twenties and wrote much of Valley of Heart's Delight while living in Enterprise, Oregon, a small town near the Snake River and powered by the river’s massive, publicly-funded hydroelectric dams. The dams (part of the same system Woody Guthrie was hired to write about) provide clean electricity to much of the western US but make it extraordinarily difficult for anadromous fish (such as Steelhead Trout) to return from the ocean and spawn in their native streams. Valley Of Heart’s Delight feeds off of this tension - how we live in and off of nature, how we live within and without family, and why we return to the places we were born.

Cilker and producer Sera Cahoone’s work on her critically acclaimed Pohorylle debut earned its accolades for lyric-focused production and understated musicianship. The pair maintain this approach on Valley of Heart’s Delight, bringing back the same crew to the same studio in Vancouver, Washington: Cahoone (Sub Pop, Carissa’s Weird, Band Of Horses) drums and produces, John Morgan Askew (Neko Case, Laura Gibson) engineers, Jenny Conlee-Drizos (The Decemberists) provides piano, organ, and accordion, Rebecca Young (Lindsey Fuller) plays bass, Kelly Pratt (Beirut) on horns, and of course, sister Sarah Cilker contributes harmonies. Those in need of more twang will appreciate the addition of Paul Brainard’s (M. Ward, Richmond Fontaine) pedal steel and telecaster work, Annie Staninec's (Mary Gauthier) fiddle, and the mandolin and high lonesome harmony of Portland country standard-bearer Caleb Klauder. Cilker also branched out in her song-collecting, reeling in a cover (“Steelhead Trout”) by Idaho native Ben Walden, ostensibly because of artistic and thematic reasons, but also because, in Cilker’s words, “it’s a damn good song and I wanted to record it.” Walden also sings and plays harmonica on the track.

Cilker's debut record was released in late 2021, a year swinging wildly between cloistered days of lockdown, social engagement roaring back to life like the former ‘20s, and the Greek alphabet entering the vernacular to turn us inwards again. This tumult was echoed in the artistic life of Margo Cilker, trying in vain to predict what kind of a world her first record would be released into while writing what would become her second. As it turned out, the world was welcoming of Pohorylle. The unpronouncably-titled, darkly-jacketed, quietly-released record ended up a darling of critics and fellow songwriters and notably ended up on albums-of-the-year lists in two different years (strange times indeed). The debut was also nominated for UK Americana Album of The Year alongside Brandi Carlile and Robert Plant, and earned Cilker a slew of festival performances and tours supporting American Aquarium, Hayes Carll, and Drive-By Truckers. Between tours, Cilker made time to record Valley Of Heart’s Delight, and its release on Fluff & Gravy Records (Loose Music in the UK/EU) will be followed by a US headline tour with her longtime road band. 

Margo Cilker currently lives near the Columbia River in Goldendale, Washington with her husband, songwriter and working cowboy Forrest VanTuyl, as well their dog and some horses. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240126T231950Z X-ACCESS:1 X-HITS:630 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240309T200000 DTEND;TZID=America/Denver:20240309T210000 UID:28D472D5-D8DE-44D5-9D82-5D48C6921F62 SUMMARY:Albert Cummings DTSTAMP:20240123T170110Z DESCRIPTION:Ever since the release of his first album in 2003, the blues world has opened its doors for Albert Cummings. A singer and guitarist who has played with many of the greatest players of the modern era, Cummings has received the kind of recognition that few others do. With its 2022 release on Cummings’ own indie label, Ivy Music Company, TEN is a full realization of the wider possibilities of where his music can go. The 13 songs on TEN are a compelling and emotional summation of what the artist has seen and done. The single “Need Somebody” begins the album with a sonic slugfest of back-alley power, the sound that Cummings has spent his life perfecting. Vince Gill lends background vocals to the standout track “Last Call”. Upon hearing that Gill was interested in collaborating, Cummings recalled “I figured then it was a sign that anything can happen.” He was certainly right. Blues is not a style of music that easily progresses, but this is exactly what Albert Cummings is able to do on TEN. X-ALT-DESC;FMTTYPE=text/html:

Ever since the release of his first album in 2003, the blues world has opened its doors for Albert Cummings. A singer and guitarist who has played with many of the greatest players of the modern era, Cummings has received the kind of recognition that few others do. With its 2022 release on Cummings’ own indie label, Ivy Music Company, TEN is a full realization of the wider possibilities of where his music can go. The 13 songs on TEN are a compelling and emotional summation of what the artist has seen and done. The single “Need Somebody” begins the album with a sonic slugfest of back-alley power, the sound that Cummings has spent his life perfecting. Vince Gill lends background vocals to the standout track “Last Call”. Upon hearing that Gill was interested in collaborating, Cummings recalled “I figured then it was a sign that anything can happen.” He was certainly right. Blues is not a style of music that easily progresses, but this is exactly what Albert Cummings is able to do on TEN.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240210T181339Z X-ACCESS:1 X-HITS:402 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240311T160000 DTEND;TZID=America/Denver:20240311T170000 UID:F4E20AB8-B63A-4188-B41F-0CDF44F25198 SUMMARY:Mia x Ally DTSTAMP:20240104T231315Z DESCRIPTION: ‘Mia x Ally’ is the electrifying duo project of electric violinist Mia Asano and bagpiper/multi-instrumentalist Ally the Piper. With a combined following of over 6 million people, both musicians officially joined forces in April 2022. Playing original songs and covers of pop rock and metal music with a Celtic twist, Mia x Ally made their debut in Boston in August of 2022 and have since toured the States, embarking on their debut West Coast and Mid-West run in early 2024. Their debut album, released October 2023, ‘Mia x Ally: The Viral Hits.’ charted the billboards and received massive acclaim across the industry and their avid fanbase. Both from classically trained backgrounds, they share a dream of showcasing the vast range of their instruments, bringing them to the forefront of metal, rock, and pop music. With combined recognition from Metallica, Dragonforce, The Charlie Daniels Band, and Dropkick Murphy’s for covering their music, this duo is turning heads and shaking up the industry with a live show you won’t want to miss. X-ALT-DESC;FMTTYPE=text/html:

 ‘Mia x Ally’ is the electrifying duo project of electric violinist Mia Asano and bagpiper/multi-instrumentalist Ally the Piper. With a combined following of over 6 million people, both musicians officially joined forces in April 2022. Playing original songs and covers of pop rock and metal music with a Celtic twist, Mia x Ally made their debut in Boston in August of 2022 and have since toured the States, embarking on their debut West Coast and Mid-West run in early 2024. Their debut album, released October 2023, ‘Mia x Ally: The Viral Hits.’ charted the billboards and received massive acclaim across the industry and their avid fanbase. Both from classically trained backgrounds, they share a dream of showcasing the vast range of their instruments, bringing them to the forefront of metal, rock, and pop music. With combined recognition from Metallica, Dragonforce, The Charlie Daniels Band, and Dropkick Murphy’s for covering their music, this duo is turning heads and shaking up the industry with a live show you won’t want to miss.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240126T173257Z X-ACCESS:1 X-HITS:682 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240312T200000 DTEND;TZID=America/Denver:20240312T233000 UID:10FC5B5D-3D80-4145-AE0F-D0F75E19DCBB SUMMARY:G. Love & Special Sauce DTSTAMP:20231017T170950Z DESCRIPTION:"I've been in the game a long time, but I've always considered myself a student," says G. Love. "Finishing this album with Keb Mo' felt like graduation."\NRecorded in Nashville with a slew of special guests including Robert Randolph, Marcus King, and Roosevelt Collier, 'The Juice' is indeed diploma-worthy. Co-produced and co-written with GRAMMY-winning icon Keb Mo,' it's an electrifying collection, one that tips its cap to more than a century of blues greats even as it offers its own distinctly modern pop spin on the genre, mixing programmed beats and hip-hop grooves with blistering guitar and sacred steel. G. Love's lyrics are both personal and political here, artfully balancing his appreciation for the simple joys in life with his obligation to speak out for justice and equality, and his performances are suitably riotous and rousing to match, with infectious call-and-response hooks and funky sing-along choruses at every turn. Easy as it is to succumb to cynicism these days, the songs on 'The Juice' refuse, insisting instead on hope and determination in the face of doubt and despair.\N"I've always tried to make music that's a force for positivity," G. Love explains. "It was important to me that this album be something that could empower the folks who are out there fighting the good fight every day. I wanted to make a rallying cry for empathy and unity."\NBorn Garrett Dutton in Philadelphia, PA, G. Love grew up equally enthralled with folk, blues, and rap, devouring everything from Lead Belly and Run D.M.C. to John Hammond and the Beastie Boys. After migrating to Boston, he and his band, Special Sauce, broke out in 1994 with their Gold-selling self-titled debut, which earned widespread critical acclaim for its bold vision and adventurous production. Over the next twenty-five years, G. Love would go on to release seven more similarly lauded studio studios albums with Special Sauce (plus four solo albums on his own), solidifying his place in music history as a genre-bending pioneer with a sound The New York Times described as "a new and urgent hybrid" and NPR called a "musical melting pot." G. Love's magnetic stage presence, meanwhile, made him a fixture on festival lineups from Bonnaroo to Lollapalooza, and his relentless appetite for tour and collaboration landed him on the road and in the studio with artists as diverse as Lucinda Williams, Dave Matthews, The Avett Brothers, Jack Johnson, and DJ Logic.\NWhile G. Love has covered considerable sonic ground during his prolific career, he's always found himself drawn back to the blues, and to one bluesman in particular.\N"Keb Mo' and I got signed to the same label at the same time back when I first started out, and we toured together early on in my career," G. Love remembers. "He used to introduce me onstage as 'a true American original,' and I could tell that he got a kick out of what I did. We didn't see each other for a while after that, but a few years ago we reconnected and did a co-headline tour, which was really special for me."\NTwo decades after they'd first hit the road together, the unlikely duo picked up right where they left off, and after a couple late-night jam sessions, G. Love pitched Keb Mo' on producing his next album. The pair decided to test the waters with a writing session first, teaming up with GRAMMY-winner Gary Nicholson (famed for his work with B.B. King, Buddy Guy, Willie Nelson, and Ringo Starr among others) for a week in Nashville, where they penned a handful of tunes based on phrases G. Love had saved in his phone or rough demos he'd recorded at home on Cape Cod. Those tracks quickly became fan favorites on the road, and G. Love knew he was on to something special.\N"I got wrapped up in touring and in my Jamtown project with Donovan Frankenreiter and Cicso Adler after that first session, and even though I really enjoyed working with Keb Mo' and Gary, it was a year-and-a-half before I was able to get back down to Nashville to finish writing the album with them."\NWhen it came time to record, Keb Mo' was meticulous, working closely with G. Love in the studio on nearly every aspect of his performances. While G. Love was used to creating raw, loose albums by the seat of his pants, Keb Mo' worked in a much more deliberate, methodical fashion, building songs up like a hip-hop producer. He'd create a beat on his keyboard, lay down a bass line, and then coach G. Love through the tracks sometimes line-by-line.\N"He was always impressing on me where to place the emphasis and how to phrase my lyrics and guitar playing in relation to the beat," G. Love explains. "He'd tell me to sing like I had a shovel in my hands and I was digging on the one."\NThe resulting mix of G. Love's idiosyncratic style and Keb Mo's old-school influence proves intoxicating on 'The Juice,' which opens with the shuffling, anthemic title track. "We got the juice / We got the love / We got the dreams / We had enough," G. Love sings, setting the stage for an album all about recognizing your power to impact the world around you in ways both big and small. The infectious "Birmingham," for instance, is an ode to perseverance when , while the funky "Go Crazy" cuts loose in the face of our maddening 24-hour news cycle, and the relentless "Shake Your Hair" rattles off a head-spinning list of modern ills before declaring "donate, don't wait, spread love don't hate."\N"I've never been the kind of guy who thinks he's going to change the world with his guitar," reflects G. Love. "But maybe I can write the kind of songs that give strength and encouragement to the people who are out there doing the work to make this planet a better place. Those are the people I want to lift up with my music."\NWhen G. Love sings about making the world a better place, he's not just singing about politics, though, and 'The Juice' serves as a beautiful exploration of the ways we can brighten our own little worlds and the worlds of those we care about on a daily basis. The gritty "SoulBQue" is a celebration of community and friendship, while the rootsy "She's The Rock" pays tribute to all the little ways lovers can lift each other up, and the breezy "Diggin' Roots" spins cultivating a garden into a metaphor for the importance of tending to your home and family and neighbors.\N"I was going through a tough time in my life when I met my fiancé, but my whole world seemed to turn around after that," says G. Love. "I started meditating, we had a son, and we moved out to the Cape. That's when I stopped writing breakup songs and started writing love songs and family songs and friendship songs."\NLife is good for G. Love these days, and he's not taking a moment of it for granted. In fact, in just the past few years alone he's launched his own beer collaboration with Oregon's Good Life Brewery (The Juice IPA), started his own festival in Massachusetts (The Cape Cod Roots & Blues Festival), and founded his own record label, Philadelphonic, which he aims to use as an outlet for curating both music and visual art (the cover of 'The Juice' features a brand new work G. Love commissioned from renowned painter Greg Haberny).\N"I'm more inspired right now than I've ever been before," G. Love reflects. "I feel more thoughtful, seasoned, marinated, confident. I'm making the records I've always wanted to make."\NCue "Pomp and Circumstance." X-ALT-DESC;FMTTYPE=text/html:

"I've been in the game a long time, but I've always considered myself a student," says G. Love. "Finishing this album with Keb Mo' felt like graduation."

Recorded in Nashville with a slew of special guests including Robert Randolph, Marcus King, and Roosevelt Collier, 'The Juice' is indeed diploma-worthy. Co-produced and co-written with GRAMMY-winning icon Keb Mo,' it's an electrifying collection, one that tips its cap to more than a century of blues greats even as it offers its own distinctly modern pop spin on the genre, mixing programmed beats and hip-hop grooves with blistering guitar and sacred steel. G. Love's lyrics are both personal and political here, artfully balancing his appreciation for the simple joys in life with his obligation to speak out for justice and equality, and his performances are suitably riotous and rousing to match, with infectious call-and-response hooks and funky sing-along choruses at every turn. Easy as it is to succumb to cynicism these days, the songs on 'The Juice' refuse, insisting instead on hope and determination in the face of doubt and despair.

"I've always tried to make music that's a force for positivity," G. Love explains. "It was important to me that this album be something that could empower the folks who are out there fighting the good fight every day. I wanted to make a rallying cry for empathy and unity."

Born Garrett Dutton in Philadelphia, PA, G. Love grew up equally enthralled with folk, blues, and rap, devouring everything from Lead Belly and Run D.M.C. to John Hammond and the Beastie Boys. After migrating to Boston, he and his band, Special Sauce, broke out in 1994 with their Gold-selling self-titled debut, which earned widespread critical acclaim for its bold vision and adventurous production. Over the next twenty-five years, G. Love would go on to release seven more similarly lauded studio studios albums with Special Sauce (plus four solo albums on his own), solidifying his place in music history as a genre-bending pioneer with a sound The New York Times described as "a new and urgent hybrid" and NPR called a "musical melting pot." G. Love's magnetic stage presence, meanwhile, made him a fixture on festival lineups from Bonnaroo to Lollapalooza, and his relentless appetite for tour and collaboration landed him on the road and in the studio with artists as diverse as Lucinda Williams, Dave Matthews, The Avett Brothers, Jack Johnson, and DJ Logic.

While G. Love has covered considerable sonic ground during his prolific career, he's always found himself drawn back to the blues, and to one bluesman in particular.

"Keb Mo' and I got signed to the same label at the same time back when I first started out, and we toured together early on in my career," G. Love remembers. "He used to introduce me onstage as 'a true American original,' and I could tell that he got a kick out of what I did. We didn't see each other for a while after that, but a few years ago we reconnected and did a co-headline tour, which was really special for me."

Two decades after they'd first hit the road together, the unlikely duo picked up right where they left off, and after a couple late-night jam sessions, G. Love pitched Keb Mo' on producing his next album. The pair decided to test the waters with a writing session first, teaming up with GRAMMY-winner Gary Nicholson (famed for his work with B.B. King, Buddy Guy, Willie Nelson, and Ringo Starr among others) for a week in Nashville, where they penned a handful of tunes based on phrases G. Love had saved in his phone or rough demos he'd recorded at home on Cape Cod. Those tracks quickly became fan favorites on the road, and G. Love knew he was on to something special.

"I got wrapped up in touring and in my Jamtown project with Donovan Frankenreiter and Cicso Adler after that first session, and even though I really enjoyed working with Keb Mo' and Gary, it was a year-and-a-half before I was able to get back down to Nashville to finish writing the album with them."

When it came time to record, Keb Mo' was meticulous, working closely with G. Love in the studio on nearly every aspect of his performances. While G. Love was used to creating raw, loose albums by the seat of his pants, Keb Mo' worked in a much more deliberate, methodical fashion, building songs up like a hip-hop producer. He'd create a beat on his keyboard, lay down a bass line, and then coach G. Love through the tracks sometimes line-by-line.

"He was always impressing on me where to place the emphasis and how to phrase my lyrics and guitar playing in relation to the beat," G. Love explains. "He'd tell me to sing like I had a shovel in my hands and I was digging on the one."

The resulting mix of G. Love's idiosyncratic style and Keb Mo's old-school influence proves intoxicating on 'The Juice,' which opens with the shuffling, anthemic title track. "We got the juice / We got the love / We got the dreams / We had enough," G. Love sings, setting the stage for an album all about recognizing your power to impact the world around you in ways both big and small. The infectious "Birmingham," for instance, is an ode to perseverance when , while the funky "Go Crazy" cuts loose in the face of our maddening 24-hour news cycle, and the relentless "Shake Your Hair" rattles off a head-spinning list of modern ills before declaring "donate, don't wait, spread love don't hate."

"I've never been the kind of guy who thinks he's going to change the world with his guitar," reflects G. Love. "But maybe I can write the kind of songs that give strength and encouragement to the people who are out there doing the work to make this planet a better place. Those are the people I want to lift up with my music."

When G. Love sings about making the world a better place, he's not just singing about politics, though, and 'The Juice' serves as a beautiful exploration of the ways we can brighten our own little worlds and the worlds of those we care about on a daily basis. The gritty "SoulBQue" is a celebration of community and friendship, while the rootsy "She's The Rock" pays tribute to all the little ways lovers can lift each other up, and the breezy "Diggin' Roots" spins cultivating a garden into a metaphor for the importance of tending to your home and family and neighbors.

"I was going through a tough time in my life when I met my fiancé, but my whole world seemed to turn around after that," says G. Love. "I started meditating, we had a son, and we moved out to the Cape. That's when I stopped writing breakup songs and started writing love songs and family songs and friendship songs."

Life is good for G. Love these days, and he's not taking a moment of it for granted. In fact, in just the past few years alone he's launched his own beer collaboration with Oregon's Good Life Brewery (The Juice IPA), started his own festival in Massachusetts (The Cape Cod Roots & Blues Festival), and founded his own record label, Philadelphonic, which he aims to use as an outlet for curating both music and visual art (the cover of 'The Juice' features a brand new work G. Love commissioned from renowned painter Greg Haberny).

"I'm more inspired right now than I've ever been before," G. Love reflects. "I feel more thoughtful, seasoned, marinated, confident. I'm making the records I've always wanted to make."

Cue "Pomp and Circumstance."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240109T185741Z X-ACCESS:1 X-HITS:989 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240314T200000 DTEND;TZID=America/Denver:20240314T210000 UID:A0E0A69B-9691-4682-81E1-177A5B4B4AC9 SUMMARY:WIA PechaKucha Night DTSTAMP:20240206T174321Z DESCRIPTION:Women in Architecture, a local non-profit focused on gender equity in the profession of architecture, hosts a Powered by PK Night. PechaKucha is a presentation format that uses 20 slides that advance automatically every 20 seconds. 20x20. The event will highlight and celebrate local women from a variety of professions and walks of life. Audience participation is encouraged.   X-ALT-DESC;FMTTYPE=text/html:

Women in Architecture, a local non-profit focused on gender equity in the profession of architecture, hosts a Powered by PK Night. PechaKucha is a presentation format that uses 20 slides that advance automatically every 20 seconds. 20x20. The event will highlight and celebrate local women from a variety of professions and walks of life. Audience participation is encouraged.  

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240209T170303Z X-ACCESS:1 X-HITS:301 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240315T200000 DTEND;TZID=America/Denver:20240315T210000 UID:9546840B-7FC5-4FA7-AE75-24133BCACC39 SUMMARY:The Lil Smokies DTSTAMP:20240213T165258Z DESCRIPTION:Blending virtuosic instrumental acrobatics with riveting lyrical craftsmanship, The Lil Smokies have earned a reputation as one of the most electrifying acts in modern American roots music thanks to their exhilarating live show and critically acclaimed studio output. Since forming on the streets of Missoula, Montana, where the group got its start busking back in 2009, the band has performed everywhere from Red Rocks to The Rialto and captivated festival audiences at Telluride, High Sierra, LOCKN’, Freshgrass, FloydFest, and countless more. Their latest album, 2020’s Tornillo, showcases the hard touring four-piece at its most adventurous, teaming up with producer Bill Reynolds (The Avett Brothers, Band Of Horses) for a genre-bending joyride from the hills of Laurel Canyon to the wide-open deserts of West Texas.\NThe Lil Smokies are:\NAndy Dunnigan – Dobro, Vocals\NMatthew Rieger – Guitar, Vocals\NJake Simpson – Fiddle, Vocals\NJean-Luc Davis – Upright Bass X-ALT-DESC;FMTTYPE=text/html:

Blending virtuosic instrumental acrobatics with riveting lyrical craftsmanship, The Lil Smokies have earned a reputation as one of the most electrifying acts in modern American roots music thanks to their exhilarating live show and critically acclaimed studio output. Since forming on the streets of Missoula, Montana, where the group got its start busking back in 2009, the band has performed everywhere from Red Rocks to The Rialto and captivated festival audiences at Telluride, High Sierra, LOCKN’, Freshgrass, FloydFest, and countless more. Their latest album, 2020’s Tornillo, showcases the hard touring four-piece at its most adventurous, teaming up with producer Bill Reynolds (The Avett Brothers, Band Of Horses) for a genre-bending joyride from the hills of Laurel Canyon to the wide-open deserts of West Texas.

The Lil Smokies are:

Andy Dunnigan – Dobro, Vocals

Matthew Rieger – Guitar, Vocals

Jake Simpson – Fiddle, Vocals

Jean-Luc Davis – Upright Bass

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240216T223747Z X-ACCESS:1 X-HITS:229 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240316T200000 DTEND;TZID=America/Denver:20240316T210000 UID:434E96F1-8F62-4B90-86E3-1D55A6A4B4ED SUMMARY:The Pour DTSTAMP:20240130T160817Z DESCRIPTION:Salt Lake City based band The Pour offers up their unique recipe of Funk, Soul, and Psychedelic Rock n’ Roll with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead. With over 15 years of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge.  Colorfully accompanied on keys is Jesse Howerton and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for an energy rich live music experience full of deep grooves, tasteful solos, and open-ended improvisation. \NMembers of The Pour have had the privilege of sharing the stage with artists such as John Popper and Blues Traveler, Robby Krieger of The Doors, Karl Denson, Matisyahu, JJ Grey, John Medeski, Eric Krasno, Steve Miller, Eric McFadden, Orgone, Big Head Todd, The Mother Hips, MonoNeon, Allen Aucoin, Steve Molitz, DJ Logic and others. X-ALT-DESC;FMTTYPE=text/html:

Salt Lake City based band The Pour offers up their unique recipe of Funk, Soul, and Psychedelic Rock n’ Roll with influences ranging from Jimi Hendrix to Pink Floyd and Miles Davis to Radiohead. With over 15 years of songwriting under their belts, lead guitarist Jeremy Whitesides and vocalist/bassist Matt Calder lead the creative charge.  Colorfully accompanied on keys is Jesse Howerton and driven by Nate Barkdull on the drums. Carefully crafted, tightly executed original songs provide the foundation for an energy rich live music experience full of deep grooves, tasteful solos, and open-ended improvisation. 

Members of The Pour have had the privilege of sharing the stage with artists such as John Popper and Blues Traveler, Robby Krieger of The Doors, Karl Denson, Matisyahu, JJ Grey, John Medeski, Eric Krasno, Steve Miller, Eric McFadden, Orgone, Big Head Todd, The Mother Hips, MonoNeon, Allen Aucoin, Steve Molitz, DJ Logic and others.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240202T170254Z X-ACCESS:1 X-HITS:280 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240320T200000 DTEND;TZID=America/Denver:20240320T210000 UID:BA9CF9A3-1B15-4138-B2BB-B9B38D906137 SUMMARY:Steve 'n' Seagulls DTSTAMP:20240104T212158Z DESCRIPTION:They ride again! Progressive bluegrass, or one might say new grass, ambassadors of the north. Combine musical adventures, energetic and lightning like like shows with odd Nordic sense of humor, and you'll end up with something mankind has never witnessed before. Meet the band from the land of eternal darkness: Steve 'n' Seagulls! X-ALT-DESC;FMTTYPE=text/html:

They ride again! Progressive bluegrass, or one might say new grass, ambassadors of the north. Combine musical adventures, energetic and lightning like like shows with odd Nordic sense of humor, and you'll end up with something mankind has never witnessed before. Meet the band from the land of eternal darkness: Steve 'n' Seagulls!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240111T172222Z X-ACCESS:1 X-HITS:1978 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240321T200000 DTEND;TZID=America/Denver:20240321T210000 UID:8B07DD97-16AF-44D0-AF19-340C67ED5D7C SUMMARY:Diggin Dirt DTSTAMP:20231205T220705Z DESCRIPTION:This seven-piece band emerging from behind the redwood curtain in Humboldt County, California, is skyrocketing through the west coast music scene. Shoveling out their own path, and consistently wowing audiences and filling concert venues, Diggin Dirt is no ordinary funk and soul band. Their sounds explode off the stage with a pure authentic energy, and once they have you in their clutches, the relentless dance party does not let up. Their intoxicating and infectious sound is fueled by a blazing horn section, pulsating rhythms, and searing guitars, that when combined into one, have been known to entice even the shyest of wallflowers to start movin and groovin. Tying it all together, is the band’s frontman, who is in possession of the pipes, charisma, moves, and natural-born-soul, and launches this ensemble into rarefied air. Behold, as they layer humble influences of psychedelic rock, Motown soul, Afrobeat, and even reggae, atop a sturdy foundation of late 60’s inspired funk music. You might have flashes of James Brown or Sly and the Family Stone, Otis Redding or Tower of Power, but make no mistake that you are in the presence of spine-tingling originality. X-ALT-DESC;FMTTYPE=text/html:

This seven-piece band emerging from behind the redwood curtain in Humboldt County, California, is skyrocketing through the west coast music scene. Shoveling out their own path, and consistently wowing audiences and filling concert venues, Diggin Dirt is no ordinary funk and soul band. Their sounds explode off the stage with a pure authentic energy, and once they have you in their clutches, the relentless dance party does not let up. Their intoxicating and infectious sound is fueled by a blazing horn section, pulsating rhythms, and searing guitars, that when combined into one, have been known to entice even the shyest of wallflowers to start movin and groovin. Tying it all together, is the band’s frontman, who is in possession of the pipes, charisma, moves, and natural-born-soul, and launches this ensemble into rarefied air. Behold, as they layer humble influences of psychedelic rock, Motown soul, Afrobeat, and even reggae, atop a sturdy foundation of late 60’s inspired funk music. You might have flashes of James Brown or Sly and the Family Stone, Otis Redding or Tower of Power, but make no mistake that you are in the presence of spine-tingling originality.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240209T173927Z X-ACCESS:1 X-HITS:401 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240322T200000 DTEND;TZID=America/Denver:20240322T210000 UID:C88709B3-E839-4D79-BB2D-D84EF42AC291 SUMMARY:Madi Diaz DTSTAMP:20231113T181500Z DESCRIPTION:Madi Diaz has been making records and writing songs professionally since the late 2000s, but it wasn’t until she released 2021’s History Of A Feelingthat she felt the glare of wider notoriety. It wasn’t her debut album, but it certainly felt like it. She made her daytime and nighttimetelevision debuts, embarked on her first solo tour since 2014, supported Waxahatchee and Angel Olsen on tour, andcollaborated with them on record. Harry Styles handpicked Diaz to open for him in arenas and stadiums in NorthAmerica, and was so taken by her captivating live show, he asked her to be a member of his touring band, to sing alongside him all over Europe and the UK, as well as continuing to open the show in various cities.After three months on the road touring internationally, Diaz is back in Nashville and gearing up to release her new album, Weird Faith, perched on the precipice of her moment.\NOn her last album, History of a Feeling, Diaz confronted the dissolution of a long relationship and a nuanced breakup. “Writing that record was like throwing a dart at an emotional dart board,” she says. “I was trying to get closer to the bullseye of the core of what I was feeling with no goal other than processing my own grief.” Though it was scary to put those feelings out there for mass consumption, Diaz found the process of bringing the record on tour strangely healing. Fans screamed along to her set, and the power of hearing her words echoed back to her at a place like Wembley Stadium was affirming. “It's so empowering to stand in a room hearing girls yelling as loud as they can possibly yell,” she says. While she penned songs for artists like Kesha, Little Big Town, and more, time on the road renewed Diaz’s excitement about her own project, her own story. \NOn Weird Faith, Diaz once again examines a romantic partnership, but this time, her songs are about falling for someone and the endless self-questioning a new relationship inspires. “After being really burned by love –maybe relentlessly burned by it –the album is about being brave and trying again. Doing it differently,” she says. “It’s in our nature to try to be brave like that. You see the car crash coming. Maybe it won’t happen, but you're bracing for it anyway.” In the throes of new love, she repeatedly encountered the same questions: “Am I ready for this? Can I do this? Can I trust myself to know the good from the bad?”\NThe album’s stirring closer “Obsessive Thoughts” is about exactly that. It opens with quivering strings, as if in mimicry of a nervous heartbeat, before the chorus crashes in like a gale force, toppling any sense of unease. “It’s a lot, it’s a lot/ Obsessive thoughts,” she howls. The song will vindicate anyone who’s ever struggled with the same and while Diaz might consider those obsessive thoughts an impediment, they’re also what makes her a bold, singular songwriter. The poetry in her lyrics don’t obfuscate the reality of what she’s singing about: trusting another person with your heart is hard.\NWhile writing Weird Faith, Diaz came up against a problem that has dogged songwriters since time immemorial. How do you write about romance, or love, without making it sentimental, schlocky, or fake? For Diaz, the answer was to explore how anxiety-inducing, if not downright humiliating falling in love can be. Weird Faithanswers these questions bluntly, and Diaz says the record “chronicles a new relationship, but also a new relationship to myself.” This record exists between the time you say “I Love You” and the moment they say it back (or don’t). Album opener “Same Risk” acknowledges that feeling from the outset. “Do you think this could ruin your life? Cause I can see it ruining mine,” Diaz asks plainly. It’s a disarmingly honest moment, her barefaced and fearless lyrics becoming all the more impactful as the rhythm section briefly drops out of the mix. It’s but one of the breathtaking production choices Diaz made on the album with help from friends Sam Cohen and Konrad Syder. “Sam makes raw, grungy, rambunctious records, and I needed him to help me crack open the door and start sonically exploring what the record would be,” Diaz says about her time spent recording in Woodstock. “Later in Nashville, Konrad and I were able to push what we did even further, until it was beyond the sonic landscape of what I had set out to make.”\NDiaz’s collaborative spirit is the result of living in Nashville, where she moves in a tight-knit group of songwriters. “It’s the type of place where you get into deep conversations with people at 2AM then go to the gas station for a six pack because you’re not done talking yet,” she says. Kacey Musgraves is one of those friends and she accompanies Diaz on the devastating ballad “Don’t Do Me Good,” a song that mourns the end of a relationship before the inevitable end. It’s desperately lonely, a woman’s admission that peace eludes her, but Diaz is bolstered by Musgraves, as if to indicate that she’s never truly alone, that there is always a friend on the other end of the line waiting on your call.\NThat difficulty of trusting someone with your heart comes to a head on “For Months Now,” which sounds like the hard-fought revelation at the end of a therapy session. “It’s about knowing a relationship is over, you just haven’t acknowledged it yet,” Diaz says. On “Hurting You,” she acknowledges it. “Hurting you is hurting me,” she fervently sings on the chorus, her stark words bolstered by the sparest production heard on the album. It’s a crushing song, but it’s also an auspicious one. When Diaz started writing Weird Faith, she knew it would be bigger than a love story. She didn’t yet know that she was rendering a self-portrait, one that captures the Madi Diaz of a fleeting moment in time, hungrily alive and forever searching. A search that has led to a record highlighting the human experience of spinning out on the fall into love, bold in itshonesty, and matching the momentum of Madi Diaz. X-ALT-DESC;FMTTYPE=text/html:

Madi Diaz has been making records and writing songs professionally since the late 2000s, but it wasn’t until she released 2021’s History Of A Feelingthat she felt the glare of wider notoriety. It wasn’t her debut album, but it certainly felt like it. She made her daytime and nighttimetelevision debuts, embarked on her first solo tour since 2014, supported Waxahatchee and Angel Olsen on tour, andcollaborated with them on record. Harry Styles handpicked Diaz to open for him in arenas and stadiums in NorthAmerica, and was so taken by her captivating live show, he asked her to be a member of his touring band, to sing alongside him all over Europe and the UK, as well as continuing to open the show in various cities.After three months on the road touring internationally, Diaz is back in Nashville and gearing up to release her new album, Weird Faith, perched on the precipice of her moment.

On her last album, History of a Feeling, Diaz confronted the dissolution of a long relationship and a nuanced breakup. “Writing that record was like throwing a dart at an emotional dart board,” she says. “I was trying to get closer to the bullseye of the core of what I was feeling with no goal other than processing my own grief.” Though it was scary to put those feelings out there for mass consumption, Diaz found the process of bringing the record on tour strangely healing. Fans screamed along to her set, and the power of hearing her words echoed back to her at a place like Wembley Stadium was affirming. “It's so empowering to stand in a room hearing girls yelling as loud as they can possibly yell,” she says. While she penned songs for artists like Kesha, Little Big Town, and more, time on the road renewed Diaz’s excitement about her own project, her own story. 

On Weird Faith, Diaz once again examines a romantic partnership, but this time, her songs are about falling for someone and the endless self-questioning a new relationship inspires. “After being really burned by love –maybe relentlessly burned by it –the album is about being brave and trying again. Doing it differently,” she says. “It’s in our nature to try to be brave like that. You see the car crash coming. Maybe it won’t happen, but you're bracing for it anyway.” In the throes of new love, she repeatedly encountered the same questions: “Am I ready for this? Can I do this? Can I trust myself to know the good from the bad?”

The album’s stirring closer “Obsessive Thoughts” is about exactly that. It opens with quivering strings, as if in mimicry of a nervous heartbeat, before the chorus crashes in like a gale force, toppling any sense of unease. “It’s a lot, it’s a lot/ Obsessive thoughts,” she howls. The song will vindicate anyone who’s ever struggled with the same and while Diaz might consider those obsessive thoughts an impediment, they’re also what makes her a bold, singular songwriter. The poetry in her lyrics don’t obfuscate the reality of what she’s singing about: trusting another person with your heart is hard.

While writing Weird Faith, Diaz came up against a problem that has dogged songwriters since time immemorial. How do you write about romance, or love, without making it sentimental, schlocky, or fake? For Diaz, the answer was to explore how anxiety-inducing, if not downright humiliating falling in love can be. Weird Faithanswers these questions bluntly, and Diaz says the record “chronicles a new relationship, but also a new relationship to myself.” This record exists between the time you say “I Love You” and the moment they say it back (or don’t). Album opener “Same Risk” acknowledges that feeling from the outset. “Do you think this could ruin your life? Cause I can see it ruining mine,” Diaz asks plainly. It’s a disarmingly honest moment, her barefaced and fearless lyrics becoming all the more impactful as the rhythm section briefly drops out of the mix. It’s but one of the breathtaking production choices Diaz made on the album with help from friends Sam Cohen and Konrad Syder. “Sam makes raw, grungy, rambunctious records, and I needed him to help me crack open the door and start sonically exploring what the record would be,” Diaz says about her time spent recording in Woodstock. “Later in Nashville, Konrad and I were able to push what we did even further, until it was beyond the sonic landscape of what I had set out to make.”

Diaz’s collaborative spirit is the result of living in Nashville, where she moves in a tight-knit group of songwriters. “It’s the type of place where you get into deep conversations with people at 2AM then go to the gas station for a six pack because you’re not done talking yet,” she says. Kacey Musgraves is one of those friends and she accompanies Diaz on the devastating ballad “Don’t Do Me Good,” a song that mourns the end of a relationship before the inevitable end. It’s desperately lonely, a woman’s admission that peace eludes her, but Diaz is bolstered by Musgraves, as if to indicate that she’s never truly alone, that there is always a friend on the other end of the line waiting on your call.

That difficulty of trusting someone with your heart comes to a head on “For Months Now,” which sounds like the hard-fought revelation at the end of a therapy session. “It’s about knowing a relationship is over, you just haven’t acknowledged it yet,” Diaz says. On “Hurting You,” she acknowledges it. “Hurting you is hurting me,” she fervently sings on the chorus, her stark words bolstered by the sparest production heard on the album. It’s a crushing song, but it’s also an auspicious one. When Diaz started writing Weird Faith, she knew it would be bigger than a love story. She didn’t yet know that she was rendering a self-portrait, one that captures the Madi Diaz of a fleeting moment in time, hungrily alive and forever searching. A search that has led to a record highlighting the human experience of spinning out on the fall into love, bold in itshonesty, and matching the momentum of Madi Diaz.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231212T224243Z X-ACCESS:1 X-HITS:603 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240323T200000 DTEND;TZID=America/Denver:20240323T233000 UID:8652B4B4-E6EE-455E-AB2D-B6E420DF0670 SUMMARY:San Fermin DTSTAMP:20231023T195417Z DESCRIPTION:San Fermin songwriter Ellis Ludwig-Leone writes songs that shift seamlessly between joy and dread, panic and euphoria. Since the band’s beginnings in 2013, San Fermin’s ambitious scope has taken them across a variety of genres, attracting an eclectic group of collaborators that reflect Ludwig- Leone’s own wide-ranging musical background. San Fermin rose to early acclaim on the strength of their self-titled debut, which bandleader Ellis Ludwig-Leone had initially envisioned as a one-off featuring more than 20 collaborators. NPR hailed the album as “one of the year's most surprising, ambitious, evocative and moving records,” while Pitchfork called breakout single “Sonsick” “deliriously infectious.” Buoyed by the record’s success, Ludwig-Leone put together a full-time band and hit the road, performing everywhere from the Tiny Desk to Lollapalooza and sharing bills with the likes of alt-J, Courtney Barnett, the National, and St. Vincent. In the years to come, the group would go on to release three similarly lauded albums, prompting The New Yorker to celebrate their “knack for simultaneously expressing beauty and crisis,” and Rolling Stone to declare them “masters of highbrow chamber pop.\NWritten in the topsy-turvy days following two different breakups, San Fermin’s poignant new album, Arms, is a testament to the band’s ability to transform pain and isolation into catharsis and healing. The songs are more minimalist than ever before, stripping away much of the sonic ornamentation the Brooklyn eight-piece has come to be known for in favor of a more raw, direct sound reflective of the album’s candid, plainspoken lyrics. The result is a deeply moving, compassionate collection, one that moves from anger and disappointment to clarity and acceptance as it balances devastation and hope in equal measure. X-ALT-DESC;FMTTYPE=text/html:

San Fermin songwriter Ellis Ludwig-Leone writes songs that shift seamlessly between joy and dread, panic and euphoria. Since the band’s beginnings in 2013, San Fermin’s ambitious scope has taken them across a variety of genres, attracting an eclectic group of collaborators that reflect Ludwig- Leone’s own wide-ranging musical background. San Fermin rose to early acclaim on the strength of their self-titled debut, which bandleader Ellis Ludwig-Leone had initially envisioned as a one-off featuring more than 20 collaborators. NPR hailed the album as “one of the year's most surprising, ambitious, evocative and moving records,” while Pitchfork called breakout single “Sonsick” “deliriously infectious.” Buoyed by the record’s success, Ludwig-Leone put together a full-time band and hit the road, performing everywhere from the Tiny Desk to Lollapalooza and sharing bills with the likes of alt-J, Courtney Barnett, the National, and St. Vincent. In the years to come, the group would go on to release three similarly lauded albums, prompting The New Yorker to celebrate their “knack for simultaneously expressing beauty and crisis,” and Rolling Stone to declare them “masters of highbrow chamber pop.

Written in the topsy-turvy days following two different breakups, San Fermin’s poignant new album, Arms, is a testament to the band’s ability to transform pain and isolation into catharsis and healing. The songs are more minimalist than ever before, stripping away much of the sonic ornamentation the Brooklyn eight-piece has come to be known for in favor of a more raw, direct sound reflective of the album’s candid, plainspoken lyrics. The result is a deeply moving, compassionate collection, one that moves from anger and disappointment to clarity and acceptance as it balances devastation and hope in equal measure.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240124T182418Z X-ACCESS:1 X-HITS:671 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240327T200000 DTEND;TZID=America/Denver:20240327T210000 UID:87D18FAC-5D20-48C3-B1B6-CC0D64C79A7A SUMMARY:Birdtalker DTSTAMP:20231204T191333Z DESCRIPTION:Birdtalker released their debut album One in 2018 which met critical acclaim, featuring their breakout single “Heavy,” which has now amassed over 90 million streams on Spotify alone. With their self-titled sophomore album in 2021 and subsequent releases, they have come into their own with their most confident and unrestrained songs to date. Fronted by Zack and Dani Green along with Brian Seligman (guitar) and Chris Wilson (drums/percussion), Birdtalker explore how to navigate the unknown, embrace uncertainty, and learn to let go X-ALT-DESC;FMTTYPE=text/html:

Birdtalker released their debut album One in 2018 which met critical acclaim, featuring their breakout single “Heavy,” which has now amassed over 90 million streams on Spotify alone. With their self-titled sophomore album in 2021 and subsequent releases, they have come into their own with their most confident and unrestrained songs to date. Fronted by Zack and Dani Green along with Brian Seligman (guitar) and Chris Wilson (drums/percussion), Birdtalker explore how to navigate the unknown, embrace uncertainty, and learn to let go

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231208T200959Z X-ACCESS:1 X-HITS:524 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240329T200000 DTEND;TZID=America/Denver:20240329T210000 UID:F036AC4C-EF27-49B5-AFEE-1377C14D75CF SUMMARY:The Garcia Project DTSTAMP:20240213T165825Z DESCRIPTION:“The Garcia Project is a must-see for anyone who had the good fortune of seeing Jerry’s band live. I was lucky enough to share the JGB experience with Jerry, John Kahn, Maria Muldaur, Keith and Donna. Being on stage with Mik, Kat, Dan and the crew is the closest thing to the original.  They are Jerry’s kindred spirits when it comes to making music. Even if you never saw JGB live, you can see and hear their spirit at a Garcia Project performance.” – Buzz Buchanan, Drummer for The Jerry Garcia Band 1977-1978 X-ALT-DESC;FMTTYPE=text/html:

“The Garcia Project is a must-see for anyone who had the good fortune of seeing Jerry’s band live. I was lucky enough to share the JGB experience with Jerry, John Kahn, Maria Muldaur, Keith and Donna. Being on stage with Mik, Kat, Dan and the crew is the closest thing to the original.  They are Jerry’s kindred spirits when it comes to making music. Even if you never saw JGB live, you can see and hear their spirit at a Garcia Project performance.” – Buzz Buchanan, Drummer for The Jerry Garcia Band 1977-1978

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240215T040210Z X-ACCESS:1 X-HITS:726 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240330T200000 DTEND;TZID=America/Denver:20240330T210000 UID:053EFEDB-4FCF-4228-8B0F-A1948F40ADC7 SUMMARY:Cory Mon DTSTAMP:20240130T161906Z DESCRIPTION:..music, my blessing, my curse, it's in me and it must come out. I can't help it, I must play, write, compose and perform. Without I am incomplete, while with, call me misfit in this world of the incorporated. I am a man confused and divided thus in recourse I am often brightened and enlightened. I emphatically give way to both light and dark, I live in pleasure and pain. My name: cory.\NCory Mon has a distinctly unique, albeit pleasant voice in the world of music. “Happy (sometimes sad), gritty, funky, folksy, bluesy, rocky music… I guess”… he says when asked the dreaded, “So what type of music do you play?” Assuming the life of a musician, Cory has thrived as well as endured through the many ups and downs that have come throughout his well tenured 20+ year music career. Cory has released 60+ original songs and toured with and/or supported a handful of his favorite artists: JJ Grey & Mofro, Sean Hayes, The Avett Brothers, Patterson Hood etc.  X-ALT-DESC;FMTTYPE=text/html:

..music, my blessing, my curse, it's in me and it must come out. I can't help it, I must play, write, compose and perform. Without I am incomplete, while with, call me misfit in this world of the incorporated. I am a man confused and divided thus in recourse I am often brightened and enlightened. I emphatically give way to both light and dark, I live in pleasure and pain. My name: cory.

Cory Mon has a distinctly unique, albeit pleasant voice in the world of music. “Happy (sometimes sad), gritty, funky, folksy, bluesy, rocky music… I guess”… he says when asked the dreaded, “So what type of music do you play?” Assuming the life of a musician, Cory has thrived as well as endured through the many ups and downs that have come throughout his well tenured 20+ year music career. Cory has released 60+ original songs and toured with and/or supported a handful of his favorite artists: JJ Grey & Mofro, Sean Hayes, The Avett Brothers, Patterson Hood etc. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240210T181400Z X-ACCESS:1 X-HITS:301 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240401T200000 DTEND;TZID=America/Denver:20240401T210000 UID:7806EDB0-126A-4DFC-862F-C32A9264E4BC SUMMARY:Low Cut Connie DTSTAMP:20240220T170424Z DESCRIPTION:“This record is all kink and no shame,” says Adam Weiner of ART DEALERS, the tough, sexy and tender new album coming from Low Cut Connie. “With Low Cut Connie, I try to create a safe space for you to just absolutely get your freak on.”\NFor years now, Low Cut Connie has built its grassroots coalition of oddballs, underdogs, and fun-loving weirdos with songs that celebrate life on the fringes of polite society. The band’s infamously wild, passionate live shows provide a total release - of stress, of inhibition, of shame - working up a primordial rock n roll sweat for fans to get blissfully soaked in. The new album, and its full-length companion film, sizzle with that same cathartic sweat, reminding us that it's time to get dirty again, and to feel alive. ART DEALERS sits at the intersection of sleazy and soulful - a collection of risky, romantic, life-affirming anthems, all dedicated to you.\N“I think rock n roll exists to be a red-blooded, countercultural medium,” says Weiner, who has performed under the Low Cut Connie moniker for over a decade, "You're supposed to get your hair messed-up." That imperative comes through in the adults-only tone of songs like the opening “Tell Me Something I Don’t\NKnow,” a sinuous, lurid rocker that sounds like walking through depraved Times Square in 1978 - neon-lit and nasty with a snapping beat. The speedy, fuzzed-up garage-rocker “Whips and Chains" calls out Trump and the current wave of neo-fascism, without ever losing its boogie rhythm section.\NBut there’s also tenderness behind the curtain here, as on the yearning first single "Are You Gonna Run?" and "Call Out My Name", which evoke the sweet sad love that punky boys like the New York Dolls and the Ramones used to have for tough girls like the Ronettes and the Shangri-La's.\NThe sounds throughout the record comprise a grimy modern urban landscape, a soulful but broken place that Weiner and his band (including rock n roll guitar hero, Will Donnelly, in his 9th year in Low Cut Connie) have been gravitating towards throughout the band's history. Weiner grew up amid the lawns and strip malls of suburban New Jersey, and his own teen dreams were lit up by the beacon of the big city, where he could shed his skin like so many artists before. “If you think about it, so many great artists who we associate with the city were actually bridge and tunnel people,” Adam said. “Patti Smith, Lou Reed, Springsteen. Debbie Harry, Robert Mapplethorpe. People who came from the burbs had this vision of what they could achieve in the city, what attracted them to this art life, who they could turn into and what impressions they could make - if they could just get there.” ART DEALERS is in many ways a tribute to that feeling at the pumping heart of the city - that enlightened buzz that can come in a packed hothouse of creativity and free expression. Songs like the Grace Jones styled "Take Me to the Place" and the penetrating title song point to all the people who cross those bridges, who choose the art life, who find their liberation on the edges of propriety.\NART DEALERS isn’t constrained by a gender binary, either. “When I’m onstage, I am the freest, most uninhibited version of myself,” Weiner explains. “It's total freedom of spirit and body. Over the years, that freedom has given me more confidence to write songs from a perspective that isn't necessarily male. I’ve slowly been walking toward a more gender-fluid voice with Low Cut Connie." Weiner's first steady gig at age 21 was as a piano-player in a drag karaoke bar in Manhattan called Pegasus, a seedy place where trans people, gay, straight and otherwise would gather around Weiner's piano in a benevolent yet fully debauched\Narray. "There are so many songs that came out of that bar for me. Things like 'Shake It Little Tina [the single\Noff of Low Cut Connie's Hi Honey album]" But it wasn't until ART DEALERS that he fully allowed himself to let the gender binary go so completely on songs like the upcoming single "Don't Get Fresh With Me," "Wonderful Boy," and "Sleaze Me On" (with its sweet refrain "Treat me like a modern girl!"). Says Weiner, "I have no idea the gender identity of those songs. And that feels real comfy for me, the 'not knowing'."\NART DEALERS goes out to all the outsiders. On the no-fucks-to-give anthem "King of the Jews," Weiner gets deep in the weeds of his personal and ethnic outsider identity. “There are just so many entry points these days to antisemitism, so my absolute unapologetic full-frontal Jewiness feels more needed now, I guess,” he says. “My Jewiness gives me an outsider perspective and humor that I wouldn't trade for any goddamn thing,\Nand the minute I start hiding that, I'm dishonoring myself. Shedding shame is a key element of Low Cut Connie.”\NWeiner feels like a certain dark prince of rock n roll was a companion to him on this whole album and film project. “I felt like Lou Reed was riding with me the whole time I was making Art Dealers,” he said. “Lou was the toughest motherfucker out there, a subversive Jew like me - but he had a real rock n’roll heart underneath it all."\NART DEALERS comes on the heels of a few very busy years for Low Cut Connie. During the height of COVID lockdowns, Adam and Low Cut Connie guitarist Will Donnelly did the near-impossible with their “Tough Cookies” live-streaming rock and soul variety shows. Even in a bathrobe, from his South Philly guest bedroom, Adam managed to generate the electricity of a live show - twice a week, no less - earning him the New Yorker’s newly-minted laurel of “Pandemic Person of the Year” in 2020. The broadcasts drew hundreds of thousands of viewers from more than forty countries, who joined previous appreciators like Bruce\NSpringsteen (who invited Weiner backstage on Broadway in 2018) Barack Obama (an early adopter, who included the band on his official Spotify favorites playlist in 2015) and Elton John (who both praised the band from his own concert stage and featured Weiner as a guest, twice, on his satellite radio show) in Low Cut Connie’s de facto fan club.\NIn the midst of all this, Low Cut Connie also released 2020's acclaimed PRIVATE LIVES album. The album's title track finished the year in the top 20 nationally for non-commercial radio and was praised by NPR as "the freak anthem we need right now." PRIVATE LIVES was praised for the vivid interiority and intimate detail of its songwriting and was included on many best-of-the-year lists that year (Rolling Stone, NPR/Fresh Air, PopMatters, Glide, AllMusic, etc). For that album and ART DEALERS, Weiner sat solo in the producer's chair.\NFurther exploring new media, Weiner co-directed (with filmmaker Roy Power) an 80 minute feature film that will premiere late this year as a companion piece to ART DEALERS. The film is a hybrid-genre documentary that combines a stellar run of NYC concerts from 2022 shot at Sony Hall and the Blue Note, as well as 15 years of performance footage and musical and personal misadventures that led up to ART DEALERS. There will be limited festival screenings of the ART DEALERS film late in 2023, in tandem with this Fall's US tour, and the film will see wider release in 2024.\NAhead of the release of this new album and film, Adam Weiner aka Low Cut Connie explains what motivates him to keep pushing deeper into art life.\N“I'm always trying to get back to the heart and soul of things with the intention of my music and my performances,” says Adam. “I don't know what's hip. I don't know what's in fashion. I don't know what I'm supposed to be doing to be accepted by whatever's popular or trending. I have no idea - I don't care anymore. I just want to turn people on with what I do. The world is a dirty and broken place... we might as well live it the fuck up while we’re here.” X-ALT-DESC;FMTTYPE=text/html:

“This record is all kink and no shame,” says Adam Weiner of ART DEALERS, the tough, sexy and tender new album coming from Low Cut Connie. “With Low Cut Connie, I try to create a safe space for you to just absolutely get your freak on.”

For years now, Low Cut Connie has built its grassroots coalition of oddballs, underdogs, and fun-loving weirdos with songs that celebrate life on the fringes of polite society. The band’s infamously wild, passionate live shows provide a total release - of stress, of inhibition, of shame - working up a primordial rock n roll sweat for fans to get blissfully soaked in. The new album, and its full-length companion film, sizzle with that same cathartic sweat, reminding us that it's time to get dirty again, and to feel alive. ART DEALERS sits at the intersection of sleazy and soulful - a collection of risky, romantic, life-affirming anthems, all dedicated to you.

“I think rock n roll exists to be a red-blooded, countercultural medium,” says Weiner, who has performed under the Low Cut Connie moniker for over a decade, "You're supposed to get your hair messed-up." That imperative comes through in the adults-only tone of songs like the opening “Tell Me Something I Don’t

Know,” a sinuous, lurid rocker that sounds like walking through depraved Times Square in 1978 - neon-lit and nasty with a snapping beat. The speedy, fuzzed-up garage-rocker “Whips and Chains" calls out Trump and the current wave of neo-fascism, without ever losing its boogie rhythm section.

But there’s also tenderness behind the curtain here, as on the yearning first single "Are You Gonna Run?" and "Call Out My Name", which evoke the sweet sad love that punky boys like the New York Dolls and the Ramones used to have for tough girls like the Ronettes and the Shangri-La's.

The sounds throughout the record comprise a grimy modern urban landscape, a soulful but broken place that Weiner and his band (including rock n roll guitar hero, Will Donnelly, in his 9th year in Low Cut Connie) have been gravitating towards throughout the band's history. Weiner grew up amid the lawns and strip malls of suburban New Jersey, and his own teen dreams were lit up by the beacon of the big city, where he could shed his skin like so many artists before. “If you think about it, so many great artists who we associate with the city were actually bridge and tunnel people,” Adam said. “Patti Smith, Lou Reed, Springsteen. Debbie Harry, Robert Mapplethorpe. People who came from the burbs had this vision of what they could achieve in the city, what attracted them to this art life, who they could turn into and what impressions they could make - if they could just get there.” ART DEALERS is in many ways a tribute to that feeling at the pumping heart of the city - that enlightened buzz that can come in a packed hothouse of creativity and free expression. Songs like the Grace Jones styled "Take Me to the Place" and the penetrating title song point to all the people who cross those bridges, who choose the art life, who find their liberation on the edges of propriety.

ART DEALERS isn’t constrained by a gender binary, either. “When I’m onstage, I am the freest, most uninhibited version of myself,” Weiner explains. “It's total freedom of spirit and body. Over the years, that freedom has given me more confidence to write songs from a perspective that isn't necessarily male. I’ve slowly been walking toward a more gender-fluid voice with Low Cut Connie." Weiner's first steady gig at age 21 was as a piano-player in a drag karaoke bar in Manhattan called Pegasus, a seedy place where trans people, gay, straight and otherwise would gather around Weiner's piano in a benevolent yet fully debauched

array. "There are so many songs that came out of that bar for me. Things like 'Shake It Little Tina [the single

off of Low Cut Connie's Hi Honey album]" But it wasn't until ART DEALERS that he fully allowed himself to let the gender binary go so completely on songs like the upcoming single "Don't Get Fresh With Me," "Wonderful Boy," and "Sleaze Me On" (with its sweet refrain "Treat me like a modern girl!"). Says Weiner, "I have no idea the gender identity of those songs. And that feels real comfy for me, the 'not knowing'."

ART DEALERS goes out to all the outsiders. On the no-fucks-to-give anthem "King of the Jews," Weiner gets deep in the weeds of his personal and ethnic outsider identity. “There are just so many entry points these days to antisemitism, so my absolute unapologetic full-frontal Jewiness feels more needed now, I guess,” he says. “My Jewiness gives me an outsider perspective and humor that I wouldn't trade for any goddamn thing,

and the minute I start hiding that, I'm dishonoring myself. Shedding shame is a key element of Low Cut Connie.”

Weiner feels like a certain dark prince of rock n roll was a companion to him on this whole album and film project. “I felt like Lou Reed was riding with me the whole time I was making Art Dealers,” he said. “Lou was the toughest motherfucker out there, a subversive Jew like me - but he had a real rock n’roll heart underneath it all."

ART DEALERS comes on the heels of a few very busy years for Low Cut Connie. During the height of COVID lockdowns, Adam and Low Cut Connie guitarist Will Donnelly did the near-impossible with their “Tough Cookies” live-streaming rock and soul variety shows. Even in a bathrobe, from his South Philly guest bedroom, Adam managed to generate the electricity of a live show - twice a week, no less - earning him the New Yorker’s newly-minted laurel of “Pandemic Person of the Year” in 2020. The broadcasts drew hundreds of thousands of viewers from more than forty countries, who joined previous appreciators like Bruce

Springsteen (who invited Weiner backstage on Broadway in 2018) Barack Obama (an early adopter, who included the band on his official Spotify favorites playlist in 2015) and Elton John (who both praised the band from his own concert stage and featured Weiner as a guest, twice, on his satellite radio show) in Low Cut Connie’s de facto fan club.

In the midst of all this, Low Cut Connie also released 2020's acclaimed PRIVATE LIVES album. The album's title track finished the year in the top 20 nationally for non-commercial radio and was praised by NPR as "the freak anthem we need right now." PRIVATE LIVES was praised for the vivid interiority and intimate detail of its songwriting and was included on many best-of-the-year lists that year (Rolling Stone, NPR/Fresh Air, PopMatters, Glide, AllMusic, etc). For that album and ART DEALERS, Weiner sat solo in the producer's chair.

Further exploring new media, Weiner co-directed (with filmmaker Roy Power) an 80 minute feature film that will premiere late this year as a companion piece to ART DEALERS. The film is a hybrid-genre documentary that combines a stellar run of NYC concerts from 2022 shot at Sony Hall and the Blue Note, as well as 15 years of performance footage and musical and personal misadventures that led up to ART DEALERS. There will be limited festival screenings of the ART DEALERS film late in 2023, in tandem with this Fall's US tour, and the film will see wider release in 2024.

Ahead of the release of this new album and film, Adam Weiner aka Low Cut Connie explains what motivates him to keep pushing deeper into art life.

“I'm always trying to get back to the heart and soul of things with the intention of my music and my performances,” says Adam. “I don't know what's hip. I don't know what's in fashion. I don't know what I'm supposed to be doing to be accepted by whatever's popular or trending. I have no idea - I don't care anymore. I just want to turn people on with what I do. The world is a dirty and broken place... we might as well live it the fuck up while we’re here.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240220T171920Z X-ACCESS:1 X-HITS:60 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240402T110000 DTEND;TZID=America/Denver:20240402T120000 UID:69C79A85-0B94-4034-B750-98829436B433 SUMMARY:Jimmie Vaughan & The Tilt-A-Whirl Band DTSTAMP:20231204T182505Z DESCRIPTION:In true Texas fashion, four-time Grammy-winner Jimmie Vaughan has helped breathe new life into the music that has been his lifeline all these decades, becoming a hero to those who cherish America's real gift to musical history.  \N"When I talk about country and blues, they're the same thing," Jimmie Vaughan says. "Muddy Waters and Hank Williams, Webb Pierce and Jimmy Reed. When I was a kid, I didn't understand the difference. Everybody was always asking me, 'Why do you want to play blues? Why don't you play country?' But I would listen to the country guys and they would be doing a Jimmy Reed song. They're playing the same lick. And Ray Charles, Little Milton, Guitar Junior, Lonnie Brooks, B.B. King--they all did country songs. Is Bob Wills country blues or jazz? And the answer is, it's American music. I'm tired of trying to pigeonhole everything. I want to bring it together; it comes from the same place."  \NAs a young teenager in Oak Cliff, Texas, his father told him to take guitar lessons if he wanted to really learn the instrument. But when Vaughan's teacher told the guitar student it wasn't going to work because the student "was too far gone" to learn from the lesson books, Jimmie Vaughan knew he was on his own. Which was perfect for him, because the blues would be his teacher for life. For those who find themselves living inside this true American music, it becomes a way of life, and a musical force to follow forever.  \NJimmie Vaughan became possessed by his instrument while listening to the blues on the Black radio station in Dallas, and it has been that way ever since. When something this strong takes over, there is no way out—the pursuit just keeps going deeper. \NJimmie Vaughan has been playing the blues he hears in his head and feels in his heart for over a half-century.  \NWhen he first heard songs like Phil Upchurch's "You Can't Sit Down," The Nightcaps' "Wine, Wine, Wine" and B.B. King's many hit songs in the early 1960s, he knew he had found his music. And ever since then, it's been a constant quest to play the blues, whether it was in early 1970s Austin bands like Storm and then the Fabulous Thunderbirds, or later with brother Stevie Ray Vaughan on their FAMILY STYLE album, and on his own releases throughout the 1990s and in 2001.  \NThen the solo albums stopped, until in 2010, Vaughan had an idea to start recording The Great American Blues Songbook. He assembled the kind of band most musicians can only dream about, and began recording his dream set list at Top Hat and Wire Studios in Austin. Never one to back down from a great idea, in 2011 Vaughan and band went back into the same studio and recorded a second collection of some of his favorite songs, zeroing in on that music's ability to light a fuse wherever it was heard.  \NLast fall, to help celebrate the 10-year anniversary of the first of the BLUES, BALLADS AND FAVOURITES albums, THE PLEASURE’S ALL MINE compiled both albums as a collection, and was released alongside a Vinyl reissue of 2016's JIMMIE VAUGHAN TRIO featuring Mike Flanigin LIVE AT C-BOY'S release, which featured songs recorded at the venerable Austin nightspot that Vaughan and crew call home when they are in town.   \NIn 2019, his newest release, BABY, PLEASE COME HOME brought him back into the spotlight with yet another Grammy nomination, and a Blues Foundation Award for Best Male Artist.   \NThis year, he celebrates his life in the blues and on the road with THE JIMMIE VAUGHAN STORY, a special limited-edition box set and book including over 200 photos covering his life and the breadth of his remarkable career. And yet, Vaughan still feels like he is just getting started, devoted to making sure he is able to give back to the music that has given him so much. The blues is in Jimmie Vaughan's blood, has been there since the start, and will stay there forever.   X-ALT-DESC;FMTTYPE=text/html:

In true Texas fashion, four-time Grammy-winner Jimmie Vaughan has helped breathe new life into the music that has been his lifeline all these decades, becoming a hero to those who cherish America's real gift to musical history.  

"When I talk about country and blues, they're the same thing," Jimmie Vaughan says. "Muddy Waters and Hank Williams, Webb Pierce and Jimmy Reed. When I was a kid, I didn't understand the difference. Everybody was always asking me, 'Why do you want to play blues? Why don't you play country?' But I would listen to the country guys and they would be doing a Jimmy Reed song. They're playing the same lick. And Ray Charles, Little Milton, Guitar Junior, Lonnie Brooks, B.B. King--they all did country songs. Is Bob Wills country blues or jazz? And the answer is, it's American music. I'm tired of trying to pigeonhole everything. I want to bring it together; it comes from the same place."  

As a young teenager in Oak Cliff, Texas, his father told him to take guitar lessons if he wanted to really learn the instrument. But when Vaughan's teacher told the guitar student it wasn't going to work because the student "was too far gone" to learn from the lesson books, Jimmie Vaughan knew he was on his own. Which was perfect for him, because the blues would be his teacher for life. For those who find themselves living inside this true American music, it becomes a way of life, and a musical force to follow forever.  

Jimmie Vaughan became possessed by his instrument while listening to the blues on the Black radio station in Dallas, and it has been that way ever since. When something this strong takes over, there is no way out—the pursuit just keeps going deeper. 

Jimmie Vaughan has been playing the blues he hears in his head and feels in his heart for over a half-century.  

When he first heard songs like Phil Upchurch's "You Can't Sit Down," The Nightcaps' "Wine, Wine, Wine" and B.B. King's many hit songs in the early 1960s, he knew he had found his music. And ever since then, it's been a constant quest to play the blues, whether it was in early 1970s Austin bands like Storm and then the Fabulous Thunderbirds, or later with brother Stevie Ray Vaughan on their FAMILY STYLE album, and on his own releases throughout the 1990s and in 2001.  

Then the solo albums stopped, until in 2010, Vaughan had an idea to start recording The Great American Blues Songbook. He assembled the kind of band most musicians can only dream about, and began recording his dream set list at Top Hat and Wire Studios in Austin. Never one to back down from a great idea, in 2011 Vaughan and band went back into the same studio and recorded a second collection of some of his favorite songs, zeroing in on that music's ability to light a fuse wherever it was heard.  

Last fall, to help celebrate the 10-year anniversary of the first of the BLUES, BALLADS AND FAVOURITES albums, THE PLEASURE’S ALL MINE compiled both albums as a collection, and was released alongside a Vinyl reissue of 2016's JIMMIE VAUGHAN TRIO featuring Mike Flanigin LIVE AT C-BOY'S release, which featured songs recorded at the venerable Austin nightspot that Vaughan and crew call home when they are in town.   

In 2019, his newest release, BABY, PLEASE COME HOME brought him back into the spotlight with yet another Grammy nomination, and a Blues Foundation Award for Best Male Artist.   

This year, he celebrates his life in the blues and on the road with THE JIMMIE VAUGHAN STORY, a special limited-edition box set and book including over 200 photos covering his life and the breadth of his remarkable career. And yet, Vaughan still feels like he is just getting started, devoted to making sure he is able to give back to the music that has given him so much. The blues is in Jimmie Vaughan's blood, has been there since the start, and will stay there forever.  

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240117T184716Z X-ACCESS:1 X-HITS:2016 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240403T200000 DTEND;TZID=America/Denver:20240403T210000 UID:549FDBF4-95C9-4701-820E-F592936BE7B7 SUMMARY:David Wilcox DTSTAMP:20240206T173346Z DESCRIPTION:David Wilcox is a penetrating storyteller. The revered folk musician has an effortless talent for spinning lyrics that quietly cut deep, and crafting melodies that seamlessly ride the plot twists and turns. Wilcox handily exemplifies the power of lyrical and musical catharsis\NPick any song from Wilcox’s new acoustic album, My Good Friends, and you will find yourself instantly immersed. Sometimes you’ll see yourself in the lyrics, other times you’ll marvel at the four-minute mini-movie. My Good Friends is a stripped-down, acoustic collection of ten songs, a fan-requested creative respite for Wilcox as he also continues to work on a full band album coming in 2024.\NOf special note on the new recording is “Jolt,” with its jittery rhythm playing perfect backdrop to lyrics about today’s obsession with online fear mongering and internet disinformation. The title track is a folk-blues number about living a life filled with close calls and surviving them all. Then there’s a trio of story songs – “Dead Man’s Phone,” “This Is How It Ends,” and “Lost Man” – that are as cinematic as they are charismatic. Wilcox says those last three songs “create a whole movie in my imagination.”\NIn fact, the way Wilcox feels about every tune on My Good Friends proves this is indeed a fan-requested labor of love. “I am grateful for the community that sustains me – my good friends,” he says. “These are the kind of friends that get you through difficult times. The kind of friends that you go to for a fresh perspective when the future looks grim. These songs grew out of conversations with friends, and they hold ideas that I like to have around.”\NSuch dedication to honoring personal and heartfelt music has been the backbone of David Wilcox’s entire career. The Ohio native with the warm baritone found his artistic muse in North Carolina during the mid-1980s. In 1987, he released his debut album, The Nightshift Watchman, which led to winning the prestigious Kerrville Folk Festival in 1988. That translated to a four-album stint with A&M Records starting with 1989’s How Did You Find Me Here, which sold 100,000 copies by word of mouth. Thirty-plus years and twenty-plus albums later, Wilcox won top honors in the 23rd annual USA Songwriting Competition in 2018 for his effervescent “We Make the Way by Walking” from his last album release, The View From the Edge. Wilcox has deservedly earned praise over the years in The New York Times, The Boston Globe, The Los Angeles Times, and Rolling Stone, to name a few. He also has a dedicated and vocal core of fans who regularly write to thank him for his work and the impact his songs have had on their lives.\NToday, Wilcox is still earning his admirers with storytelling that cuts deep into the soul and observes the human condition from both the nerve center and the outside looking in. That kind of storytelling is certain to become a good friend. X-ALT-DESC;FMTTYPE=text/html:

David Wilcox is a penetrating storyteller. The revered folk musician has an effortless talent for spinning lyrics that quietly cut deep, and crafting melodies that seamlessly ride the plot twists and turns. Wilcox handily exemplifies the power of lyrical and musical catharsis

Pick any song from Wilcox’s new acoustic album, My Good Friends, and you will find yourself instantly immersed. Sometimes you’ll see yourself in the lyrics, other times you’ll marvel at the four-minute mini-movie. My Good Friends is a stripped-down, acoustic collection of ten songs, a fan-requested creative respite for Wilcox as he also continues to work on a full band album coming in 2024.

Of special note on the new recording is “Jolt,” with its jittery rhythm playing perfect backdrop to lyrics about today’s obsession with online fear mongering and internet disinformation. The title track is a folk-blues number about living a life filled with close calls and surviving them all. Then there’s a trio of story songs – “Dead Man’s Phone,” “This Is How It Ends,” and “Lost Man” – that are as cinematic as they are charismatic. Wilcox says those last three songs “create a whole movie in my imagination.”

In fact, the way Wilcox feels about every tune on My Good Friends proves this is indeed a fan-requested labor of love. “I am grateful for the community that sustains me – my good friends,” he says. “These are the kind of friends that get you through difficult times. The kind of friends that you go to for a fresh perspective when the future looks grim. These songs grew out of conversations with friends, and they hold ideas that I like to have around.”

Such dedication to honoring personal and heartfelt music has been the backbone of David Wilcox’s entire career. The Ohio native with the warm baritone found his artistic muse in North Carolina during the mid-1980s. In 1987, he released his debut album, The Nightshift Watchman, which led to winning the prestigious Kerrville Folk Festival in 1988. That translated to a four-album stint with A&M Records starting with 1989’s How Did You Find Me Here, which sold 100,000 copies by word of mouth. Thirty-plus years and twenty-plus albums later, Wilcox won top honors in the 23rd annual USA Songwriting Competition in 2018 for his effervescent “We Make the Way by Walking” from his last album release, The View From the Edge. Wilcox has deservedly earned praise over the years in The New York Times, The Boston Globe, The Los Angeles Times, and Rolling Stone, to name a few. He also has a dedicated and vocal core of fans who regularly write to thank him for his work and the impact his songs have had on their lives.

Today, Wilcox is still earning his admirers with storytelling that cuts deep into the soul and observes the human condition from both the nerve center and the outside looking in. That kind of storytelling is certain to become a good friend.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240209T170219Z X-ACCESS:1 X-HITS:197 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240404T200000 DTEND;TZID=America/Denver:20240404T210000 UID:06B831C8-416A-4A77-B560-3460DFD368B0 SUMMARY:High Fade DTSTAMP:20240108T192234Z DESCRIPTION:On a three-man crusade to set dance floors alight with their inimitable brand of razor-sharp funk and disco, Edinburgh’s High Fade captured the attention of a global audience with their music amassing over 30 million views and streams within six months of their first release and, in the process, gaining recognition from music heavyweights including Jack Black, Cypress Hill, Deep Purple’s Glenn Hughes, and Brad Wilk from Rage Against The Machine\NFor a band that only started mid-2018, to already have the support of artists including Emeli Sandé, David Paitch and even Peter Andre is a testament to not only their raw musical talent but also the relentless drive and ambition that has seen the band play over 1000 gigs in the last four years. With a forward-thinking approach to grassroots promotion, High Fade have been able to capture the magic of their live performances with a proactive presence on social media and create multiple viral moments for their tracks “Sharpen Up”, “Burnin”, and “Burnt Toast and Coffee” that feed the appetite of new fans across the world. \NWith a more traditional offline approach towards learning their craft and perfecting the High Fade sound, Harry Valentino (guitar/vocals), Oliver Sentance (bass) and Calvin Davidson (drums/vocals) developed their infectious style whilst feeding off the unpredictable crowd interactions that come with street shows and busking. It’s this unmatched live energy that sets their performances apart and results in the impressive musical display that comes from just three musicians working together. Indeed, with other acts in the same genre often having upwards of six members, being a three-piece could be a limiting factor for many, but for High Fade it has become an integral part of the band’s DNA, allowing them to put on a show that supersedes anything their fans have experienced before.\NFrom the old-school soul and Motown of John Legend and Barry White to the classic rock of bands like Kiss and Motley Crue, High Fade’s sound draws on the musical tastes and experiences of all three members, extracting the best bits of each and serving the funky, disco-inspired results up live on stage. Launching their own label, RPN Records, has allowed the band to take control of their output with monthly singles planned for the foreseeable and a forthcoming official remix package for “Sharpen Up”. Featuring club-ready interpretations from Opolopo and Oden & Fatzo that highlight the group’s passion for electronic music, this tangible connection to the dance music scene provides the perfect opportunity for the High Fade sound to make the transition into the setlists of house and disco DJs.\NBy their own admission, “High Fade doesn’t work unless there’s a crowd, a dance floor and people that want to get down” - it’s reassuring then that their gig diary is stacked, with dates across the UK and Scotland confirmed throughout summer, and a big US tour in place for later this year following their signing with leading US booking agency, Wasserman. Throw in partnerships with brands including Ernie Ball, Blackstar Amps and Suhr Guitars and it’s clear that the whole industry is backing the meteoric rise of High Fade, and so should you. X-ALT-DESC;FMTTYPE=text/html:

On a three-man crusade to set dance floors alight with their inimitable brand of razor-sharp funk and disco, Edinburgh’s High Fade captured the attention of a global audience with their music amassing over 30 million views and streams within six months of their first release and, in the process, gaining recognition from music heavyweights including Jack Black, Cypress Hill, Deep Purple’s Glenn Hughes, and Brad Wilk from Rage Against The Machine

For a band that only started mid-2018, to already have the support of artists including Emeli Sandé, David Paitch and even Peter Andre is a testament to not only their raw musical talent but also the relentless drive and ambition that has seen the band play over 1000 gigs in the last four years. With a forward-thinking approach to grassroots promotion, High Fade have been able to capture the magic of their live performances with a proactive presence on social media and create multiple viral moments for their tracks “Sharpen Up”, “Burnin”, and “Burnt Toast and Coffee” that feed the appetite of new fans across the world. 

With a more traditional offline approach towards learning their craft and perfecting the High Fade sound, Harry Valentino (guitar/vocals), Oliver Sentance (bass) and Calvin Davidson (drums/vocals) developed their infectious style whilst feeding off the unpredictable crowd interactions that come with street shows and busking. It’s this unmatched live energy that sets their performances apart and results in the impressive musical display that comes from just three musicians working together. Indeed, with other acts in the same genre often having upwards of six members, being a three-piece could be a limiting factor for many, but for High Fade it has become an integral part of the band’s DNA, allowing them to put on a show that supersedes anything their fans have experienced before.

From the old-school soul and Motown of John Legend and Barry White to the classic rock of bands like Kiss and Motley Crue, High Fade’s sound draws on the musical tastes and experiences of all three members, extracting the best bits of each and serving the funky, disco-inspired results up live on stage. Launching their own label, RPN Records, has allowed the band to take control of their output with monthly singles planned for the foreseeable and a forthcoming official remix package for “Sharpen Up”. Featuring club-ready interpretations from Opolopo and Oden & Fatzo that highlight the group’s passion for electronic music, this tangible connection to the dance music scene provides the perfect opportunity for the High Fade sound to make the transition into the setlists of house and disco DJs.

By their own admission, “High Fade doesn’t work unless there’s a crowd, a dance floor and people that want to get down” - it’s reassuring then that their gig diary is stacked, with dates across the UK and Scotland confirmed throughout summer, and a big US tour in place for later this year following their signing with leading US booking agency, Wasserman. Throw in partnerships with brands including Ernie Ball, Blackstar Amps and Suhr Guitars and it’s clear that the whole industry is backing the meteoric rise of High Fade, and so should you.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240117T184940Z X-ACCESS:1 X-HITS:236 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240405T200000 DTEND;TZID=America/Denver:20240405T210000 UID:328A03FB-A92C-427F-AB77-F0A06A14DAD7 SUMMARY:An Evening with Mike Doughty and Ghost of Vroom DTSTAMP:20231113T183152Z DESCRIPTION:Mike Doughty, is taking his new band Ghost of Vroom on the road for the first time this fall. The group, consisting of Doughty, Andrew “Scrap” Livingston and drummer Madden Klass are releasing their latest album “Ghost of Vroom 3” September 2023. The aptly titled full length is their third release from acclaimed producer Mario Caldato Jr (Beastie Boys, Beck) and showcases hard hitting drums, hooks, flows and Doughty's signature brand of art pop. \NThese special shows will feature songs from Mike Doughty’s entire catalog, spanning Soul Coughing, his solo work, and selections from all three Ghost of Vroom albums.  X-ALT-DESC;FMTTYPE=text/html:

Mike Doughty, is taking his new band Ghost of Vroom on the road for the first time this fall. The group, consisting of Doughty, Andrew “Scrap” Livingston and drummer Madden Klass are releasing their latest album “Ghost of Vroom 3” September 2023. The aptly titled full length is their third release from acclaimed producer Mario Caldato Jr (Beastie Boys, Beck) and showcases hard hitting drums, hooks, flows and Doughty's signature brand of art pop. 

These special shows will feature songs from Mike Doughty’s entire catalog, spanning Soul Coughing, his solo work, and selections from all three Ghost of Vroom albums. 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240117T184901Z X-ACCESS:1 X-HITS:827 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240410T200000 DTEND;TZID=America/Denver:20240410T210000 UID:79ADEB3B-7DE7-463F-9FF6-F0C7E4DBA262 SUMMARY:Jon McLaughlin DTSTAMP:20240126T225724Z DESCRIPTION:Everything in Jon McLaughlin’s life makes its way into his music, whether he’s conscious of it or not. The artist, raised in Indiana and based in Nashville, brings all of his experiences and beliefs into each song he creates, something that is especially true now that he’s the father of two young girls. \NJon released his debut album, Indiana, in 2007 on Island Def Jam, attracting fans with his heartfelt, hook-laden songwriting and impassioned delivery. He’s released six full-lengths in the years since and revealed a true evolution in both his piano playing and singing. He’s played shows with Billy Joel, Kelly Clarkson and Adele, collaborated with longtime friend Sara Bareilles, co-written with Demi Lovato and even performed at the Academy Awards in 2008.  \NJon’s album, Like Us, dropped in October of 2015 via Razor & Tie, and he spent the past few years touring extensively before heading back into his Nashville studio to work on new music. Jon released a Christmas EP in 2017 titled Red & Green with two originals and his take on a few holiday classics. In November of 2018 Jon released his album Angst & Grace which features “Still My Girl” written for his youngest daughter. \NAnother project started in 2018 is his Dueling Pianos video series. Every episode features a new guest artist and they perform mashups of never-before-heard arrangements. \NIn Fall of 2019 Jon released an instrumental piano album titled MOOD. This record demonstrates Jon's artistry and captivates his talent as a pianist. In May 2020 the second edition of the project was released entitled MOOD II.\NJon wrapped up 2020 with the release of his Christmas EP Christmas Time before putting out his most recent full length album All The Things I Say To Myself with immediate fan favorites “A Breakup Song” & “Outta My Head”.  \NIn the fall of 2022 Jon hit the road with his band in celebration of the 15 year anniversary of his Indiana album which will be remastered and re released on vinyl spotlighting a new a capella version of the title track “Indiana” featuring Straight No Chaser as well as never-before-released b-sides.\NTowards the end of 2023, Jon released the third installment in his instrumental piano series: MOOD III.\NAs with everything he does, Jon’s goal is to create connections. He wants to translate his experiences and ideas into music that reaches fans everywhere. His passion for music and playing is evident in each note he plays. X-ALT-DESC;FMTTYPE=text/html:

Everything in Jon McLaughlin’s life makes its way into his music, whether he’s conscious of it or not. The artist, raised in Indiana and based in Nashville, brings all of his experiences and beliefs into each song he creates, something that is especially true now that he’s the father of two young girls. 

Jon released his debut album, Indiana, in 2007 on Island Def Jam, attracting fans with his heartfelt, hook-laden songwriting and impassioned delivery. He’s released six full-lengths in the years since and revealed a true evolution in both his piano playing and singing. He’s played shows with Billy Joel, Kelly Clarkson and Adele, collaborated with longtime friend Sara Bareilles, co-written with Demi Lovato and even performed at the Academy Awards in 2008.  

Jon’s album, Like Us, dropped in October of 2015 via Razor & Tie, and he spent the past few years touring extensively before heading back into his Nashville studio to work on new music. Jon released a Christmas EP in 2017 titled Red & Green with two originals and his take on a few holiday classics. In November of 2018 Jon released his album Angst & Grace which features “Still My Girl” written for his youngest daughter. 

Another project started in 2018 is his Dueling Pianos video series. Every episode features a new guest artist and they perform mashups of never-before-heard arrangements. 

In Fall of 2019 Jon released an instrumental piano album titled MOOD. This record demonstrates Jon's artistry and captivates his talent as a pianist. In May 2020 the second edition of the project was released entitled MOOD II.

Jon wrapped up 2020 with the release of his Christmas EP Christmas Time before putting out his most recent full length album All The Things I Say To Myself with immediate fan favorites “A Breakup Song” & “Outta My Head”.  

In the fall of 2022 Jon hit the road with his band in celebration of the 15 year anniversary of his Indiana album which will be remastered and re released on vinyl spotlighting a new a capella version of the title track “Indiana” featuring Straight No Chaser as well as never-before-released b-sides.

Towards the end of 2023, Jon released the third installment in his instrumental piano series: MOOD III.

As with everything he does, Jon’s goal is to create connections. He wants to translate his experiences and ideas into music that reaches fans everywhere. His passion for music and playing is evident in each note he plays.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240202T170335Z X-ACCESS:1 X-HITS:244 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240412T200000 DTEND;TZID=America/Denver:20240412T210000 UID:E73FE2CF-19EC-428A-AC27-6048CF6EC5C4 SUMMARY:Knox DTSTAMP:20240220T160217Z DESCRIPTION:Growing up, Knox knew he had an interest in music more than the average kid. His teenage years were sound tracked by artists such as Fall Out Boy & Ed Sheeran, and the summer before he started college, Knox taught himself guitar. He began playing open mic nights and by his sophomore year, his musical ambitions were so all-consuming that he dropped out of school, moved in with his grandma and saved up money to move to Nashville. He made the leap in January 2019.\NKnox used Covid isolation to work on his craft. The focus paid off: Knox signed a publishing deal in 2022 but was struck with the urge to record songs he had been working on. The result was How to Lose a Girl in 7 Songs, Knox’s debut EP, released February 2023. Knox filmed TikToks featuring his song “Sneakers”, and 1 amassed nearly 2M views overnight. “Sneakers” now has over 28M streams. Another fan favorite track, “Not The 1975," can be seen on the Top 40 and Hot AC radio charts, and is featured on Knox’s latest EP, “I’m So Good At Being Alone?” released October 2023. \NKnox has since been touring, opening for the Band Camino, Nightly, and Boys Like Girls and most recently performing on his own sold out headline tour. “I'm 6 states away from home and there’s a thousand people in the audience that are singing the song that I wrote with my friends in my bedroom. That's when it gets you, when you see people connecting to something that I made with my best friends. It’s the most unreal feeling in the world.” X-ALT-DESC;FMTTYPE=text/html:

Growing up, Knox knew he had an interest in music more than the average kid. His teenage years were sound tracked by artists such as Fall Out Boy & Ed Sheeran, and the summer before he started college, Knox taught himself guitar. He began playing open mic nights and by his sophomore year, his musical ambitions were so all-consuming that he dropped out of school, moved in with his grandma and saved up money to move to Nashville. He made the leap in January 2019.

Knox used Covid isolation to work on his craft. The focus paid off: Knox signed a publishing deal in 2022 but was struck with the urge to record songs he had been working on. The result was How to Lose a Girl in 7 Songs, Knox’s debut EP, released February 2023. Knox filmed TikToks featuring his song “Sneakers”, and 1 amassed nearly 2M views overnight. “Sneakers” now has over 28M streams. Another fan favorite track, “Not The 1975," can be seen on the Top 40 and Hot AC radio charts, and is featured on Knox’s latest EP, “I’m So Good At Being Alone?” released October 2023. 

Knox has since been touring, opening for the Band Camino, Nightly, and Boys Like Girls and most recently performing on his own sold out headline tour. “I'm 6 states away from home and there’s a thousand people in the audience that are singing the song that I wrote with my friends in my bedroom. That's when it gets you, when you see people connecting to something that I made with my best friends. It’s the most unreal feeling in the world.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240220T173758Z X-ACCESS:1 X-HITS:35 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240419T200000 DTEND;TZID=America/Denver:20240419T210000 UID:88191F98-805D-4DAD-9D09-7B3B4E83D862 SUMMARY:Ezra Bell DTSTAMP:20240213T170909Z DESCRIPTION:Ezra Bell was founded late in the summer of 2013. It was warm enough to sit on the porch into the evening and learn a couple of songs. A lap drum a banjo and an out-of-tune guitar.  Years on, it’s surprising Ezra Bell is still at it. Streaming services have surprisingly worked in Ezra Bell’s favor and listeners resonate with the tales spinning out of order around disconcerting musical interludes. Somehow, a licensing company commissioned Ezra Bell to play and record Sam Cooke’s worst song for an insurance commercial. The commercial aired on Superbowl Sunday. Ezra Bell espouses neither football nor insurance but sold out accordingly for the pittance that was paid and the exposure. Such is the music industry. Many heartfelt messages from unknown listeners have kept Ezra Bell busy writing and recording. Eventually, a booking agency caught on to the growing cult following and propped Ezra Bell up in front of audiences outside of Portland, forcing the band to drive thousands of miles, sometimes in single day, to play for crowds. Then there was COVID. Now the touring has (mostly) ceased and the band focuses on recording and self-releasing independent music. X-ALT-DESC;FMTTYPE=text/html:

Ezra Bell was founded late in the summer of 2013. It was warm enough to sit on the porch into the evening and learn a couple of songs. A lap drum a banjo and an out-of-tune guitar.  Years on, it’s surprising Ezra Bell is still at it. Streaming services have surprisingly worked in Ezra Bell’s favor and listeners resonate with the tales spinning out of order around disconcerting musical interludes. Somehow, a licensing company commissioned Ezra Bell to play and record Sam Cooke’s worst song for an insurance commercial. The commercial aired on Superbowl Sunday. Ezra Bell espouses neither football nor insurance but sold out accordingly for the pittance that was paid and the exposure. Such is the music industry. Many heartfelt messages from unknown listeners have kept Ezra Bell busy writing and recording. Eventually, a booking agency caught on to the growing cult following and propped Ezra Bell up in front of audiences outside of Portland, forcing the band to drive thousands of miles, sometimes in single day, to play for crowds. Then there was COVID. Now the touring has (mostly) ceased and the band focuses on recording and self-releasing independent music.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240216T223723Z X-ACCESS:1 X-HITS:188 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240420T200000 DTEND;TZID=America/Denver:20240420T210000 UID:159B1CD0-4316-49C1-BBC4-067A8A5CAF50 SUMMARY:Jesse Daniel DTSTAMP:20240108T191400Z DESCRIPTION:It is no secret that Jesse Daniel puts on one hell of a live show. With his top notch band, he’s been touring the country for years and earning fans the old fashioned way; with honest songs played well. The California native is blazing the trail for a new wave of traditional artists, bringing his hard core country music to stages all over the US. There are many making traditional country music in modern times, but there is no one making it like Daniel. His sound is uniquely his own, while rooted in the tradition of his Bakersfield heroes like Merle Haggard and Buck Owens. This one-of-a-kind sound has earned Jesse a place at the table among the best of the country music world and has garnered the support of his contemporaries and fans alike. Over the past few years, he and his band have toured and shared stages with artists like Colter Wall, Tyler Childers, Sierra Ferrell, Charley Crockett, American Aquarium, Turnpike Troubadours, Shane Smith, Mike and the Moonpies, Raul Malo and many others. Jesse’s touring schedule has taken him and his band over 50,000 miles in 2022 alone and this year they aim to surpass that by a longshot. Touring this extensively can be tough on a band, but it has proven to be what truly makes a band great. There is nothing that will make a group tighter than grinding it out on the road, night after night, club after club. That is why Jesse and his songwriting partner, fellow band member, manager and fiance Jodi Lyford decided it was time to make a live album.\N“My Kind Of Country Live at The Catalyst '' was recorded in front of a sold out crowd at Santa Cruz, CA’s biggest live music venue. It’s the only album made at The Catalyst since Neil Young & Crazy Horse recorded “Touch The Night - Santa Cruz 1984” on the same stage. This was a monumental achievement for Daniel, considering he used to work as a stage hand and security at the venue years ago. He played his first ever show at the tiny upstairs bar and spent years battling addiction on the very street that The Catalyst resides. “The Catalyst was kind of as big as it gets in my world. I grew up there, going to shows, playing shows on their smaller stages. To headline the main stage, let alone sell it out and make a record there, is a huge accomplishment for me and I’m forever grateful to my Santa Cruz County friends, fans and family for supporting what we do.” said Daniel. What better way to thank the community that raised and supported you than to make a live album with them.\NThis recording includes songs from all three of Daniel’s studio albums - Jesse Daniel (2018), Rollin’ On (2020) and Beyond These Walls (2021), as well as his own hometown rendition of Homer Joy’s country classic “Streets Of Bakersfield”, made famous by Dwight Yoakam and Buck Owens. When the band breaks down you can hear every soul in the room shouting, singing along and celebrating the phrase that they themselves coined - “My Kind Of Country”. This captured live performance showcases Daniel and his band’s live energy and transports you directly to that place in time, as if you were there for it all. X-ALT-DESC;FMTTYPE=text/html:

It is no secret that Jesse Daniel puts on one hell of a live show. With his top notch band, he’s been touring the country for years and earning fans the old fashioned way; with honest songs played well. The California native is blazing the trail for a new wave of traditional artists, bringing his hard core country music to stages all over the US. There are many making traditional country music in modern times, but there is no one making it like Daniel. His sound is uniquely his own, while rooted in the tradition of his Bakersfield heroes like Merle Haggard and Buck Owens. This one-of-a-kind sound has earned Jesse a place at the table among the best of the country music world and has garnered the support of his contemporaries and fans alike. Over the past few years, he and his band have toured and shared stages with artists like Colter Wall, Tyler Childers, Sierra Ferrell, Charley Crockett, American Aquarium, Turnpike Troubadours, Shane Smith, Mike and the Moonpies, Raul Malo and many others. Jesse’s touring schedule has taken him and his band over 50,000 miles in 2022 alone and this year they aim to surpass that by a longshot. Touring this extensively can be tough on a band, but it has proven to be what truly makes a band great. There is nothing that will make a group tighter than grinding it out on the road, night after night, club after club. That is why Jesse and his songwriting partner, fellow band member, manager and fiance Jodi Lyford decided it was time to make a live album.

“My Kind Of Country Live at The Catalyst '' was recorded in front of a sold out crowd at Santa Cruz, CA’s biggest live music venue. It’s the only album made at The Catalyst since Neil Young & Crazy Horse recorded “Touch The Night - Santa Cruz 1984” on the same stage. This was a monumental achievement for Daniel, considering he used to work as a stage hand and security at the venue years ago. He played his first ever show at the tiny upstairs bar and spent years battling addiction on the very street that The Catalyst resides. “The Catalyst was kind of as big as it gets in my world. I grew up there, going to shows, playing shows on their smaller stages. To headline the main stage, let alone sell it out and make a record there, is a huge accomplishment for me and I’m forever grateful to my Santa Cruz County friends, fans and family for supporting what we do.” said Daniel. What better way to thank the community that raised and supported you than to make a live album with them.

This recording includes songs from all three of Daniel’s studio albums - Jesse Daniel (2018), Rollin’ On (2020) and Beyond These Walls (2021), as well as his own hometown rendition of Homer Joy’s country classic “Streets Of Bakersfield”, made famous by Dwight Yoakam and Buck Owens. When the band breaks down you can hear every soul in the room shouting, singing along and celebrating the phrase that they themselves coined - “My Kind Of Country”. This captured live performance showcases Daniel and his band’s live energy and transports you directly to that place in time, as if you were there for it all.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240109T210642Z X-ACCESS:1 X-HITS:273 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240422T200000 DTEND;TZID=America/Denver:20240422T210000 UID:E7396123-31AD-4C9B-8D96-67E91CDB0173 SUMMARY:Tinsley Ellis DTSTAMP:20240130T160046Z DESCRIPTION:According to Atlanta-based blues guitarist, singer and songwriter Tinsley Ellis, his new, first-ever solo acoustic album, Naked Truth, is both “a departure and an arrival.” Ellis has been recording and travelling the world for over four decades, delivering his feral, guitar-fueled, original electric blues-rock to ever-growing audiences at concert halls, festivals, and clubs. Naked Truth is steeped in the folk blues traditions of Muddy Waters, Skip James, Son House, Robert Johnson and even Leo Kottke. To the casual fan, this might seem to be a new direction, but for Ellis, it’s an extension of his music, as he taps into the raw essence of the blues. “This is a record I’ve always wanted to make, and one that my longtime fans have been asking for,” he says, noting he’s included an acoustic mini-set in his concert performances for years. In the last 12 months, Ellis has already performed over 100 solo shows, many as co-bills with his Alligator label-mate Marcia Ball. “I’m having so much fun playing these shows,” he says.\NOn Naked Truth (his 21stalbum), Ellis swaps his blistering, guitar-fueled full band workouts for equally passionate, soul-searching acoustic folk blues. His famed guitar chops and musical creativity are on full display throughout the album’s 12 songs, including nine newly written originals. Naked Truth was produced by Ellis, with the foot-stomping cover of Son House’s Death Letter Bluesproduced by Atlanta roots musician Eddie 9V. The album was recorded live in the studio using Ellis’ beloved 1969 Martin D-35 (a gift from his father) and his 1937 National Steel O Series guitars. Whether intricately fingerpicking the Martin or playing hair-raising slide on the National Steel, Ellis delivers each song with unvarnished intimacy.\NThe opener, Ellis’ original Devil In The Room, comes from an expression Ellis’ close friend, the late Col. Bruce Hampton, would tell his musicians just before a show was about to begin (“We’re here to put the devil in the room,” he’d say). From the original, Skip James-inspired Windowpane to the Delta-styled Tallahassee Blues, to the humorous Grown Ass Man, Ellis goes deep, singing and playing the blues’ honest truths. The inclusion of four introspective instrumentals (including a transcendent cover of Leo Kottke’s A Soldier’s Grave On The Prairie, a song he’s been playing live for almost 50 years) adds even more depth and substance to an album overflowing with riches. Each song carries the weight, experience and hard-earned wisdom Ellis learned over four decades on the road, infusing Naked Truth with an emotional authenticity that is palpable from start to finish.\NTinsley Ellis has been immersed in music his whole life. Born in Atlanta 1957 and raised in southern Florida, he acquired his first guitar at age seven, inspired by seeing The Beatles perform on The Ed Sullivan Show. He took to guitar instantly, developing and sharpening his skills as he grew up. Like many kids his age, Ellis discovered the blues through the back door of British Invasion bands like The Yardbirds, The Animals, Cream and The Rolling Stones as well as Southern rockers like The Allman Brothers. One afternoon after high school in 1972, he and a friend were listening to Al Kooper and Michael Bloomfield’s Super Session record when his friend’s older brother told them that, if they liked Super Session, they should go see B.B. King, who was in town that week. Tinsley saw that show from the very front row. As fate would have it, King broke a guitar string while playing, and after changing it without missing a beat, he handed the broken string to young Tinsley. And yes, Tinsley still has that string.\NLess than three years later, Ellis, already an accomplished teenaged musician, left Florida and moved to Atlanta. He soon joined a hard-driving local blues band, the Alley Cats. In 1981, along with veteran blues singer and harpist Chicago Bob Nelson, Tinsley formed The Heartfixers, a group that would become Atlanta’s top-drawing blues band. After cutting four Heartfixers albums (three for the Landslide label), Ellis was ready to step out on his own.\NGeorgia Blue, Tinsley’s first Alligator release, hit the unprepared public by surprise in 1988, as press and radio brought his music to more people than ever before. His next four releases—1989’s Fanning The Flames, 1992’s Trouble Time, 1994’s Storm Warning, and 1997’s Fire It Up—further grew his reputation as well as his audience. (His song A Quitter Never Wins, a highlight of Storm Warning, was recorded by Jonny Lang, selling almost two million copies.) Features and reviews ran in The Washington Post, The Los Angeles Times, The Boston Globe, and in many other national and regional publications. And he backed it all up performing hundreds of nights per year. Rolling Stonedeclared, “Feral blues guitar…non-stop gigging has sharpened his six-string to a razor’s edge…his eloquence dazzles…he achieves pyrotechnics that rival Jeff Beck and Eric Clapton.”\NIn the early 2000s, Ellis released albums on Capricorn Records and on Telarc, returning to Alligator in 2005 with Live–Highwayman, which captured the fifth-gear energy of his roof-raising live show. He followed it with two more incendiary studio albums, 2007’s Moment Of Truth and 2009’s Speak No Evil. He self-released four successful albums on his own Heartfixer label before coming back home to Alligator in 2018. That year, he released the fan favorite Winning Hand, followed by 2020’s Ice Cream In Hell just before the pandemic sidelined all touring. With 2022’s Devil May Care, Ellis embarked on another relentless, coast-to-coast tour, further cementing his reputation as one of the most prolific and exciting blues rockers on the scene.\NTinsley Ellis has brought his music to fans live in person to all 50 United States, as well as in Canada, across Europe, Australia and South America. He’s earned the love and respect of many of his fellow musicians, having shared stages with Christone “Kingfish” Ingram, The Allman Brothers, Warren Haynes, Oliver Wood, Buddy Guy, the Tedeschi Trucks Band, Gov’t Mule, Widespread Panic, and more. Over the years, legends including Otis Rush, James Cotton, Gregg Allman, Jimmy Buffett, Son Seals, Koko Taylor and Albert Collins invited Ellis to join them on stage. Mega-star guitarist Joe Bonamassa calls Ellis “a national treasure.” \NNow, with Naked Truth, Ellis will bring his music directly to his fans. “Two guitars and a car,” he says of the simplicity of his North American touring situation. “When folks come to see me, I’ll have the guitars I used on the record with me, so what fans hear on the album is what they’ll get live. It’s not easy. Now I’m the whole band and there’s nowhere to hide. It’s scary every single time I go up on stage alone. But nothing could be more honest.”\NNaked Truth is a revelation. Stripped of the electric fervor that defined his previous works, Ellis’ acoustic music carries a rawness that speaks directly from his soul. The songs unveil another side of Tinsley Ellis, but one that is totally recognizable to his fans. His gruff, full-throated vocals intertwine seamlessly with the bare, acoustic arrangements, creating an album that is both timeless and immediate. No Depression says, “Ellis shines. When the tempo slows, the intensity doesn’t waver.” Blues Music Magazine states, “Tinsley Ellis is a powerful and commanding presence. His music is impossible not to enjoy.” X-ALT-DESC;FMTTYPE=text/html:

According to Atlanta-based blues guitarist, singer and songwriter Tinsley Ellis, his new, first-ever solo acoustic album, Naked Truth, is both “a departure and an arrival.” Ellis has been recording and travelling the world for over four decades, delivering his feral, guitar-fueled, original electric blues-rock to ever-growing audiences at concert halls, festivals, and clubs. Naked Truth is steeped in the folk blues traditions of Muddy Waters, Skip James, Son House, Robert Johnson and even Leo Kottke. To the casual fan, this might seem to be a new direction, but for Ellis, it’s an extension of his music, as he taps into the raw essence of the blues. “This is a record I’ve always wanted to make, and one that my longtime fans have been asking for,” he says, noting he’s included an acoustic mini-set in his concert performances for years. In the last 12 months, Ellis has already performed over 100 solo shows, many as co-bills with his Alligator label-mate Marcia Ball. “I’m having so much fun playing these shows,” he says.

On Naked Truth (his 21stalbum), Ellis swaps his blistering, guitar-fueled full band workouts for equally passionate, soul-searching acoustic folk blues. His famed guitar chops and musical creativity are on full display throughout the album’s 12 songs, including nine newly written originals. Naked Truth was produced by Ellis, with the foot-stomping cover of Son House’s Death Letter Bluesproduced by Atlanta roots musician Eddie 9V. The album was recorded live in the studio using Ellis’ beloved 1969 Martin D-35 (a gift from his father) and his 1937 National Steel O Series guitars. Whether intricately fingerpicking the Martin or playing hair-raising slide on the National Steel, Ellis delivers each song with unvarnished intimacy.

The opener, Ellis’ original Devil In The Room, comes from an expression Ellis’ close friend, the late Col. Bruce Hampton, would tell his musicians just before a show was about to begin (“We’re here to put the devil in the room,” he’d say). From the original, Skip James-inspired Windowpane to the Delta-styled Tallahassee Blues, to the humorous Grown Ass Man, Ellis goes deep, singing and playing the blues’ honest truths. The inclusion of four introspective instrumentals (including a transcendent cover of Leo Kottke’s A Soldier’s Grave On The Prairie, a song he’s been playing live for almost 50 years) adds even more depth and substance to an album overflowing with riches. Each song carries the weight, experience and hard-earned wisdom Ellis learned over four decades on the road, infusing Naked Truth with an emotional authenticity that is palpable from start to finish.

Tinsley Ellis has been immersed in music his whole life. Born in Atlanta 1957 and raised in southern Florida, he acquired his first guitar at age seven, inspired by seeing The Beatles perform on The Ed Sullivan Show. He took to guitar instantly, developing and sharpening his skills as he grew up. Like many kids his age, Ellis discovered the blues through the back door of British Invasion bands like The Yardbirds, The Animals, Cream and The Rolling Stones as well as Southern rockers like The Allman Brothers. One afternoon after high school in 1972, he and a friend were listening to Al Kooper and Michael Bloomfield’s Super Session record when his friend’s older brother told them that, if they liked Super Session, they should go see B.B. King, who was in town that week. Tinsley saw that show from the very front row. As fate would have it, King broke a guitar string while playing, and after changing it without missing a beat, he handed the broken string to young Tinsley. And yes, Tinsley still has that string.

Less than three years later, Ellis, already an accomplished teenaged musician, left Florida and moved to Atlanta. He soon joined a hard-driving local blues band, the Alley Cats. In 1981, along with veteran blues singer and harpist Chicago Bob Nelson, Tinsley formed The Heartfixers, a group that would become Atlanta’s top-drawing blues band. After cutting four Heartfixers albums (three for the Landslide label), Ellis was ready to step out on his own.

Georgia Blue, Tinsley’s first Alligator release, hit the unprepared public by surprise in 1988, as press and radio brought his music to more people than ever before. His next four releases—1989’s Fanning The Flames, 1992’s Trouble Time, 1994’s Storm Warning, and 1997’s Fire It Up—further grew his reputation as well as his audience. (His song A Quitter Never Wins, a highlight of Storm Warning, was recorded by Jonny Lang, selling almost two million copies.) Features and reviews ran in The Washington Post, The Los Angeles Times, The Boston Globe, and in many other national and regional publications. And he backed it all up performing hundreds of nights per year. Rolling Stonedeclared, “Feral blues guitar…non-stop gigging has sharpened his six-string to a razor’s edge…his eloquence dazzles…he achieves pyrotechnics that rival Jeff Beck and Eric Clapton.”

In the early 2000s, Ellis released albums on Capricorn Records and on Telarc, returning to Alligator in 2005 with Live–Highwayman, which captured the fifth-gear energy of his roof-raising live show. He followed it with two more incendiary studio albums, 2007’s Moment Of Truth and 2009’s Speak No Evil. He self-released four successful albums on his own Heartfixer label before coming back home to Alligator in 2018. That year, he released the fan favorite Winning Hand, followed by 2020’s Ice Cream In Hell just before the pandemic sidelined all touring. With 2022’s Devil May Care, Ellis embarked on another relentless, coast-to-coast tour, further cementing his reputation as one of the most prolific and exciting blues rockers on the scene.

Tinsley Ellis has brought his music to fans live in person to all 50 United States, as well as in Canada, across Europe, Australia and South America. He’s earned the love and respect of many of his fellow musicians, having shared stages with Christone “Kingfish” Ingram, The Allman Brothers, Warren Haynes, Oliver Wood, Buddy Guy, the Tedeschi Trucks Band, Gov’t Mule, Widespread Panic, and more. Over the years, legends including Otis Rush, James Cotton, Gregg Allman, Jimmy Buffett, Son Seals, Koko Taylor and Albert Collins invited Ellis to join them on stage. Mega-star guitarist Joe Bonamassa calls Ellis “a national treasure.” 

Now, with Naked Truth, Ellis will bring his music directly to his fans. “Two guitars and a car,” he says of the simplicity of his North American touring situation. “When folks come to see me, I’ll have the guitars I used on the record with me, so what fans hear on the album is what they’ll get live. It’s not easy. Now I’m the whole band and there’s nowhere to hide. It’s scary every single time I go up on stage alone. But nothing could be more honest.”

Naked Truth is a revelation. Stripped of the electric fervor that defined his previous works, Ellis’ acoustic music carries a rawness that speaks directly from his soul. The songs unveil another side of Tinsley Ellis, but one that is totally recognizable to his fans. His gruff, full-throated vocals intertwine seamlessly with the bare, acoustic arrangements, creating an album that is both timeless and immediate. No Depression says, “Ellis shines. When the tempo slows, the intensity doesn’t waver.” Blues Music Magazine states, “Tinsley Ellis is a powerful and commanding presence. His music is impossible not to enjoy.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240202T170417Z X-ACCESS:1 X-HITS:201 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240427T200000 DTEND;TZID=America/Denver:20240427T210000 UID:8542DC49-4C65-4674-AEA1-D1D2BB6F9BB0 SUMMARY:Thunderstorm Artis DTSTAMP:20240212T170405Z DESCRIPTION:Thunderstorm Artis is a singer/songwriter born and raised on the North Shore of Oahu. He learned at a very young age to play piano, guitar, harmonica and drums, from his father, Ron and mother, Victoria. He has shared stages with Train, John Legend, Zac Brown and Jack Johnson. However, he is most known for being a finalist on the NBC show “The Voice” Season 18. His music crosses many genres including Folk, Rock, Soul and Country. At his concerts he has been known to jump into Bowie, Beatles, Elton John and Leonard Cohen, as well as mixing in his own heartfelt originals. No matter what Thunderstorm performs, he does it from his heart. He does not consider his music as notes on a page but rather a window into his soul. His strong belief is that through music he can make the world a better place and lift the hearts of others. X-ALT-DESC;FMTTYPE=text/html:

Thunderstorm Artis is a singer/songwriter born and raised on the North Shore of Oahu. He learned at a very young age to play piano, guitar, harmonica and drums, from his father, Ron and mother, Victoria. He has shared stages with Train, John Legend, Zac Brown and Jack Johnson. However, he is most known for being a finalist on the NBC show “The Voice” Season 18. His music crosses many genres including Folk, Rock, Soul and Country. At his concerts he has been known to jump into Bowie, Beatles, Elton John and Leonard Cohen, as well as mixing in his own heartfelt originals. No matter what Thunderstorm performs, he does it from his heart. He does not consider his music as notes on a page but rather a window into his soul. His strong belief is that through music he can make the world a better place and lift the hearts of others.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240216T223639Z X-ACCESS:1 X-HITS:159 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240501T200000 DTEND;TZID=America/Denver:20240501T210000 UID:660F879D-BB75-451C-9C12-D6971676E18A SUMMARY:Tenille Townes DTSTAMP:20240213T170311Z DESCRIPTION:An astute observer of the human condition, Tenille Townes’ discography is rife with stories that reverberate with heavy truths. Following the release of a duet with world-superstar Bryan Adams, the revered songwriter, and CCMA Entertainer of the Year, released a five-song project called the Train Track Worktapes in 2023. Townes conceptualized, wrote, and recorded the EP on a 15-day, 3,000-mile, train trip where she played 65 shows at stops in communities across Canada. \NTownes is a 15-time Canadian Country Music Association Award winner (CCMA), a two-time JUNO Awards Country Album of the Year Winner, and a two-time ACM Award-winner. She is also the first female artist in Mediabase Canada history to achieve two No. 1 singles (Music Canada Gold-certified “Jersey on The Wall (I’m Just Asking),” Music Canada Platinum-certified and RIAA Gold-certified “Somebody’s Daughter”). \NTownes has opened for legendary artists such as Keith Urban, Miranda Lambert, Shania Twain and George Strait. Townes has also toured extensively outside of the US – last year she performed for fans in Australia, Ireland, Germany, and had a sold-out run of headlining shows in the UK. Her international touring efforts earned her a nomination for the CMA International Artist Achievement Award. \NA Forbes 30 Under 30 honoree, Townes has been featured by NPR, Variety, Refinery29, Billboard, Rolling Stone, NBC’s “TODAY,” BBC and more. Additionally, she has raised over $2.5 million for Big Hearts For Big Kids, a non-profit she started when she was 15 years old to benefit a youth shelter in her hometown, which has grown to support US-based organizations including the Girl Scouts of Middle Tennessee, S.A.F.E. Animal Haven, and the Manna House. X-ALT-DESC;FMTTYPE=text/html:

An astute observer of the human condition, Tenille Townes’ discography is rife with stories that reverberate with heavy truths. Following the release of a duet with world-superstar Bryan Adams, the revered songwriter, and CCMA Entertainer of the Year, released a five-song project called the Train Track Worktapes in 2023. Townes conceptualized, wrote, and recorded the EP on a 15-day, 3,000-mile, train trip where she played 65 shows at stops in communities across Canada. 

Townes is a 15-time Canadian Country Music Association Award winner (CCMA), a two-time JUNO Awards Country Album of the Year Winner, and a two-time ACM Award-winner. She is also the first female artist in Mediabase Canada history to achieve two No. 1 singles (Music Canada Gold-certified “Jersey on The Wall (I’m Just Asking),” Music Canada Platinum-certified and RIAA Gold-certified “Somebody’s Daughter”). 

Townes has opened for legendary artists such as Keith Urban, Miranda Lambert, Shania Twain and George Strait. Townes has also toured extensively outside of the US – last year she performed for fans in Australia, Ireland, Germany, and had a sold-out run of headlining shows in the UK. Her international touring efforts earned her a nomination for the CMA International Artist Achievement Award. 

A Forbes 30 Under 30 honoree, Townes has been featured by NPR, Variety, Refinery29, Billboard, Rolling Stone, NBC’s “TODAY,” BBC and more. Additionally, she has raised over $2.5 million for Big Hearts For Big Kids, a non-profit she started when she was 15 years old to benefit a youth shelter in her hometown, which has grown to support US-based organizations including the Girl Scouts of Middle Tennessee, S.A.F.E. Animal Haven, and the Manna House.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240216T223655Z X-ACCESS:1 X-HITS:176 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240511T200000 DTEND;TZID=America/Denver:20240511T210000 UID:DC72B540-50A3-458A-9661-C300E4F4BA0A SUMMARY:Kaleb Austin DTSTAMP:20240206T174049Z DESCRIPTION:Kaleb Austin grew up in Murray, UT where he cultivated a love for singing and writing country music from a very early age. He began writing his own songs at age 14 and quickly realized he wanted to pursue a career in the music business. In the coming years he would have the chance to share the stage with the likes of JoDee Messina, Billy Currington, Dan+Shay, Brantley Gilbert and Joe Nichols among others. After chasing his dreams for over a decade he finally got his big break through social media. His wife Cheyenne began posting short videos of Kaleb singing to his baby daughter which swiftly gained him a following of almost 2 million people. His following dubbed the “Kampfire” helped him get to Nashville and record his first #1 iTunes single, “Sound of the South” with long time hitmaker Dan Frizsell.\NThis marked a turning point in Kaleb’s life giving his music new wings and earning him the title of “TikTok Country Artist of the Year.” He has since released a full album with several chart topping hits including “Turn the Night On” and “Sun Goes Down.” He currently resides in Salt Lake City where he is preparing for his upcoming tour and is actively writing for his second studio album. X-ALT-DESC;FMTTYPE=text/html:

Kaleb Austin grew up in Murray, UT where he cultivated a love for singing and writing country music from a very early age. He began writing his own songs at age 14 and quickly realized he wanted to pursue a career in the music business. In the coming years he would have the chance to share the stage with the likes of JoDee Messina, Billy Currington, Dan+Shay, Brantley Gilbert and Joe Nichols among others. After chasing his dreams for over a decade he finally got his big break through social media. His wife Cheyenne began posting short videos of Kaleb singing to his baby daughter which swiftly gained him a following of almost 2 million people. His following dubbed the “Kampfire” helped him get to Nashville and record his first #1 iTunes single, “Sound of the South” with long time hitmaker Dan Frizsell.

This marked a turning point in Kaleb’s life giving his music new wings and earning him the title of “TikTok Country Artist of the Year.” He has since released a full album with several chart topping hits including “Turn the Night On” and “Sun Goes Down.” He currently resides in Salt Lake City where he is preparing for his upcoming tour and is actively writing for his second studio album.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240209T170246Z X-ACCESS:1 X-HITS:188 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240512T200000 DTEND;TZID=America/Denver:20240512T233000 UID:9C4CFE9B-D39B-4D90-9019-208CCC806662 SUMMARY:Bruce Cockburn DTSTAMP:20230912T210658Z DESCRIPTION:“My job is to try and trap the spirit of things in the scratches of pen on paper and the pulling of notes out of metal.” – Bruce Cockburn, 2017\NOne of Canada’s finest artists, Bruce Cockburn has enjoyed an illustrious career shaped by politics, spirituality, and musical diversity. The Ottawa-born artist remains deeply respected for his activism on issues from native rights and land mines to the environment and Third World debt, working for organizations such as Oxfam, Amnesty International, Doctors Without Borders, and Friends of the Earth. His remarkable journey has seen him embrace folk, jazz, rock, and worldbeat styles while travelling to such far-flung places as Guatemala, Mali, Mozambique, and Nepal, and writing memorable songs about his ever-expanding world of wonders.\NBruce Cockburn has written more than 400 songs on 35 albums over a career spanning more than 50 years, of which 23 have received gold or platinum certification. His guitar playing, both acoustic and electric, has placed him in the company of the world’s top instrumentalists. He has sold more than nine-million albums worldwide, and has been honoured with 13 JUNO Awards, an induction into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame, as well as the Governor General’s Performing Arts Award, and he has been made an Officer of the Order of Canada.\NHis commitment to growth has made Bruce Cockburn both an exemplary citizen and a legendary artist whose prized songbook will be celebrated for many years to come. In 2020 Cockburn celebrated his 50-year anniversary as a recording artist. As his producer-friend Colin Linden says: “Like the great blues players he admires, Bruce just gets better with age." X-ALT-DESC;FMTTYPE=text/html:

“My job is to try and trap the spirit of things in the scratches of pen on paper and the pulling of notes out of metal.” – Bruce Cockburn, 2017

One of Canada’s finest artists, Bruce Cockburn has enjoyed an illustrious career shaped by politics, spirituality, and musical diversity. The Ottawa-born artist remains deeply respected for his activism on issues from native rights and land mines to the environment and Third World debt, working for organizations such as Oxfam, Amnesty International, Doctors Without Borders, and Friends of the Earth. His remarkable journey has seen him embrace folk, jazz, rock, and worldbeat styles while travelling to such far-flung places as Guatemala, Mali, Mozambique, and Nepal, and writing memorable songs about his ever-expanding world of wonders.

Bruce Cockburn has written more than 400 songs on 35 albums over a career spanning more than 50 years, of which 23 have received gold or platinum certification. His guitar playing, both acoustic and electric, has placed him in the company of the world’s top instrumentalists. He has sold more than nine-million albums worldwide, and has been honoured with 13 JUNO Awards, an induction into both the Canadian Music Hall of Fame and the Canadian Songwriters Hall of Fame, as well as the Governor General’s Performing Arts Award, and he has been made an Officer of the Order of Canada.

His commitment to growth has made Bruce Cockburn both an exemplary citizen and a legendary artist whose prized songbook will be celebrated for many years to come. In 2020 Cockburn celebrated his 50-year anniversary as a recording artist. As his producer-friend Colin Linden says: “Like the great blues players he admires, Bruce just gets better with age."

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20230919T033126Z X-ACCESS:1 X-HITS:874 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240517T200000 DTEND;TZID=America/Denver:20240517T210000 UID:30CBF45C-8DE7-4327-A223-C6A7AD0F734A SUMMARY:Zepparella DTSTAMP:20231211T234015Z DESCRIPTION:How to honor the legacy of a band deemed sacred? To tread on holy ground is perilous, and must be done with the intent and spirit of a disciple—Pay attention to the intricacies of the magic, explore the far ends of the innovation, strive for ever-growing ability, and let the purity of the love for the music drive it all.\NDrummer Clementine is the founding member of ZEPPARELLA. From the beginning of her musical career, her goal has been to be onstage every night. The pursuit of that goal has led Clementine to constantly tour the US and Europe in projects as diverse as Bottom, AC/DShe, The House Of More, The Solid, Francis Bakin, Stars Turn Me On and Beaux Cheveux. She tackles the best rock drumming ever written with her own emotionally powerful style, bringing the Motown influence of the Bonham groove to the forefront. The profound musical connection established with Gretchen Menn (guitar), Holly West (bass), and Anna Kristina (vocals) creates the bond required to do this great music justice.\NIt was under the tutelage of classical guitarist Phillip DeFremery, a student of Andrés Segovia, that guitarist Gretchen Menn began her path on the instrument. Playing with tireless passion and constantly seeking out new challenges, her projects are often unconventional, genre-bending expressions combining elements of classical, rock, progressive, jazz, and metal. On influences, Gretchen has never tired of her initial inspirations—Eric Johnson, Steve Morse, Frank Zappa, and Jeff Beck. But she has loved Jimmy Page’s guitar playing longer than she has played the guitar. It was through the music of Led Zeppelin that she found a gateway into music that resonated deeply with her, creating a love for guitar-oriented music, and, ultimately, the guitar.\NBassist Holly West began her musical journey full-steam ahead, and more recently than her stellar playing belies. Her unstoppable will and drive have truly propelled her to this moment and her place in the powerhouse Zepparella. A self-taught bass player, she is also a blossoming vocalist with rich rock pipes. Her time on stage has been well spent, developing an impressive attack, impeccable feel, and a technique which seems to have come completely naturally to her, not to mention her dazzling stage presence and joyful performance style. Her influences span the rock gauntlet, from Clutch and the Rival Sons to Slash, ZZ Top, and of course, the mighty Zeppelin.\NSinger Anna Kristina is a soulful, fiery, and rocking vocal powerhouse who has stepped into Zepparella’s Plant spot for a second time. Anna was with the band for 5 years, became known for her performance in the band’s 15 million-view “When The Levee Breaks” video, took a 6-year hiatus, and now returns in 2018 to front the band. Her career has spanned acoustic, jazz, soul, rock, and her charisma and power delivers captivating performances every night. About her brilliant harp playing she says: “getting a chance to blow on the harmonica is an added bonus! Plant isn’t just a singer he’s a musician. He brings his blues background and natural percussive feel to his harmonica playing as well and I love getting lost in that. Playing the harp allows me to express on a whole different level and it’s so freeing.”\NNow more than ever, Zepparella explores their own improvised magic within the framework of Zeppelin’s mighty songs! X-ALT-DESC;FMTTYPE=text/html:

How to honor the legacy of a band deemed sacred? To tread on holy ground is perilous, and must be done with the intent and spirit of a disciple—Pay attention to the intricacies of the magic, explore the far ends of the innovation, strive for ever-growing ability, and let the purity of the love for the music drive it all.

Drummer Clementine is the founding member of ZEPPARELLA. From the beginning of her musical career, her goal has been to be onstage every night. The pursuit of that goal has led Clementine to constantly tour the US and Europe in projects as diverse as Bottom, AC/DShe, The House Of More, The Solid, Francis Bakin, Stars Turn Me On and Beaux Cheveux. She tackles the best rock drumming ever written with her own emotionally powerful style, bringing the Motown influence of the Bonham groove to the forefront. The profound musical connection established with Gretchen Menn (guitar), Holly West (bass), and Anna Kristina (vocals) creates the bond required to do this great music justice.

It was under the tutelage of classical guitarist Phillip DeFremery, a student of Andrés Segovia, that guitarist Gretchen Menn began her path on the instrument. Playing with tireless passion and constantly seeking out new challenges, her projects are often unconventional, genre-bending expressions combining elements of classical, rock, progressive, jazz, and metal. On influences, Gretchen has never tired of her initial inspirations—Eric Johnson, Steve Morse, Frank Zappa, and Jeff Beck. But she has loved Jimmy Page’s guitar playing longer than she has played the guitar. It was through the music of Led Zeppelin that she found a gateway into music that resonated deeply with her, creating a love for guitar-oriented music, and, ultimately, the guitar.

Bassist Holly West began her musical journey full-steam ahead, and more recently than her stellar playing belies. Her unstoppable will and drive have truly propelled her to this moment and her place in the powerhouse Zepparella. A self-taught bass player, she is also a blossoming vocalist with rich rock pipes. Her time on stage has been well spent, developing an impressive attack, impeccable feel, and a technique which seems to have come completely naturally to her, not to mention her dazzling stage presence and joyful performance style. Her influences span the rock gauntlet, from Clutch and the Rival Sons to Slash, ZZ Top, and of course, the mighty Zeppelin.

Singer Anna Kristina is a soulful, fiery, and rocking vocal powerhouse who has stepped into Zepparella’s Plant spot for a second time. Anna was with the band for 5 years, became known for her performance in the band’s 15 million-view “When The Levee Breaks” video, took a 6-year hiatus, and now returns in 2018 to front the band. Her career has spanned acoustic, jazz, soul, rock, and her charisma and power delivers captivating performances every night. About her brilliant harp playing she says: “getting a chance to blow on the harmonica is an added bonus! Plant isn’t just a singer he’s a musician. He brings his blues background and natural percussive feel to his harmonica playing as well and I love getting lost in that. Playing the harp allows me to express on a whole different level and it’s so freeing.”

Now more than ever, Zepparella explores their own improvised magic within the framework of Zeppelin’s mighty songs!

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20231215T165419Z X-ACCESS:1 X-HITS:649 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240529T200000 DTEND;TZID=America/Denver:20240529T210000 UID:BE28A549-7C04-447A-815F-6DAC5A0368E1 SUMMARY:Cedric Burnside DTSTAMP:20240111T212524Z DESCRIPTION:The official credit tells it like it is. “Recorded in an old building in Ripley, Mississippi” – that’s all the info we get, and all that we need.\NWhen Cedric Burnside prepared to record Hill Country Love, the follow-up to his 2021 Grammy-winning album I Be Trying, he set up shop in a former legal office located in a row of structures in the seat of Tippah County, a town with 5,000 residents that’s known as the birthplace of the Hill Country Blues style.\N“That building was actually going to be my juke joint. Everything was made out of wood, which made the sound resonate like a big wooden box,” said Burnside. He called up producer Luther Dickinson (co-founder of the acclaimed North Mississippi Allstars and the son of legendary Memphis producer/musician Jim Dickinson), who brought recording equipment into the empty space. “We recorded in the middle of a bunch of rubbish – wood everywhere and garbage cans,” Burnside says. “We just laid everything out the way and recorded the album right there.”\NThe 14 songs on the record were finished in two days, but in addition to being satisfied with the sound, Burnside believes that Hill Country Love represents real creative progress. “Every time I write an album, it's always different,” he says. “I'm always looking to express myself a little bit better than I did on the last one and talk about more things happen in my life. I think that every day that you’re able to open your eyes, life is gonna throw you something to write about and to talk about.\N“So on this album,” he continues, “I'm a little bit more upfront and direct, because I went through some crazy feelings with family and with friends. Winning the Grammy was awesome, but people tend to treat you a little different when things like that happen.”\NCertainly, plenty of things have happened in Cedric Burnside’s life since he went on the road at age 13, drumming for his grandfather, the pioneering bluesman R.L. Burnside. His two albums before I Be Trying – 2015’s Descendants of Hill Country and 2018’s Benton County Relic – were both nominated for Grammys. He has also appeared in several films, including Tempted and Big Bad Love (both released in 2001) and the 2006 hit Black Snake Moan, and he played the title character in 2021’s Texas Red.\NBurnside is a recipient of a National Heritage Fellowship, the country’s highest honor in the folk and traditional arts and was recently recognized with the 2024 Mississippi Governor's Art Award for Excellence in Music. He has performed and recorded with such diverse musicians as Jimmy Buffett, Bobby Rush, and Widespread Panic.\NYet as the title of the new album indicates, Burnside has never strayed far from the distinctive blues style introduced to the world by his “Big Daddy” R.L. and such other greats as Junior Kimbrough, Jessie Mae Hemphill, and Otha Turner. “I’ve been traveling my whole life, and the song ‘Hill Country Love’ gave me a chance to let people know that I love what I do and give a sense of how we do it in Mississippi – like, the house party is a tradition here, Big Daddy threw a lot of them. So that's what I was thinking about as I was writing that song – where I come from and also where I'm going, and how my journey has been to get to where I'm at now.”\NAnother song, “Juke Joint,” pays tribute to the local nightlife institutions that were central to Burnside’s growth both personally and musically. “The juke joint was a big part of my life,” he says. “I didn't go to church, the juke joint was my church, and the juke joint was my school. I was there all the time, from 10 years old until I was grown.”\NAt the same time, Burnside sees himself as an inheritor, not an imitator, of his native region’s blues style. “Big Daddy’s music, Junior’s music, Mister Otha’s music – my music is similar to theirs, but I'm a younger generation,” he says. “Whether we want to or not, we move on, and so my music will automatically sound a little more modern. But even if I tried to sound really modern, that old feel and old sound is just there. You might hear a song and think. ‘Wow, that sounds like it was recorded in 1959.’ I like that, but it's really just me growing up around it and falling in love with that sound.”\NThe album displays rock, R&B, and hip-hop elements, a range of sounds and emotions, from the self-explanatory instrumental “Get Funky” to the harsh truths of “Toll on your Life” and “Coming Real to You.” The most familiar composition is Burnside’s version of Mississippi Fred McDowell’s “You Gotta Move,” popularized by the Rolling Stones but often performed by Burnside’s grandfather at his Holly Springs farm. “He would get off the tractor and go sit on the porch and play for a couple hours, drink a little moonshine, and then go back to the tractor,” says Burnside, “and that's one of the songs that I always loved to hear him play.”\NMany have drawn parallels between the polyrhythmic, droning sound of the Hill Country style, with its unpredictable chord progressions and bar counts, to West African music; that link is most obvious on the extended guitar introduction to “Love You Music.” But Burnside never really heard music from that part of the world until a few years ago, when a friend born in Gambia played him a record by Malian artist Ali Farka Toure. “I thought it was some old, underground Junior Kimbrough,” he says. “I was like, ‘Wow, man, I wonder do the Kimbrough family know about this?’ And then he started singing and my friend just started laughing!”\NWith “Closer,” Burnside strives for spiritual redemption; “I fall short on you, Lord, on some days/Please forgive me Lord, every day I pray,” he sings. “That song really resonates to me,” he says. “When I was writing it, I didn't just think about myself, I thought about everybody in the world, and getting closer to God. Every day you wake up, life is challenging, and it throws you all kinds of curveballs. Your faith is tested every day – that line is actually in the song, and I know people can relate to that as I can.”\NTo Cedric Burnside, Hill Country Love is a culmination of a career that’s already seen astonishing accomplishments and only keeps growing. What he wanted this time out was a real sense of honesty and integrity. “I compromised a little bit with my albums in the past,” he says, “and I didn't really have to compromise with this one, because I did it by myself. I paid for the engineer, paid for the musicians, I didn't have a record company there. We just went to play music, and how it came out was how it came out – and it came out great.\N“I have to be true to where I'm coming from,” he continues. “On this album, the feeling that I had was like, I’m going to write what I feel, I’m going to write what's going on. Life gives you good and life gives you bad and you have to cope with it however you need to cope with it. My way of coping with things is through my music, so I thank the Lord for music. I really do.”  X-ALT-DESC;FMTTYPE=text/html:

The official credit tells it like it is. “Recorded in an old building in Ripley, Mississippi” – that’s all the info we get, and all that we need.

When Cedric Burnside prepared to record Hill Country Love, the follow-up to his 2021 Grammy-winning album I Be Trying, he set up shop in a former legal office located in a row of structures in the seat of Tippah County, a town with 5,000 residents that’s known as the birthplace of the Hill Country Blues style.

“That building was actually going to be my juke joint. Everything was made out of wood, which made the sound resonate like a big wooden box,” said Burnside. He called up producer Luther Dickinson (co-founder of the acclaimed North Mississippi Allstars and the son of legendary Memphis producer/musician Jim Dickinson), who brought recording equipment into the empty space. “We recorded in the middle of a bunch of rubbish – wood everywhere and garbage cans,” Burnside says. “We just laid everything out the way and recorded the album right there.”

The 14 songs on the record were finished in two days, but in addition to being satisfied with the sound, Burnside believes that Hill Country Love represents real creative progress. “Every time I write an album, it's always different,” he says. “I'm always looking to express myself a little bit better than I did on the last one and talk about more things happen in my life. I think that every day that you’re able to open your eyes, life is gonna throw you something to write about and to talk about.

“So on this album,” he continues, “I'm a little bit more upfront and direct, because I went through some crazy feelings with family and with friends. Winning the Grammy was awesome, but people tend to treat you a little different when things like that happen.”

Certainly, plenty of things have happened in Cedric Burnside’s life since he went on the road at age 13, drumming for his grandfather, the pioneering bluesman R.L. Burnside. His two albums before I Be Trying – 2015’s Descendants of Hill Country and 2018’s Benton County Relic – were both nominated for Grammys. He has also appeared in several films, including Tempted and Big Bad Love (both released in 2001) and the 2006 hit Black Snake Moan, and he played the title character in 2021’s Texas Red.

Burnside is a recipient of a National Heritage Fellowship, the country’s highest honor in the folk and traditional arts and was recently recognized with the 2024 Mississippi Governor's Art Award for Excellence in Music. He has performed and recorded with such diverse musicians as Jimmy Buffett, Bobby Rush, and Widespread Panic.

Yet as the title of the new album indicates, Burnside has never strayed far from the distinctive blues style introduced to the world by his “Big Daddy” R.L. and such other greats as Junior Kimbrough, Jessie Mae Hemphill, and Otha Turner. “I’ve been traveling my whole life, and the song ‘Hill Country Love’ gave me a chance to let people know that I love what I do and give a sense of how we do it in Mississippi – like, the house party is a tradition here, Big Daddy threw a lot of them. So that's what I was thinking about as I was writing that song – where I come from and also where I'm going, and how my journey has been to get to where I'm at now.”

Another song, “Juke Joint,” pays tribute to the local nightlife institutions that were central to Burnside’s growth both personally and musically. “The juke joint was a big part of my life,” he says. “I didn't go to church, the juke joint was my church, and the juke joint was my school. I was there all the time, from 10 years old until I was grown.”

At the same time, Burnside sees himself as an inheritor, not an imitator, of his native region’s blues style. “Big Daddy’s music, Junior’s music, Mister Otha’s music – my music is similar to theirs, but I'm a younger generation,” he says. “Whether we want to or not, we move on, and so my music will automatically sound a little more modern. But even if I tried to sound really modern, that old feel and old sound is just there. You might hear a song and think. ‘Wow, that sounds like it was recorded in 1959.’ I like that, but it's really just me growing up around it and falling in love with that sound.”

The album displays rock, R&B, and hip-hop elements, a range of sounds and emotions, from the self-explanatory instrumental “Get Funky” to the harsh truths of “Toll on your Life” and “Coming Real to You.” The most familiar composition is Burnside’s version of Mississippi Fred McDowell’s “You Gotta Move,” popularized by the Rolling Stones but often performed by Burnside’s grandfather at his Holly Springs farm. “He would get off the tractor and go sit on the porch and play for a couple hours, drink a little moonshine, and then go back to the tractor,” says Burnside, “and that's one of the songs that I always loved to hear him play.”

Many have drawn parallels between the polyrhythmic, droning sound of the Hill Country style, with its unpredictable chord progressions and bar counts, to West African music; that link is most obvious on the extended guitar introduction to “Love You Music.” But Burnside never really heard music from that part of the world until a few years ago, when a friend born in Gambia played him a record by Malian artist Ali Farka Toure. “I thought it was some old, underground Junior Kimbrough,” he says. “I was like, ‘Wow, man, I wonder do the Kimbrough family know about this?’ And then he started singing and my friend just started laughing!”

With “Closer,” Burnside strives for spiritual redemption; “I fall short on you, Lord, on some days/Please forgive me Lord, every day I pray,” he sings. “That song really resonates to me,” he says. “When I was writing it, I didn't just think about myself, I thought about everybody in the world, and getting closer to God. Every day you wake up, life is challenging, and it throws you all kinds of curveballs. Your faith is tested every day – that line is actually in the song, and I know people can relate to that as I can.”

To Cedric Burnside, Hill Country Love is a culmination of a career that’s already seen astonishing accomplishments and only keeps growing. What he wanted this time out was a real sense of honesty and integrity. “I compromised a little bit with my albums in the past,” he says, “and I didn't really have to compromise with this one, because I did it by myself. I paid for the engineer, paid for the musicians, I didn't have a record company there. We just went to play music, and how it came out was how it came out – and it came out great.

“I have to be true to where I'm coming from,” he continues. “On this album, the feeling that I had was like, I’m going to write what I feel, I’m going to write what's going on. Life gives you good and life gives you bad and you have to cope with it however you need to cope with it. My way of coping with things is through my music, so I thank the Lord for music. I really do.” 

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240117T173658Z X-ACCESS:1 X-HITS:327 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240531T200000 DTEND;TZID=America/Denver:20240531T210000 UID:89912E96-B91E-456C-8B52-3B413FC0215C SUMMARY:Sinkane DTSTAMP:20240122T171232Z DESCRIPTION:We Belong, is the eighth studio album from Sinkane, a band led by multi-instrumentalist Ahmed Gallab. And like much of Sinkane’s previous releases, it resists genre. It’s pop. It’s funk. It’s electronic. It blends the gritty punk newness of a 70s and 80s New York with the steady, foundational soul of the rhythms of his native Sudan. Though We Belong comes deep into the catalog of a long career, it also resists stagnation. It moves and travels—through words and eras, through emotion and healing. Gallab calls this album his “love letter to Black music,” and each track pulses with the energy of different eras and forms: the gospel-soaked “Everything Is Everything,” the dreamy, Quiet Storm-influenced Afro-beats of “Rise Above,” the 70s-funk of “We Belong” and its Sly Stone influence, the Stevie Wonder-edged “Another Day”—they tell a story about Black music and Black people.\NThe album itself also reveals Gallab’s desire to create a work that not only reflected a community, but was made by one, too. We Belong assembles this community, makes it visible, to anyone willing to see, to hear, to feel. Gallab and Amanda Khiri, co-lyricist on most of the songs, passed notes across the digital divide. Audre Lorde, Toni Morrison, Ismael Reed, scraps of poetry. The pair turned these late-night ideas into fully realized compositions. Casey Benjamin, a multi-instrumentalist who has worked with jazz pianist Robert Glasper, left his touch on several tracks. Jazz trumpeter Kenyatta Beasley soared across three songs. Soul singer Bilal lent his voice. Rising artists like vocalists Ifedayo Gatling, of the Harlem Gospel Travelers, Tru Osbourne, Hollie Cook, and STOUT, joined this community as well.\NWhat had long been a solo endeavor by Gallab, suddenly became a collaborative experience. “Having all these people at my disposal [meant] I could actually be a producer,” he says. “I could zoom out a little bit and see what serves the song best? How can I make this better? Having a community around me really just allowed this to turn into something bigger than I could have ever imagined.”\NThe result is an album that showcases freedom, in all its forms. Freedom to create, to move, to love, to live. The we of the title is all of us. All of us who have lost and found community. All of us who have reached into the past to find our future. And ultimately, it is the sound of an artist finding his way back to himself by stretching beyond himself. “In making this album, I realized very quickly that I got a lot of freedom in not making it about myself,” Gallab says. “I realized I'm more than just me, there's all of us, all of us together. It's much more about community and much more about connecting with other people. But maybe, that's how I've kind of come to find myself.” X-ALT-DESC;FMTTYPE=text/html:

We Belong, is the eighth studio album from Sinkane, a band led by multi-instrumentalist Ahmed Gallab. And like much of Sinkane’s previous releases, it resists genre. It’s pop. It’s funk. It’s electronic. It blends the gritty punk newness of a 70s and 80s New York with the steady, foundational soul of the rhythms of his native Sudan. Though We Belong comes deep into the catalog of a long career, it also resists stagnation. It moves and travels—through words and eras, through emotion and healing. Gallab calls this album his “love letter to Black music,” and each track pulses with the energy of different eras and forms: the gospel-soaked “Everything Is Everything,” the dreamy, Quiet Storm-influenced Afro-beats of “Rise Above,” the 70s-funk of “We Belong” and its Sly Stone influence, the Stevie Wonder-edged “Another Day”—they tell a story about Black music and Black people.

The album itself also reveals Gallab’s desire to create a work that not only reflected a community, but was made by one, too. We Belong assembles this community, makes it visible, to anyone willing to see, to hear, to feel. Gallab and Amanda Khiri, co-lyricist on most of the songs, passed notes across the digital divide. Audre Lorde, Toni Morrison, Ismael Reed, scraps of poetry. The pair turned these late-night ideas into fully realized compositions. Casey Benjamin, a multi-instrumentalist who has worked with jazz pianist Robert Glasper, left his touch on several tracks. Jazz trumpeter Kenyatta Beasley soared across three songs. Soul singer Bilal lent his voice. Rising artists like vocalists Ifedayo Gatling, of the Harlem Gospel Travelers, Tru Osbourne, Hollie Cook, and STOUT, joined this community as well.

What had long been a solo endeavor by Gallab, suddenly became a collaborative experience. “Having all these people at my disposal [meant] I could actually be a producer,” he says. “I could zoom out a little bit and see what serves the song best? How can I make this better? Having a community around me really just allowed this to turn into something bigger than I could have ever imagined.”

The result is an album that showcases freedom, in all its forms. Freedom to create, to move, to love, to live. The we of the title is all of us. All of us who have lost and found community. All of us who have reached into the past to find our future. And ultimately, it is the sound of an artist finding his way back to himself by stretching beyond himself. “In making this album, I realized very quickly that I got a lot of freedom in not making it about myself,” Gallab says. “I realized I'm more than just me, there's all of us, all of us together. It's much more about community and much more about connecting with other people. But maybe, that's how I've kind of come to find myself.”

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240126T171415Z X-ACCESS:1 X-HITS:207 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240922T200000 DTEND;TZID=America/Denver:20240922T233000 UID:F59FF0BF-9DFE-4AED-BA08-F49B8F0BAED1 SUMMARY:Hoodoo Gurus DTSTAMP:20231204T165708Z DESCRIPTION:Formed in Sydney in 1981, the band were led by singer/songwriter Dave Faulkner, along with drummer James Baker. Ex-Scientist Rod Radalj and Kimble Rendall rounded out the group's lineup and their unique sound (three guitars, no bass). With Faulkner's infectious songs they quickly earned a record deal. After the 1982 debut single "Leilani," both Radalj and Rendall quit, replaced by guitarist Brad Shepherd and bassist Clyde Bramley. In 1983, the Hoodoo Gurus recorded their excellent debut record, Stoneage Romeos. Mark Kingsmill replaced Baker in 1985 but along came 1985's college radio smash Mars Needs Guitars! With 1987's Blow Your Cool, the Hoodoos appeared poised for the big time; their tourmates, the Bangles, even contributed to the singles "What's My Scene" and "Good Times”. In this time Bramley exited, replaced by onetime Divinyl Rick Grossman. Released in 1989, Magnum Cum Louder provided the singles "Come Anytime," and "Another World". 1991's Kinky featured "Miss Freelove '69," alongside enduring fave “1000 Miles Away”. After a three-year hiatus, the Hoodoo Gurus returned with the harder-edged Crank. Blue Cave followed in 1996. In 1998, the Gurus announced they were splitting up but two years later, Dave Faulkner, Brad Shepherd, and Mark Kingsmill were working together again as members of the garage-influenced the Persian Rugs. In 2004 the band reunited, releasing a new album, Mach Schau. In 2009 the band issued their ninth album, 2010's Purity of Essence. X-ALT-DESC;FMTTYPE=text/html:

Formed in Sydney in 1981, the band were led by singer/songwriter Dave Faulkner, along with drummer James Baker. Ex-Scientist Rod Radalj and Kimble Rendall rounded out the group's lineup and their unique sound (three guitars, no bass). With Faulkner's infectious songs they quickly earned a record deal. After the 1982 debut single "Leilani," both Radalj and Rendall quit, replaced by guitarist Brad Shepherd and bassist Clyde Bramley. In 1983, the Hoodoo Gurus recorded their excellent debut record, Stoneage Romeos. Mark Kingsmill replaced Baker in 1985 but along came 1985's college radio smash Mars Needs Guitars! With 1987's Blow Your Cool, the Hoodoos appeared poised for the big time; their tourmates, the Bangles, even contributed to the singles "What's My Scene" and "Good Times”. In this time Bramley exited, replaced by onetime Divinyl Rick Grossman. Released in 1989, Magnum Cum Louder provided the singles "Come Anytime," and "Another World". 1991's Kinky featured "Miss Freelove '69," alongside enduring fave “1000 Miles Away”. After a three-year hiatus, the Hoodoo Gurus returned with the harder-edged Crank. Blue Cave followed in 1996. In 1998, the Gurus announced they were splitting up but two years later, Dave Faulkner, Brad Shepherd, and Mark Kingsmill were working together again as members of the garage-influenced the Persian Rugs. In 2004 the band reunited, releasing a new album, Mach Schau. In 2009 the band issued their ninth album, 2010's Purity of Essence.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240117T184751Z X-ACCESS:1 X-HITS:488 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20241011T200000 DTEND;TZID=America/Denver:20241011T210000 UID:9F045458-2293-43BD-9D17-071149205D24 SUMMARY:The Ocean Blue (Night 1) DTSTAMP:20240122T223805Z DESCRIPTION:In 2024, the band will be performing their first two albums in full - The Ocean Blue and Cerulean - in their entirety over two consecutive nights in cities throughout the U.S.Getting their start as teenagers in the late ‘80s in Hershey, PA, The Ocean Blue released their self-titled debut on the famed Sire Records that launched many of their musical heroes. Embraced by MTV and college radio, the band quickly made their mark on the onset of the Alternative Music scene. Their early singles “Between Something And Nothing” and “Drifting, Falling” notched them Top Ten hits on College and Modern Rock radio, setting in motion a run of four successful major label albums, followed by a string beloved independent releases from 2000 to the present. With eight albums and several EPs under their belt, the band continues to perform and record, with work underway on a new album.The Ocean Blue arrived as the 1980s drew to a close, and their debut record on the famed Sire Records label in 1989 seemed to summarize the best of the passing musical decade. With the release of The Ocean Blue, the band of four teenagers from Hershey, Pennsylvania quickly achieved widespread acclaim and radio & MTV airplay with top 10 Modern Rock/College Radio hits like Between Something and Nothing, Drifting, Falling, and Vanity Fair. They followed their debut with the dreamy and atmospheric Cerulean, which includes perhaps their most beloved song,Ballerina Out of Control. Their third Sire release and highest charting pop album Beneath the Rhythm and Sound featured the single Sublime, with a video of the band in the sublime landscape of Iceland. The band's fourth major label album on Mercury/ PolyGram, See The Ocean Blue, delved into wider 60s and 70s stylings but with the band's 80s DNA peeking through.\NThe band left the majors in the late 90s and released several independent records in the ensuing decade, including 2000's Davy Jones Locker and 2004's Waterworks. In 2013, after a long hiatus and much anticipation, the band released their first full length record in a decade, Ultramarine, on Korda Records, a label cooperative the band helped launch that same year. The record was a welcome return for both long-time fans of the band and a younger generation of like-minded fans, and it garnered widespread praise as one of their very best albums. In 2015, the band worked with Sire Records to reissue their first three albums on vinyl, and did wider touring in North America and in South America, where some of their most passionate fans reside.\NIn 2019, the band returned with the beautifully powerful Kings and Queens / Knaves and Thieves, and has continued to tour for this release and the newly re-issued vinyl of See The Ocean Blue (2022) and Davy Jones’ Locker (2023). The band is on tour with select dates in 2024 performing their first two albums in full. X-ALT-DESC;FMTTYPE=text/html:

In 2024, the band will be performing their first two albums in full - The Ocean Blue and Cerulean - in their entirety over two consecutive nights in cities throughout the U.S.

Getting their start as teenagers in the late ‘80s in Hershey, PA, The Ocean Blue released their self-titled debut on the famed Sire Records that launched many of their musical heroes. Embraced by MTV and college radio, the band quickly made their mark on the onset of the Alternative Music scene. Their early singles “Between Something And Nothing” and “Drifting, Falling” notched them Top Ten hits on College and Modern Rock radio, setting in motion a run of four successful major label albums, followed by a string beloved independent releases from 2000 to the present. With eight albums and several EPs under their belt, the band continues to perform and record, with work underway on a new album.

The Ocean Blue arrived as the 1980s drew to a close, and their debut record on the famed Sire Records label in 1989 seemed to summarize the best of the passing musical decade. With the release of The Ocean Blue, the band of four teenagers from Hershey, Pennsylvania quickly achieved widespread acclaim and radio & MTV airplay with top 10 Modern Rock/College Radio hits like Between Something and Nothing, Drifting, Falling, and Vanity Fair. They followed their debut with the dreamy and atmospheric Cerulean, which includes perhaps their most beloved song,Ballerina Out of Control. Their third Sire release and highest charting pop album Beneath the Rhythm and Sound featured the single Sublime, with a video of the band in the sublime landscape of Iceland. The band's fourth major label album on Mercury/ PolyGram, See The Ocean Blue, delved into wider 60s and 70s stylings but with the band's 80s DNA peeking through.

The band left the majors in the late 90s and released several independent records in the ensuing decade, including 2000's Davy Jones Locker and 2004's Waterworks. In 2013, after a long hiatus and much anticipation, the band released their first full length record in a decade, Ultramarine, on Korda Records, a label cooperative the band helped launch that same year. The record was a welcome return for both long-time fans of the band and a younger generation of like-minded fans, and it garnered widespread praise as one of their very best albums. In 2015, the band worked with Sire Records to reissue their first three albums on vinyl, and did wider touring in North America and in South America, where some of their most passionate fans reside.

In 2019, the band returned with the beautifully powerful Kings and Queens / Knaves and Thieves, and has continued to tour for this release and the newly re-issued vinyl of See The Ocean Blue (2022) and Davy Jones’ Locker (2023). The band is on tour with select dates in 2024 performing their first two albums in full.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240126T171442Z X-ACCESS:1 X-HITS:470 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20241012T200000 DTEND;TZID=America/Denver:20241012T210000 UID:804D76E9-B327-4615-AC40-6AF2AE99DBFF SUMMARY:The Ocean Blue (Night 2) DTSTAMP:20240122T223805Z DESCRIPTION:In 2024, the band will be performing their first two albums in full - The Ocean Blue and Cerulean - in their entirety over two consecutive nights in cities throughout the U.S.Getting their start as teenagers in the late ‘80s in Hershey, PA, The Ocean Blue released their self-titled debut on the famed Sire Records that launched many of their musical heroes. Embraced by MTV and college radio, the band quickly made their mark on the onset of the Alternative Music scene. Their early singles “Between Something And Nothing” and “Drifting, Falling” notched them Top Ten hits on College and Modern Rock radio, setting in motion a run of four successful major label albums, followed by a string beloved independent releases from 2000 to the present. With eight albums and several EPs under their belt, the band continues to perform and record, with work underway on a new album.The Ocean Blue arrived as the 1980s drew to a close, and their debut record on the famed Sire Records label in 1989 seemed to summarize the best of the passing musical decade. With the release of The Ocean Blue, the band of four teenagers from Hershey, Pennsylvania quickly achieved widespread acclaim and radio & MTV airplay with top 10 Modern Rock/College Radio hits like Between Something and Nothing, Drifting, Falling, and Vanity Fair. They followed their debut with the dreamy and atmospheric Cerulean, which includes perhaps their most beloved song,Ballerina Out of Control. Their third Sire release and highest charting pop album Beneath the Rhythm and Sound featured the single Sublime, with a video of the band in the sublime landscape of Iceland. The band's fourth major label album on Mercury/ PolyGram, See The Ocean Blue, delved into wider 60s and 70s stylings but with the band's 80s DNA peeking through.\NThe band left the majors in the late 90s and released several independent records in the ensuing decade, including 2000's Davy Jones Locker and 2004's Waterworks. In 2013, after a long hiatus and much anticipation, the band released their first full length record in a decade, Ultramarine, on Korda Records, a label cooperative the band helped launch that same year. The record was a welcome return for both long-time fans of the band and a younger generation of like-minded fans, and it garnered widespread praise as one of their very best albums. In 2015, the band worked with Sire Records to reissue their first three albums on vinyl, and did wider touring in North America and in South America, where some of their most passionate fans reside.\NIn 2019, the band returned with the beautifully powerful Kings and Queens / Knaves and Thieves, and has continued to tour for this release and the newly re-issued vinyl of See The Ocean Blue (2022) and Davy Jones’ Locker (2023). The band is on tour with select dates in 2024 performing their first two albums in full. X-ALT-DESC;FMTTYPE=text/html:

In 2024, the band will be performing their first two albums in full - The Ocean Blue and Cerulean - in their entirety over two consecutive nights in cities throughout the U.S.

Getting their start as teenagers in the late ‘80s in Hershey, PA, The Ocean Blue released their self-titled debut on the famed Sire Records that launched many of their musical heroes. Embraced by MTV and college radio, the band quickly made their mark on the onset of the Alternative Music scene. Their early singles “Between Something And Nothing” and “Drifting, Falling” notched them Top Ten hits on College and Modern Rock radio, setting in motion a run of four successful major label albums, followed by a string beloved independent releases from 2000 to the present. With eight albums and several EPs under their belt, the band continues to perform and record, with work underway on a new album.

The Ocean Blue arrived as the 1980s drew to a close, and their debut record on the famed Sire Records label in 1989 seemed to summarize the best of the passing musical decade. With the release of The Ocean Blue, the band of four teenagers from Hershey, Pennsylvania quickly achieved widespread acclaim and radio & MTV airplay with top 10 Modern Rock/College Radio hits like Between Something and Nothing, Drifting, Falling, and Vanity Fair. They followed their debut with the dreamy and atmospheric Cerulean, which includes perhaps their most beloved song,Ballerina Out of Control. Their third Sire release and highest charting pop album Beneath the Rhythm and Sound featured the single Sublime, with a video of the band in the sublime landscape of Iceland. The band's fourth major label album on Mercury/ PolyGram, See The Ocean Blue, delved into wider 60s and 70s stylings but with the band's 80s DNA peeking through.

The band left the majors in the late 90s and released several independent records in the ensuing decade, including 2000's Davy Jones Locker and 2004's Waterworks. In 2013, after a long hiatus and much anticipation, the band released their first full length record in a decade, Ultramarine, on Korda Records, a label cooperative the band helped launch that same year. The record was a welcome return for both long-time fans of the band and a younger generation of like-minded fans, and it garnered widespread praise as one of their very best albums. In 2015, the band worked with Sire Records to reissue their first three albums on vinyl, and did wider touring in North America and in South America, where some of their most passionate fans reside.

In 2019, the band returned with the beautifully powerful Kings and Queens / Knaves and Thieves, and has continued to tour for this release and the newly re-issued vinyl of See The Ocean Blue (2022) and Davy Jones’ Locker (2023). The band is on tour with select dates in 2024 performing their first two albums in full.

LOCATION:638 South State Street\, Salt Lake City\, Utah 84111\, USA GEO:40.75528240;-111.88872990 LAST-MODIFIED:20240126T174301Z X-ACCESS:1 X-HITS:267 X-URL: X-COLOR:fcba04 X-SHOW-END-TIME:0 END:VEVENT END:VCALENDAR