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Michael Franti believes that there is a great battle taking place in the world today between cynicism and optimism, so he made his most recent album, Stay Human Vol. II, to remind himself and anyone else who’s listening, that there is still good in the world and that it is worth fighting for. The album has seen early critical acclaim and soared to the top of the charts including, #1 Billboard Independent Album Sales, #1 iTunes Top Albums Singer/Songwriter (US and AUS). The songs on Stay Human Vol. II were inspired by Franti’s new self-directed documentary Stay Human, which has recently won array of awards on the film festival circuit. Stay Human features “heroic everyday people” whose stories have inspired the singer, activist and yoga practitioner during his travels around the world. Stay Human Vol. II is the 10th LP from Michael Franti & Spearhead, featuring the group’s signature sound. It follows three consecutive albums that climbed into the top 5 on the Billboard Rock Albums Chart. He’s also charted five singles in the top 30 on the Billboard Adult Contemporary Chart and had eight songs reach the top 25 on the Triple-A Chart. His hit, “Say Hey” has accumulated more than 2 million downloads worldwide. Franti also had a No. 1 hit single with his 2010 song, “The Sound of Sunshine.” The album and film are both part of a multi-pronged effort to spread positivity through Franti’s music, Soulshine Bali hotel that he built as a home for yoga destination retreats, and Do It For The Love, a non-profit he and his wife, Sara Agah Franti, founded in 2013 to bring people living with life-threatening illnesses, children with severe challenges and wounded veterans to live concerts. To date, Do It For The Love has granted more than 2,000 wishes with the support of more than 100 artists.
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20190623T233648Z X-ACCESS:1 X-HITS:2943 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190711T190000 DTEND;TZID=America/Denver:20190711T223000 UID:88DAB0B0-F873-4496-BD31-081E719CDDBB SUMMARY:Jenny Lewis DTSTAMP:20190311T161055Z DESCRIPTION:Jenny Lewis has confirmed her highly anticipated return with her fourth solo album - On The Line - out March 22, 2019 on Warner Bros. Records. Since releasing 2014’s critically acclaimed "The Voyager"— which NPR likened to “California sunshine glinting off the Pacific Ocean, steeped in the West Coast pop sounds of the 1970s”— Jenny Lewis has been plotting her highly anticipated return. Between headlining dates around the globe and stealing the show at Newport Folk Festival 2018, not to mention captivating audiences as special guest of Beck at Madison Square Garden, Jenny has been fastidious in recording brand new material. Featuring a who’s who of supporting players including Beck, Benmont Tench, Don Was, Jim Keltner and Ringo Starr among others, and recorded at the distinguished Capitol Studios, On The Line will no doubt be a triumphant and irresistible highlight of 2019. X-ALT-DESC;FMTTYPE=text/html:Jenny Lewis has confirmed her highly anticipated return with her fourth solo album - On The Line - out March 22, 2019 on Warner Bros. Records. Since releasing 2014’s critically acclaimed "The Voyager"— which NPR likened to “California sunshine glinting off the Pacific Ocean, steeped in the West Coast pop sounds of the 1970s”— Jenny Lewis has been plotting her highly anticipated return. Between headlining dates around the globe and stealing the show at Newport Folk Festival 2018, not to mention captivating audiences as special guest of Beck at Madison Square Garden, Jenny has been fastidious in recording brand new material. Featuring a who’s who of supporting players including Beck, Benmont Tench, Don Was, Jim Keltner and Ringo Starr among others, and recorded at the distinguished Capitol Studios, On The Line will no doubt be a triumphant and irresistible highlight of 2019.
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20190617T165433Z X-ACCESS:1 X-HITS:6783 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190808T190000 DTEND;TZID=America/Denver:20190808T233000 UID:273D775A-AF3E-4580-9351-E2067A38A2A3 SUMMARY:Lukas Nelson & Promise of the Real DTSTAMP:20190409T013007Z DESCRIPTION:Since forming 10 years ago, the buzz surrounding Lukas Nelson & Promise of the Real has been quietly intensifying. During that time, the 28-year old singer/songwriter/guitarist and his bandmates have played hundreds of shows and major festivals all over the world and built a devoted underground following. Lukas’ profile continued to rise when he contributed three songs and heavenly vocals to his dad Willie Nelson’s 2012 album, Heroes, their voices blending with potent DNA. Then two years later, life took another turn skyward when Neil Young decided to make Promise of the Real his touring and studio band. Young has guided the grateful young musicians ever since as they’ve backed the legend on tour around the world and on his two most recent albums.\NThese experiences were undoubtedly invaluable, but none of what has come before will prepare you for the cosmic country soul of Lukas Nelson & Promise of the Real, the band’s new, self-titled album, a mesmerizing, emotionally genuine, endlessly rewarding work set for release on Fantasy Records. From the epic “Set Me Down on a Cloud” to the climactic “If I Started Over,” the album delivers one sublime song and inspired performance after another.\N“I knew I had a lot of good songs that transcended the cultural boundaries between rock & roll and country,” Lukas says of his vision for the album. “I wanted to get the songs as pure as they could be. We owe a lot to Neil; we made this record after coming off the road with him for two years. Neil’s been mentoring us, and we’ve been absorbing that energy, and I think it shows. We got acclimated to a different level of artistic expression. We’ve grown.”\NLukas Nelson & Promise of the Real, produced by song-shaping specialist John Alagia (numerous Dave Matthews Band LPs, John Mayer’s Room for Squares) was recorded at The Village Studios in West Los Angeles. Promise of the Real’s six-piece line-up now includes longtime bandmates Tato Melgar (percussion), Anthony LoGerfo (drums) and Corey McCormick (bass, vocals) along with new members Jesse Siebenberg (steel guitars, Farfisa organ, vocals) and Alberto Bof (piano, Wurlitzer, Hammond B3). Stefani “Lady Gaga” Germanotta (who convincingly plays the role of Bonnie to Lukas’ Delaney) added her signature vocals to the rousing “Carolina” and “Find Yourself,” while Jess Wolfe and Holly Lessig of the Brooklyn-based indie-pop duo Lucius provide backing vocals on five of the 12 tracks, evoking Exile on Main St.’s ecstatic, gospel-rooted harmonies.\NThe band’s many influences can be discerned in the opening track, “Set Me Down on a Cloud,” a soulful country rocker that features Lucius’ spiritual vocals and an extended solo underscores Lukas’ tasteful guitar virtuosity.\NThe lilting, pastoral “Just Outside of Austin” features a guitar solo from Willie, while Lukas’ 86-year-old Aunt Bobbi plays piano. “It’s a love letter to Austin, something like Roger Miller or Glen Campbell would write,” he said.\N“Runnin’ Shine,” one of the album’s first-person character studies, is written from the perspective of a young moonshiner trying to outsmart the law while hurtling along Appalachian back roads in a souped-up car loaded with homemade booze. “Perspective is huge,” says Lukas. “If you’re able to put yourself in someone else’s shoes and you can relate to them, it’s really hard to hate them, even if you don’t agree with how they live their life.”\NTwo of the album’s most breathtaking songs, “Find Yourself” and “Forget About Georgia,” vividly retrace the turbulent final stages and bittersweet aftermath of the same doomed love affair. “After the relationship ended, I had to play Ray Charles’ “Georgia on My Mind” every night when I was on the road with my dad, which made it literally impossible to forget about her.” Introduced by a wistful four-note guitar lick that reoccurs throughout the arrangement, “Forget About Georgia” unfolds to a “Layla”-like outpouring of romantic yearning, as the band stretches out behind Lukas’ emotional guitar soloing. Not surprisingly, it’s Young’s favorite song on the album.\NInspired by the big ballads of Roy Orbison and Elvis Presley, Lukas delivers a full-throttle vocal on the closing track, “If I Started Over,” at once a cosmic rumination and a rapturous expression of romantic devotion. “The song is asking, what if, after we die, we just come back? What if we have to do the same dream again until we learn the right lessons?\NA seasoned veteran at 28, Austin-born Lukas grew up in Maui, while spending much of his time during school breaks in his hometown and on the road with his dad. “I had a lot of passions growing up,” he says. “I played soccer, I was on the swim team, living a Maui lifestyle, surfing and skateboarding. I also loved singing and wrote my first song when I was 11. I became obsessed with guitar, playing eight to 10 hours a day. I knew what I wanted to do from a super-young age, and I made my life about it.” He and his brother Micah played in bands together in high school, and they struck up a friendship with Uruguay-born Tato Melgar, a skilled musician then making his living as a landscaper, who taught the brothers the basics of drumming.\NIn 2007, Lukas headed to the mainland to attend L.A.’s Loyola Marymount University. A year later, after meeting LoGerfo at a Neil Young concert, he dropped out of school and started a band with LoGerfo, Melgar and original bassist Merlyn Kelly; he named it Promise of the Real, referencing a line in Young’s 1973 song “Walk On”: “Sooner or later it all gets real.” When McCormick joined two years later on bass, the POTR lineup was set. The band woodshedded; averaging more than 200 shows a year. Drawing on Lukas’ lineage as well surrogate uncles like Kris Kristofferson, Waylon Jennings, and the classic rock and roll of J.J. Cale, The Band, Clapton era Delaney and Bonnie and of course mentor Neil Young, they began to develop their own distinctive style of American music.\NYoung befriended the band after checking them out at Farm Aid several years back. “Neil got in touch after that, and we started talking by email,” Lukas recounts. “Eventually, he asked us to record with him. So we recorded The Monsanto Years and played some shows together, and we fell in love with each other musically, one thing led to another and we became Neil’s band.\N“What’s happened with us feels similar to the career trajectory of The Band,” he continues. “They were already a great band when they started working with Dylan, who lifted them up, which is similar to what Neil’s done for us. He’s also given people a chance to hear what we’re doing and what our own songs have to offer. Then we played the Desert Trip with Neil, along with Paul McCartney, the Stones, the Who and Dylan. That was incredible.”\NThose two weekends in Indio last October turned out to be extremely fortuitous. “We met Lucius at Desert Trip,” says Lukas. “They were playing with Roger Waters—and still are. Then they came to the Bridge School Benefit, where we really got to know them. I love Jess and Holly—they really enhance the record.”\NBradley Cooper also saw Lukas play at Desert Trip, and right afterward contacted a mutual friend about helping him on the new film he’s directing and starring in, a remake of A Star is Born. “At first I was just helping him out, and then I started writing with Stefani (Lady Gaga), who’s in the movie. We connected and she and I became really close. I got very involved in this film and ended up bringing the band into it as well.”\NComing of age in a celebrated musical family, Lukas Nelson learned early on that true originality is hard won, never given. Doubtlessly blessed with a measure of musical ability, it’s clear that his natural gifts have been honed by a singular devotion to craft and a deep appreciation for the sacrifice a creative life requires. Elated by the way things have come together so beautifully, Lukas is gratified that POTR have earned this moment and seized the opportunities that have led to this album—all perfectly capturing what he’d heard in his head 18 months earlier.\N“It’s just amazing how things have flowed,” Lukas marvels. “It feels divine in a way.” X-ALT-DESC;FMTTYPE=text/html:Since forming 10 years ago, the buzz surrounding Lukas Nelson & Promise of the Real has been quietly intensifying. During that time, the 28-year old singer/songwriter/guitarist and his bandmates have played hundreds of shows and major festivals all over the world and built a devoted underground following. Lukas’ profile continued to rise when he contributed three songs and heavenly vocals to his dad Willie Nelson’s 2012 album, Heroes, their voices blending with potent DNA. Then two years later, life took another turn skyward when Neil Young decided to make Promise of the Real his touring and studio band. Young has guided the grateful young musicians ever since as they’ve backed the legend on tour around the world and on his two most recent albums.
These experiences were undoubtedly invaluable, but none of what has come before will prepare you for the cosmic country soul of Lukas Nelson & Promise of the Real, the band’s new, self-titled album, a mesmerizing, emotionally genuine, endlessly rewarding work set for release on Fantasy Records. From the epic “Set Me Down on a Cloud” to the climactic “If I Started Over,” the album delivers one sublime song and inspired performance after another.
“I knew I had a lot of good songs that transcended the cultural boundaries between rock & roll and country,” Lukas says of his vision for the album. “I wanted to get the songs as pure as they could be. We owe a lot to Neil; we made this record after coming off the road with him for two years. Neil’s been mentoring us, and we’ve been absorbing that energy, and I think it shows. We got acclimated to a different level of artistic expression. We’ve grown.”
Lukas Nelson & Promise of the Real, produced by song-shaping specialist John Alagia (numerous Dave Matthews Band LPs, John Mayer’s Room for Squares) was recorded at The Village Studios in West Los Angeles. Promise of the Real’s six-piece line-up now includes longtime bandmates Tato Melgar (percussion), Anthony LoGerfo (drums) and Corey McCormick (bass, vocals) along with new members Jesse Siebenberg (steel guitars, Farfisa organ, vocals) and Alberto Bof (piano, Wurlitzer, Hammond B3). Stefani “Lady Gaga” Germanotta (who convincingly plays the role of Bonnie to Lukas’ Delaney) added her signature vocals to the rousing “Carolina” and “Find Yourself,” while Jess Wolfe and Holly Lessig of the Brooklyn-based indie-pop duo Lucius provide backing vocals on five of the 12 tracks, evoking Exile on Main St.’s ecstatic, gospel-rooted harmonies.
The band’s many influences can be discerned in the opening track, “Set Me Down on a Cloud,” a soulful country rocker that features Lucius’ spiritual vocals and an extended solo underscores Lukas’ tasteful guitar virtuosity.
The lilting, pastoral “Just Outside of Austin” features a guitar solo from Willie, while Lukas’ 86-year-old Aunt Bobbi plays piano. “It’s a love letter to Austin, something like Roger Miller or Glen Campbell would write,” he said.
“Runnin’ Shine,” one of the album’s first-person character studies, is written from the perspective of a young moonshiner trying to outsmart the law while hurtling along Appalachian back roads in a souped-up car loaded with homemade booze. “Perspective is huge,” says Lukas. “If you’re able to put yourself in someone else’s shoes and you can relate to them, it’s really hard to hate them, even if you don’t agree with how they live their life.”
Two of the album’s most breathtaking songs, “Find Yourself” and “Forget About Georgia,” vividly retrace the turbulent final stages and bittersweet aftermath of the same doomed love affair. “After the relationship ended, I had to play Ray Charles’ “Georgia on My Mind” every night when I was on the road with my dad, which made it literally impossible to forget about her.” Introduced by a wistful four-note guitar lick that reoccurs throughout the arrangement, “Forget About Georgia” unfolds to a “Layla”-like outpouring of romantic yearning, as the band stretches out behind Lukas’ emotional guitar soloing. Not surprisingly, it’s Young’s favorite song on the album.
Inspired by the big ballads of Roy Orbison and Elvis Presley, Lukas delivers a full-throttle vocal on the closing track, “If I Started Over,” at once a cosmic rumination and a rapturous expression of romantic devotion. “The song is asking, what if, after we die, we just come back? What if we have to do the same dream again until we learn the right lessons?
A seasoned veteran at 28, Austin-born Lukas grew up in Maui, while spending much of his time during school breaks in his hometown and on the road with his dad. “I had a lot of passions growing up,” he says. “I played soccer, I was on the swim team, living a Maui lifestyle, surfing and skateboarding. I also loved singing and wrote my first song when I was 11. I became obsessed with guitar, playing eight to 10 hours a day. I knew what I wanted to do from a super-young age, and I made my life about it.” He and his brother Micah played in bands together in high school, and they struck up a friendship with Uruguay-born Tato Melgar, a skilled musician then making his living as a landscaper, who taught the brothers the basics of drumming.
In 2007, Lukas headed to the mainland to attend L.A.’s Loyola Marymount University. A year later, after meeting LoGerfo at a Neil Young concert, he dropped out of school and started a band with LoGerfo, Melgar and original bassist Merlyn Kelly; he named it Promise of the Real, referencing a line in Young’s 1973 song “Walk On”: “Sooner or later it all gets real.” When McCormick joined two years later on bass, the POTR lineup was set. The band woodshedded; averaging more than 200 shows a year. Drawing on Lukas’ lineage as well surrogate uncles like Kris Kristofferson, Waylon Jennings, and the classic rock and roll of J.J. Cale, The Band, Clapton era Delaney and Bonnie and of course mentor Neil Young, they began to develop their own distinctive style of American music.
Young befriended the band after checking them out at Farm Aid several years back. “Neil got in touch after that, and we started talking by email,” Lukas recounts. “Eventually, he asked us to record with him. So we recorded The Monsanto Years and played some shows together, and we fell in love with each other musically, one thing led to another and we became Neil’s band.
“What’s happened with us feels similar to the career trajectory of The Band,” he continues. “They were already a great band when they started working with Dylan, who lifted them up, which is similar to what Neil’s done for us. He’s also given people a chance to hear what we’re doing and what our own songs have to offer. Then we played the Desert Trip with Neil, along with Paul McCartney, the Stones, the Who and Dylan. That was incredible.”
Those two weekends in Indio last October turned out to be extremely fortuitous. “We met Lucius at Desert Trip,” says Lukas. “They were playing with Roger Waters—and still are. Then they came to the Bridge School Benefit, where we really got to know them. I love Jess and Holly—they really enhance the record.”
Bradley Cooper also saw Lukas play at Desert Trip, and right afterward contacted a mutual friend about helping him on the new film he’s directing and starring in, a remake of A Star is Born. “At first I was just helping him out, and then I started writing with Stefani (Lady Gaga), who’s in the movie. We connected and she and I became really close. I got very involved in this film and ended up bringing the band into it as well.”
Coming of age in a celebrated musical family, Lukas Nelson learned early on that true originality is hard won, never given. Doubtlessly blessed with a measure of musical ability, it’s clear that his natural gifts have been honed by a singular devotion to craft and a deep appreciation for the sacrifice a creative life requires. Elated by the way things have come together so beautifully, Lukas is gratified that POTR have earned this moment and seized the opportunities that have led to this album—all perfectly capturing what he’d heard in his head 18 months earlier.
“It’s just amazing how things have flowed,” Lukas marvels. “It feels divine in a way.”
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20190715T174302Z X-ACCESS:1 X-HITS:6593 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190811T180000 DTEND;TZID=America/Denver:20190811T223000 UID:46F56A55-18B4-4E69-AFD4-34DF16A31007 SUMMARY:Ben Harper & The Innocent Criminals | Trombone Shorty & Orleans Avenue DTSTAMP:20190212T003306Z DESCRIPTION:Ben Harper & The Innocent Criminals\NFacebook | Twitter | Instagram | YouTube | Spotify\NBeginning with his 1994 debut, "Welcome To The Cruel World", Harper released a string of eight studio albums over a decade and a half. This extraordinary run, featuring contributions from the Innocent Criminals, established him as a singularly powerful songwriter and performer with range across multiple genres and an unmatched ability to blend the personal and political. The accolades poured in - Rolling Stone hailed his "jewels of unique and exquisitely tender rock & roll,” while Entertainment Weekly praised his "casual profundity," and Billboard said his music "reminds us of the power and beauty of simplicity." Massive, international sold-out tours, Top 10 debuts in the US, Gold and Platinum certifications overseas, and a slew of TV appearances cemented Harper and the band's status as genuine global stars. X-ALT-DESC;FMTTYPE=text/html:Facebook | Twitter | Instagram | YouTube | Spotify
Beginning with his 1994 debut, "Welcome To The Cruel World", Harper released a string of eight studio albums over a decade and a half. This extraordinary run, featuring contributions from the Innocent Criminals, established him as a singularly powerful songwriter and performer with range across multiple genres and an unmatched ability to blend the personal and political. The accolades poured in - Rolling Stone hailed his "jewels of unique and exquisitely tender rock & roll,” while Entertainment Weekly praised his "casual profundity," and Billboard said his music "reminds us of the power and beauty of simplicity." Massive, international sold-out tours, Top 10 debuts in the US, Gold and Platinum certifications overseas, and a slew of TV appearances cemented Harper and the band's status as genuine global stars.
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20190318T165513Z X-ACCESS:1 X-HITS:9300 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190817T183000 DTEND;TZID=America/Denver:20190817T223000 UID:D3E27418-E407-4143-A9DA-F05627626DD2 SUMMARY:John Butler Trio+ | St. Paul & The Broken Bones DTSTAMP:20190210T133306Z DESCRIPTION:John Butler Trio+\NFacebook | Twitter | Instagram | YouTube | Spotify\NThe contradictions in John Butler are evident, and, despite his magnificently successful career (with number one albums in Australia and sell-out tours) his is a troubled soul. One of the most successful recording artists Australia has ever produced and a musician whose reputation has begun to rock the waters of both Europe and America, Butler is nevertheless a man on the edge. Where will he go next? Up or down? Despite the tensions within the man and his music the new album makes his future trajectory abundantly clear.\NAn independent role model, founder of Australia’s Jarrah Records, family man and proud skateboard aficionado, JB, in spite of his matey public persona, remains an enigma. He is from everywhere and nowhere, an Australian/American, Everyman/Nowhere Man, and his music mixes rootedness and rootlessness, pain and celebration in a way that is utterly beguiling. He is the consummate rebel-refugee whose songs chart disenchantment with the corporate world and show a yearning for truth along with an ongoing struggle for a sense of locus. The songs’ off-centre grooves have always been their charm, and yet now there is a sense, in the new album at least, of resolution and peace after years of being against the world and what it offered. Maybe the man on the brink will not jump after all?\NThe Past Born in California and of mixed Australian, Greek and Bulgarian ancestry, Butler began his musical career in classic if tentative style. The narrative arc is well-known Down Under. An art-school dropout, he was ‘discovered’ busking in 1996, bystanders marvelling at ‘the sweat flying off his brow’ and ‘the holy madness in his eyes’. The tape of these early compositional soundscapes Searching for Heritage gave an inkling of where Butler was going, reaching as it did both forwards and backwards in time, conversant with all genres and yet somehow defining its own. The sound had, and still has, elements of folk, funk, reggae and rock all drizzled through the 90s Seattle sensibility. Behind all that there was a wistful Celtic ambience surreally counterpointed by a Jamaican roots/rudeboy vibe. What could have been a mess somehow made perfect sense, with the bluegrass fingerpicking, hip hop beats and psychedelic wig-outs proving not uneasy bedfellows but perfect complements.\NNow On Flesh & Blood it goes even further, yet with a restraint that bespeaks a deepening maturity. There are dirty Stevie Wonder-style boogies, ghostly refrains that could come from Simon and Garfunkel, sonic poltergeists which seem, at times, to resemble lost rock classics. In the hands of a lesser man this would be mere thievery dressed up as ‘eclecticism’. But Butler is a maestro - he takes his influences and transcends them. He creates a sound that is as ancient as aboriginal bone-art and yet as modern as your Twitter feed. He has been hailed as one of the world’s greatest guitarists, a musician’s musician, one whose sound offers not three chords and the truth but a thousand. His prestidigitation is astounding. An old song like “Ocean,” for example, has chalked up 30 million Youtube hits, and not just with guitar freaks studying his technique. The new album has songs that are less expansive and more ‘reined in’, but the playing is all the more impressive for being more tightly corralled. Less sometimes really is more.\NFlesh & Blood may be his best yet. In parts it is simply overwhelming. The album has captured that elusive thing: soul. Butler has spoken in interviews of his songs being like ‘wild horses, wild beasts’ and you can see what he means. Songs, he says, come from the ‘ether’, from a savage hinterland: they must be caught without breaking their spirit. A ‘song-capturer’, Butler’s job has been not to tame those horses but to present their wildness. His myth of composition evokes the timeless expanse of both the Aussie Outback and the American West, and he and his fellow band members have been at pains to honour the songs as independent things that belong to no one, least of all themselves.\NArising from a series of agenda-free jams in Butler’s studio ‘The Compound’ in Fremantle, (Australia) the album took a mere 20 days to record and, though beautifully structured in sonic terms, there is a rawness and honesty to the album that reflects the brevity of its laying down. The songs have a wide-open, semi-improvised feel. The crisp and beautifully spare production of Jan Skubiszewski accentuates the sense of limitless space: the drums (courtesy of the aptly named Nicky Bomba) kick with dub explosions, while the bass (‘Lord’ Byron Luiters) goes on inspired transient walkabouts. Butler’s voice, free of the ‘anger’ that has dogged him for so long, now soars with both melancholy and plangent purity. “Wings are Wide” evokes rainforests: it is drenched in dizzying guitar loops in which the listener is enmeshed and lifted timelessly elsewhere. “Spring to Come” could be a classic, Butler’s acrylic fingernails plucking more of their extraordinary patterns. “Blame it on Me” is a cocky peacock-strut juxtaposed with dark references to apocalyptic ‘heavy times’. “Young and Wild” has the simple beauty of a song - a down home-country feel offset by the gorgeous shadowing of female vocalist Ainslie Wills. “How You Sleep at Night” is a hypnotically anthemic piece featuring the ferocious drumming of new man Grant Gerathy; Bomba having jumped ship (albeit amicably) to front his own Melbourne Ska Orchestra. The synth-anchored “You’re Free” sounds like its title: it is as if the composer, haunted by righteous ire, has taken flight, escaping earthly confines but not flying too close to the sun. New single “Only One” shows a new maturity in pop craftsmanship. The quiet/loud dynamic is beautifully exploited yet again. A simple three note refrain and rolling storm-cloud drums establishes a minor key mood: a place of ‘castles built out of sand’ and ‘something haunting’ the protagonist. But then the chorus erupts with steel drum euphoria transporting the listener to what sounds like Africa — a third world of ecstatic being. That is the JB trick par excellence: the shift from fireside ballad to communal dance, from private to public, from doubt to assertion.\NHome Again With Flesh & Blood, Butler has come full circle. Searching for Heritage led ultimately to April Uprising, an album that delved into Butler’s family history, one in which ethnic Bulgarians (Butler’s kin) rose up in 1876 against the tyrannical Ottoman Empire that had suppressed them. John’s own name derives from his paternal grandfather, a forestry worker who died fighting a bushfire in Nannup, Oz. From these historical titbits we glean some inkling of the artist. He is a man fighting for justice, a man fighting fires — those of love gone bad, of corporate greed, or simply of his own angry soul. As Butler has confessed in a recent interview, “I thought my anger was my strongest asset and that’s what made me powerful, but it was actually my weakest link. My vulnerability, my honesty and patience and trust are my strongest attributes.” The album bears this out. As Butler has matured the anger has been sublimated in poetry, and his voice, on the tender love songs especially, has become his outstanding instrument.\NFlesh & Blood is a testament to his talent, and to a man who has finally found himself. On some songs he sounds simply reborn. “I wanted the songs to be a lot more guttural and fleshier,” says a newly humble JB. “I wanted to smell it and feel it a bit more. And I wanted my voice, now and always, to be more convincing.” If it’s authenticity he was seeking he has surely found it.\NIf he has been a ‘man on the edge’ he is certainly not going to jump and end it all. He now has the wisdom and the courage to take a step back - and enjoy the view.\NJohn Butler is no pie-in-the-sky hippy. He has dirt beneath his feet: red dirt. He is well-known Down Under for his environmental and political commitment. His white Rasta look once suggested a teleported Bob Marley - but that has gone. The more recent barbered image makes him look like a handsome American from the Civil War era. His stare is hypnotic. Who will draw first, you or him? He is not, however, all gun and no trousers. He has put his money where his mouth is, fronting a campaign that helped stop a vast gas plant from despoiling the natural beauty of the Kimberley area in NW Australia. He has also set up a charitable trust that has enabled many aspiring artists to find an outlet. He is a man who cares about the world he is in and one who has tried, in his own way, to set in right. X-ALT-DESC;FMTTYPE=text/html:Facebook | Twitter | Instagram | YouTube | Spotify
The contradictions in John Butler are evident, and, despite his magnificently successful career (with number one albums in Australia and sell-out tours) his is a troubled soul. One of the most successful recording artists Australia has ever produced and a musician whose reputation has begun to rock the waters of both Europe and America, Butler is nevertheless a man on the edge. Where will he go next? Up or down? Despite the tensions within the man and his music the new album makes his future trajectory abundantly clear.
An independent role model, founder of Australia’s Jarrah Records, family man and proud skateboard aficionado, JB, in spite of his matey public persona, remains an enigma. He is from everywhere and nowhere, an Australian/American, Everyman/Nowhere Man, and his music mixes rootedness and rootlessness, pain and celebration in a way that is utterly beguiling. He is the consummate rebel-refugee whose songs chart disenchantment with the corporate world and show a yearning for truth along with an ongoing struggle for a sense of locus. The songs’ off-centre grooves have always been their charm, and yet now there is a sense, in the new album at least, of resolution and peace after years of being against the world and what it offered. Maybe the man on the brink will not jump after all?
The Past
Born in California and of mixed Australian, Greek and Bulgarian ancestry, Butler began his musical career in classic if tentative style. The narrative arc is well-known Down Under. An art-school dropout, he was ‘discovered’ busking in 1996, bystanders marvelling at ‘the sweat flying off his brow’ and ‘the holy madness in his eyes’. The tape of these early compositional soundscapes Searching for Heritage gave an inkling of where Butler was going, reaching as it did both forwards and backwards in time, conversant with all genres and yet somehow defining its own. The sound had, and still has, elements of folk, funk, reggae and rock all drizzled through the 90s Seattle sensibility. Behind all that there was a wistful Celtic ambience surreally counterpointed by a Jamaican roots/rudeboy vibe. What could have been a mess somehow made perfect sense, with the bluegrass fingerpicking, hip hop beats and psychedelic wig-outs proving not uneasy bedfellows but perfect complements.
Now
On Flesh & Blood it goes even further, yet with a restraint that bespeaks a deepening maturity. There are dirty Stevie Wonder-style boogies, ghostly refrains that could come from Simon and Garfunkel, sonic poltergeists which seem, at times, to resemble lost rock classics. In the hands of a lesser man this would be mere thievery dressed up as ‘eclecticism’. But Butler is a maestro - he takes his influences and transcends them. He creates a sound that is as ancient as aboriginal bone-art and yet as modern as your Twitter feed. He has been hailed as one of the world’s greatest guitarists, a musician’s musician, one whose sound offers not three chords and the truth but a thousand. His prestidigitation is astounding. An old song like “Ocean,” for example, has chalked up 30 million Youtube hits, and not just with guitar freaks studying his technique. The new album has songs that are less expansive and more ‘reined in’, but the playing is all the more impressive for being more tightly corralled. Less sometimes really is more.
Flesh & Blood may be his best yet. In parts it is simply overwhelming. The album has captured that elusive thing: soul. Butler has spoken in interviews of his songs being like ‘wild horses, wild beasts’ and you can see what he means. Songs, he says, come from the ‘ether’, from a savage hinterland: they must be caught without breaking their spirit. A ‘song-capturer’, Butler’s job has been not to tame those horses but to present their wildness. His myth of composition evokes the timeless expanse of both the Aussie Outback and the American West, and he and his fellow band members have been at pains to honour the songs as independent things that belong to no one, least of all themselves.
Arising from a series of agenda-free jams in Butler’s studio ‘The Compound’ in Fremantle, (Australia) the album took a mere 20 days to record and, though beautifully structured in sonic terms, there is a rawness and honesty to the album that reflects the brevity of its laying down. The songs have a wide-open, semi-improvised feel. The crisp and beautifully spare production of Jan Skubiszewski accentuates the sense of limitless space: the drums (courtesy of the aptly named Nicky Bomba) kick with dub explosions, while the bass (‘Lord’ Byron Luiters) goes on inspired transient walkabouts. Butler’s voice, free of the ‘anger’ that has dogged him for so long, now soars with both melancholy and plangent purity. “Wings are Wide” evokes rainforests: it is drenched in dizzying guitar loops in which the listener is enmeshed and lifted timelessly elsewhere. “Spring to Come” could be a classic, Butler’s acrylic fingernails plucking more of their extraordinary patterns. “Blame it on Me” is a cocky peacock-strut juxtaposed with dark references to apocalyptic ‘heavy times’. “Young and Wild” has the simple beauty of a song - a down home-country feel offset by the gorgeous shadowing of female vocalist Ainslie Wills. “How You Sleep at Night” is a hypnotically anthemic piece featuring the ferocious drumming of new man Grant Gerathy; Bomba having jumped ship (albeit amicably) to front his own Melbourne Ska Orchestra. The synth-anchored “You’re Free” sounds like its title: it is as if the composer, haunted by righteous ire, has taken flight, escaping earthly confines but not flying too close to the sun. New single “Only One” shows a new maturity in pop craftsmanship. The quiet/loud dynamic is beautifully exploited yet again. A simple three note refrain and rolling storm-cloud drums establishes a minor key mood: a place of ‘castles built out of sand’ and ‘something haunting’ the protagonist. But then the chorus erupts with steel drum euphoria transporting the listener to what sounds like Africa — a third world of ecstatic being. That is the JB trick par excellence: the shift from fireside ballad to communal dance, from private to public, from doubt to assertion.
Home Again
With Flesh & Blood, Butler has come full circle. Searching for Heritage led ultimately to April Uprising, an album that delved into Butler’s family history, one in which ethnic Bulgarians (Butler’s kin) rose up in 1876 against the tyrannical Ottoman Empire that had suppressed them. John’s own name derives from his paternal grandfather, a forestry worker who died fighting a bushfire in Nannup, Oz. From these historical titbits we glean some inkling of the artist. He is a man fighting for justice, a man fighting fires — those of love gone bad, of corporate greed, or simply of his own angry soul. As Butler has confessed in a recent interview, “I thought my anger was my strongest asset and that’s what made me powerful, but it was actually my weakest link. My vulnerability, my honesty and patience and trust are my strongest attributes.” The album bears this out. As Butler has matured the anger has been sublimated in poetry, and his voice, on the tender love songs especially, has become his outstanding instrument.
Flesh & Blood is a testament to his talent, and to a man who has finally found himself. On some songs he sounds simply reborn. “I wanted the songs to be a lot more guttural and fleshier,” says a newly humble JB. “I wanted to smell it and feel it a bit more. And I wanted my voice, now and always, to be more convincing.” If it’s authenticity he was seeking he has surely found it.
If he has been a ‘man on the edge’ he is certainly not going to jump and end it all. He now has the wisdom and the courage to take a step back - and enjoy the view.
John Butler is no pie-in-the-sky hippy. He has dirt beneath his feet: red dirt. He is well-known Down Under for his environmental and political commitment. His white Rasta look once suggested a teleported Bob Marley - but that has gone. The more recent barbered image makes him look like a handsome American from the Civil War era. His stare is hypnotic. Who will draw first, you or him? He is not, however, all gun and no trousers. He has put his money where his mouth is, fronting a campaign that helped stop a vast gas plant from despoiling the natural beauty of the Kimberley area in NW Australia. He has also set up a charitable trust that has enabled many aspiring artists to find an outlet. He is a man who cares about the world he is in and one who has tried, in his own way, to set in right.
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20190813T194430Z X-ACCESS:1 X-HITS:7854 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190823T190000 DTEND;TZID=America/Denver:20190823T233000 UID:35D1DC31-F8F9-46E7-8FF1-F782B5D8A040 SUMMARY:Thievery Corporation DTSTAMP:20190409T015812Z DESCRIPTION:How many highly successful musical artists do you know that have thrived for 20 years without a radio hit, a big budget video, or major label backing? Moreover, have managed to do high-profile TV appearances, own and operate their own independent label since day one, sell several million albums and continue to expand their fan base across the globe each year. They’ve collaborated with such uniquely famed artists David Byrne, Perry Farrell, The Flaming Lips, Anushka Shankar, Femi Kuti, Seu Jorge, Bebel Gilberto, and been featured on major film soundtracks such as Garden State. They’ve headlined top music festivals, such as Coachella and Lollapalooza, and have influenced a whole generation of electronic producers and DJs. If you add these elements together, you can arrive at only one conclusion: Rob Garza and Eric Hilton, aka: Thievery Corporation.\NSince 1996, Garza and Hilton have released 8 studio LP’s, 2 remix collections, 2 DJ mix albums, and continued to perform live on 5 continents. Along their unique musical journey, they have virtually defined an entire sub-genre of electronic music. And now they’re ready to embark on yet another journey with the release of their new album, “The Temple of I & I.”\NLongtime fans of Thievery Corporation are keenly aware that the duo has been heavily influenced by Jamaican music. Since their debut LP, “Sounds from the Thievery Hi-Fi,” the production team has applied a uniquely diverse dub ethos and aesthetic to their music. After paying tribute to bossa nova and easy listening inspirations on their 2014 release, “Saudade,” Hilton and Garza set their sights on the culturally rich and warm musical environs of Port Antonio, Jamaica. There, they dove even deeper into their singular exploration of classic Jamaican sounds for the “The Temple of I & I.” “The innovation, spirit and power of Jamaican music is a constant source of creative manna for us,” explains Hilton. “On the musical map, Jamaica is an entire continent. We could have spent a year there, soaking up the vibes in the air, and constantly being inspired by the strength and resilience of the people.”\NTheir journey began on a cold February morning in 2015 when Garza, Hilton, and their DC-based rhythm section touched down in Kingston and ventured across the Blue Mountains to what Jamaicans call the “real Jamaica” . Port Antonio. Setting up camp at Geejam Studios in San San, they felt immediately connected to their surroundings as they began recording just steps from the turquoise waves crashing below. As the Thieves played through day and night, heads poked through studio doors as curious locals seemed intrigued by such authentic sounds. “People couldn’t believe Robbie Myers, our guitarist, wasn’t Jamaican,” laughs Hilton. “I think they’re used to people coming down from London or LA to record rock or pop records and they were amazed we had such a handle on their sound. It was beyond gratifying, and high-grade ganja and Appleton rum started showing up on the reg.”\NAfter a week of ’round-the- clock sessions, Thievery Corporation brought the Geejam session tapes back to their lab at Montserrat House Studios in DC. From there, the mission continued with months of vocal, horn and editing sessions. Familiar voices appear, including Notch Howell, who had performed “The Richest Man in Babylon” and “Amerimacka” on previous records. Hilton calls him, “possibly the best male tenor we know.” Other collaborators included Mr. Lif, Puma Ptah, Lou Lou, Zeebo and Elin, who are all known by the Thievery audience as key members of their ensemble, both from past recordings and their live shows.\NAlso figuring prominently in those sessions was a Thievery Corporation newcomer; Racquel Jones from Kingston, Jamaica. Garza and Hilton had met Racquel on their first trip to Port Antonio, where she played some demos for them at Geejam that used Thievery Corporation as a backing track, and which sounded like a perfect match to them. “We’d been waiting years to find a conscious, brilliant, female Jamaican singer and MC,” Hilton explains. As a model and former Miss Jamaica contestant, one would not expect the pure lyrical fire and tough delivery that comes out of her on tracks like “Letter to the Editor” and “Road Block.” “It’s impressive,” says Hilton. Few musical artists are as diverse as Thievery Corporation, moving from space rock, hip-hop, Indian trip-hop, dub, French torch songs, and shoe-gazer blissfulness with remarkable cohesive ease. Boundaries and following trends have never been part of Garza and Hilton’s agenda.\NExplains Rob Garza, “We’ve never been concerned with fitting into the ‘music industry.’ We started making music in the liquor room of DC’s Eighteenth Street Lounge with random bits of music gear among boxes of spirits. Approaching our music as a production duo has allowed us to never feel limited to one particular sound and traverse many fascinating musical landscapes.”\NIn great anticipation of this exciting new release, and in reflection of an astonishing two decades together, one may be prompted to ask what has been the magic formula behind Thievery Corporation’s great success and what does the future hold from here? Perhaps the answer can be found in Rob Garza’s concluding thoughts: “What inspires us to continue to create this genre of sound is the broad spectrum of collaborators and audience members it continues to draw. We have been extremely privileged to work with artists of all cultural, social and political backgrounds, and our fans display even greater diversity and age differences. The people who have come together through Thievery Corporation are as much an accomplishment as the music we’ve produced to date and will continue to produce in the coming years.” X-ALT-DESC;FMTTYPE=text/html:How many highly successful musical artists do you know that have thrived for 20 years without a radio hit, a big budget video, or major label backing? Moreover, have managed to do high-profile TV appearances, own and operate their own independent label since day one, sell several million albums and continue to expand their fan base across the globe each year. They’ve collaborated with such uniquely famed artists David Byrne, Perry Farrell, The Flaming Lips, Anushka Shankar, Femi Kuti, Seu Jorge, Bebel Gilberto, and been featured on major film soundtracks such as Garden State. They’ve headlined top music festivals, such as Coachella and Lollapalooza, and have influenced a whole generation of electronic producers and DJs. If you add these elements together, you can arrive at only one conclusion: Rob Garza and Eric Hilton, aka: Thievery Corporation.
Since 1996, Garza and Hilton have released 8 studio LP’s, 2 remix collections, 2 DJ mix albums, and continued to perform live on 5 continents. Along their unique musical journey, they have virtually defined an entire sub-genre of electronic music. And now they’re ready to embark on yet another journey with the release of their new album, “The Temple of I & I.”
Longtime fans of Thievery Corporation are keenly aware that the duo has been heavily influenced by Jamaican music. Since their debut LP, “Sounds from the Thievery Hi-Fi,” the production team has applied a uniquely diverse dub ethos and aesthetic to their music. After paying tribute to bossa nova and easy listening inspirations on their 2014 release, “Saudade,” Hilton and Garza set their sights on the culturally rich and warm musical environs of Port Antonio, Jamaica. There, they dove even deeper into their singular exploration of classic Jamaican sounds for the “The Temple of I & I.” “The innovation, spirit and power of Jamaican music is a constant source of creative manna for us,” explains Hilton. “On the musical map, Jamaica is an entire continent. We could have spent a year there, soaking up the vibes in the air, and constantly being inspired by the strength and resilience of the people.”
Their journey began on a cold February morning in 2015 when Garza, Hilton, and their DC-based rhythm section touched down in Kingston and ventured across the Blue Mountains to what Jamaicans call the “real Jamaica” . Port Antonio. Setting up camp at Geejam Studios in San San, they felt immediately connected to their surroundings as they began recording just steps from the turquoise waves crashing below. As the Thieves played through day and night, heads poked through studio doors as curious locals seemed intrigued by such authentic sounds. “People couldn’t believe Robbie Myers, our guitarist, wasn’t Jamaican,” laughs Hilton. “I think they’re used to people coming down from London or LA to record rock or pop records and they were amazed we had such a handle on their sound. It was beyond gratifying, and high-grade ganja and Appleton rum started showing up on the reg.”
After a week of ’round-the- clock sessions, Thievery Corporation brought the Geejam session tapes back to their lab at Montserrat House Studios in DC. From there, the mission continued with months of vocal, horn and editing sessions. Familiar voices appear, including Notch Howell, who had performed “The Richest Man in Babylon” and “Amerimacka” on previous records. Hilton calls him, “possibly the best male tenor we know.” Other collaborators included Mr. Lif, Puma Ptah, Lou Lou, Zeebo and Elin, who are all known by the Thievery audience as key members of their ensemble, both from past recordings and their live shows.
Also figuring prominently in those sessions was a Thievery Corporation newcomer; Racquel Jones from Kingston, Jamaica. Garza and Hilton had met Racquel on their first trip to Port Antonio, where she played some demos for them at Geejam that used Thievery Corporation as a backing track, and which sounded like a perfect match to them. “We’d been waiting years to find a conscious, brilliant, female Jamaican singer and MC,” Hilton explains. As a model and former Miss Jamaica contestant, one would not expect the pure lyrical fire and tough delivery that comes out of her on tracks like “Letter to the Editor” and “Road Block.” “It’s impressive,” says Hilton. Few musical artists are as diverse as Thievery Corporation, moving from space rock, hip-hop, Indian trip-hop, dub, French torch songs, and shoe-gazer blissfulness with remarkable cohesive ease. Boundaries and following trends have never been part of Garza and Hilton’s agenda.
Explains Rob Garza, “We’ve never been concerned with fitting into the ‘music industry.’ We started making music in the liquor room of DC’s Eighteenth Street Lounge with random bits of music gear among boxes of spirits. Approaching our music as a production duo has allowed us to never feel limited to one particular sound and traverse many fascinating musical landscapes.”
In great anticipation of this exciting new release, and in reflection of an astonishing two decades together, one may be prompted to ask what has been the magic formula behind Thievery Corporation’s great success and what does the future hold from here? Perhaps the answer can be found in Rob Garza’s concluding thoughts: “What inspires us to continue to create this genre of sound is the broad spectrum of collaborators and audience members it continues to draw. We have been extremely privileged to work with artists of all cultural, social and political backgrounds, and our fans display even greater diversity and age differences. The people who have come together through Thievery Corporation are as much an accomplishment as the music we’ve produced to date and will continue to produce in the coming years.”
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20190814T191458Z X-ACCESS:1 X-HITS:8982 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20190907T190000 DTEND;TZID=America/Denver:20190907T223000 UID:26EE99E2-217D-4073-BCEF-11D41B5908A9 SUMMARY:Squeeze DTSTAMP:20190318T042542Z DESCRIPTION:It’s 1973 in South London. Teenage friends Chris Difford and Glenn Tilbrook form the band that will see them dubbed ‘The New Lennon and McCartney’. Over 35 years later, with their legacy intact and as vital as it has ever been, Squeeze are still touring and reminding fans worldwide just why they have left such an indelible impression on the UK’s music scene.\NAs teenagers on the South London scene, Squeeze – setting out their stall early on by facetiously naming themselves after a poorly-received Velvet Underground album, and at the time also comprised of Jools Holland on keys, Harry Kakouli on bass and Paul Gunn on drums – became a fixture of the burgeoning New Wave movement. When Gilson Lavis replaced Gunn on drums everything seemed to fall into place, and word of mouth soon spread about the band – ironically, it was none other than Velvet Underground man John Cale who caught wind in 1977 and offered to produce their debut EP ‘Packet Of Three’ and much of the ensuing album.\NYet it was second album ‘Cool For Cats’, released in 1979, which cemented their place as one of Britain’s most important young bands. Featuring the classic single ‘Up The Junction’ as well as the title track, it was many listeners’ first introduction to the witty kitchen-sink lyricism and new-wave guitar music that has become the band’s trademark. With albums ‘Argybargy’ and the Elvis Costello-produced ‘East Side Story’, Squeeze even started to make waves across the pond, although in 1980 former Roxy Music and Ace – and future Mike + The Mechanics – man Paul Carrack would replace Jools Holland, going on to lend his unmistakable vocals to the smash hit ‘Tempted’.\N \NBy 1984 Squeeze had disbanded. The chemistry between Tilbrook and Difford could not be as easily dismissed however, and the ensuing record they made together has become the “lost” Squeeze album for many fans. But the band couldn’t lay dormant for long, as Squeeze reformed the next year for ‘Cosi Fan Tutti Frutti’, along with Holland, Lavis and Keith Wilkinson, Squeeze’s longest serving bass player. Over the next 12 years Difford and Tilbrook remained the only constant element as Squeeze continued to receive critical acclaim, release albums and tour, with the likes of ‘Hourglass’ becoming their biggest ever hit in the USA.\NDespite an official Squeeze break-up in 1999, Difford and Tilbrook continued to make music and gig with the same enthusiasm and abandon that they brought to Squeeze’s first EP, either with their own solo projects or with each other. Chris Difford has released three solo albums to date, and toured the country several times with his unique one man show – while Glenn Tilbrook, meanwhile, has also released three solo albums, with 2009’s ‘Pandemonium Ensues’ heralding the debut of his other band The Fluffers and saw him recording with Johnny Depp and Vanessa Paradis. He too has toured relentlessly with The Fluffers, and most recently has recorded an album as “The Co-Operative” with blues veterans 9 Below Zero.\N \NCharitable work also plays a large role in their lives – Tilbrook has also been an active member of the Love Hope Strength Foundation, which sees him join fellow musicians such as founder Mike Peters (The Alarm), going on treks and climbing some of the globe’s greatest landmarks in order to raise money to help treat cancer sufferers throughout the world. Difford meanwhile spends many hours working with recovering addicts and alcoholics in prisons and rehab centers, with musical workshops, performances, and by telling his own inspirational life story. Chris like Glenn has released his own solo work most notably with Francis Dunnery on the much-acclaimed album I didn’t get where I am.\NAs befits one of the UK’s much-loved acts, there is no end of Squeeze fans currently wearing their influences firmly on their sleeve, whether it be Mark Ronson, Kasabian, Supergrass, Lily Allen, The Feeling or Razorlight. With their fingerprints keenly felt throughout the fabric of popular music, it is only right that these songs, with their evergreen and popular sound, continue to be played and enjoyed live. And so since 2007, a newly reformed Squeeze have been slowly finding time to play a series of gigs and festival dates, preferring to reaffirm their abilities as a band rather than follow some of their peers who have come out in a blaze of publicity, only to be met with disappointment.\NThe new Squeeze line-up, their most able yet, is completed by Squeeze veteran John Bentley, Simon Hanson and Stephen Large who has also recently graced the stages of Duffy and Rebecca Ferguson – and has become an instant favorite on the festival circuit since reforming, with 2 appearances at V, Oxegen, T in the Park, Womad and Latitude to name a few. They are about to embark on their 3rd US tour, built around an appearance at the prestigious and world famous Coachella festival. They return to the UK to play selected Summer festivals including Hampton Court and Cropredy – before embarking on a national 20 date tour in November.\NNow the subject of a major BBC documentary in the works, Difford and Tilbrook are also working on the first new Squeeze material in over 15 years.\NSqueeze’s contribution to music has been noted in 2010 with the site of their first gig being awarded a prestigious PRS For Music Heritage Plaque, which has so far commemorated the debuts of Blur and Dire Straits. It joins an ever-increasing list of Squeeze accolades alongside their recent Ivor Novello for Outstanding Contribution to British Music and their Nordoff-Robbins Icon Award and the Mojo Icon Award.\NChris Difford and Glenn Tilbrook have survived everything over the years, from the ever-changing musical landscape to their own internal reshuffles and acrimonious breakups – still going strong and still loving every moment. X-ALT-DESC;FMTTYPE=text/html:It’s 1973 in South London. Teenage friends Chris Difford and Glenn Tilbrook form the band that will see them dubbed ‘The New Lennon and McCartney’. Over 35 years later, with their legacy intact and as vital as it has ever been, Squeeze are still touring and reminding fans worldwide just why they have left such an indelible impression on the UK’s music scene.
As teenagers on the South London scene, Squeeze – setting out their stall early on by facetiously naming themselves after a poorly-received Velvet Underground album, and at the time also comprised of Jools Holland on keys, Harry Kakouli on bass and Paul Gunn on drums – became a fixture of the burgeoning New Wave movement. When Gilson Lavis replaced Gunn on drums everything seemed to fall into place, and word of mouth soon spread about the band – ironically, it was none other than Velvet Underground man John Cale who caught wind in 1977 and offered to produce their debut EP ‘Packet Of Three’ and much of the ensuing album.
Yet it was second album ‘Cool For Cats’, released in 1979, which cemented their place as one of Britain’s most important young bands. Featuring the classic single ‘Up The Junction’ as well as the title track, it was many listeners’ first introduction to the witty kitchen-sink lyricism and new-wave guitar music that has become the band’s trademark. With albums ‘Argybargy’ and the Elvis Costello-produced ‘East Side Story’, Squeeze even started to make waves across the pond, although in 1980 former Roxy Music and Ace – and future Mike + The Mechanics – man Paul Carrack would replace Jools Holland, going on to lend his unmistakable vocals to the smash hit ‘Tempted’.
By 1984 Squeeze had disbanded. The chemistry between Tilbrook and Difford could not be as easily dismissed however, and the ensuing record they made together has become the “lost” Squeeze album for many fans. But the band couldn’t lay dormant for long, as Squeeze reformed the next year for ‘Cosi Fan Tutti Frutti’, along with Holland, Lavis and Keith Wilkinson, Squeeze’s longest serving bass player. Over the next 12 years Difford and Tilbrook remained the only constant element as Squeeze continued to receive critical acclaim, release albums and tour, with the likes of ‘Hourglass’ becoming their biggest ever hit in the USA.
Despite an official Squeeze break-up in 1999, Difford and Tilbrook continued to make music and gig with the same enthusiasm and abandon that they brought to Squeeze’s first EP, either with their own solo projects or with each other. Chris Difford has released three solo albums to date, and toured the country several times with his unique one man show – while Glenn Tilbrook, meanwhile, has also released three solo albums, with 2009’s ‘Pandemonium Ensues’ heralding the debut of his other band The Fluffers and saw him recording with Johnny Depp and Vanessa Paradis. He too has toured relentlessly with The Fluffers, and most recently has recorded an album as “The Co-Operative” with blues veterans 9 Below Zero.
Charitable work also plays a large role in their lives – Tilbrook has also been an active member of the Love Hope Strength Foundation, which sees him join fellow musicians such as founder Mike Peters (The Alarm), going on treks and climbing some of the globe’s greatest landmarks in order to raise money to help treat cancer sufferers throughout the world. Difford meanwhile spends many hours working with recovering addicts and alcoholics in prisons and rehab centers, with musical workshops, performances, and by telling his own inspirational life story. Chris like Glenn has released his own solo work most notably with Francis Dunnery on the much-acclaimed album I didn’t get where I am.
As befits one of the UK’s much-loved acts, there is no end of Squeeze fans currently wearing their influences firmly on their sleeve, whether it be Mark Ronson, Kasabian, Supergrass, Lily Allen, The Feeling or Razorlight. With their fingerprints keenly felt throughout the fabric of popular music, it is only right that these songs, with their evergreen and popular sound, continue to be played and enjoyed live. And so since 2007, a newly reformed Squeeze have been slowly finding time to play a series of gigs and festival dates, preferring to reaffirm their abilities as a band rather than follow some of their peers who have come out in a blaze of publicity, only to be met with disappointment.
The new Squeeze line-up, their most able yet, is completed by Squeeze veteran John Bentley, Simon Hanson and Stephen Large who has also recently graced the stages of Duffy and Rebecca Ferguson – and has become an instant favorite on the festival circuit since reforming, with 2 appearances at V, Oxegen, T in the Park, Womad and Latitude to name a few. They are about to embark on their 3rd US tour, built around an appearance at the prestigious and world famous Coachella festival. They return to the UK to play selected Summer festivals including Hampton Court and Cropredy – before embarking on a national 20 date tour in November.
Now the subject of a major BBC documentary in the works, Difford and Tilbrook are also working on the first new Squeeze material in over 15 years.
Squeeze’s contribution to music has been noted in 2010 with the site of their first gig being awarded a prestigious PRS For Music Heritage Plaque, which has so far commemorated the debuts of Blur and Dire Straits. It joins an ever-increasing list of Squeeze accolades alongside their recent Ivor Novello for Outstanding Contribution to British Music and their Nordoff-Robbins Icon Award and the Mojo Icon Award.
Chris Difford and Glenn Tilbrook have survived everything over the years, from the ever-changing musical landscape to their own internal reshuffles and acrimonious breakups – still going strong and still loving every moment.
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20190823T040523Z X-ACCESS:1 X-HITS:7358 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210820T190000 DTEND;TZID=America/Denver:20210820T233000 UID:5F8F4876-6653-441E-9374-8DD28A06EE62 SUMMARY:Nathaniel Rateliff & The Night Sweats DTSTAMP:20210521T181408Z DESCRIPTION:Growing up in rural Missouri, Nathaniel Rateliff got his early music education from his family, who performed in the church band in which Nathaniel played drums. At 19, Rateliff moved to Denver where he worked night shifts at a bottle factory and a trucking company while testing out songs at open-mic nights. Rateliff’s 2010 solo album, In Memory of Loss, propelled him to the forefront of Denver’s tight-knit folk scene, with The New York Times dubbing him “a local folk pop hero” and launched his career as a touring musician. His debut as well as subsequent solo albums continued to receive critical acclaim while Rateliff continued to explore his sound. A set of rough demos recorded in 2013 pointed Rateliff in a new direction, and somewhere between Sam & Dave and The Band, Nathaniel Rateliff & The Night Sweats was born. The band’s self-titled debut album was a breakout success—now certified Gold in the U.S., it has sold over a million records worldwide. Their sophomore album Tearing at the Seams debuted in March 2018 to widespread critical acclaim as well. Last year, Rateliff released his first solo album in seven years via Stax Records. And It’s Still Alright peaked at #3 on iTunes’ “Top Albums” chart, debuted at #1 on Billboard’s “Americana/Folk” chart, landed at #2 on their “Current Rock” chart and resided at #1 on the Americana Albums Chart for eight consecutive weeks. Rateliff has appeared on every late night television program and recently made his debut on “Saturday Night Live” performing his latest single “Redemption,” which was written for and featured in the Apple Original film, Palmer, starring Justin Timberlake. Rateliff has toured extensively worldwide, playing major festivals and selling out iconic venues including their hometown Red Rocks Amphitheater multiple times. In 2018, Rateliff also launched a Denver-based foundation called The Marigold Project to support community and nonprofit organizations working on issues of economic and social justice. X-ALT-DESC;FMTTYPE=text/html:Growing up in rural Missouri, Nathaniel Rateliff got his early music education from his family, who performed in the church band in which Nathaniel played drums. At 19, Rateliff moved to Denver where he worked night shifts at a bottle factory and a trucking company while testing out songs at open-mic nights. Rateliff’s 2010 solo album, In Memory of Loss, propelled him to the forefront of Denver’s tight-knit folk scene, with The New York Times dubbing him “a local folk pop hero” and launched his career as a touring musician. His debut as well as subsequent solo albums continued to receive critical acclaim while Rateliff continued to explore his sound. A set of rough demos recorded in 2013 pointed Rateliff in a new direction, and somewhere between Sam & Dave and The Band, Nathaniel Rateliff & The Night Sweats was born. The band’s self-titled debut album was a breakout success—now certified Gold in the U.S., it has sold over a million records worldwide. Their sophomore album Tearing at the Seams debuted in March 2018 to widespread critical acclaim as well. Last year, Rateliff released his first solo album in seven years via Stax Records. And It’s Still Alright peaked at #3 on iTunes’ “Top Albums” chart, debuted at #1 on Billboard’s “Americana/Folk” chart, landed at #2 on their “Current Rock” chart and resided at #1 on the Americana Albums Chart for eight consecutive weeks. Rateliff has appeared on every late night television program and recently made his debut on “Saturday Night Live” performing his latest single “Redemption,” which was written for and featured in the Apple Original film, Palmer, starring Justin Timberlake. Rateliff has toured extensively worldwide, playing major festivals and selling out iconic venues including their hometown Red Rocks Amphitheater multiple times. In 2018, Rateliff also launched a Denver-based foundation called The Marigold Project to support community and nonprofit organizations working on issues of economic and social justice.
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20210818T174643Z X-ACCESS:1 X-HITS:5265 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210903T163000 DTEND;TZID=America/Denver:20210903T233000 UID:542D4B0D-0AE0-40A2-B638-27636F559A6C SUMMARY:Dark Star Orchestra - Night 1! DTSTAMP:20210627T191017Z DESCRIPTION:Performing to critical acclaim for over 20 years and over 3000 shows, Dark Star Orchestra continues the Grateful Dead live concert experience. Their shows are built off the Dead's extensive catalog and the talent of these seven fine musicians. On any given night, the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra's members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.\NDark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about a sense of familiarity. It's about a feeling that grabs listeners and takes over. It's about that contagious energy...in short, it's about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show.\NDark Star Orchestra has performed throughout the entire United States, including a sold out debut at Colorado’s Red Rocks Park & Amphitheater, plus shows in Europe and the Caribbean with the band touching down in seven different countries. DSO continues to grow its fan base by playing at larger venues for two and even three-night stands, as well as performing at major music festivals including Bonnaroo, Milwaukee's SummerFest, The Peach Music Festival, Jam Cruise, Wanee Festival, SweetWater 420 Festival, Mountain Jam, and many more.\NIn addition to appearing at some of the nation's top festival, Dark Star Orchestra hosts its own annual music festival and campaign gathering, titled the "Dark Star Jubilee", currently in its eighth year where DSO headline all three nights and are joined by a mix of established and up and coming national touring acts. Beyond the shores of the United States, DSO has taken its internationally-acclaimed Grateful Dead tribute to the beaches of Jamaica in the dead of winter for the past six years, with their event appropriately titled 'Jam in the Sand'. Featuring an ocean-side stage, DSO sets up camp to perform shows for four nights along the tropical sands of an all-inclusive resort, selling out the event each year for hundreds of lucky attendees.\NFans and critics haven't been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from six original Grateful Dead members Phil Lesh, Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-MacKay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, Peter Rowan, Ramblin' Jack Elliot and many more.\N"For us it's a chance to recreate some of the magic that was created for us over the years," keyboardist and vocalist Rob Barraco explains. "We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheads who can say they've been to a hundred shows in the 90s, we offer something they never got to see live." X-ALT-DESC;FMTTYPE=text/html:Performing to critical acclaim for over 20 years and over 3000 shows, Dark Star Orchestra continues the Grateful Dead live concert experience. Their shows are built off the Dead's extensive catalog and the talent of these seven fine musicians. On any given night, the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra's members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.
Dark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about a sense of familiarity. It's about a feeling that grabs listeners and takes over. It's about that contagious energy...in short, it's about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show.
Dark Star Orchestra has performed throughout the entire United States, including a sold out debut at Colorado’s Red Rocks Park & Amphitheater, plus shows in Europe and the Caribbean with the band touching down in seven different countries. DSO continues to grow its fan base by playing at larger venues for two and even three-night stands, as well as performing at major music festivals including Bonnaroo, Milwaukee's SummerFest, The Peach Music Festival, Jam Cruise, Wanee Festival, SweetWater 420 Festival, Mountain Jam, and many more.
In addition to appearing at some of the nation's top festival, Dark Star Orchestra hosts its own annual music festival and campaign gathering, titled the "Dark Star Jubilee", currently in its eighth year where DSO headline all three nights and are joined by a mix of established and up and coming national touring acts. Beyond the shores of the United States, DSO has taken its internationally-acclaimed Grateful Dead tribute to the beaches of Jamaica in the dead of winter for the past six years, with their event appropriately titled 'Jam in the Sand'. Featuring an ocean-side stage, DSO sets up camp to perform shows for four nights along the tropical sands of an all-inclusive resort, selling out the event each year for hundreds of lucky attendees.
Fans and critics haven't been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from six original Grateful Dead members Phil Lesh, Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-MacKay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, Peter Rowan, Ramblin' Jack Elliot and many more.
"For us it's a chance to recreate some of the magic that was created for us over the years," keyboardist and vocalist Rob Barraco explains. "We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheads who can say they've been to a hundred shows in the 90s, we offer something they never got to see live."
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20210708T222804Z X-ACCESS:1 X-HITS:2234 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210904T163000 DTEND;TZID=America/Denver:20210904T233000 UID:FE9D53EF-B7A6-4439-92EC-6776501C56AC SUMMARY:Dark Star Orchestra - Night 2! DTSTAMP:20210627T191017Z DESCRIPTION:Performing to critical acclaim for over 20 years and over 3000 shows, Dark Star Orchestra continues the Grateful Dead live concert experience. Their shows are built off the Dead's extensive catalog and the talent of these seven fine musicians. On any given night, the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra's members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.\NDark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about a sense of familiarity. It's about a feeling that grabs listeners and takes over. It's about that contagious energy...in short, it's about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show.\NDark Star Orchestra has performed throughout the entire United States, including a sold out debut at Colorado’s Red Rocks Park & Amphitheater, plus shows in Europe and the Caribbean with the band touching down in seven different countries. DSO continues to grow its fan base by playing at larger venues for two and even three-night stands, as well as performing at major music festivals including Bonnaroo, Milwaukee's SummerFest, The Peach Music Festival, Jam Cruise, Wanee Festival, SweetWater 420 Festival, Mountain Jam, and many more.\NIn addition to appearing at some of the nation's top festival, Dark Star Orchestra hosts its own annual music festival and campaign gathering, titled the "Dark Star Jubilee", currently in its eighth year where DSO headline all three nights and are joined by a mix of established and up and coming national touring acts. Beyond the shores of the United States, DSO has taken its internationally-acclaimed Grateful Dead tribute to the beaches of Jamaica in the dead of winter for the past six years, with their event appropriately titled 'Jam in the Sand'. Featuring an ocean-side stage, DSO sets up camp to perform shows for four nights along the tropical sands of an all-inclusive resort, selling out the event each year for hundreds of lucky attendees.\NFans and critics haven't been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from six original Grateful Dead members Phil Lesh, Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-MacKay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, Peter Rowan, Ramblin' Jack Elliot and many more.\N"For us it's a chance to recreate some of the magic that was created for us over the years," keyboardist and vocalist Rob Barraco explains. "We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheads who can say they've been to a hundred shows in the 90s, we offer something they never got to see live." X-ALT-DESC;FMTTYPE=text/html:Performing to critical acclaim for over 20 years and over 3000 shows, Dark Star Orchestra continues the Grateful Dead live concert experience. Their shows are built off the Dead's extensive catalog and the talent of these seven fine musicians. On any given night, the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra's members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.
Dark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about a sense of familiarity. It's about a feeling that grabs listeners and takes over. It's about that contagious energy...in short, it's about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show.
Dark Star Orchestra has performed throughout the entire United States, including a sold out debut at Colorado’s Red Rocks Park & Amphitheater, plus shows in Europe and the Caribbean with the band touching down in seven different countries. DSO continues to grow its fan base by playing at larger venues for two and even three-night stands, as well as performing at major music festivals including Bonnaroo, Milwaukee's SummerFest, The Peach Music Festival, Jam Cruise, Wanee Festival, SweetWater 420 Festival, Mountain Jam, and many more.
In addition to appearing at some of the nation's top festival, Dark Star Orchestra hosts its own annual music festival and campaign gathering, titled the "Dark Star Jubilee", currently in its eighth year where DSO headline all three nights and are joined by a mix of established and up and coming national touring acts. Beyond the shores of the United States, DSO has taken its internationally-acclaimed Grateful Dead tribute to the beaches of Jamaica in the dead of winter for the past six years, with their event appropriately titled 'Jam in the Sand'. Featuring an ocean-side stage, DSO sets up camp to perform shows for four nights along the tropical sands of an all-inclusive resort, selling out the event each year for hundreds of lucky attendees.
Fans and critics haven't been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from six original Grateful Dead members Phil Lesh, Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-MacKay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, Peter Rowan, Ramblin' Jack Elliot and many more.
"For us it's a chance to recreate some of the magic that was created for us over the years," keyboardist and vocalist Rob Barraco explains. "We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheads who can say they've been to a hundred shows in the 90s, we offer something they never got to see live."
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20210708T223011Z X-ACCESS:1 X-HITS:355 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210905T173000 DTEND;TZID=America/Denver:20210905T230000 UID:0284A02F-607F-46DA-ABEA-1AE291BD13CB SUMMARY:Sheryl Crow DTSTAMP:20210623T042815Z DESCRIPTION:A nine-time GRAMMY AWARD recipient, Sheryl Crow is an American music icon. Her first nine studio albums have sold 35 million copies worldwide; seven of them charted in the Top 10 and five were certified for Multi-Platinum sales. In addition to such No. 1 hits as “All I Wanna Do,” “Soak Up the Sun” and “The First Cut Is the Deepest,” Crow has lofted 40 singles into the Billboard Hot 100, Adult Top 40, Adult Contemporary, Mainstream Top 40 and Hot Country Songs charts, with more No. 1 singles in the Triple A listings than any other female artist. For her current album “Threads”, Crow collaborated with a broad array of her musical heroes, including Stevie Nicks, James Taylor, Bonnie Raitt, Keith Richards, Eric Clapton, Willie Nelson, Emmylou Harris, Chuck D, Joe Walsh, Kris Kristoffersson, and even a duet of her classic song “Redemption Day” with the late legend Johnny Cash. “Threads” also features contributions by young artists shaping music today, including Gary Clark Jr, Brandi Carlile, Chris Stapleton, Jason Isbell, Margo Price, Andra Day, St. Vincent, and Maren Morris.\NCrow is known as well for her passionate support of multiple charities, including The Breast Cancer Research Foundation, The World Food Program, Feeding America, ADOPT A CLASSROOM, the Elton John AIDS Foundation, MusiCares, and the Delta Children’s Home and many other worthy causes. For more information, visit www.SherylCrow.com\N X-ALT-DESC;FMTTYPE=text/html:A nine-time GRAMMY AWARD recipient, Sheryl Crow is an American music icon. Her first nine studio albums have sold 35 million copies worldwide; seven of them charted in the Top 10 and five were certified for Multi-Platinum sales. In addition to such No. 1 hits as “All I Wanna Do,” “Soak Up the Sun” and “The First Cut Is the Deepest,” Crow has lofted 40 singles into the Billboard Hot 100, Adult Top 40, Adult Contemporary, Mainstream Top 40 and Hot Country Songs charts, with more No. 1 singles in the Triple A listings than any other female artist. For her current album “Threads”, Crow collaborated with a broad array of her musical heroes, including Stevie Nicks, James Taylor, Bonnie Raitt, Keith Richards, Eric Clapton, Willie Nelson, Emmylou Harris, Chuck D, Joe Walsh, Kris Kristoffersson, and even a duet of her classic song “Redemption Day” with the late legend Johnny Cash. “Threads” also features contributions by young artists shaping music today, including Gary Clark Jr, Brandi Carlile, Chris Stapleton, Jason Isbell, Margo Price, Andra Day, St. Vincent, and Maren Morris.
Crow is known as well for her passionate support of multiple charities, including The Breast Cancer Research Foundation, The World Food Program, Feeding America, ADOPT A CLASSROOM, the Elton John AIDS Foundation, MusiCares, and the Delta Children’s Home and many other worthy causes. For more information, visit www.SherylCrow.com
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20210902T225950Z X-ACCESS:1 X-HITS:1966 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210907T190000 DTEND;TZID=America/Denver:20210907T233000 UID:D386C5C9-5BEB-46D2-9CBD-5F443FF7C624 SUMMARY:Indigo Girls - Moved to Sept 7th DTSTAMP:20210531T203237Z DESCRIPTION:Third times a charm! We thank our patrons, all artists and staff as well as Deer Valley Resort and Park City Municipal for working through such difficult unknown times. \NDespite our every effort to follow strict CDC protocol, a fully-vaccianted individual on the Indigo Girls touring team has tested positive for Covid-19. Out of an abundance of caution and concern for the safety of the band, crew and most importantly our fans, the Sunday, August 29th show at Deer Valley Resort is postponed for Tuesday, September 7th.\NTickets for the August 29th date will be honored for the rescheduled September 7th date.\NIf you cannot attend please fill out THIS form to have a refund processed as soon as possible. The deadline for requesting a refund is WED, SEP 1, 2021 10pm\NWe appreciate your understanding and continued support for a safe and healthy concert experience for all! \N______\N\NOn their 16th studio album, Indigo Girls tell their origin story. Look Long is a stirring and eclectic collection of songs that finds the duo of Amy Ray and Emily Saliers reunited with their strongest backing band to date as they chronicle their personal upbringings with more specificity and focus than they have on any previous song-cycle. “We’re fallible creatures shaped by the physics of life,” says Saliers. “We’re shaped by our past; what makes us who we are? And why?” \N\NProduced by John Reynolds (Sinéad O’Connor, Damien Dempsey) and recorded in the countryside outside Bath, England at Peter Gabriel’s Real World Studios, these eleven songs have a tender, revealing motion to them, as if they’re feeding into a Super 8 film projector, illuminating a darkened living room. “When We Were Writers” recounts the flying sparks and passion Saliers felt as a young college student when the duo first started performing together. “Shit Kickin’” is a nuanced love letter to Ray’s Southern heritage. “I’m a little bit left of the ‘salt of the earth’ / That’s alright, I’ll prove my worth,” she sings. \NReleased in 1989, Indigo Girls' eponymous major label debut sold over two million units under the power of singles “Closer to Fine” and “Kid Fears” and turned Indigo Girls into one of the most successful folk duos in history. Over a thirty-five-year career that began in clubs around their native Atlanta, Georgia, the Grammy-winning duo has recorded sixteen studio albums (seven gold, four platinum, one double platinum), sold over 15 million records, and built a dedicated, enduring following. \N“We joke about being old, but what is old when it comes to music? We’re still a bar band at heart,” says Saliers. “We are so inspired by younger artists and while our lyrics and writing approach may change, our passion for music feels the same as it did when we were 25-years-old.” \NAmidst our often-terrifying present, Look Long is a musical balm for those of us in search of a daily refuge, an hour or two when we can engage with something that brings us joy, perspective, or maybe just calm. \N“People feel lost in these political times,” explains Saliers. “Let’s lament our limitations, but let’s also look beyond what’s right in front of us, take the long view of things, and strive to do better. As time has gone on, our audience has become more expansive and diverse which gives me a great sense of joy.” Jubilant crowd singalongs that often overpower the band itself are a trademark of Indigo Girls concerts. With the highly anticipated return of live music, soon the night sky over amphitheaters all across the country will fill once again with those collective voices raised in song. The phenomenon epitomizes the sense of belonging and celebration that Indigo Girls’ music radiates. As one bar band once put it, “We go to the doctor, we go to the mountains…we go to the Bible, we go through the work out.” For millions, they go to Indigo Girls. On Look Long they’ll find a creative partnership certain of its bearings, forging a way forward. X-ALT-DESC;FMTTYPE=text/html:
Third times a charm! We thank our patrons, all artists and staff as well as Deer Valley Resort and Park City Municipal for working through such difficult unknown times.
Despite our every effort to follow strict CDC protocol, a fully-vaccianted individual on the Indigo Girls touring team has tested positive for Covid-19. Out of an abundance of caution and concern for the safety of the band, crew and most importantly our fans, the Sunday, August 29th show at Deer Valley Resort is postponed for Tuesday, September 7th.
Tickets for the August 29th date will be honored for the rescheduled September 7th date.
If you cannot attend please fill out THIS form to have a refund processed as soon as possible. The deadline for requesting a refund is WED, SEP 1, 2021 10pm
We appreciate your understanding and continued support for a safe and healthy concert experience for all!
______
On their 16th studio album, Indigo Girls tell their origin story. Look Long is a stirring and eclectic collection of songs that finds the duo of Amy Ray and Emily Saliers reunited with their strongest backing band to date as they chronicle their personal upbringings with more specificity and focus than they have on any previous song-cycle. “We’re fallible creatures shaped by the physics of life,” says Saliers. “We’re shaped by our past; what makes us who we are? And why?”
Produced by John Reynolds (Sinéad O’Connor, Damien Dempsey) and recorded in the countryside outside Bath, England at Peter Gabriel’s Real World Studios, these eleven songs have a tender, revealing motion to them, as if they’re feeding into a Super 8 film projector, illuminating a darkened living room. “When We Were Writers” recounts the flying sparks and passion Saliers felt as a young college student when the duo first started performing together. “Shit Kickin’” is a nuanced love letter to Ray’s Southern heritage. “I’m a little bit left of the ‘salt of the earth’ / That’s alright, I’ll prove my worth,” she sings.
Released in 1989, Indigo Girls' eponymous major label debut sold over two million units under the power of singles “Closer to Fine” and “Kid Fears” and turned Indigo Girls into one of the most successful folk duos in history. Over a thirty-five-year career that began in clubs around their native Atlanta, Georgia, the Grammy-winning duo has recorded sixteen studio albums (seven gold, four platinum, one double platinum), sold over 15 million records, and built a dedicated, enduring following.
“We joke about being old, but what is old when it comes to music? We’re still a bar band at heart,” says Saliers. “We are so inspired by younger artists and while our lyrics and writing approach may change, our passion for music feels the same as it did when we were 25-years-old.”
Amidst our often-terrifying present, Look Long is a musical balm for those of us in search of a daily refuge, an hour or two when we can engage with something that brings us joy, perspective, or maybe just calm.
“People feel lost in these political times,” explains Saliers. “Let’s lament our limitations, but let’s also look beyond what’s right in front of us, take the long view of things, and strive to do better. As time has gone on, our audience has become more expansive and diverse which gives me a great sense of joy.” Jubilant crowd singalongs that often overpower the band itself are a trademark of Indigo Girls concerts. With the highly anticipated return of live music, soon the night sky over amphitheaters all across the country will fill once again with those collective voices raised in song. The phenomenon epitomizes the sense of belonging and celebration that Indigo Girls’ music radiates. As one bar band once put it, “We go to the doctor, we go to the mountains…we go to the Bible, we go through the work out.” For millions, they go to Indigo Girls. On Look Long they’ll find a creative partnership certain of its bearings, forging a way forward.
LAST-MODIFIED:20210902T225931Z X-ACCESS:1 X-HITS:5371 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230713T180000 DTEND;TZID=America/Denver:20230713T190000 UID:7AD59E53-E5F1-4F2D-8531-A3D454C2C8D5 SUMMARY:Old Crow Medicine Show DTSTAMP:20230317T184013Z DESCRIPTION:On their whirlwind new album Paint This Town, Old Crow Medicine Show offer up a riveting glimpse into American mythology and the wildly colorful characters who populate it. The most incisive body of work yet from the Nashville-based roots band—a two-time Grammy Award-winning juggernaut whose triumphs include induction into the Grand Ole Opry and double-platinum certification for their iconic hit single “Wagon Wheel”—the album pays homage to everyone from Elvis Presley to Eudora Welty while shedding a bright light on the darker aspects of the country’s legacy. Fueled by Old Crow’s freewheeling collision of Americana, old-time music, folk, and rock & roll, Paint This Town relentlessly pulls off the rare and essential feat of turning razor-sharp commentary into the kind of songs that inspire rapturous singing along.\NIn a major milestone for Old Crow, Paint This Town marks the first album created in their own Hartland Studio: an East Nashville spot the band acquired in early 2020 then transformed into a clubhouse-like space custom-built to suit their distinct sensibilities. “Over the years we’ve spent a lot of time and money in professional studios, but this was the first time we’d worked in our own place since back in the late ’90s, when we’d hang a microphone from the rafters and record a cassette on our TASCAM 4-track,” says frontman Ketch Secor. Co-produced by the band and Matt Ross-Spang (a producer/engineer/mixer who’s worked with the likes of John Prine and Jason Isbell), Paint This Town also took shape from a far more insular process than their past work with such producers as Don Was and Dave Cobb (who helmed Old Crow’s most recent effort, 2018’s widely acclaimed Volunteer). Not only instrumental in allowing the band a whole new level of creative freedom, that self-contained approach helped to revive a certain spirit of pure abandon. “Doing it ourselves was a lot more fun with a lot less stress or pressure, and because of that we were way less precious about it,” says Secor. “It all just felt less like a chore and more like a complete joy.”\NThe seventh studio album from Old Crow, Paint This Town opens on its title track: a raucously swinging anthem that fully embodies that joyful energy. With its fable-like account of the band’s carefree troublemaking over the last two decades, the track showcases Secor’s uncanny knack for packing so much detailed storytelling into a single line (e.g., “We were teenage troubadours hopping on box cars for a hell of a one-way ride”). “Our band has always drawn its inspiration from those elemental American places, where water towers profess town names, where the Waffle House and the gas station are the only spots to gather,” says Secor. “This is the scenery for folk music in the 21st century, and the John Henrys and Casey Joneses of today are the youth who rise up out of these aged burgs undeterred, undefeated, and still kicking.”\NAlthough much of Paint This Town looks outward to examine the American experiment, Old Crow never shy away from the intensely personal. Written soon after the demise of Secor’s marriage, “Bombs Away” puts a devil-may-care twist on the classic divorce song, while the gently galloping “Reasons to Run” invokes the Lone Ranger in confessing to the emotional toll of too much time on the road. And on tracks like “Used to Be a Mountain,” Old Crow turn their lived experience into a lens for illuminating larger-scale problems affecting the modern world. “I spent about 25 years of my life very close to the region of Appalachia where strip-mining occurs, which is really dangerous work and destructive for all living things,” says Secor of the song’s origins. Partly informed by his memories of hitchhiking around coal country as a teenager, “Used to Be a Mountain” emerges as a galvanizing meditation on environmental catastrophe, boldly propelled by Secor’s frenetic vocal flow and firebrand poetry (“From the fat cats, race rats, big Pharma, tall stacks/They’re the ones digging the hole/All the way down to Guangzhou”). \NIn one of the album’s most potent segments, Paint This Town delivers a trio of songs that delve into matters of race and hate and systems of power, embedding each track with Old Crow’s vision for a more harmonious future. On “DeFord Rides Again,” for instance, the band serves up a gloriously stomping tribute to legendary harmonica player DeFord Bailey (the first Black star of the Grand Ole Opry, who was eventually banned from the show and left in exile). “One of the things that inspired that song was the experiences we’ve had traveling all over the world and seeing the people who take country music into their hearts,” says Old Crow upright bassist Morgan Jahnig. “It’s the entire spectrum of humanity—but when you look at the people making country music, it tends to be pretty monochromatic. If we really want to push music forward, we need to let all kinds of people have a voice.” Featuring Mississippi-bred musician Shardé Thomas on fife (a piccolo-like instrument often used in military bands), the soul-stirring “New Mississippi Flag” dreams up an insignia that truly honors the state’s rich cultural heritage (“She’ll have a stripe for Robert Johnson/And one for Charlie Pride”). “We’re living in a time in which there’s a great undoing of the mythologies that were created in order for the South to alter its view of itself, and with that undoing comes a repurposing,” Secor points out. Meanwhile, “John Brown’s Dream” unfolds as a swampy and smoldering portrait of the notorious radical abolitionist and his brutally violent attempt at rebellion.\NThroughout Paint This Town, Old Crow bring their spirited reflection to an endlessly eclectic sound, spiking their songs with elements of everything from gospel (on “Gloryland,” a heavy-hearted lament for our failure to care for each other) to Southern highlands balladry (on “Honey Chile,” a melancholy love song graced with soaring harmonies and swooning fiddle melodies). That deliberate unpredictability has defined Old Crow since their earliest days, when they got their start busking on the streets with pawnshop-bought instruments. Through the years, they’ve continually breathed new life into their sound by inviting new musicians into the fold; to that end, Paint This Town marks the first album to include Jerry Pentecost (drums, mandolin), Mike Harris (slide guitar, guitar, mandolin, banjo, dobro, vocals), and Mason Via (guitar, gitjo, vocals). “We were auditioning new members during the process of putting the studio together—so if you signed up to be in this band, you got handed a paint roller and a list of songs to learn,” says Secor. As they got Hartland Studio up and running, Old Crow also launched the Hartland Hootenanny: an hour-long variety show livestreamed every Saturday night during lockdown, with guest appearances from the likes of Amythyst Kiah, Billy Strings, Marty Stuart, and The War and Treaty. “The Hartland Hootenanny kept us joyous during what could’ve been a very bleak time,” Secor says. “It helped us process the experience of Covid and George Floyd’s death and all the urgent cries for change, but at the same time we talked about full moons and football and summer camp—which in a way symbolizes everything we are as a band.”\NIndeed, Old Crow ultimately consider that mingling of the joyous and the profound to be the very life force of their collective. “At the end of the day, we’re still just trying to stop you on the street and get you to put a dollar in the guitar case,” says Jahnig. “Then once we’ve got your attention, we’re gonna tell you about things like the opioid epidemic and the Confederate flag and what’s happening with the environment—but we’re gonna do it with a song and dance. We feel a great obligation to talk about the more difficult things happening out there in the world, but we also feel obligated to make sure everyone’s having a great time while we do it.” X-ALT-DESC;FMTTYPE=text/html:On their whirlwind new album Paint This Town, Old Crow Medicine Show offer up a riveting glimpse into American mythology and the wildly colorful characters who populate it. The most incisive body of work yet from the Nashville-based roots band—a two-time Grammy Award-winning juggernaut whose triumphs include induction into the Grand Ole Opry and double-platinum certification for their iconic hit single “Wagon Wheel”—the album pays homage to everyone from Elvis Presley to Eudora Welty while shedding a bright light on the darker aspects of the country’s legacy. Fueled by Old Crow’s freewheeling collision of Americana, old-time music, folk, and rock & roll, Paint This Town relentlessly pulls off the rare and essential feat of turning razor-sharp commentary into the kind of songs that inspire rapturous singing along.
In a major milestone for Old Crow, Paint This Town marks the first album created in their own Hartland Studio: an East Nashville spot the band acquired in early 2020 then transformed into a clubhouse-like space custom-built to suit their distinct sensibilities. “Over the years we’ve spent a lot of time and money in professional studios, but this was the first time we’d worked in our own place since back in the late ’90s, when we’d hang a microphone from the rafters and record a cassette on our TASCAM 4-track,” says frontman Ketch Secor. Co-produced by the band and Matt Ross-Spang (a producer/engineer/mixer who’s worked with the likes of John Prine and Jason Isbell), Paint This Town also took shape from a far more insular process than their past work with such producers as Don Was and Dave Cobb (who helmed Old Crow’s most recent effort, 2018’s widely acclaimed Volunteer). Not only instrumental in allowing the band a whole new level of creative freedom, that self-contained approach helped to revive a certain spirit of pure abandon. “Doing it ourselves was a lot more fun with a lot less stress or pressure, and because of that we were way less precious about it,” says Secor. “It all just felt less like a chore and more like a complete joy.”
The seventh studio album from Old Crow, Paint This Town opens on its title track: a raucously swinging anthem that fully embodies that joyful energy. With its fable-like account of the band’s carefree troublemaking over the last two decades, the track showcases Secor’s uncanny knack for packing so much detailed storytelling into a single line (e.g., “We were teenage troubadours hopping on box cars for a hell of a one-way ride”). “Our band has always drawn its inspiration from those elemental American places, where water towers profess town names, where the Waffle House and the gas station are the only spots to gather,” says Secor. “This is the scenery for folk music in the 21st century, and the John Henrys and Casey Joneses of today are the youth who rise up out of these aged burgs undeterred, undefeated, and still kicking.”
Although much of Paint This Town looks outward to examine the American experiment, Old Crow never shy away from the intensely personal. Written soon after the demise of Secor’s marriage, “Bombs Away” puts a devil-may-care twist on the classic divorce song, while the gently galloping “Reasons to Run” invokes the Lone Ranger in confessing to the emotional toll of too much time on the road. And on tracks like “Used to Be a Mountain,” Old Crow turn their lived experience into a lens for illuminating larger-scale problems affecting the modern world. “I spent about 25 years of my life very close to the region of Appalachia where strip-mining occurs, which is really dangerous work and destructive for all living things,” says Secor of the song’s origins. Partly informed by his memories of hitchhiking around coal country as a teenager, “Used to Be a Mountain” emerges as a galvanizing meditation on environmental catastrophe, boldly propelled by Secor’s frenetic vocal flow and firebrand poetry (“From the fat cats, race rats, big Pharma, tall stacks/They’re the ones digging the hole/All the way down to Guangzhou”).
In one of the album’s most potent segments, Paint This Town delivers a trio of songs that delve into matters of race and hate and systems of power, embedding each track with Old Crow’s vision for a more harmonious future. On “DeFord Rides Again,” for instance, the band serves up a gloriously stomping tribute to legendary harmonica player DeFord Bailey (the first Black star of the Grand Ole Opry, who was eventually banned from the show and left in exile). “One of the things that inspired that song was the experiences we’ve had traveling all over the world and seeing the people who take country music into their hearts,” says Old Crow upright bassist Morgan Jahnig. “It’s the entire spectrum of humanity—but when you look at the people making country music, it tends to be pretty monochromatic. If we really want to push music forward, we need to let all kinds of people have a voice.” Featuring Mississippi-bred musician Shardé Thomas on fife (a piccolo-like instrument often used in military bands), the soul-stirring “New Mississippi Flag” dreams up an insignia that truly honors the state’s rich cultural heritage (“She’ll have a stripe for Robert Johnson/And one for Charlie Pride”). “We’re living in a time in which there’s a great undoing of the mythologies that were created in order for the South to alter its view of itself, and with that undoing comes a repurposing,” Secor points out. Meanwhile, “John Brown’s Dream” unfolds as a swampy and smoldering portrait of the notorious radical abolitionist and his brutally violent attempt at rebellion.
Throughout Paint This Town, Old Crow bring their spirited reflection to an endlessly eclectic sound, spiking their songs with elements of everything from gospel (on “Gloryland,” a heavy-hearted lament for our failure to care for each other) to Southern highlands balladry (on “Honey Chile,” a melancholy love song graced with soaring harmonies and swooning fiddle melodies). That deliberate unpredictability has defined Old Crow since their earliest days, when they got their start busking on the streets with pawnshop-bought instruments. Through the years, they’ve continually breathed new life into their sound by inviting new musicians into the fold; to that end, Paint This Town marks the first album to include Jerry Pentecost (drums, mandolin), Mike Harris (slide guitar, guitar, mandolin, banjo, dobro, vocals), and Mason Via (guitar, gitjo, vocals). “We were auditioning new members during the process of putting the studio together—so if you signed up to be in this band, you got handed a paint roller and a list of songs to learn,” says Secor. As they got Hartland Studio up and running, Old Crow also launched the Hartland Hootenanny: an hour-long variety show livestreamed every Saturday night during lockdown, with guest appearances from the likes of Amythyst Kiah, Billy Strings, Marty Stuart, and The War and Treaty. “The Hartland Hootenanny kept us joyous during what could’ve been a very bleak time,” Secor says. “It helped us process the experience of Covid and George Floyd’s death and all the urgent cries for change, but at the same time we talked about full moons and football and summer camp—which in a way symbolizes everything we are as a band.”
Indeed, Old Crow ultimately consider that mingling of the joyous and the profound to be the very life force of their collective. “At the end of the day, we’re still just trying to stop you on the street and get you to put a dollar in the guitar case,” says Jahnig. “Then once we’ve got your attention, we’re gonna tell you about things like the opioid epidemic and the Confederate flag and what’s happening with the environment—but we’re gonna do it with a song and dance. We feel a great obligation to talk about the more difficult things happening out there in the world, but we also feel obligated to make sure everyone’s having a great time while we do it.”
LOCATION: GEO:0.00000000;0.00000000 LAST-MODIFIED:20230324T160157Z X-ACCESS:1 X-HITS:3068 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230716T170000 DTEND;TZID=America/Denver:20230716T233000 UID:80A778AF-9B4E-454E-8035-8A36F548E8BB SUMMARY:CAAMP DTSTAMP:20230221T151948Z DESCRIPTION:On their earthy, jubilant new album, the Columbus, Ohio, band Caamp examine those in-between days that make up a life -- not the best or most eventful days, certainly not the worst or most tragic, but those full of small pleasures and forgotten disappointments. Taylor Meier, the group's singer and primary songwriter, came up with the phrase Lavender Days to describe them -- a phrase that struck him out of the blue, "like a coconut out of the sky," he says with a laugh. Why lavender? "It's nostalgic. It can remind you of your grandmother's perfume or maybe the air freshener in your mom's car. It can summon up all of these incredible memories and transport you to those in-between days, which I think everybody remembers with more clarity than the big events."\NCaamp have been writing and singing about those lavender days -- in tender love songs tinged with melancholy and determination -- ever since Meier played his first notes with bandmate Evan Westfall more than a decade ago. They met as students at Ohio University in Athens, playing local coffeehouses and growing more committed to this extracurricular project. With the addition of Matt Vinson on bass and Joseph Kavalec on keyboards, they built up a grassroots following well beyond the Buckeye State based on the inventiveness of Meier's songwriting, the exuberance of their live performances, and their tireless dedication to touring as much as possible.\NFrom their self-titled 2016 debut album to their releases of By and By in 2019 to Live From Newport Music Hall, "Fall, Fall, Fall," and "Officer of Love" in 2020 and Lavender Days in 2022, the band has amassed over 1 billion streams globally as well as achieved multiple #1's at AAA radio. The band has headlined sold out shows, including their first arena show in 2022, and performed at major festivals around the world including Firefly, Shaky Knees, Forecastle, Outside Lands, Austin City Limits, Great Escape and many more. They have also performed on national TV on Jimmy Kimmel Live!, CBS Saturday Morning and Late Show with Stephen Colbert. X-ALT-DESC;FMTTYPE=text/html:On their earthy, jubilant new album, the Columbus, Ohio, band Caamp examine those in-between days that make up a life -- not the best or most eventful days, certainly not the worst or most tragic, but those full of small pleasures and forgotten disappointments. Taylor Meier, the group's singer and primary songwriter, came up with the phrase Lavender Days to describe them -- a phrase that struck him out of the blue, "like a coconut out of the sky," he says with a laugh. Why lavender? "It's nostalgic. It can remind you of your grandmother's perfume or maybe the air freshener in your mom's car. It can summon up all of these incredible memories and transport you to those in-between days, which I think everybody remembers with more clarity than the big events."
Caamp have been writing and singing about those lavender days -- in tender love songs tinged with melancholy and determination -- ever since Meier played his first notes with bandmate Evan Westfall more than a decade ago. They met as students at Ohio University in Athens, playing local coffeehouses and growing more committed to this extracurricular project. With the addition of Matt Vinson on bass and Joseph Kavalec on keyboards, they built up a grassroots following well beyond the Buckeye State based on the inventiveness of Meier's songwriting, the exuberance of their live performances, and their tireless dedication to touring as much as possible.
From their self-titled 2016 debut album to their releases of By and By in 2019 to Live From Newport Music Hall, "Fall, Fall, Fall," and "Officer of Love" in 2020 and Lavender Days in 2022, the band has amassed over 1 billion streams globally as well as achieved multiple #1's at AAA radio. The band has headlined sold out shows, including their first arena show in 2022, and performed at major festivals around the world including Firefly, Shaky Knees, Forecastle, Outside Lands, Austin City Limits, Great Escape and many more. They have also performed on national TV on Jimmy Kimmel Live!, CBS Saturday Morning and Late Show with Stephen Colbert.
LOCATION: GEO:0.00000000;0.00000000 LAST-MODIFIED:20230511T192942Z X-ACCESS:1 X-HITS:1813 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230805T180000 DTEND;TZID=America/Denver:20230805T233000 UID:46176A28-A1E3-4FB3-9453-5D080397C9AC SUMMARY:Greensky Bluegrass DTSTAMP:20230317T193157Z DESCRIPTION:For two decades now, Greensky Bluegrass have been building an empire, brick by brick. They are widely known for their dazzling live performances and relentless touring schedule, but that is only the tip of the complex tale of the five musicians that make up Greensky Bluegrass: Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [Mandolin]. The five are connected through a deep bond, just as they are seasoned road warriors, they’re a band of brothers who have seen each other through decades of ups and downs, personal and collective highlights, and the moments when life turns it all upside down. These are real people having real experiences. As with traditional bluegrass, they write about their own contemporary day-to-day happenings, emotions, and experiences in the modern world.\NThe band’s underground die-hard fans pack out venues across the country. They travel in droves and sell out multiple-night show runs at iconic venues like Red Rocks and The Ryman. \N“As songwriters and musicians, we have a need for people to be on board, we’re not just regurgitating the same shit,” explains Bruzza. \NHoffman adds, “we aren’t a band all for money. We did it for romantic reasons such as love, catharsis, and because it mattered to us and the listeners. It would be easy to make decisions based on our needs to eat or the desires of others, but that’s not doing it for love. We love what we do, and we’re grateful for the love we receive in return from the people listening.”\NBruzza continues, “I hope they know we’re doing this for us and them.” X-ALT-DESC;FMTTYPE=text/html:For two decades now, Greensky Bluegrass have been building an empire, brick by brick. They are widely known for their dazzling live performances and relentless touring schedule, but that is only the tip of the complex tale of the five musicians that make up Greensky Bluegrass: Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [Mandolin]. The five are connected through a deep bond, just as they are seasoned road warriors, they’re a band of brothers who have seen each other through decades of ups and downs, personal and collective highlights, and the moments when life turns it all upside down. These are real people having real experiences. As with traditional bluegrass, they write about their own contemporary day-to-day happenings, emotions, and experiences in the modern world.
The band’s underground die-hard fans pack out venues across the country. They travel in droves and sell out multiple-night show runs at iconic venues like Red Rocks and The Ryman.
“As songwriters and musicians, we have a need for people to be on board, we’re not just regurgitating the same shit,” explains Bruzza.
Hoffman adds, “we aren’t a band all for money. We did it for romantic reasons such as love, catharsis, and because it mattered to us and the listeners. It would be easy to make decisions based on our needs to eat or the desires of others, but that’s not doing it for love. We love what we do, and we’re grateful for the love we receive in return from the people listening.”
Bruzza continues, “I hope they know we’re doing this for us and them.”
LOCATION: GEO:0.00000000;0.00000000 LAST-MODIFIED:20230501T193711Z X-ACCESS:1 X-HITS:2234 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230806T183000 DTEND;TZID=America/Denver:20230806T233000 UID:DA0A1B41-DD4B-4364-8923-59C90A626CFD SUMMARY:Greensky Bluegrass DTSTAMP:20230317T193555Z DESCRIPTION:For two decades now, Greensky Bluegrass have been building an empire, brick by brick. They are widely known for their dazzling live performances and relentless touring schedule, but that is only the tip of the complex tale of the five musicians that make up Greensky Bluegrass: Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [Mandolin]. The five are connected through a deep bond, just as they are seasoned road warriors, they’re a band of brothers who have seen each other through decades of ups and downs, personal and collective highlights, and the moments when life turns it all upside down. These are real people having real experiences. As with traditional bluegrass, they write about their own contemporary day-to-day happenings, emotions, and experiences in the modern world.\NThe band’s underground die-hard fans pack out venues across the country. They travel in droves and sell out multiple-night show runs at iconic venues like Red Rocks and The Ryman. \N“As songwriters and musicians, we have a need for people to be on board, we’re not just regurgitating the same shit,” explains Bruzza. \NHoffman adds, “we aren’t a band all for money. We did it for romantic reasons such as love, catharsis, and because it mattered to us and the listeners. It would be easy to make decisions based on our needs to eat or the desires of others, but that’s not doing it for love. We love what we do, and we’re grateful for the love we receive in return from the people listening.”\NBruzza continues, “I hope they know we’re doing this for us and them.” X-ALT-DESC;FMTTYPE=text/html:For two decades now, Greensky Bluegrass have been building an empire, brick by brick. They are widely known for their dazzling live performances and relentless touring schedule, but that is only the tip of the complex tale of the five musicians that make up Greensky Bluegrass: Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [Mandolin]. The five are connected through a deep bond, just as they are seasoned road warriors, they’re a band of brothers who have seen each other through decades of ups and downs, personal and collective highlights, and the moments when life turns it all upside down. These are real people having real experiences. As with traditional bluegrass, they write about their own contemporary day-to-day happenings, emotions, and experiences in the modern world.
The band’s underground die-hard fans pack out venues across the country. They travel in droves and sell out multiple-night show runs at iconic venues like Red Rocks and The Ryman.
“As songwriters and musicians, we have a need for people to be on board, we’re not just regurgitating the same shit,” explains Bruzza.
Hoffman adds, “we aren’t a band all for money. We did it for romantic reasons such as love, catharsis, and because it mattered to us and the listeners. It would be easy to make decisions based on our needs to eat or the desires of others, but that’s not doing it for love. We love what we do, and we’re grateful for the love we receive in return from the people listening.”
Bruzza continues, “I hope they know we’re doing this for us and them.”
LOCATION: GEO:0.00000000;0.00000000 LAST-MODIFIED:20230501T193759Z X-ACCESS:1 X-HITS:613 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230811T200000 DTEND;TZID=America/Denver:20230811T233000 UID:244357F9-7492-4FCF-BE6D-8C2973F5185C SUMMARY:Michael Franti & Spearhead DTSTAMP:20230130T205717Z DESCRIPTION:Michael Franti is a globally recognized musician, humanitarian, and activist revered for his high-energy live shows, inspiring music, devotion to health & wellness, worldwide philanthropic efforts and the power of optimism. Throughout his multi-decade career, Franti has earned Billboard No. 1’s with triumphantly hopeful hits including "I Got You," from his latest album Work Hard & Be Nice, “Sound of Sunshine” and “Say Hey (I Love You),” as well as six Top 30 Hot AC singles, nine Top 25 AAA Singles and three Billboard Top 5 Rock Albums. “I Got You,” landed on NPR’s “Most Popular Songs of 2020,” while the music video boasts over a million views.\NIn the spring of last year, Michael launched his “Stay Human” podcast, which peaked at #1 on Apple Podcasts Chart. The podcast, sponsored by Gibson and partnered with American Songwriter Podcast Network, was created out of the idea that "there's no one that you wouldn't love if you knew their story." In addition to being an artist, Michael Franti is also an activist, empowering his fans to take action in their own communities on topics such as ending gun violence, sustainability, and climate change. In union with Gun Violence Awareness Day, in June 2021, Michael released new song “You Will Always Hear My Echo”, to honor those that have lost their lives to gun violence. Michael's new single, Good Day For A Good Day, dropped on July 1, 2021 in support of his Good Day For A Good Day World Tour. X-ALT-DESC;FMTTYPE=text/html:Michael Franti is a globally recognized musician, humanitarian, and activist revered for his high-energy live shows, inspiring music, devotion to health & wellness, worldwide philanthropic efforts and the power of optimism. Throughout his multi-decade career, Franti has earned Billboard No. 1’s with triumphantly hopeful hits including "I Got You," from his latest album Work Hard & Be Nice, “Sound of Sunshine” and “Say Hey (I Love You),” as well as six Top 30 Hot AC singles, nine Top 25 AAA Singles and three Billboard Top 5 Rock Albums. “I Got You,” landed on NPR’s “Most Popular Songs of 2020,” while the music video boasts over a million views.
In the spring of last year, Michael launched his “Stay Human” podcast, which peaked at #1 on Apple Podcasts Chart. The podcast, sponsored by Gibson and partnered with American Songwriter Podcast Network, was created out of the idea that "there's no one that you wouldn't love if you knew their story." In addition to being an artist, Michael Franti is also an activist, empowering his fans to take action in their own communities on topics such as ending gun violence, sustainability, and climate change. In union with Gun Violence Awareness Day, in June 2021, Michael released new song “You Will Always Hear My Echo”, to honor those that have lost their lives to gun violence. Michael's new single, Good Day For A Good Day, dropped on July 1, 2021 in support of his Good Day For A Good Day World Tour.
LOCATION:Heber Avenue\, Utah 84060\, USA GEO:40.64635210;-111.49545100 LAST-MODIFIED:20230811T150033Z X-ACCESS:1 X-HITS:2197 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230902T173000 DTEND;TZID=America/Denver:20230902T233000 UID:4A3F5D43-160A-4E18-BB3C-C17EDBCDE418 SUMMARY:Kenny Loggins DTSTAMP:20230206T065649Z DESCRIPTION:Kenny Loggins has sold more than 25 million albums worldwide and has won two Grammy® Awards. His songs have left his musical imprint on “the soundtrack of our lives.” Over the last four decades, his chart-topping songs have included “This Is It,” “I’m Alright,” “Footloose," “Danger Zone,” and so many more.\NIn addition to his string of successful recordings, both solo and as a member of the famed duo Loggins & Messina, Kenny became the first major rock star to dedicate himself to recording music for children and families. His album Return to Pooh Corner remains the best-selling children’s album of the last 20 years. In 2016, he released his latest children’s project, the book Footloose (Moondance Press, an imprint of Quarto Publishing Group USA, October 17, 2016), inspired by his 1985 Oscar® nominated and Grammy® Award-winning “Song of the Year.”\NHis song “Conviction of the Heart” was hailed as the "unofficial anthem of the environmental movement" by Al Gore, when Loggins performed it on Earth Day in 1995 at The National Mall in Washington, D.C.\NIn 2016, he was a recipient of the ASCAP Harry Chapin Humanitarian Award at the annual Chapin Awards hosted by WhyHunger. Later that year, The Guild of Music Supervisors honored the legendary singer, songwriter, and guitarist with the organization’s first-ever Icon Award for his outstanding achievements in film, television, and soundtracks. His gift for crafting deeply emotional music is unparalleled, and it's been a part of his life as long as he can remember. His generous support of countless local organizations has made a lasting impact on the causes that are close to his heart.\NThrough his work with Toys for Tots in Santa Barbara, CA, Kenny helped launch Unity Shoppe in 1988. An expansion of the Council of Christmas Cheer which previously only existed during the holiday season, Unity Shoppe expanded the program to exist year-round so individuals could volunteer their services to help low-income families, children, the elderly, sick, and disabled in Santa Barbara County. Kenny regularly lends his musical talent and generous heart to support youth-based programs like Make a Wish, Teddy Bear Cancer Foundation, and Little Kids Rock.\NKenny was honored with a Humanitarian of the Year Award from Little Kids Rock for his extensive commitment to children’s causes in 2016. In 2018, he helped re-open the original Notes for Notes (N4N) Studios at the Boys & Girls Club of Santa Barbara and United Boys & Girls Club of Santa Barbara County, giving over 600 kids each year access to a world of musical expression where they can record music, learn to play an instrument, and form a band with their friends for free.\NIn February 2021, Kenny released “The Great Adventure”, a brand-new single that is the theme song for San Diego Zoo Kids television network. The closed-circuit television adventure channel features programs produced primarily for medical facilities that serve pediatric patients and their families. The channel debuted at Rady Children’s Hospital in 2013 and offers family-friendly, animal-oriented stories that are both entertaining and educational, supporting Kenny’s core belief that “every child should experience the healing power of music.”\NLoggins released At The Movies on June 12, 2021 – a Record Store Day exclusive vinyl that included some of his career-spanning soundtrack hits for the first time ever on one album, including "I'm Alright" (Caddyshack), "Footloose" (Footloose), "Danger Zone" (Top Gun), and many more.\N \NHis hit song “Danger Zone” was featured once again in Paramount’s Top Gun: Maverick, which opened in theaters worldwide on May 27, 2022. The film has become the biggest release of the year earning over $1.5B in box offices globally and saw “Danger Zone” earning over 1M streams per day across streaming services at its peak.\NOn June 14, 2022, Hachette Books published Still Alright, Loggins’ long-awaited memoir. In Still Alright, Loggins gives fans a candid and entertaining perspective on his life and career as one of the most noteworthy musicians of the 1970s and ’80s. X-ALT-DESC;FMTTYPE=text/html:Kenny Loggins has sold more than 25 million albums worldwide and has won two Grammy® Awards. His songs have left his musical imprint on “the soundtrack of our lives.” Over the last four decades, his chart-topping songs have included “This Is It,” “I’m Alright,” “Footloose," “Danger Zone,” and so many more.
In addition to his string of successful recordings, both solo and as a member of the famed duo Loggins & Messina, Kenny became the first major rock star to dedicate himself to recording music for children and families. His album Return to Pooh Corner remains the best-selling children’s album of the last 20 years. In 2016, he released his latest children’s project, the book Footloose (Moondance Press, an imprint of Quarto Publishing Group USA, October 17, 2016), inspired by his 1985 Oscar® nominated and Grammy® Award-winning “Song of the Year.”
His song “Conviction of the Heart” was hailed as the "unofficial anthem of the environmental movement" by Al Gore, when Loggins performed it on Earth Day in 1995 at The National Mall in Washington, D.C.
In 2016, he was a recipient of the ASCAP Harry Chapin Humanitarian Award at the annual Chapin Awards hosted by WhyHunger. Later that year, The Guild of Music Supervisors honored the legendary singer, songwriter, and guitarist with the organization’s first-ever Icon Award for his outstanding achievements in film, television, and soundtracks. His gift for crafting deeply emotional music is unparalleled, and it's been a part of his life as long as he can remember. His generous support of countless local organizations has made a lasting impact on the causes that are close to his heart.
Through his work with Toys for Tots in Santa Barbara, CA, Kenny helped launch Unity Shoppe in 1988. An expansion of the Council of Christmas Cheer which previously only existed during the holiday season, Unity Shoppe expanded the program to exist year-round so individuals could volunteer their services to help low-income families, children, the elderly, sick, and disabled in Santa Barbara County. Kenny regularly lends his musical talent and generous heart to support youth-based programs like Make a Wish, Teddy Bear Cancer Foundation, and Little Kids Rock.
Kenny was honored with a Humanitarian of the Year Award from Little Kids Rock for his extensive commitment to children’s causes in 2016. In 2018, he helped re-open the original Notes for Notes (N4N) Studios at the Boys & Girls Club of Santa Barbara and United Boys & Girls Club of Santa Barbara County, giving over 600 kids each year access to a world of musical expression where they can record music, learn to play an instrument, and form a band with their friends for free.
In February 2021, Kenny released “The Great Adventure”, a brand-new single that is the theme song for San Diego Zoo Kids television network. The closed-circuit television adventure channel features programs produced primarily for medical facilities that serve pediatric patients and their families. The channel debuted at Rady Children’s Hospital in 2013 and offers family-friendly, animal-oriented stories that are both entertaining and educational, supporting Kenny’s core belief that “every child should experience the healing power of music.”
Loggins released At The Movies on June 12, 2021 – a Record Store Day exclusive vinyl that included some of his career-spanning soundtrack hits for the first time ever on one album, including "I'm Alright" (Caddyshack), "Footloose" (Footloose), "Danger Zone" (Top Gun), and many more.
His hit song “Danger Zone” was featured once again in Paramount’s Top Gun: Maverick, which opened in theaters worldwide on May 27, 2022. The film has become the biggest release of the year earning over $1.5B in box offices globally and saw “Danger Zone” earning over 1M streams per day across streaming services at its peak.
On June 14, 2022, Hachette Books published Still Alright, Loggins’ long-awaited memoir. In Still Alright, Loggins gives fans a candid and entertaining perspective on his life and career as one of the most noteworthy musicians of the 1970s and ’80s.
LOCATION: GEO:0.00000000;0.00000000 LAST-MODIFIED:20230901T181754Z X-ACCESS:1 X-HITS:2221 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240713T173000 DTEND;TZID=America/Denver:20240713T233000 UID:C3FB0C99-18E0-4BDC-BB51-18FCD249698C SUMMARY:Jason Isbell & The 400 Unit DTSTAMP:20231130T212314Z DESCRIPTION:A Jason Isbell record always lands like a decoder ring in the ears and hearts of his audience, a soundtrack to his world and magically to theirs, too. Weathervanes carries the same revelatory power. This is a storyteller at the peak of his craft, observing his fellow wanderers, looking inside and trying to understand, reducing a universe to four minutes. He shrinks life small enough to name the fear and then strip it away, helping his listeners make sense of how two plus two stops equaling four once you reach a certain age -- and carry a certain amount of scars.\N“There is something about boundaries on this record,” Isbell says. “As you mature, you still attempt to keep the ability to love somebody fully and completely while you’re growing into an adult and learning how to love yourself.”\NWeathervanes is a collection of grown-up songs: Songs about adult love, about change, about the danger of nostalgia and the interrogation of myths, about cruelty and regret and redemption. Life and death songs played for and by grown ass people. Some will make you cry alone in your car and others will make you sing along with thousands of strangers in a big summer pavilion, united in the great miracle of being alive. The record features the rolling thunder of Isbell’s fearsome 400 Unit, who’ve earned a place in the rock ‘n’ roll cosmos alongside the greatest backing ensembles, as powerful and essential to the storytelling as The E Street Band or the Wailers.\NThey make a big noise, as Isbell puts it, and he feels so comfortable letting them be a main prism through which much of the world hears his art. He can be private but with them behind him he transforms, and there is a version of himself that can only exist in their presence. When he plays a solo show, he is in charge of the entire complicated juggle. On stage with the 400 Unit, he can be a guitar hero when he wants, and a conductor when he wants, and a smiling fan of the majesty of his bandmates when he wants to hang back and listen to the sound.\NThe roots of this record go back into the isolation of the pandemic and to Isbell’s recent time on the set as an actor on Martin Scorsese’s Killers of the Flower Moon. There were guitars in his trailer and in his rented house and a lot of time to sit and think. The melancholy yet soaring track “King of Oklahoma” was written there. Isbell also watched the great director work, saw the relationship between a clear vision and its execution, and perhaps most important, saw how even someone as decorated as Scorsese sought out and used his co-workers’ opinions.\N“It definitely helped when I got into the studio,” Isbell says. “I had this reinvigorated sense of collaboration. You can have an idea and you can execute it and not compromise -- and still listen to the other people in the room.” X-ALT-DESC;FMTTYPE=text/html:A Jason Isbell record always lands like a decoder ring in the ears and hearts of his audience, a soundtrack to his world and magically to theirs, too. Weathervanes carries the same revelatory power. This is a storyteller at the peak of his craft, observing his fellow wanderers, looking inside and trying to understand, reducing a universe to four minutes. He shrinks life small enough to name the fear and then strip it away, helping his listeners make sense of how two plus two stops equaling four once you reach a certain age -- and carry a certain amount of scars.
“There is something about boundaries on this record,” Isbell says. “As you mature, you still attempt to keep the ability to love somebody fully and completely while you’re growing into an adult and learning how to love yourself.”
Weathervanes is a collection of grown-up songs: Songs about adult love, about change, about the danger of nostalgia and the interrogation of myths, about cruelty and regret and redemption. Life and death songs played for and by grown ass people. Some will make you cry alone in your car and others will make you sing along with thousands of strangers in a big summer pavilion, united in the great miracle of being alive. The record features the rolling thunder of Isbell’s fearsome 400 Unit, who’ve earned a place in the rock ‘n’ roll cosmos alongside the greatest backing ensembles, as powerful and essential to the storytelling as The E Street Band or the Wailers.
They make a big noise, as Isbell puts it, and he feels so comfortable letting them be a main prism through which much of the world hears his art. He can be private but with them behind him he transforms, and there is a version of himself that can only exist in their presence. When he plays a solo show, he is in charge of the entire complicated juggle. On stage with the 400 Unit, he can be a guitar hero when he wants, and a conductor when he wants, and a smiling fan of the majesty of his bandmates when he wants to hang back and listen to the sound.
The roots of this record go back into the isolation of the pandemic and to Isbell’s recent time on the set as an actor on Martin Scorsese’s Killers of the Flower Moon. There were guitars in his trailer and in his rented house and a lot of time to sit and think. The melancholy yet soaring track “King of Oklahoma” was written there. Isbell also watched the great director work, saw the relationship between a clear vision and its execution, and perhaps most important, saw how even someone as decorated as Scorsese sought out and used his co-workers’ opinions.
“It definitely helped when I got into the studio,” Isbell says. “I had this reinvigorated sense of collaboration. You can have an idea and you can execute it and not compromise -- and still listen to the other people in the room.”
LOCATION: GEO:0.00000000;0.00000000 LAST-MODIFIED:20240117T171819Z X-ACCESS:1 X-HITS:5549 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240810T190000 DTEND;TZID=America/Denver:20240810T200000 UID:1AFB79C4-4A65-46E2-93F1-8C49003A81FE SUMMARY:The Dead South DTSTAMP:20240116T160038Z DESCRIPTION:The Dead South have never been about constant reinvention, but about full commitment to their own singular way. With confidence in their sound and style and trust in each other, The Dead South arrive at the cusp of explosive global success in an enviable, and well-earned, position: total autonomy. It doesn’t really matter what you call their music - progressive bluegrass, alternative Americana, country, folk and western, what matters is that this is theirs, and people from all different backgrounds, beliefs, experiences, languages and ages love it.\NTrue blue right through, The Dead South don’t shy away from ruffling traditionalists’ feathers from time to time, as they flawlessly execute banjo rolls and lightning-fast mandolin tremolos, 3-part harmonies and songs of classic themes -murder ballads, disloyalty, ghosts and the like, all with a wink and a smile. As they continue their climb to the top, The Dead South have learned an important lesson: If you’re going to be outsiders, you’d better be great.\NConfirmed by the passion of their Dead South cosplaying fans, who go to concerts in the band’s signature look, this four-piece acoustic set from the middle of the Canadian prairies have found their people. Good Company, as they call themselves, is a global community of vastly dissimilar folks who might not see eye to eye, but who stand shoulder to shoulder at the gigs. X-ALT-DESC;FMTTYPE=text/html:The Dead South have never been about constant reinvention, but about full commitment to their own singular way. With confidence in their sound and style and trust in each other, The Dead South arrive at the cusp of explosive global success in an enviable, and well-earned, position: total autonomy. It doesn’t really matter what you call their music - progressive bluegrass, alternative Americana, country, folk and western, what matters is that this is theirs, and people from all different backgrounds, beliefs, experiences, languages and ages love it.
True blue right through, The Dead South don’t shy away from ruffling traditionalists’ feathers from time to time, as they flawlessly execute banjo rolls and lightning-fast mandolin tremolos, 3-part harmonies and songs of classic themes -murder ballads, disloyalty, ghosts and the like, all with a wink and a smile. As they continue their climb to the top, The Dead South have learned an important lesson: If you’re going to be outsiders, you’d better be great.
Confirmed by the passion of their Dead South cosplaying fans, who go to concerts in the band’s signature look, this four-piece acoustic set from the middle of the Canadian prairies have found their people. Good Company, as they call themselves, is a global community of vastly dissimilar folks who might not see eye to eye, but who stand shoulder to shoulder at the gigs.
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