June 14th, 2019
5:00PM – 10:00PM
June 15th, 2019
12:00PM – 10:00PM
Location Gallivan Center
239 Main St., Salt Lake City, Utah 84111
Friday’s Performers include:
Tab Benoit
Sue Foley
Jason Ricci and The Bad Kind
Saturday’s Performers Include:
Ronnie Earl & The Broadcasters
Mindi Abair & The Boneshakers
Welch Ledbetter Connection
Cafe R&B
Backtrack Blues Band
UBS Youth Blues Band
Today (6/3/19), Bon Iver release “Hey, Ma” and “U (Man Like),” two new songs featuring contributions from Bruce Hornsby, Moses Sumney, Jenn Wasner, Elsa Jensen, Psymun, Phil Cook, the Brooklyn Youth Chorus, and others.
“This project began with a single person, but throughout the last 11 years, the identity of Bon Iver has bloomed and can only be defined by the faces in the ever growing family we are.” – JV22
Bon Iver have also announced a new slate of North American tour dates for September and October, including Barclays Center in Brooklyn, The Forum in Los Angeles, and more. The larger scale of touring reflects the growing community around the band in both recording and live performance and invites the audience to gather for an exciting new production. To further the growing community, Jenn Wasner, of Wye Oak and Flock of Dimes, will join Justin Vernon, Sean Carey, Matthew McCaughan, Michael Lewis, and Andrew Fitzpatrick to form the Bon Iver live band.
LAST-MODIFIED:20190813T201650Z X-ACCESS:1 X-HITS:2788 X-URL:http://smithstix.com/music/event/23029/bon-iver X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20191029T193000 DTEND;TZID=America/Denver:20191029T233000 UID:8BAF787D-31A3-49C5-B325-C9A3679687BF SUMMARY:Todrick Hall DTSTAMP:20190722T143146Z DESCRIPTION:Multi-talented singer, rapper, actor, director, choreographer, and YouTube personality, Todrick Hall rose to prominence on American Idol. His popular YouTube channel has over 2.7 million subscribers and 510 million channel views consisting notably for original songs, choreographed flash mobs for Beyoncé, musical collaborations, and appearing on RuPaul’s Drag Race as a guest judge. Hall distinguished himself as Broadway star completing a successful run of Kinky Boots and two successful tours of Straight Outta Oz, both of which were highly acclaimed by fans and critics alike. Recently, he appeared as a backup dancer in Taylor Swift’s video Look What You Made Me Do. Early this year Todrick Hall wrapped his Forbidden Tour in the US and Europe. X-ALT-DESC;FMTTYPE=text/html:Multi-talented singer, rapper, actor, director, choreographer, and YouTube personality, Todrick Hall rose to prominence on American Idol. His popular YouTube channel has over 2.7 million subscribers and 510 million channel views consisting notably for original songs, choreographed flash mobs for Beyoncé, musical collaborations, and appearing on RuPaul’s Drag Race as a guest judge. Hall distinguished himself as Broadway star completing a successful run of Kinky Boots and two successful tours of Straight Outta Oz, both of which were highly acclaimed by fans and critics alike. Recently, he appeared as a backup dancer in Taylor Swift’s video Look What You Made Me Do. Early this year Todrick Hall wrapped his Forbidden Tour in the US and Europe.
LAST-MODIFIED:20190913T210702Z X-ACCESS:1 X-HITS:5653 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200208T200000 DTEND;TZID=America/Denver:20200208T233000 UID:6B862581-DC25-4E71-9CDB-390010DDA365 SUMMARY:Brandi Carlile DTSTAMP:20190812T022459Z DESCRIPTION:Three-time GRAMMY Award-winning singer, songwriter, performer and producer Brandi Carlile is currently in the midst of a landmark year following the release of her Grammy Award-winning album, By The Way, I Forgive You. Produced by Dave Cobb and Shooter Jennings and recorded at Nashville’s historic RCA Studio A, the album includes ten new songs written by Carlile and longtime collaborators and bandmates Tim and Phil Hanseroth, including “The Joke.” Of her breakthrough performance of the song on the live GRAMMY broadcast, The New York Times proclaimed, “Carlile’s vocals were robust, ragged, full of sneer and hope. On a night curiously light on impressive singing, it was an uncomplicated, genuine, cleansing thrill,” while the Los Angeles Times called it, “triumphant” and Rolling Stone described it as, “breathtaking.”\NOver the course of their acclaimed career, Carlile and her band have released six albums, including 2017's Cover Stories: Brandi CarlileCelebrates 10 Years of the Story (An Album to Benefit War Child), which features 14 artists including Dolly Parton, Adele, Pearl Jam, Kris Kristofferson, The Avett Brothers, Margo Price and Jim James – with a forward written by Barack Obama – covering the songs on Carlile’s 2007 breakthrough album The Story. Profits from the project benefit Children in Conflict via Brandi Carlile’s Looking Out Foundation as part of its ongoing campaign to raise $1 million for children impacted by war. X-ALT-DESC;FMTTYPE=text/html:Three-time GRAMMY Award-winning singer, songwriter, performer and producer Brandi Carlile is currently in the midst of a landmark year following the release of her Grammy Award-winning album, By The Way, I Forgive You. Produced by Dave Cobb and Shooter Jennings and recorded at Nashville’s historic RCA Studio A, the album includes ten new songs written by Carlile and longtime collaborators and bandmates Tim and Phil Hanseroth, including “The Joke.” Of her breakthrough performance of the song on the live GRAMMY broadcast, The New York Times proclaimed, “Carlile’s vocals were robust, ragged, full of sneer and hope. On a night curiously light on impressive singing, it was an uncomplicated, genuine, cleansing thrill,” while the Los Angeles Times called it, “triumphant” and Rolling Stone described it as, “breathtaking.”
Over the course of their acclaimed career, Carlile and her band have released six albums, including 2017's Cover Stories: Brandi CarlileCelebrates 10 Years of the Story (An Album to Benefit War Child), which features 14 artists including Dolly Parton, Adele, Pearl Jam, Kris Kristofferson, The Avett Brothers, Margo Price and Jim James – with a forward written by Barack Obama – covering the songs on Carlile’s 2007 breakthrough album The Story. Profits from the project benefit Children in Conflict via Brandi Carlile’s Looking Out Foundation as part of its ongoing campaign to raise $1 million for children impacted by war.
LAST-MODIFIED:20200113T170329Z X-ACCESS:1 X-HITS:7680 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20200311T193000 DTEND;TZID=America/Denver:20200311T230000 UID:445460DC-D01F-4876-AC40-2C58241DEA82 SUMMARY:Colin Hay DTSTAMP:20190909T023139Z DESCRIPTION:On the heels of 2017’s critically acclaimed Fierce Mercy, Colin Hay, the Scotland-born, Australia-raised singer-songwriter and lead singer, songwriter and frontman of Men at Work has kept busy over the past two years:\N• A Hay-penned song (“What’s My Name”) not only made its way onto Ringo Starr’s forthcoming album, but became the LP’s title track. Hay toured internationally with Ringo Starr & His All-Star Band in 2018 and 2019.\N• A new Colin Hay album is in the works for late 2020 release on Compass Records.\N• He recently toured Europe as Men at Work, pleasing crowds with the band’s many hits including “Who Can It Be Now?,” “Down Under,” “Overkill,” and “It’s a Mistake.”He also toured Australia and the US, leading the Colin Hay Band.\N• He made his Melbourne Theatre Company debut playing Feste in Shakespeare's Twelfth Night. It was his second stint in theater, the first time being part of the cast of the musical Ned Kelly, just prior to the formation of Men At Work. He has also appeared in the much beloved Scrubs, played Barry in the Irish/Australian comedy film The Craic, Zac in the Australian comedy Cosi, and most recently played a role in the American TV show The Resident.\N• He is the subject of the 2015 documentary film Waiting for My Real Life.\NColin Hay is beloved both for being Men At Work’s celebrated frontman, and for the solo, more intimate, potent live shows he has performed extensively over the last quarter century. The range of artists who cite him as a muse or who have found themselves on stage with him in the past year spans the genre landscape from heavy metal to Americana to Cuban masters of rhythm and beyond. His inclusion as a playlist favorite for acts as disparate as Metallica and the Lumineers reflects his continuing relevance and broad appeal. It is, however, his growing legion of fans throughout the world, to whom Hay feels the strongest allegiance. “They have kept me going all these years, and may they long continue to.” X-ALT-DESC;FMTTYPE=text/html:On the heels of 2017’s critically acclaimed Fierce Mercy, Colin Hay, the Scotland-born, Australia-raised singer-songwriter and lead singer, songwriter and frontman of Men at Work has kept busy over the past two years:
• A Hay-penned song (“What’s My Name”) not only made its way onto Ringo Starr’s forthcoming album, but became the LP’s title track. Hay toured internationally with Ringo Starr & His All-Star Band in 2018 and 2019.
• A new Colin Hay album is in the works for late 2020 release on Compass Records.
• He recently toured Europe as Men at Work, pleasing crowds with the band’s many hits including “Who Can It Be Now?,” “Down Under,” “Overkill,” and “It’s a Mistake.”
He also toured Australia and the US, leading the Colin Hay Band.
• He made his Melbourne Theatre Company debut playing Feste in Shakespeare's Twelfth Night. It was his second stint in theater, the first time being part of the cast of the musical Ned Kelly, just prior to the formation of Men At Work. He has also appeared in the much beloved Scrubs, played Barry in the Irish/Australian comedy film The Craic, Zac in the Australian comedy Cosi, and most recently played a role in the American TV show The Resident.
• He is the subject of the 2015 documentary film Waiting for My Real Life.
Colin Hay is beloved both for being Men At Work’s celebrated frontman, and for the solo, more intimate, potent live shows he has performed extensively over the last quarter century. The range of artists who cite him as a muse or who have found themselves on stage with him in the past year spans the genre landscape from heavy metal to Americana to Cuban masters of rhythm and beyond. His inclusion as a playlist favorite for acts as disparate as Metallica and the Lumineers reflects his continuing relevance and broad appeal. It is, however, his growing legion of fans throughout the world, to whom Hay feels the strongest allegiance. “They have kept me going all these years, and may they long continue to.”
LAST-MODIFIED:20200311T223208Z X-ACCESS:1 X-HITS:2786 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210721T200000 DTEND;TZID=America/Denver:20210721T233000 UID:CC6573CF-BC52-4A2A-A256-4B8E1C528B78 SUMMARY:The Lone Bellow DTSTAMP:20210612T173429Z DESCRIPTION:“I want it to bring comfort,” The Lone Bellow guitarist Brian Elmquist says. “But it’s not all hard conversations. There’s a lot of light and some dancing that needs to happen.” Brian is reflecting on Half Moon Light, the band’s highly anticipated new album.\NHalf Moon Light is an artistic triumph worked toward for years, earned not by individual posturing, but by collective determination and natural growth. With earthy three-part harmonies and songwriting as provocative as it is honest, the trio made up of Brian, lead vocalist Zach Williams, and multi-instrumentalist Kanene Donehey Pipkin creates sparks that make a stranger’s life matter or bring our sense of childlike wonder roaring back. On Half Moon Light, The Lone Bellow mix light and dark to muster a complex ode to memory, a call for hope, and an exercise in empathy. Anchored in the acoustic storytelling that first so endeared the band to fans and critics, Half Moon Light also takes more chances, experimenting with textures and instrumental fillips to create a full-bodied music experience. The result is The Lone Bellow’s most sophisticated work to date.\N“We try to invite as many people into the process to see what we can make together,” Brian says. “I like that spirit and that freedom. Then, the songs speak for themselves.”\NThat wholehearted embrace of collaboration defines Half Moon Light. The record marks a return to recording in New York with Aaron Dessner, whom the band counts as both a hero and a friend. “We already had a friendship with Aaron and a strong, shared understanding of our musical vision,” Zach says. “It’s really important to us to be a part of a community of musicians. We like that way of making something. Aaron showed us a new way of trusting. His idea of bringing in Josh Kaufman and J.T. Bates was such a beautiful gift. The meekness that these friends brought to the table was something that we will never forget. A sense of controlled fury. Lightning in a shoebox.”\N“Aaron has a powerful quietness about him,” Kanene says. “A lot of people I meet in the music industry have lots of bravado, and it’s something I have trouble believing. Aaron doesn’t have that. He is a joy to work with. A true friend.”\NFor the first time, the band stayed where they recorded, sequestered from the world at Aaron’s studio in upstate New York. They fell asleep at night to the sound of coyotes howling and felt the freedom to fall into rabbit holes that would have otherwise been left unexplored. “We made this record in a place of joy with our friends. We were trying to do something bigger than ourselves,” says Brian. “I think we’ve been wanting to make this record for a while now. It just hasn’t come together as perfectly as it did this time.” \NA lone piano launches into a hymn as the album’s intro track. The pianist is Zach’s grandmother, playing at the funeral of her husband of 64 years––Zach’s grandfather. The hymn returns as an interlude and outro, underscoring The Lone Bellow’s intention for 12 songs to be experienced together, as an album. \NWonder––feeling it, losing it, finding it again––underpins the entire record. Pulsing with the trio’s signature harmonies, the track “Wonder” is a loving call to reclaim the childlike awe and appreciation age takes away. Zach pulled from vivid childhood memories to craft the song, which transports listeners to moments of breathlessness experienced in the everyday: cheap coffee, backroad car rides, pine-tree views, and powerful songs. \NJubilant “I Can Feel You Dancing” rolls into a cathartic celebration. The song pays tribute to “lionhearted” free spirits with horns and soaring vocals. With a winking jungle beat, “Good Times” tells tales Zach has collected over the years. “Some stories were told on a boat I worked on in the Caribbean in the middle of the night. Some were in old Irish pubs in Manhattan. Some were in backyards down in my hometown. Some were in a hospital bed,” Zach says. “I wanted to shine light on the fact that there are still people living with beauty and reckless abandonment.” Delivered over intimate acoustic guitar and hushed backing instrumentation, “Enemies” is a self-contained call and response that reconnects life-defining moments with the frustrating or tenuous present that threatens to snuff out the magic.\NLead single “Count On Me” reminds us to lean on one another with soul-shouting intensity. Praise for deep friendships pops up again and again throughout the album: “Friends” celebrates the relationships forged after years together in the trenches––with a musical swagger that nods to David Byrne and Tom Petty.\NKanene takes the lead on tour-de-force “Just Enough to Get By.” Her inimitable voice––capable of grit and smoothness––pushes through line after line with steely purpose. The performance would saunter were it not for the rage bubbling underneath. Kanene wrote the song about her mother, who was raped at 19, then sent away to have the baby that resulted. When she returned home, she never spoke of what had happened until 40 years later, when Kanene’s half-sister––the baby––found them. “I’ve met my half-sister many times. She’s wonderful and lovely and an amazing story of something never being too broken to be fixed. But my mom had to work through the trauma,” Kanene says. “This song was me putting myself in my mom’s place, releasing a lot of complex emotions. Anger is definitely one of them. Hurt, frustration, sadness. We all have experiences that could be better if we could talk about them, but we keep them hidden.”\NAlbum standout “Illegal Immigrant” also features Kanene’s vocals. Brian took the lead writing the song, which tells the true story of a mother and child separated at the U.S.-Mexico border. The chorus’s “I promised I’d find you, wherever you are, wherever you are / Here I am” is equal parts haunting, heartbreaking, and reassuring––and the unfiltered words actually spoken by the immigrant mother into a press conference microphone. Kanene sings with weighty restraint––like a parent burying their own terror so they can be their child’s rock. “I was trying to tell her story the best I could,” Brian says. “I wanted to keep myself as far out of the equation as I could and just try to connect––to help find some compassion.” \NBrian also penned “Wash It Clean,” which both Zach and Kanene point to as a favorite. Lilting with guitar and harmonica, the song is a letter to Brian’s dad, who passed away suddenly last year. The two had a strained relationship, and Brian spent years trying to find some common ground. They did, and then two months later, his dad was gone. The band recorded the song on the one-year anniversary of Brian’s father’s death, without Brian even realizing it at the time. “I feel like that means he was here––or in me,” Brian says. “Working really hard to find understanding was probably one of the greatest gifts and lessons of my whole life.” \NThe stories behind the songs matter––but they aren’t what matters most. In the end, The Lone Bellow’s music needs no explanation. Just listening offers a salve and a shelter. “In my own perfect little world, I would be able to put the music out and not talk about it––just, Here. Bye. See you next time,” Zach says, then laughs softly. “I do hope someone will find this music in a peaceful moment, when they can turn it on and get lost in the story and the sound.” X-ALT-DESC;FMTTYPE=text/html:“I want it to bring comfort,” The Lone Bellow guitarist Brian Elmquist says. “But it’s not all hard conversations. There’s a lot of light and some dancing that needs to happen.” Brian is reflecting on Half Moon Light, the band’s highly anticipated new album.
Half Moon Light is an artistic triumph worked toward for years, earned not by individual posturing, but by collective determination and natural growth. With earthy three-part harmonies and songwriting as provocative as it is honest, the trio made up of Brian, lead vocalist Zach Williams, and multi-instrumentalist Kanene Donehey Pipkin creates sparks that make a stranger’s life matter or bring our sense of childlike wonder roaring back. On Half Moon Light, The Lone Bellow mix light and dark to muster a complex ode to memory, a call for hope, and an exercise in empathy. Anchored in the acoustic storytelling that first so endeared the band to fans and critics, Half Moon Light also takes more chances, experimenting with textures and instrumental fillips to create a full-bodied music experience. The result is The Lone Bellow’s most sophisticated work to date.
“We try to invite as many people into the process to see what we can make together,” Brian says. “I like that spirit and that freedom. Then, the songs speak for themselves.”
That wholehearted embrace of collaboration defines Half Moon Light. The record marks a return to recording in New York with Aaron Dessner, whom the band counts as both a hero and a friend. “We already had a friendship with Aaron and a strong, shared understanding of our musical vision,” Zach says. “It’s really important to us to be a part of a community of musicians. We like that way of making something. Aaron showed us a new way of trusting. His idea of bringing in Josh Kaufman and J.T. Bates was such a beautiful gift. The meekness that these friends brought to the table was something that we will never forget. A sense of controlled fury. Lightning in a shoebox.”
“Aaron has a powerful quietness about him,” Kanene says. “A lot of people I meet in the music industry have lots of bravado, and it’s something I have trouble believing. Aaron doesn’t have that. He is a joy to work with. A true friend.”
For the first time, the band stayed where they recorded, sequestered from the world at Aaron’s studio in upstate New York. They fell asleep at night to the sound of coyotes howling and felt the freedom to fall into rabbit holes that would have otherwise been left unexplored. “We made this record in a place of joy with our friends. We were trying to do something bigger than ourselves,” says Brian. “I think we’ve been wanting to make this record for a while now. It just hasn’t come together as perfectly as it did this time.”
A lone piano launches into a hymn as the album’s intro track. The pianist is Zach’s grandmother, playing at the funeral of her husband of 64 years––Zach’s grandfather. The hymn returns as an interlude and outro, underscoring The Lone Bellow’s intention for 12 songs to be experienced together, as an album.
Wonder––feeling it, losing it, finding it again––underpins the entire record. Pulsing with the trio’s signature harmonies, the track “Wonder” is a loving call to reclaim the childlike awe and appreciation age takes away. Zach pulled from vivid childhood memories to craft the song, which transports listeners to moments of breathlessness experienced in the everyday: cheap coffee, backroad car rides, pine-tree views, and powerful songs.
Jubilant “I Can Feel You Dancing” rolls into a cathartic celebration. The song pays tribute to “lionhearted” free spirits with horns and soaring vocals. With a winking jungle beat, “Good Times” tells tales Zach has collected over the years. “Some stories were told on a boat I worked on in the Caribbean in the middle of the night. Some were in old Irish pubs in Manhattan. Some were in backyards down in my hometown. Some were in a hospital bed,” Zach says. “I wanted to shine light on the fact that there are still people living with beauty and reckless abandonment.” Delivered over intimate acoustic guitar and hushed backing instrumentation, “Enemies” is a self-contained call and response that reconnects life-defining moments with the frustrating or tenuous present that threatens to snuff out the magic.
Lead single “Count On Me” reminds us to lean on one another with soul-shouting intensity. Praise for deep friendships pops up again and again throughout the album: “Friends” celebrates the relationships forged after years together in the trenches––with a musical swagger that nods to David Byrne and Tom Petty.
Kanene takes the lead on tour-de-force “Just Enough to Get By.” Her inimitable voice––capable of grit and smoothness––pushes through line after line with steely purpose. The performance would saunter were it not for the rage bubbling underneath. Kanene wrote the song about her mother, who was raped at 19, then sent away to have the baby that resulted. When she returned home, she never spoke of what had happened until 40 years later, when Kanene’s half-sister––the baby––found them. “I’ve met my half-sister many times. She’s wonderful and lovely and an amazing story of something never being too broken to be fixed. But my mom had to work through the trauma,” Kanene says. “This song was me putting myself in my mom’s place, releasing a lot of complex emotions. Anger is definitely one of them. Hurt, frustration, sadness. We all have experiences that could be better if we could talk about them, but we keep them hidden.”
Album standout “Illegal Immigrant” also features Kanene’s vocals. Brian took the lead writing the song, which tells the true story of a mother and child separated at the U.S.-Mexico border. The chorus’s “I promised I’d find you, wherever you are, wherever you are / Here I am” is equal parts haunting, heartbreaking, and reassuring––and the unfiltered words actually spoken by the immigrant mother into a press conference microphone. Kanene sings with weighty restraint––like a parent burying their own terror so they can be their child’s rock. “I was trying to tell her story the best I could,” Brian says. “I wanted to keep myself as far out of the equation as I could and just try to connect––to help find some compassion.”
Brian also penned “Wash It Clean,” which both Zach and Kanene point to as a favorite. Lilting with guitar and harmonica, the song is a letter to Brian’s dad, who passed away suddenly last year. The two had a strained relationship, and Brian spent years trying to find some common ground. They did, and then two months later, his dad was gone. The band recorded the song on the one-year anniversary of Brian’s father’s death, without Brian even realizing it at the time. “I feel like that means he was here––or in me,” Brian says. “Working really hard to find understanding was probably one of the greatest gifts and lessons of my whole life.”
The stories behind the songs matter––but they aren’t what matters most. In the end, The Lone Bellow’s music needs no explanation. Just listening offers a salve and a shelter. “In my own perfect little world, I would be able to put the music out and not talk about it––just, Here. Bye. See you next time,” Zach says, then laughs softly. “I do hope someone will find this music in a peaceful moment, when they can turn it on and get lost in the story and the sound.”
LAST-MODIFIED:20210621T155733Z X-ACCESS:1 X-HITS:431 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210820T120000 DTEND;TZID=America/Denver:20210822T233000 UID:EA4014F9-C5B9-4086-B4A3-D58E87AAB193 SUMMARY:Fort Desolation Fest DTSTAMP:20210707T154257Z DESCRIPTION:THE FESTIVAL: CALLING ALL ADVENTURE TRAVELERS! And anyone else who loves great music, food and drinks in the great outdoors: Join us in the red rocks of southern Utah for all of the above by night, plus whatever adventures you find in the area by day.\NTHE LOCATION: AT THE GATEWAY TO UTAH’S MIGHTY FIVE NATIONAL PARKS. Cougar Ridge Resort is a luxury ranch located minutes from the center of Torrey, Utah—at the entrance to Capitol Reef National Park and within striking distance of Arches, Canyonlands, Zion and Bryce Canyon National Parks.\NACCOMMODATIONS: CAMP WHERE ALL THE ACTION’S HAPPENING. Be one of the lucky few to reserve one of our limited-availability vehicle campsites, just a short walk from the stage. (Or if you’re more “outsidesy” than outdoorsy, you’ll find all sorts of other accommodations in the Torrey area.)\NTHE TICKETS: EXPLORE TICKET OPTIONS. You’ll be able to buy day passes for Friday, Saturday or the weekend. Weekend pass holders will have the option to reserve a limited number of campsites on the festival grounds. We’re finalizing our camping plots and will be launching ticket sales soon. X-ALT-DESC;FMTTYPE=text/html:THE FESTIVAL: CALLING ALL ADVENTURE TRAVELERS! And anyone else who loves great music, food and drinks in the great outdoors: Join us in the red rocks of southern Utah for all of the above by night, plus whatever adventures you find in the area by day.
THE LOCATION: AT THE GATEWAY TO UTAH’S MIGHTY FIVE NATIONAL PARKS. Cougar Ridge Resort is a luxury ranch located minutes from the center of Torrey, Utah—at the entrance to Capitol Reef National Park and within striking distance of Arches, Canyonlands, Zion and Bryce Canyon National Parks.
ACCOMMODATIONS: CAMP WHERE ALL THE ACTION’S HAPPENING. Be one of the lucky few to reserve one of our limited-availability vehicle campsites, just a short walk from the stage. (Or if you’re more “outsidesy” than outdoorsy, you’ll find all sorts of other accommodations in the Torrey area.)
THE TICKETS: EXPLORE TICKET OPTIONS. You’ll be able to buy day passes for Friday, Saturday or the weekend. Weekend pass holders will have the option to reserve a limited number of campsites on the festival grounds. We’re finalizing our camping plots and will be launching ticket sales soon.
LAST-MODIFIED:20210723T171821Z X-ACCESS:1 X-HITS:1148 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20210926T193000 DTEND;TZID=America/Denver:20210926T203000 UID:F9290490-0559-4C25-8CB8-07B7EEE798D9 SUMMARY:Bianca Del Rio DTSTAMP:20210702T215412Z DESCRIPTION:Get your vaccinations and cocktails because everyone's favorite "clown in a gown", Bianca Del Rio, is returning to the stage with her new comedy tour "Unsanitized"! She'svaxxed; she's waxed, and she has more attitude than ever. The pandemic may be ending, but Bianca is just getting started. If you liked COVID-19, you'll love BIANCA-21. X-ALT-DESC;FMTTYPE=text/html:Get your vaccinations and cocktails because everyone's favorite "clown in a gown", Bianca Del Rio, is returning to the stage with her new comedy tour "Unsanitized"! She'svaxxed; she's waxed, and she has more attitude than ever. The pandemic may be ending, but Bianca is just getting started. If you liked COVID-19, you'll love BIANCA-21.
LAST-MODIFIED:20210823T201828Z X-ACCESS:1 X-HITS:963 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211110T180000 DTEND;TZID=America/Denver:20211110T233000 UID:39F2C042-B939-4873-9229-797245968742 SUMMARY:Nurse Blake DTSTAMP:20210607T152411Z DESCRIPTION:Nurse Blake is one of a kind entertainer who uses his experience as a nurse for a fun filled comedy event that celebrates the hard work of healthcare providers. Blake tells candid and raw stories from his time in nursing school and from his shifts at the bedside. His upbeat attitude and hilarious spins on the obstacles nurses face day to day offer a fun and interactive experience for audience members. Blake’s comedy stands apart by using humor to advocate for nurses. By using masterful storytelling to captivate audiences, he provides an unforgettable night of laughs and inspiration. He is the ultimate solo performer using visuals, crowd participation, and live sketches that have audiences engaged and laughing from start to finish. X-ALT-DESC;FMTTYPE=text/html:Nurse Blake is one of a kind entertainer who uses his experience as a nurse for a fun filled comedy event that celebrates the hard work of healthcare providers. Blake tells candid and raw stories from his time in nursing school and from his shifts at the bedside. His upbeat attitude and hilarious spins on the obstacles nurses face day to day offer a fun and interactive experience for audience members. Blake’s comedy stands apart by using humor to advocate for nurses. By using masterful storytelling to captivate audiences, he provides an unforgettable night of laughs and inspiration. He is the ultimate solo performer using visuals, crowd participation, and live sketches that have audiences engaged and laughing from start to finish.
LAST-MODIFIED:20210629T053325Z X-ACCESS:1 X-HITS:978 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20211212T190000 DTEND;TZID=America/Denver:20211212T233000 UID:A758AEB4-6C3B-4DBF-A1ED-310CF9540B36 SUMMARY:Thievery Corporation — Moved to Tonight DTSTAMP:20210719T183542Z DESCRIPTION:INFORMATION FOR THIEVERY CORPORATION TONIGHT:\NNEW OPENER! — Ethno, the latest project from producer/multi-instrumentalist Jeffrey James Franca, will be opening for Thievery Corporation tonight in place of Dessa.\NCAN’T MAKE TONIGHT’S SHOW? — Ticket-holders, if your plans no longer allow for attending the rescheduled event, please submit a refund request via your EventBrite account or by sending a request email to shows@postfontaine.com. The Union Event Center will accept all ticket refund requests until the start of tonight’s event (7 PM).\NWe apologize for the inconvenience this may cause for some of you — looking forward to seeing you this evening!\N-\NTwenty-five years into their genre-defying electronic music career, Thievery Corporation's founding principles of D.I.Y. and inclusion have become key themes in mainstream social conversation. After a dozen highly acclaimed full-length albums, remix LPs, concert recordings, and over two decades of incendiary live performances that have thrilled audiences worldwide, Thievery Corporation’s music and message are more relevant and important now than ever.\NIndependence is one of the primary factors in why Thievery Corporation has had such a long and fruitful lifespan. While co-founders Rob Garza and Eric Hilton bonded over their mutual love of Brazilian music in Washington DC in 1995, it was the local punk scene that became their North Star. Hilton says: "Ian MacKaye is a real hero of ours, his DIY philosophy. We modeled ESL Music after Dischord Records, how we ran our label and did recording contracts.” Garza concurs: "Being independent enabled us to be here for 25 years. Never having a boss or needing someone’s approval, we’ve always said what we needed to say with no filter.”\NThat lack of filter enabled Garza and Hilton to mine their musical inspirations and create one of the most unique bodies of work in electronic music, respectfully incorporating tastes of international cultural styles, without ever falling into the trap of cultural appropriation. !We always wondered: with so much incredible music in the world, why would anyone limit themselves to one genre? Well, we found out - it’s far easier to stay in one lane than to genre hop!” laughs Hilton. Garza elaborates: "When we started, we were influenced by music from all over the world, flipping through bins in second-hand record stores for LP’s from Brazil, India, Iran, Jamaica, jazz records... we wanted to make music where you didn’t know whether it was recorded today or a decade ago." Thievery Corporation’s music has always looked toward the future while paying homage to the past, starting with their groundbreaking debut LP, 1996’s "Sounds From The Thievery Hi-Fi,” which both introduced the world to Garza and Hilton as producers and set their course as pioneers of song-based electronic music with wildly diverse vocalists.\NThe band’s legendary D.C. headquarters, the Eighteenth Street Lounge, became an epicenter for a diverse group of people and staff from all over the world, which in turn had a profound influence on their musical output. "D.C. was very cosmopolitan, lots of places to see international live music and jazz,” says Garza. "We’d run into people from all over the world and invite them to play with us - so Thievery became an extension of that, both on our records and in our live performances.” Indeed, Hilton and Garza’s “Outernational” approach created a world reflected by the artist’s ideals of diversity and acceptance. "25 years after we started, it seems like the world is catching up,” Garza opines. "Social consciousness is more mainstream, awareness of the importance of inclusivity... it’s so encouraging to see so many people working towards these goals in America." Hilton agrees. "Thievery is a reflection of who we are, it evolved from our musical tastes. Artists who were for the people, like The Clash, Fela Kuti, Manu Chao were so important to us, and engaging in social ideas has always been a part of what we’ve tried to do." People don’t refer to Thievery Corporation as “World Music,” but it’s safe to say that their music and ethos is global in its scope and ahead of its time at every turn.In a live setting, Thievery Corporation avoids any electronic dance music tropes. Yes, you’ll dance, sweat, and put your hands in the air... but their concerts are true performances, with a killer band of players and an array of vocalists from diverse global cultures. No two shows feel the same. "Our shows are VERY live, lots of energy, the combination of multiple instruments and singers that take you on a musical journey," says Garza. "We have a sitar player, songs are in different languages - it’s a multicultural experience, people connect to the band and to each other, it’s beautiful.” With a world cautiously beginning to emerge from isolation and towards communal events, Garza is eager to return Thievery Corporation to live performance. "I feel like people have been waiting to celebrate together after being forced apart for too long. We’re all craving that."Eric Hilton’s presence at Thievery gigs, however, has become an increasingly rare event. "I never really embraced touring; some of the world tours were interesting, seeing new places and cultures,” he says. "For me, touring was tourism. The creative process of making music is more my thing.” And Thievery Corporation has brought the sounds of the world to listeners throughout each of their albums. "There are so many highlights for me. 2014’s Saudade is my favorite record that we’ve done, a real creative stretch for us. Quiet music is hard to make! Symphonik also. To hear our music done with an orchestra was incredible.” Hilton concedes that over time live performance influenced the studio records. "After Cosmic Game (2011), we orchestrated jam sessions and built the records from those. For Temple of I and I (2014), we went to Jamaica to jam and record, which gave that record a different feel and authenticity.”Looking back over their career, Rob Garza and Eric Hilton acknowledge that what drives each of them may be different, but the mashup of personalities, sounds, cultures, and experiences birthed something wholly unique. "We love all kinds of music, which is why Thievery Corporation sounds the way it does,” the founding partners agree. "We couldn't possibly incorporate all our tastes into the music, but we do it more than most.” By not following trends or the whims of major labels, and embracing the cultural diversities that make the world such a wondrous place, Thievery Corporation has created a legacy that runs deep and continues to expand.\N"Over 25 years, we’ve left nothing undone. We far exceeded what we thought we would do,” Hilton and Garza agree. And Thievery Corporation’s music will continue on to reverberate and influence the next generation of listeners with an ear toward a global musical experience. X-ALT-DESC;FMTTYPE=text/html:INFORMATION FOR THIEVERY CORPORATION TONIGHT:
NEW OPENER! — Ethno, the latest project from producer/multi-instrumentalist Jeffrey James Franca, will be opening for Thievery Corporation tonight in place of Dessa.
CAN’T MAKE TONIGHT’S SHOW? — Ticket-holders, if your plans no longer allow for attending the rescheduled event, please submit a refund request via your EventBrite account or by sending a request email to shows@postfontaine.com. The Union Event Center will accept all ticket refund requests until the start of tonight’s event (7 PM).
We apologize for the inconvenience this may cause for some of you — looking forward to seeing you this evening!
-
Twenty-five years into their genre-defying electronic music career, Thievery Corporation's founding principles of D.I.Y. and inclusion have become key themes in mainstream social conversation. After a dozen highly acclaimed full-length albums, remix LPs, concert recordings, and over two decades of incendiary live performances that have thrilled audiences worldwide, Thievery Corporation’s music and message are more relevant and important now than ever.
Independence is one of the primary factors in why Thievery Corporation has had such a long and fruitful lifespan. While co-founders Rob Garza and Eric Hilton bonded over their mutual love of Brazilian music in Washington DC in 1995, it was the local punk scene that became their North Star. Hilton says: "Ian MacKaye is a real hero of ours, his DIY philosophy. We modeled ESL Music after Dischord Records, how we ran our label and did recording contracts.” Garza concurs: "Being independent enabled us to be here for 25 years. Never having a boss or needing someone’s approval, we’ve always said what we needed to say with no filter.”
That lack of filter enabled Garza and Hilton to mine their musical inspirations and create one of the most unique bodies of work in electronic music, respectfully incorporating tastes of international cultural styles, without ever falling into the trap of cultural appropriation. !We always wondered: with so much incredible music in the world, why would anyone limit themselves to one genre? Well, we found out - it’s far easier to stay in one lane than to genre hop!” laughs Hilton. Garza elaborates: "When we started, we were influenced by music from all over the world, flipping through bins in second-hand record stores for LP’s from Brazil, India, Iran, Jamaica, jazz records... we wanted to make music where you didn’t know whether it was recorded today or a decade ago." Thievery Corporation’s music has always looked toward the future while paying homage to the past, starting with their groundbreaking debut LP, 1996’s "Sounds From The Thievery Hi-Fi,” which both introduced the world to Garza and Hilton as producers and set their course as pioneers of song-based electronic music with wildly diverse vocalists.
The band’s legendary D.C. headquarters, the Eighteenth Street Lounge, became an epicenter for a diverse group of people and staff from all over the world, which in turn had a profound influence on their musical output. "D.C. was very cosmopolitan, lots of places to see international live music and jazz,” says Garza. "We’d run into people from all over the world and invite them to play with us - so Thievery became an extension of that, both on our records and in our live performances.” Indeed, Hilton and Garza’s “Outernational” approach created a world reflected by the artist’s ideals of diversity and acceptance. "25 years after we started, it seems like the world is catching up,” Garza opines. "Social consciousness is more mainstream, awareness of the importance of inclusivity... it’s so encouraging to see so many people working towards these goals in America." Hilton agrees. "Thievery is a reflection of who we are, it evolved from our musical tastes. Artists who were for the people, like The Clash, Fela Kuti, Manu Chao were so important to us, and engaging in social ideas has always been a part of what we’ve tried to do." People don’t refer to Thievery Corporation as “World Music,” but it’s safe to say that their music and ethos is global in its scope and ahead of its time at every turn.
In a live setting, Thievery Corporation avoids any electronic dance music tropes. Yes, you’ll dance, sweat, and put your hands in the air... but their concerts are true performances, with a killer band of players and an array of vocalists from diverse global cultures. No two shows feel the same. "Our shows are VERY live, lots of energy, the combination of multiple instruments and singers that take you on a musical journey," says Garza. "We have a sitar player, songs are in different languages - it’s a multicultural experience, people connect to the band and to each other, it’s beautiful.” With a world cautiously beginning to emerge from isolation and towards communal events, Garza is eager to return Thievery Corporation to live performance. "I feel like people have been waiting to celebrate together after being forced apart for too long. We’re all craving that."
Eric Hilton’s presence at Thievery gigs, however, has become an increasingly rare event. "I never really embraced touring; some of the world tours were interesting, seeing new places and cultures,” he says. "For me, touring was tourism. The creative process of making music is more my thing.” And Thievery Corporation has brought the sounds of the world to listeners throughout each of their albums. "There are so many highlights for me. 2014’s Saudade is my favorite record that we’ve done, a real creative stretch for us. Quiet music is hard to make! Symphonik also. To hear our music done with an orchestra was incredible.” Hilton concedes that over time live performance influenced the studio records. "After Cosmic Game (2011), we orchestrated jam sessions and built the records from those. For Temple of I and I (2014), we went to Jamaica to jam and record, which gave that record a different feel and authenticity.”
Looking back over their career, Rob Garza and Eric Hilton acknowledge that what drives each of them may be different, but the mashup of personalities, sounds, cultures, and experiences birthed something wholly unique. "We love all kinds of music, which is why Thievery Corporation sounds the way it does,” the founding partners agree. "We couldn't possibly incorporate all our tastes into the music, but we do it more than most.” By not following trends or the whims of major labels, and embracing the cultural diversities that make the world such a wondrous place, Thievery Corporation has created a legacy that runs deep and continues to expand.
"Over 25 years, we’ve left nothing undone. We far exceeded what we thought we would do,” Hilton and Garza agree. And Thievery Corporation’s music will continue on to reverberate and influence the next generation of listeners with an ear toward a global musical experience.
LAST-MODIFIED:20211212T192504Z X-ACCESS:1 X-HITS:3677 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220601T193000 DTEND;TZID=America/Denver:20220601T203000 UID:9A90FDCA-21C9-4D40-B6B0-2A6108B0473A SUMMARY:Justin Hayward - The Voice of The Moody Blues DTSTAMP:20220315T224136Z DESCRIPTION:Justin Hayward’s renowned, highly successful career in music is now in its fifth decade. The timeless troubadour is best known as the vocalist, lead guitarist and composer for the iconic Moody Blues, whose hits include the masterful “Nights in White Satin,” “Tuesday Afternoon,” “Question,” “The Voice” plus other classic, era and genre-defining hits. These laid the foundation for the incredible success story of the Moody Blues – as well as Hayward’s solo work – which continues to this day.\NBorn and brought up in Swindon in the UK, Hayward’s interest in music started when he was five years old and bequeathed with his grandfather’s collection of 78 rpm recordings. Having taught himself to play the ukulele, Hayward soon progressed to guitar and by his early teens he was playing in local groups. Upon leaving school at 17 he answered an advertisement in the Melody Maker newspaper and successfully auditioned for UK rock and roll hero Marty Wilde. Hayward credits Wilde with encouraging him to become a songwriter; he made several recordings with the ‘Wilde Three’ and appeared with them at the London Palladium.\NOnce he established himself as a songwriter in his own right, he joined the Moody Blues in the summer of 1966. Hitting his stride immediately with the single “Fly Me High,” he followed it up with the hit songs “Nights in White Satin” and “Tuesday Afternoon” from the seminal album Days of Future Past. The Moody Blues would go on to sell 70 million albums worldwide, which includes 18 platinum and gold LPs. They were inducted into the Rock and Roll Hall of Fame in 2018.\NAlthough the Moodies continued to record and tour at the highest level, Hayward also found time to create several solo albums such as Songwriter, Night Flight, Moving Mountains and The View From the Hill. He hit the Top Ten globally in 1978 with “Forever Autumn” – created for Jeff Wayne’s War of the Worlds album. Hayward then took to the stage – for five years, from 2005 – 2010, and starred in its spectacular live stadium production.\NHis album of new songs Spirits Of The Western Sky (2013) was followed by a ‘live in concert’ DVD ‘Spirits…Live’, which reached No. 1 on the Billboard Video chart. 2016’s All The Way followed - a compilation of Hayward’s solo work and live performances of Moody Blues classics -- and the 2020 released digital EP One Summer Day/My Juliette, featuring two brand new songs. Also noteworthy: Hayward’s recent "Tuesday Afternoon" video series featuring deep cuts from The Moody Blues and from his solo career.\NSpecial guest Mike Dawes will perform an opening set, as well as play guitar in Hayward’s band. Dawes is hailed as one of the world’s finest and most creative modern fingerstyle guitarists. X-ALT-DESC;FMTTYPE=text/html:Justin Hayward’s renowned, highly successful career in music is now in its fifth decade. The timeless troubadour is best known as the vocalist, lead guitarist and composer for the iconic Moody Blues, whose hits include the masterful “Nights in White Satin,” “Tuesday Afternoon,” “Question,” “The Voice” plus other classic, era and genre-defining hits. These laid the foundation for the incredible success story of the Moody Blues – as well as Hayward’s solo work – which continues to this day.
Born and brought up in Swindon in the UK, Hayward’s interest in music started when he was five years old and bequeathed with his grandfather’s collection of 78 rpm recordings. Having taught himself to play the ukulele, Hayward soon progressed to guitar and by his early teens he was playing in local groups. Upon leaving school at 17 he answered an advertisement in the Melody Maker newspaper and successfully auditioned for UK rock and roll hero Marty Wilde. Hayward credits Wilde with encouraging him to become a songwriter; he made several recordings with the ‘Wilde Three’ and appeared with them at the London Palladium.
Once he established himself as a songwriter in his own right, he joined the Moody Blues in the summer of 1966. Hitting his stride immediately with the single “Fly Me High,” he followed it up with the hit songs “Nights in White Satin” and “Tuesday Afternoon” from the seminal album Days of Future Past. The Moody Blues would go on to sell 70 million albums worldwide, which includes 18 platinum and gold LPs. They were inducted into the Rock and Roll Hall of Fame in 2018.
Although the Moodies continued to record and tour at the highest level, Hayward also found time to create several solo albums such as Songwriter, Night Flight, Moving Mountains and The View From the Hill. He hit the Top Ten globally in 1978 with “Forever Autumn” – created for Jeff Wayne’s War of the Worlds album. Hayward then took to the stage – for five years, from 2005 – 2010, and starred in its spectacular live stadium production.
His album of new songs Spirits Of The Western Sky (2013) was followed by a ‘live in concert’ DVD ‘Spirits…Live’, which reached No. 1 on the Billboard Video chart. 2016’s All The Way followed - a compilation of Hayward’s solo work and live performances of Moody Blues classics -- and the 2020 released digital EP One Summer Day/My Juliette, featuring two brand new songs. Also noteworthy: Hayward’s recent "Tuesday Afternoon" video series featuring deep cuts from The Moody Blues and from his solo career.
Special guest Mike Dawes will perform an opening set, as well as play guitar in Hayward’s band. Dawes is hailed as one of the world’s finest and most creative modern fingerstyle guitarists.
LOCATION:138 W Broadway\, Salt Lake City\, Utah 84101\, United States GEO:0.00000000;0.00000000 LAST-MODIFIED:20220412T222438Z X-ACCESS:1 X-HITS:1598 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220610T170000 DTEND;TZID=America/Denver:20220611T180000 UID:9B907364-E704-4090-BDD2-4998743A831E SUMMARY:Utah Blues Festival DTSTAMP:20211206T175523Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:239 S Main Street\, Salt Lake City\, 84111 GEO:40.76412763;-111.89098500 LAST-MODIFIED:20211216T235803Z X-ACCESS:1 X-HITS:1485 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220611T200000 DTEND;TZID=America/Denver:20220611T210000 UID:174D818E-22C6-49C8-9B4B-9D1F77AA2F5F SUMMARY:Tash Sultana DTSTAMP:20220128T182009Z DESCRIPTION:Tash Sultana, the gender fluid multi-instrumentalist, singer-songwriter, producerand engineer, has been dubbed one of the hardest working music exports in Australia. Tash began playing the guitar from the age of 3 after being gifted the instrument from their late grandfather. From there Tash began to pick up other instruments such as piano/keyboard/synth, bass, drums/percussion, beatmaking/ sampling, beatboxing, trumpet, saxophone, flute, mandolin, oud, harmonica, lapsteel, panpipes and arranged it into loop style performances along with percussive and finger tapping style guitar playing coinciding with a vocal range stretching 5 octaves.\NBy the age of 13 Tash was playing at open mic nights up to 6 times a week across Victoria. Tash’s refusal to conform to normal society pushed the young artist onto the streets of Melbourne to busk, where they harnessed crowd-stopping performances on Melbourne’s famous ‘Bourke Street’.From there a viral bedroom recording of ‘Jungle’ in 2016 skyrocketed the artist off the street and in front of the world. Since then Tash has broken attendance records on non-stop across sold-out global arena tours, their accolades rush in faster than there is time to count them. In 2019 alone, Tash sold over half a million tickets across the globe.\NTash’s second album #1ARIA charting ‘TERRA FIRMA’ arrives 3 years after ARIA-winning debut album FLOW STATE –which spawned multiple platinum and gold singles as well as the 2x Platinum single ‘Jungle’ and the Platinum-selling single ‘Mystik’-as well as accumulating over one billion worldwide streams.\NWritten and recorded almost over 2 years (2019-2021), TERRA FIRMA saw Tash in full flight as they recorded, engineered, performed, arranged, and produced the album themselves. (Tash has also written, recorded, arranged, performed, and produced all prior works such as NOTIONEP and FLOW STATE).\NFrom the expansive ‘Coma’ and evocative ‘Greed’ to the intuitive ‘Beyond The Pine’, Tash adds to their trademark looped and layered jams with a dazzling patchwork of neo soul, funk, R&B, folk, rock, hip-hop –you name it. The result is Tash’s most ambitious triumph to date.\NTERRA FIRMA is recognizably Tash Sultana, but its lyricism delves deeper, its impact more nuanced. While TERRA FIRMA still cements the oft-used description of a “one-person band”, the record hosts a first for Tash Sultana with four carefully chosen co-writers/features and close friends brought in for just a handful of songs: Matt Corby, Dann Hume, JeromeFarah and Josh Cashman.\NAs a cohesive collection, TERRA FIRMA is Tash Sultana on full display. Each track opens a new door into the mind of Tash, whose musical integrity and confessional poetry soar on the wings of that multi-octave-vaulting voice. X-ALT-DESC;FMTTYPE=text/html:Tash Sultana, the gender fluid multi-instrumentalist, singer-songwriter, producerand engineer, has been dubbed one of the hardest working music exports in Australia. Tash began playing the guitar from the age of 3 after being gifted the instrument from their late grandfather. From there Tash began to pick up other instruments such as piano/keyboard/synth, bass, drums/percussion, beatmaking/ sampling, beatboxing, trumpet, saxophone, flute, mandolin, oud, harmonica, lapsteel, panpipes and arranged it into loop style performances along with percussive and finger tapping style guitar playing coinciding with a vocal range stretching 5 octaves.
By the age of 13 Tash was playing at open mic nights up to 6 times a week across Victoria. Tash’s refusal to conform to normal society pushed the young artist onto the streets of Melbourne to busk, where they harnessed crowd-stopping performances on Melbourne’s famous ‘Bourke Street’.From there a viral bedroom recording of ‘Jungle’ in 2016 skyrocketed the artist off the street and in front of the world. Since then Tash has broken attendance records on non-stop across sold-out global arena tours, their accolades rush in faster than there is time to count them. In 2019 alone, Tash sold over half a million tickets across the globe.
Tash’s second album #1ARIA charting ‘TERRA FIRMA’ arrives 3 years after ARIA-winning debut album FLOW STATE –which spawned multiple platinum and gold singles as well as the 2x Platinum single ‘Jungle’ and the Platinum-selling single ‘Mystik’-as well as accumulating over one billion worldwide streams.
Written and recorded almost over 2 years (2019-2021), TERRA FIRMA saw Tash in full flight as they recorded, engineered, performed, arranged, and produced the album themselves. (Tash has also written, recorded, arranged, performed, and produced all prior works such as NOTIONEP and FLOW STATE).
From the expansive ‘Coma’ and evocative ‘Greed’ to the intuitive ‘Beyond The Pine’, Tash adds to their trademark looped and layered jams with a dazzling patchwork of neo soul, funk, R&B, folk, rock, hip-hop –you name it. The result is Tash’s most ambitious triumph to date.
TERRA FIRMA is recognizably Tash Sultana, but its lyricism delves deeper, its impact more nuanced. While TERRA FIRMA still cements the oft-used description of a “one-person band”, the record hosts a first for Tash Sultana with four carefully chosen co-writers/features and close friends brought in for just a handful of songs: Matt Corby, Dann Hume, JeromeFarah and Josh Cashman.
As a cohesive collection, TERRA FIRMA is Tash Sultana on full display. Each track opens a new door into the mind of Tash, whose musical integrity and confessional poetry soar on the wings of that multi-octave-vaulting voice.
LOCATION:1245 E 9400 S\, Sandy\, Utah 84094\, United States GEO:0.00000000;0.00000000 LAST-MODIFIED:20220601T212652Z X-ACCESS:1 X-HITS:2346 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220809T190000 DTEND;TZID=America/Denver:20220809T200000 UID:F6F0FEDF-7603-4705-803A-8153CEFF3567 SUMMARY:Lukas Nelson & Promise of the Real DTSTAMP:20220613T151444Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:1245 E 9400 S\, Sandy\, Utah 84094\, United States GEO:0.00000000;0.00000000 LAST-MODIFIED:20220617T162339Z X-ACCESS:1 X-HITS:1994 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220811T190000 DTEND;TZID=America/Denver:20220811T200000 UID:EAEBB2FF-F490-4939-9AFB-C6EA00ECFD54 SUMMARY:Brandi Carlile DTSTAMP:20220217T004509Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:301 S Temple\, Salt Lake City\, 84101\, United States GEO:40.76161000;-111.89384300 LAST-MODIFIED:20220622T223523Z X-ACCESS:1 X-HITS:3488 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20220812T120000 DTEND;TZID=America/Denver:20220814T130000 UID:CB36FCEF-5694-42C4-927B-E7D0E11A9831 SUMMARY:Fort Desolation Fest DTSTAMP:20220406T233716Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LAST-MODIFIED:20220601T212729Z X-ACCESS:1 X-HITS:8047 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221004T193000 DTEND;TZID=America/Denver:20221004T233000 UID:AAE39A52-C119-4C3C-AEDB-6D5B2D9F9E4A SUMMARY:Gary Clark Jr. DTSTAMP:20220708T192535Z DESCRIPTION:On the title track of “This Land,” Gary Clark Jr. is staking his claim to a literal place on the map, settling in and declaring: “I told you there goes the neighborhood… This is mine now, legit.” It’s a song with real-life roots in how Clark and his family have traded up in turf in his native Texas and been met with some suspicious glances upon move-in. And if it sounds like he’s had some practice in defiantly ignoring expectations about where he ought to live, well, that’s something he’s been doing musically his whole life. He’s a rock-and-soul omnivore who can survey the entire landscape of American music — not just the blues with which he’s so often associated, but reggae, punk, R&B and hip-hop, too — and say: This land was made for you and me.\NHe owns it all on This Land, his third studio album for Warner Bros. Records, which is sure to be seen as a breakthrough in establishing just how much stylistic variation Clark has at his command. There are plenty of the guitar-hero sounds that have already established him as a headliner, with tunes that reiterate that Cream influences always rise to the top, from a guy who’s long since come to be considered by Clapton as a friend and contemporary, not just acolyte. But if a lot of fans would consider Clark the closest thing we have to a modern Hendrix, what comes through implicitly in This Land is the sense of just how much Jimi loved and borrowed from Curtis Mayfield. You can think of Clark as one of the last of the real rock gods, along with fellow master singer/guitarists like Jack White, John Mayer, or the late, great Prince and the new album certainly won’t do anything to diminish that perception. But This Land is also a great soul record — one in which it’s easy to hear the lineage that connects Muddy Waters and Childish Gambino, with distinct nods to Marvin Gaye somewhere in the middle.\NYou’ll hear strains of Gaye not just in Clark using his falsetto more than he ever has before. It’s in the mixture of social consciousness and sensuality that was a matter of course for records like “What’s Goin’ On”… not to mention “Sign O’ the Times.” Obviously you hear the awareness of what’s goin’ on in the song This Land itself, in which Clark finds himself “paranoid and pissed off” among well-heeled neighbors who “think I’m up to something” just because his family doesn’t fit the local demographics. The attention to the greater good also informs “What About Us,” which has Clark announces that “the young bloods are taking over” — something he says to a fictional figure who recurs in several songs, “Mr. Williams,” a guy who could be a past-his-prime neighborhood boss… or, who knows, a stand-in for some bigger political figure who also has to go. “Feed the Babies” brings in the brass to augment a call for understanding that’s a pleading, purposeful antidote to the raw nerves of the title song.\NYet Clark also uses the album to get more personal than he ever has on record before, often assessing the tough balance between career and family. “Pearl Cadillac” is a payback to a mother’s devotion. He’s the parent in “When I’m Gone,” preparing a child for yet another trip away on the road, a topic he also takes up with a significant other in “Guitar Man,” where he’s weighing the “stamps in my blue book” and the fellowship of the road against the fear of a toll taken by time apart at home.\NBut if it’s the ballsy tropes of rock, blues and R&B that you’d like a fresh spin on, This Land hardly foregoes the twin towers of swagger and regret. “Friday night and I just got paid/I’m out looking for some trouble,” he sings in “Feel Like a Million,” a number that starts out as Peter Tosh and ends up somewhere closer to an arena-rock anthem. He’s found that trouble and then some in “Don’t Wait Til Tomorrow,” a balladic plea to the woman at home to forgive dalliances, with the knowledge that she may exact some what’s-good-for-the-goose revenge. “Low Down Rolling Stone” is an affair-ending lament from a wayward soul who’s discovered “darkness is my comfort zone.” But there’s no sorrow — yet – in a pair of kick-ass “got to” songs. “Got to Get Up” brings on the trumpet as Clark repeats “Kill ‘em all!” like the rock mantra it is, and “Gotta Get Into Something” finds him reaching to pure Chuck Berry territory… or maybe not so pure, since there’s something positively Ramones-y in his take on furious proto-punk rock and roll.\NIt may sound diffuse as an album, but it all holds together as part of a singular vision from Clark and his co-producer, Jacob Sciba, a longtime Austin friend and chief engineer at Arlyn Studios where most of This Land was laid down. Clark has had interest from some of the top producers in music but has found most of them are interested in bringing out just one aspect of his multi-faceted musical persona. Sciba is the pal and sonic wizard who comprehends the scope of what Clark does, and welcomes it… and is faced with the challenge of making something sonically coherent out of all these styles.\NHow to position Clark has been a cheerful problem from the start, since he was a blues aficionado who loved hanging with the hip-hop kids just as much as he relished going to local Pinetop Perkins shows. He grew up watching music television, but not so much MTV. “I kind of got introduced to everything by watching ‘Austin City Limits,’ which had Buddy Guy, B.B. King, Bonnie Raitt, Jimmie Vaughan, Robert Cray,” he’s said. “It all kind of hit me at once, and I just loved anything that sounded bluesy or rock & roll that felt dangerous and had loud guitar solos up front. Ultimately I figured out where it all came from, and I think the thing that really resonated with me was guys like Albert King and Freddie King — the three Kings,” along with B.B. Soon, as a barely-teen prodigy, he was making his way out in to the real world, being mentored by Austin club owner Clifford Antone as he hooked up with every available local legend.\NLocal legend Doyle Bramhall brought him to meet Eric Clapton at a Crossroads Festival in 2010, where they jammed with Sheryl Crow. A year later, his Warner Bros. debut release Bright Lights EP became the first EP ever to get the lead review in Rolling Stone, which wrote, “A genuine 21st-century bluesman, raised on the form in all its roughneck roadhouse glory but marked by the present day? That’s been as hard to find as a 21st century clockmaker.”\NBut Rolling Stone may have really been on to something when the magazine got past his prodigious licks and added, “Suddenly you can envision him dueting with Adele, swapping tunes with Jack Johnson or singing hooks for Nas.” Not all those collaborations came to be, but soon enough he was asked by Alicia Keys to co-write and play guitar on “Fire We Make,” a song from her Girl on Fire album, not long before he released his Warner Bros. Records debut album, Blak And Blu, in 2012. Not long after, "Ain't Messin Round", from Blak And Blu was also nominated for Grammy in 2013 and in 2014, Clark had won his first Grammy for Best Traditional R&B Performance for the track "Please Come Home", from that album. Before long he was benefitting from the advocacy of the Rolling Stones, who’ve repeatedly enlisted him as an opening act and on-stage guest. He played for the Obamas at the White House alongside not just Mick Jagger but B.B. King, Jeff Beck, and Buddy Guy. On a prime-time tribute to the Beatles, he performed alongside Dave Grohl and Joe Walsh. On a similar TV tribute to Stevie Wonder, he teamed up with Beyoncé and Ed Sheeran. On record, he co-wrote and played guitar on Childish Gambino’s “The Night Me and Your Mama Met.” In 2017 he was widely praised as a standout among standouts at the MusiCares benefit honoring Tom Petty & the Heartbreakers, making two appearances that night, one by himself and once in collaboration with the Foo Fighters, huge fans who had recorded with and taken Clark out as their opening act before he graduated to major headliner status.\NWhen the (then-) president of the United States has not only included you on his famous Spotify playlists but called you “the future,” is there anywhere to go from there? This Land proves there is — and it’s a genre-free future that encompasses virtually the entirety of electric roots music and African-American forms and moves forward from there. It’s a landscape that’s his eminent domain. X-ALT-DESC;FMTTYPE=text/html:On the title track of “This Land,” Gary Clark Jr. is staking his claim to a literal place on the map, settling in and declaring: “I told you there goes the neighborhood… This is mine now, legit.” It’s a song with real-life roots in how Clark and his family have traded up in turf in his native Texas and been met with some suspicious glances upon move-in. And if it sounds like he’s had some practice in defiantly ignoring expectations about where he ought to live, well, that’s something he’s been doing musically his whole life. He’s a rock-and-soul omnivore who can survey the entire landscape of American music — not just the blues with which he’s so often associated, but reggae, punk, R&B and hip-hop, too — and say: This land was made for you and me.
He owns it all on This Land, his third studio album for Warner Bros. Records, which is sure to be seen as a breakthrough in establishing just how much stylistic variation Clark has at his command. There are plenty of the guitar-hero sounds that have already established him as a headliner, with tunes that reiterate that Cream influences always rise to the top, from a guy who’s long since come to be considered by Clapton as a friend and contemporary, not just acolyte. But if a lot of fans would consider Clark the closest thing we have to a modern Hendrix, what comes through implicitly in This Land is the sense of just how much Jimi loved and borrowed from Curtis Mayfield. You can think of Clark as one of the last of the real rock gods, along with fellow master singer/guitarists like Jack White, John Mayer, or the late, great Prince and the new album certainly won’t do anything to diminish that perception. But This Land is also a great soul record — one in which it’s easy to hear the lineage that connects Muddy Waters and Childish Gambino, with distinct nods to Marvin Gaye somewhere in the middle.
You’ll hear strains of Gaye not just in Clark using his falsetto more than he ever has before. It’s in the mixture of social consciousness and sensuality that was a matter of course for records like “What’s Goin’ On”… not to mention “Sign O’ the Times.” Obviously you hear the awareness of what’s goin’ on in the song This Land itself, in which Clark finds himself “paranoid and pissed off” among well-heeled neighbors who “think I’m up to something” just because his family doesn’t fit the local demographics. The attention to the greater good also informs “What About Us,” which has Clark announces that “the young bloods are taking over” — something he says to a fictional figure who recurs in several songs, “Mr. Williams,” a guy who could be a past-his-prime neighborhood boss… or, who knows, a stand-in for some bigger political figure who also has to go. “Feed the Babies” brings in the brass to augment a call for understanding that’s a pleading, purposeful antidote to the raw nerves of the title song.
Yet Clark also uses the album to get more personal than he ever has on record before, often assessing the tough balance between career and family. “Pearl Cadillac” is a payback to a mother’s devotion. He’s the parent in “When I’m Gone,” preparing a child for yet another trip away on the road, a topic he also takes up with a significant other in “Guitar Man,” where he’s weighing the “stamps in my blue book” and the fellowship of the road against the fear of a toll taken by time apart at home.
But if it’s the ballsy tropes of rock, blues and R&B that you’d like a fresh spin on, This Land hardly foregoes the twin towers of swagger and regret. “Friday night and I just got paid/I’m out looking for some trouble,” he sings in “Feel Like a Million,” a number that starts out as Peter Tosh and ends up somewhere closer to an arena-rock anthem. He’s found that trouble and then some in “Don’t Wait Til Tomorrow,” a balladic plea to the woman at home to forgive dalliances, with the knowledge that she may exact some what’s-good-for-the-goose revenge. “Low Down Rolling Stone” is an affair-ending lament from a wayward soul who’s discovered “darkness is my comfort zone.” But there’s no sorrow — yet – in a pair of kick-ass “got to” songs. “Got to Get Up” brings on the trumpet as Clark repeats “Kill ‘em all!” like the rock mantra it is, and “Gotta Get Into Something” finds him reaching to pure Chuck Berry territory… or maybe not so pure, since there’s something positively Ramones-y in his take on furious proto-punk rock and roll.
It may sound diffuse as an album, but it all holds together as part of a singular vision from Clark and his co-producer, Jacob Sciba, a longtime Austin friend and chief engineer at Arlyn Studios where most of This Land was laid down. Clark has had interest from some of the top producers in music but has found most of them are interested in bringing out just one aspect of his multi-faceted musical persona. Sciba is the pal and sonic wizard who comprehends the scope of what Clark does, and welcomes it… and is faced with the challenge of making something sonically coherent out of all these styles.
How to position Clark has been a cheerful problem from the start, since he was a blues aficionado who loved hanging with the hip-hop kids just as much as he relished going to local Pinetop Perkins shows. He grew up watching music television, but not so much MTV. “I kind of got introduced to everything by watching ‘Austin City Limits,’ which had Buddy Guy, B.B. King, Bonnie Raitt, Jimmie Vaughan, Robert Cray,” he’s said. “It all kind of hit me at once, and I just loved anything that sounded bluesy or rock & roll that felt dangerous and had loud guitar solos up front. Ultimately I figured out where it all came from, and I think the thing that really resonated with me was guys like Albert King and Freddie King — the three Kings,” along with B.B. Soon, as a barely-teen prodigy, he was making his way out in to the real world, being mentored by Austin club owner Clifford Antone as he hooked up with every available local legend.
Local legend Doyle Bramhall brought him to meet Eric Clapton at a Crossroads Festival in 2010, where they jammed with Sheryl Crow. A year later, his Warner Bros. debut release Bright Lights EP became the first EP ever to get the lead review in Rolling Stone, which wrote, “A genuine 21st-century bluesman, raised on the form in all its roughneck roadhouse glory but marked by the present day? That’s been as hard to find as a 21st century clockmaker.”
But Rolling Stone may have really been on to something when the magazine got past his prodigious licks and added, “Suddenly you can envision him dueting with Adele, swapping tunes with Jack Johnson or singing hooks for Nas.” Not all those collaborations came to be, but soon enough he was asked by Alicia Keys to co-write and play guitar on “Fire We Make,” a song from her Girl on Fire album, not long before he released his Warner Bros. Records debut album, Blak And Blu, in 2012. Not long after, "Ain't Messin Round", from Blak And Blu was also nominated for Grammy in 2013 and in 2014, Clark had won his first Grammy for Best Traditional R&B Performance for the track "Please Come Home", from that album. Before long he was benefitting from the advocacy of the Rolling Stones, who’ve repeatedly enlisted him as an opening act and on-stage guest. He played for the Obamas at the White House alongside not just Mick Jagger but B.B. King, Jeff Beck, and Buddy Guy. On a prime-time tribute to the Beatles, he performed alongside Dave Grohl and Joe Walsh. On a similar TV tribute to Stevie Wonder, he teamed up with Beyoncé and Ed Sheeran. On record, he co-wrote and played guitar on Childish Gambino’s “The Night Me and Your Mama Met.” In 2017 he was widely praised as a standout among standouts at the MusiCares benefit honoring Tom Petty & the Heartbreakers, making two appearances that night, one by himself and once in collaboration with the Foo Fighters, huge fans who had recorded with and taken Clark out as their opening act before he graduated to major headliner status.
When the (then-) president of the United States has not only included you on his famous Spotify playlists but called you “the future,” is there anywhere to go from there? This Land proves there is — and it’s a genre-free future that encompasses virtually the entirety of electric roots music and African-American forms and moves forward from there. It’s a landscape that’s his eminent domain.
LOCATION:235 N 500 W\, Salt Lake City\, 84116 GEO:40.78110040;-111.90492540 LAST-MODIFIED:20220912T162629Z X-ACCESS:1 X-HITS:2673 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20221105T190000 DTEND;TZID=America/Denver:20221105T233000 UID:617E1C5A-619F-4953-ADCA-0670E81E62BB SUMMARY:White Buffalo DTSTAMP:20220906T193206Z DESCRIPTION: X-ALT-DESC;FMTTYPE=text/html: LOCATION:235 N 500 W\, Salt Lake City\, 84116 GEO:40.78110040;-111.90492540 LAST-MODIFIED:20221011T225456Z X-ACCESS:1 X-HITS:1869 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230303T190000 DTEND;TZID=America/Denver:20230303T233000 UID:A7DCAFB1-59B3-4D94-8D5F-DE1C248F2787 SUMMARY:Paul Cauthen DTSTAMP:20230120T234042Z DESCRIPTION:Want to get a bead on Paul Cauthen?\NGood freakin' luck -- especially on his third album, COUNTRY COMING DOWN.\NSuffice to say that the singer, songwriter and proud son of Tyler, Texas -- steward of a rich, resonant, bass-leaning tenor dubbed Big Velvet -- covers a lot of ground and embodies a lot of characters. He'll tell you right off the bat that he's "Country As Fuck," throwing down a wad of "Fuck You Money" and heading into the night to "Cut a Rug." His "Country Clubbin'" has as much to do with swinging as his swing. But a song or two later dude's vowing to be loving his wife "Till the Day I Die" and, in COUNTRY COMING DOWN's title track, dreams of living in "a cabin in the country, far away from the city lights"where "life is slow and easy."\NThe fact that all of that exists within the same guy, who's full of good humor, sharp wit and a heart as big as his home state is what makes Cauthen someone who's easy, and exciting, to spend 10 songs with.\N"Y'know, you got your bangers and you got your ballads," Cauthen acknowledges. "You got your meaningful songs where you're opening up more of your vulnerable side, and then you're putting on a fucking show -- all in one album. And it's all honest, I'll tell ya that. Everything on there is something I've felt or thought before.\N"COUNTRY COMING DOWN has been in motion awhile, actually. The title track, one of several co-writes with good Nashville pal Aaron Raitiere, has been around since before Cauthen's dark sophomore album ROOM 41. Its sense of campfire calm and "damn near off the map" idyll set a bar, for both music and lifestyle, that Cauthen aspired to, while the rest of the new album, recorded at Modern Electric SoundRecorders in Dallas with regular collaborators Beau Bedford (Texas Gentlemen) and Jason Burt (MedicineMan Revival), shows that Cauthen was able to get there without losing any of the playful "hot dog holly golly dagnabit" good-time spirit that rolls off his tongue like a tumbleweed in the west Texas panhandle.\NAs he promises in "Country As Fuck," "I ain't gotta sell my soul. If I want it then I grab it."\N"I'm having fun," Cauthen says. "I've finally figured it out. I'm more settled and comfortable. I know I’m good at making records and great at entertaining. That's my gift more than anything, to be able to get up there and deliver these songs to people.\N"That gift is part of Cauthen's DNA, of course, from a family deeply steeped in music. Texan on both sides, his paternal grandfather went to school with Hank Williams while his maternal grandpa, who worked with Buddy Holly and the Crickets during his youth, introduced Cauthen to singing. His grandmother taught him to play piano, while his grandfather and great uncle were the song leader and preacher, respectively, of the local Christian Church of Christ.\N"Yeah, I had no choice, really" Cauthen says now. "(Music) is what I call my birddog trait; You don't have to tell a birddog to jump in the river and grab the duck and bring it back to you. And you don't have to tell me to get up on stage and perform. That's what I'm supposed to do. My family enjoyed watching me perform when I was a kid; I would get up in front of everybody at Christmas with my guitar and play'Jackson' with my grandmother. I learned my trade, y'know?"\NCauthen pursued that trade into young adulthood, showcasing at Cheatham Street Warehouse in SanMarcos and forming the duo Sons of Fathers, whose early albums were produced by Lloyd Maines. After the group ran its course, Cauthen set off on his own in 2016, recording MY GOSPEL partly in MuscleShoals, AL.; The album made Rolling Stone's list of Top 40 Country Records that year. 2018’s HAVE MERCY EP began his association with Bedford and featured contributions by other members of the TexasGentlemen, and also led to Cauthen's Grand Ole Opry debut as a solo artist on June 22, 2018.\NThe critically acclaimed ROOM 41, meanwhile, chronicled and exorcised a rough period in Cauthen's life, marked by a romantic breakup, substance abuse, depression and anxiety issues. "My growing years were like going to college," Cauthen confesses. "I just got screwed so many times by so many different people on this whole freakin' journey. I had this void I was trying to fill in my heart, with booze or any type of, just, abuse. I made every stupid mistake you can make in the business, and in life, in order to learn 'em all.\N"I don't feel that hurt anymore. I've changed."\NMarriage helped, he says. So did cleaning house and restructuring the business operation that surrounded him. That allowed Cauthen to plunge into COUNTRY COMING DOWN with a lighter heart and wicked humor -- one that allowed him to find the profound meaning in a "schmoozie bougie brouhaha."\NIf you want to know what that sounds like, tuck into the album's sonic array, an austere, sinewy attack that puts Cauthen's vocals dead center in the ride. "We've really unleashed Big Velvet in this situation, which I love," he says. Nowhere is that more true than "Country As Fuck," with a taut groove and loping gait tailor made for a 21st century honky tonk. Cauthen, Bedford and Burt play with that template throughout COUNTRY COMING DOWN, punctuating "Caught Me At a Good Time" with a sharp guitar solo, "High Heels" with a tasteful Wurlitzer break and the satiristic "Country Clubbin'" with a disco beat and chorus of female backing vocals.\NBut just when you buy in -- and happily convert -- to Cauthen's brand of unapologetic hedonism, the soul comes out. "Till The Day I Die" smoothes his raw heart with the promise of true and lasting love, while the stock-taking "Roll On Over" takes a wistful look in his rearview mirror. And "Country Coming Down"realizes a dream of calm -- although not exclusive of the next sojourn with "Champagne & a Limo."\NI'm always on a quest, sonically," Cauthen explains. "I was wanting to go at this just serving the song, more, 'What does this call for?' rather than worrying about genre or sonic palette or any certain sound. I had a lot of these songs brewing for a long time, and we just let them grow on their own."\NHis muse fully engaged, Cauthen is looking towards doing more of that in the future, with a few conceptual ideas up his sleeve about what he might do next. No matter what direction he takes, however, he won’t be abandoning that cabin in the hills or the "Country Clubbin'" life; Cauthen will just be adding more to the mix he's stirred together.\N"It's just about looking at yourself in the mirror and knowing that what you've done to this day has been in good standing, with good morals and a good compass in life, driven the right way," he says. "Legacy is all we have -- that, and try to be a good person as well. If you get all that together, then you can do whatever the fuck you want and it'll be alright." X-ALT-DESC;FMTTYPE=text/html:Want to get a bead on Paul Cauthen?
Good freakin' luck -- especially on his third album, COUNTRY COMING DOWN.
Suffice to say that the singer, songwriter and proud son of Tyler, Texas -- steward of a rich, resonant, bass-leaning tenor dubbed Big Velvet -- covers a lot of ground and embodies a lot of characters. He'll tell you right off the bat that he's "Country As Fuck," throwing down a wad of "Fuck You Money" and heading into the night to "Cut a Rug." His "Country Clubbin'" has as much to do with swinging as his swing. But a song or two later dude's vowing to be loving his wife "Till the Day I Die" and, in COUNTRY COMING DOWN's title track, dreams of living in "a cabin in the country, far away from the city lights"where "life is slow and easy."
The fact that all of that exists within the same guy, who's full of good humor, sharp wit and a heart as big as his home state is what makes Cauthen someone who's easy, and exciting, to spend 10 songs with.
"Y'know, you got your bangers and you got your ballads," Cauthen acknowledges. "You got your meaningful songs where you're opening up more of your vulnerable side, and then you're putting on a fucking show -- all in one album. And it's all honest, I'll tell ya that. Everything on there is something I've felt or thought before.
"COUNTRY COMING DOWN has been in motion awhile, actually. The title track, one of several co-writes with good Nashville pal Aaron Raitiere, has been around since before Cauthen's dark sophomore album ROOM 41. Its sense of campfire calm and "damn near off the map" idyll set a bar, for both music and lifestyle, that Cauthen aspired to, while the rest of the new album, recorded at Modern Electric SoundRecorders in Dallas with regular collaborators Beau Bedford (Texas Gentlemen) and Jason Burt (MedicineMan Revival), shows that Cauthen was able to get there without losing any of the playful "hot dog holly golly dagnabit" good-time spirit that rolls off his tongue like a tumbleweed in the west Texas panhandle.
As he promises in "Country As Fuck," "I ain't gotta sell my soul. If I want it then I grab it."
"I'm having fun," Cauthen says. "I've finally figured it out. I'm more settled and comfortable. I know I’m good at making records and great at entertaining. That's my gift more than anything, to be able to get up there and deliver these songs to people.
"That gift is part of Cauthen's DNA, of course, from a family deeply steeped in music. Texan on both sides, his paternal grandfather went to school with Hank Williams while his maternal grandpa, who worked with Buddy Holly and the Crickets during his youth, introduced Cauthen to singing. His grandmother taught him to play piano, while his grandfather and great uncle were the song leader and preacher, respectively, of the local Christian Church of Christ.
"Yeah, I had no choice, really" Cauthen says now. "(Music) is what I call my birddog trait; You don't have to tell a birddog to jump in the river and grab the duck and bring it back to you. And you don't have to tell me to get up on stage and perform. That's what I'm supposed to do. My family enjoyed watching me perform when I was a kid; I would get up in front of everybody at Christmas with my guitar and play'Jackson' with my grandmother. I learned my trade, y'know?"
Cauthen pursued that trade into young adulthood, showcasing at Cheatham Street Warehouse in SanMarcos and forming the duo Sons of Fathers, whose early albums were produced by Lloyd Maines. After the group ran its course, Cauthen set off on his own in 2016, recording MY GOSPEL partly in MuscleShoals, AL.; The album made Rolling Stone's list of Top 40 Country Records that year. 2018’s HAVE MERCY EP began his association with Bedford and featured contributions by other members of the TexasGentlemen, and also led to Cauthen's Grand Ole Opry debut as a solo artist on June 22, 2018.
The critically acclaimed ROOM 41, meanwhile, chronicled and exorcised a rough period in Cauthen's life, marked by a romantic breakup, substance abuse, depression and anxiety issues. "My growing years were like going to college," Cauthen confesses. "I just got screwed so many times by so many different people on this whole freakin' journey. I had this void I was trying to fill in my heart, with booze or any type of, just, abuse. I made every stupid mistake you can make in the business, and in life, in order to learn 'em all.
"I don't feel that hurt anymore. I've changed."
Marriage helped, he says. So did cleaning house and restructuring the business operation that surrounded him. That allowed Cauthen to plunge into COUNTRY COMING DOWN with a lighter heart and wicked humor -- one that allowed him to find the profound meaning in a "schmoozie bougie brouhaha."
If you want to know what that sounds like, tuck into the album's sonic array, an austere, sinewy attack that puts Cauthen's vocals dead center in the ride. "We've really unleashed Big Velvet in this situation, which I love," he says. Nowhere is that more true than "Country As Fuck," with a taut groove and loping gait tailor made for a 21st century honky tonk. Cauthen, Bedford and Burt play with that template throughout COUNTRY COMING DOWN, punctuating "Caught Me At a Good Time" with a sharp guitar solo, "High Heels" with a tasteful Wurlitzer break and the satiristic "Country Clubbin'" with a disco beat and chorus of female backing vocals.
But just when you buy in -- and happily convert -- to Cauthen's brand of unapologetic hedonism, the soul comes out. "Till The Day I Die" smoothes his raw heart with the promise of true and lasting love, while the stock-taking "Roll On Over" takes a wistful look in his rearview mirror. And "Country Coming Down"realizes a dream of calm -- although not exclusive of the next sojourn with "Champagne & a Limo."
I'm always on a quest, sonically," Cauthen explains. "I was wanting to go at this just serving the song, more, 'What does this call for?' rather than worrying about genre or sonic palette or any certain sound. I had a lot of these songs brewing for a long time, and we just let them grow on their own."
His muse fully engaged, Cauthen is looking towards doing more of that in the future, with a few conceptual ideas up his sleeve about what he might do next. No matter what direction he takes, however, he won’t be abandoning that cabin in the hills or the "Country Clubbin'" life; Cauthen will just be adding more to the mix he's stirred together.
"It's just about looking at yourself in the mirror and knowing that what you've done to this day has been in good standing, with good morals and a good compass in life, driven the right way," he says. "Legacy is all we have -- that, and try to be a good person as well. If you get all that together, then you can do whatever the fuck you want and it'll be alright."
LOCATION:235 N 500 W\, Salt Lake City\, 84116 GEO:40.78110040;-111.90492540 LAST-MODIFIED:20230303T172722Z X-ACCESS:1 X-HITS:1081 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230608T120000 DTEND;TZID=America/Denver:20230610T233000 UID:99C0FF3F-5C3F-41DE-8A87-A69DE77A39F5 SUMMARY:Fort Desolation Fest DTSTAMP:20230221T153619Z DESCRIPTION:Fort Desolation Fest is a three-day music and adventure travel festival at the gateway to Utah’s Capitol Reef National Park. All of the music takes place at night, giving attendees time during the day to explore the magnificent natural scenery of nearby Capitol Reef National Park, one of Utah’s “Mighty Five” national parks. \NThis year’s Fort Desolation Fest lineup includes Ben Harper & The Innocent Criminals, Shakey Graves, The White Buffalo, Morgan Wade, Houndmouth, Jamestown Revival, Madison Cunningham, The Brothers Comatose, Parker Millsap, and Pixie & The Partygrass Boys. \NThe on-site campground is close to the music as well as the many natural features of the land and includes after-hours jams with surprise artists. For non-campers, there’s also plenty of other lodging in the area. The secret is out about this festival — get your passes for June 8-10 and book your stay before it's too late! X-ALT-DESC;FMTTYPE=text/html:Fort Desolation Fest is a three-day music and adventure travel festival at the gateway to Utah’s Capitol Reef National Park. All of the music takes place at night, giving attendees time during the day to explore the magnificent natural scenery of nearby Capitol Reef National Park, one of Utah’s “Mighty Five” national parks.
This year’s Fort Desolation Fest lineup includes Ben Harper & The Innocent Criminals, Shakey Graves, The White Buffalo, Morgan Wade, Houndmouth, Jamestown Revival, Madison Cunningham, The Brothers Comatose, Parker Millsap, and Pixie & The Partygrass Boys.
The on-site campground is close to the music as well as the many natural features of the land and includes after-hours jams with surprise artists. For non-campers, there’s also plenty of other lodging in the area. The secret is out about this festival — get your passes for June 8-10 and book your stay before it's too late!
LAST-MODIFIED:20230516T213612Z X-ACCESS:1 X-HITS:6589 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230616T170000 DTEND;TZID=America/Denver:20230617T223000 UID:43CDA1A6-CE0A-403E-B8AD-E8187F2679DE SUMMARY:Utah Blues Festival DTSTAMP:20230615T183632Z DESCRIPTION:The 7th Utah Blues Festival returns to the Gallivan Center, in Salt Lake City, Utah on June 16-17, 2023!\NCome join us in the heart of downtown Salt Lake City to experience another unbelievable weekend of blues music! We’ll also feature our award-winning free workshops, unique artistic and non-profit vendors, great food trucks, beer, wine, hard seltzer, soda, and free water! It’s one of the finest blues festivals in the country, with our host hotel, the Marriott City Center, overlooking the venue. X-ALT-DESC;FMTTYPE=text/html:The 7th Utah Blues Festival returns to the Gallivan Center, in Salt Lake City, Utah on June 16-17, 2023!
Come join us in the heart of downtown Salt Lake City to experience another unbelievable weekend of blues music! We’ll also feature our award-winning free workshops, unique artistic and non-profit vendors, great food trucks, beer, wine, hard seltzer, soda, and free water! It’s one of the finest blues festivals in the country, with our host hotel, the Marriott City Center, overlooking the venue.
LOCATION:239 S Main Street\, Salt Lake City\, 84111 GEO:40.76412763;-111.89098500 X-ACCESS:1 X-HITS:86 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230701T190000 DTEND;TZID=America/Denver:20230701T233000 UID:D2C0C846-E013-46E6-9313-D09448C4F734 SUMMARY:Lyle Lovett and his Large Band DTSTAMP:20230403T162751Z DESCRIPTION:A singer, composer and actor, Lyle Lovett has broadened the definition of American musician a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of country, swing, jazz, folk, gospel and blues in a convention-defying manner that breaks down barriers. Whether touring as a 'Duo' or with his 'Acoustic Group' or his 'Large Band,' Lovett's live performances show not only the breadth of this Texas legend's deep talents, but also the diversity of his influences, making him one of the most compelling and captivating musicians in popular music. Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music's most vibrant and iconic performers. Among his many accolades, besides the four GrammyAwards, he was given the Americana Music Association's inaugural Trailblazer Award, and was named Texas State Musician. His works, rich and eclectic, are some of the most beloved of any artist working today. X-ALT-DESC;FMTTYPE=text/html:A singer, composer and actor, Lyle Lovett has broadened the definition of American musician a career that spans 14 albums. Coupled with his gift for storytelling, the Texas-based musician fuses elements of country, swing, jazz, folk, gospel and blues in a convention-defying manner that breaks down barriers. Whether touring as a 'Duo' or with his 'Acoustic Group' or his 'Large Band,' Lovett's live performances show not only the breadth of this Texas legend's deep talents, but also the diversity of his influences, making him one of the most compelling and captivating musicians in popular music. Since his self-titled debut in 1986, Lyle Lovett has evolved into one of music's most vibrant and iconic performers. Among his many accolades, besides the four GrammyAwards, he was given the Americana Music Association's inaugural Trailblazer Award, and was named Texas State Musician. His works, rich and eclectic, are some of the most beloved of any artist working today.
LOCATION:1245 E 9400 S\, Sandy\, Utah 84094\, United States GEO:0.00000000;0.00000000 LAST-MODIFIED:20230420T223155Z X-ACCESS:1 X-HITS:956 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230730T180000 DTEND;TZID=America/Denver:20230730T233000 UID:DC8132DF-9AA6-4859-B1CC-6C0B13188C81 SUMMARY:Lukas Nelson & POTR DTSTAMP:20230606T142259Z DESCRIPTION:Lukas Nelson knows all about legacies, indeed he's been hard at work carving his own for most of his young, eventful life. Balancing his work as front man of Lukas Nelson & Promise of the Real with their steady gig as Neil Young's studio and touring band — and of course, the never-ending road alongside his father in Willie Nelson & Family — Lukas has sharpened the edges of his singular sound, one that nods to his influences while pushing forward into uncharted territory. In the past year alone, the group — bassist Corey McCormick, drummer Anthony LoGerfo, percussionist Tato Melgar, multi-instrumentalist Logan Metz and guitarist, vocalist Nelson collaborated with Lady Gaga and Bradley Cooper on the blockbuster film and soundtrack, A Star Is Born turned and turned in star-making performances at festivals like Stagecoach, Newport Folk Festival, FarmAid, New Orleans Jazz Fest and the UK’s legendary Glastonbury Festival.\NStraddling rock, country, soul, folk and R&B, the band’s original sound reaches new heights with Turn Off The News (Build A Garden), their second full-length release for Fantasy Records. With guest turns from Kesha, Margo Price, Sheryl Crow, Lucius, Shooter Jennings, Randy Houser, Micah Nelson, Madison Ryann Ward, Willie Nelson and Neil Young, it’s undoubtedly the band’s most mature and absorbing work of their career. X-ALT-DESC;FMTTYPE=text/html:Lukas Nelson knows all about legacies, indeed he's been hard at work carving his own for most of his young, eventful life. Balancing his work as front man of Lukas Nelson & Promise of the Real with their steady gig as Neil Young's studio and touring band — and of course, the never-ending road alongside his father in Willie Nelson & Family — Lukas has sharpened the edges of his singular sound, one that nods to his influences while pushing forward into uncharted territory. In the past year alone, the group — bassist Corey McCormick, drummer Anthony LoGerfo, percussionist Tato Melgar, multi-instrumentalist Logan Metz and guitarist, vocalist Nelson collaborated with Lady Gaga and Bradley Cooper on the blockbuster film and soundtrack, A Star Is Born turned and turned in star-making performances at festivals like Stagecoach, Newport Folk Festival, FarmAid, New Orleans Jazz Fest and the UK’s legendary Glastonbury Festival.
Straddling rock, country, soul, folk and R&B, the band’s original sound reaches new heights with Turn Off The News (Build A Garden), their second full-length release for Fantasy Records. With guest turns from Kesha, Margo Price, Sheryl Crow, Lucius, Shooter Jennings, Randy Houser, Micah Nelson, Madison Ryann Ward, Willie Nelson and Neil Young, it’s undoubtedly the band’s most mature and absorbing work of their career.
LOCATION:1245 E 9400 S\, Sandy\, Utah 84094\, United States GEO:0.00000000;0.00000000 LAST-MODIFIED:20230727T173557Z X-ACCESS:1 X-HITS:2890 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20230901T200000 DTEND;TZID=America/Denver:20230901T233000 UID:49FB1E06-F891-4391-AA2C-FC469F1E78DA SUMMARY:Tash Sultana DTSTAMP:20230424T211215Z DESCRIPTION:Since they broke through into the Australian music scene more than a decade ago, Tash Sultana has been nothing less than a musical force.\NThe gender-fluid multi-instrumentalist, producer, singer-songwriter, engineer and entrepreneur has carved out every step in their musical journey over the last 15 years, which has taken them from performing open night mics all over the country, busking the streets of Melbourne to releasing platinum records, accumulating billions of streams, nominations across the globe, to winning awards and selling hundreds of thousands of concert tickets worldwide.\NIt’s a journey that started humbly. At age 3, Tash was gifted a guitar from their grandfather, a moment which was the catalyst for a lifelong dedication to music and creativity. They practiced and jammed in their bedroom relentlessly, and by the age of 13 Tash was playing open mic nights nearly every night of the week across their home state of Victoria.\NTheir passion for guitar soon transferred to other instruments, and Tash began to experiment with synths, keyboards, piano, drums, percussion, bass, trumpet, saxophone, flute, mandolin,oud, harmonica, beat boxing, sampling and much more. Tash creates, composes, writes, engineers and produces everything that is heard live, and on record. Tash is the band. Their now-famous busking sessions on Melbourne’s Bourke Street catapulted them into the eyes and ears of music fans everywhere, and a viral video of their early song ‘Jungle’ brought them international attention. Since then, it’s been nothing but a meteoric rise.\NTheir debut album Flow State landed in 2018 and quickly became Gold certified, and spawned Platinum and Gold records with singles ‘Mystik’ and ‘Murder to the Mind’. Flow State would go on to win an ARIA Award for Best Blues & Roots Album, as well as international awards cementing Tash’s status as one of Australia’s biggest musical talents.\NIn 2019 alone, Tash sold more than 500,000 concert tickets globally, and over the years they’ve notched up major international appearances at festivals like Coachella, Lollapalooza, Bonnaroo, Austin City Limits, and Montreal Jazz Festival. They sold out the iconic Red Rocks Amphitheatre in just 5 minutes. Committed to delivering the highest quality of live performance, Tash custom-designed a guitar loop pedal which took them and their crew over two years to build.\NAcclaimed second record Terra Firma landed in 2021, and garnered widespread praise for Tash’s raw and reflective songwriting and ambitious musical arrangements. Like everything before it, the entirety of the record was carved by Tash – every instrument that was played, every bit of musical arrangement, every bit of production. But for the first time, Terra Firma saw Tash bring in a couple of close friends and collaborations to co-write – including Matt Corby, Dann Hume, Jerome Farah, and Josh Cashman.\NTerra Firma reached #1 on the charts, and secured multiple nominations and a take home win for Rolling Stone Australia’s Best Single for ‘Pretty Lady’.\NAn MTV Unplugged (Live in Melbourne) album landed in 2022. A stunning display of Tash’s consummate talents, it gave audiences an intimate glimpse at an artist that has grown immeasurably since their began their musical journey. Not only that, Tash mixed the record entirely by themself at their own studio, Lonely Lands Studio.\NTheir extensive catalog has nearly broken the internet, having raked in billions of streams and counting.\NIn recent years, Tash’s skill has expanded far beyond the studio. In 2019, Tash launched Lonely Lands Agency with Lemon Tree Music’s Regan Lethbridge and UNIFIED’s Jaddan Comerford. In the space of a few years, the boutique booking agency has grown into one of the biggest and most reputable in the country.\NIn addition, Tash is also the driver of Lonely Lands Records, their label through which they put out all of their music. It’s this natural instinct for the music business and attention to detail that have made them a formidable presence in the Australian industry over the last few years. As Tash says, over the years they’ve developed an incredible team around them to make their vision a reality. “I am completely in control of everything, literally everything,” they say. “But when you've got the team around you, you develop a clockwork system where you learn from each other… None of this is possible without a team around me. We have a tight, tight team.”They’ve also begun to lend their sharp production skills to other artists, including the Pierce Brothers, Milky Chance, Jerome Farah, and Josh Cashman, and some anonymous names that are yet to be disclosed. Having honed their production cred over their entire career, it’s a space Tash feels completely comfortable in. “I know that I've got stuff to bring to the table,” Tash says. “The way that I see working with other people is you are all sitting at the table, and you are sharing a little bit of your recipe with each other.”\N“I'm not competing with anybody and I'm not comparing myself with anybody,” says a reflective Tash about stepping out more as a producer. “I am just where I am at, and I’m going forward with eagerness to feed my craft. And you only do that by learning.” Tash is a world away from the artist they were when they were 18. Of course, many of the traits that defined them then are still present: the drive, the curiosity, the endless search for new musical knowledge and desire to share that knowledge with others. But in lots of ways they have changed. Their life now is focused, disciplined, with Tash valuing calm and connectedness. The coming years will see them step out more as an entrepreneur and businessperson, expanding what is becoming a small music industry empire. Tash, as always, is on their own journey.\NAs Tash puts it simply: “I am happy.” X-ALT-DESC;FMTTYPE=text/html:Since they broke through into the Australian music scene more than a decade ago, Tash Sultana has been nothing less than a musical force.
The gender-fluid multi-instrumentalist, producer, singer-songwriter, engineer and entrepreneur has carved out every step in their musical journey over the last 15 years, which has taken them from performing open night mics all over the country, busking the streets of Melbourne to releasing platinum records, accumulating billions of streams, nominations across the globe, to winning awards and selling hundreds of thousands of concert tickets worldwide.
It’s a journey that started humbly. At age 3, Tash was gifted a guitar from their grandfather, a moment which was the catalyst for a lifelong dedication to music and creativity. They practiced and jammed in their bedroom relentlessly, and by the age of 13 Tash was playing open mic nights nearly every night of the week across their home state of Victoria.
Their passion for guitar soon transferred to other instruments, and Tash began to experiment with synths, keyboards, piano, drums, percussion, bass, trumpet, saxophone, flute, mandolin,oud, harmonica, beat boxing, sampling and much more. Tash creates, composes, writes, engineers and produces everything that is heard live, and on record. Tash is the band. Their now-famous busking sessions on Melbourne’s Bourke Street catapulted them into the eyes and ears of music fans everywhere, and a viral video of their early song ‘Jungle’ brought them international attention. Since then, it’s been nothing but a meteoric rise.
Their debut album Flow State landed in 2018 and quickly became Gold certified, and spawned Platinum and Gold records with singles ‘Mystik’ and ‘Murder to the Mind’. Flow State would go on to win an ARIA Award for Best Blues & Roots Album, as well as international awards cementing Tash’s status as one of Australia’s biggest musical talents.
In 2019 alone, Tash sold more than 500,000 concert tickets globally, and over the years they’ve notched up major international appearances at festivals like Coachella, Lollapalooza, Bonnaroo, Austin City Limits, and Montreal Jazz Festival. They sold out the iconic Red Rocks Amphitheatre in just 5 minutes. Committed to delivering the highest quality of live performance, Tash custom-designed a guitar loop pedal which took them and their crew over two years to build.
Acclaimed second record Terra Firma landed in 2021, and garnered widespread praise for Tash’s raw and reflective songwriting and ambitious musical arrangements. Like everything before it, the entirety of the record was carved by Tash – every instrument that was played, every bit of musical arrangement, every bit of production. But for the first time, Terra Firma saw Tash bring in a couple of close friends and collaborations to co-write – including Matt Corby, Dann Hume, Jerome Farah, and Josh Cashman.
Terra Firma reached #1 on the charts, and secured multiple nominations and a take home win for Rolling Stone Australia’s Best Single for ‘Pretty Lady’.
An MTV Unplugged (Live in Melbourne) album landed in 2022. A stunning display of Tash’s consummate talents, it gave audiences an intimate glimpse at an artist that has grown immeasurably since their began their musical journey. Not only that, Tash mixed the record entirely by themself at their own studio, Lonely Lands Studio.
Their extensive catalog has nearly broken the internet, having raked in billions of streams and counting.
In recent years, Tash’s skill has expanded far beyond the studio. In 2019, Tash launched Lonely Lands Agency with Lemon Tree Music’s Regan Lethbridge and UNIFIED’s Jaddan Comerford. In the space of a few years, the boutique booking agency has grown into one of the biggest and most reputable in the country.
In addition, Tash is also the driver of Lonely Lands Records, their label through which they put out all of their music. It’s this natural instinct for the music business and attention to detail that have made them a formidable presence in the Australian industry over the last few years. As Tash says, over the years they’ve developed an incredible team around them to make their vision a reality.
“I am completely in control of everything, literally everything,” they say. “But when you've got the team around you, you develop a clockwork system where you learn from each other… None of this is possible without a team around me. We have a tight, tight team.”
They’ve also begun to lend their sharp production skills to other artists, including the Pierce Brothers, Milky Chance, Jerome Farah, and Josh Cashman, and some anonymous names that are yet to be disclosed. Having honed their production cred over their entire career, it’s a space Tash feels completely comfortable in. “I know that I've got stuff to bring to the table,” Tash says. “The way that I see working with other people is you are all sitting at the table, and you are sharing a little bit of your recipe with each other.”
“I'm not competing with anybody and I'm not comparing myself with anybody,” says a reflective Tash about stepping out more as a producer. “I am just where I am at, and I’m going forward with eagerness to feed my craft. And you only do that by learning.”
Tash is a world away from the artist they were when they were 18. Of course, many of the traits that defined them then are still present: the drive, the curiosity, the endless search for new musical knowledge and desire to share that knowledge with others. But in lots of ways they have changed. Their life now is focused, disciplined, with Tash valuing calm and connectedness. The coming years will see them step out more as an entrepreneur and businessperson, expanding what is becoming a small music industry empire. Tash, as always, is on their own journey.
As Tash puts it simply: “I am happy.”
LOCATION:1245 E 9400 S\, Sandy\, Utah 84094\, United States GEO:0.00000000;0.00000000 LAST-MODIFIED:20230814T155131Z X-ACCESS:1 X-HITS:2974 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231015T190000 DTEND;TZID=America/Denver:20231015T233000 UID:1F29ACF2-0C92-4F41-897E-7D31764E468E SUMMARY:Shakey Graves DTSTAMP:20230620T234728Z DESCRIPTION:The prehistory of Shakey Graves exists in two overstuffed folders. Inside them, artifacts document an immense era of anonymous DIY creativity, from 2007 through 2010 - the three years before Roll The Bones came out and changed his life.\NThere are stencils, lyrics, drawings, prototypes for concert posters, and even a zine. The latter, which Graves - aka Alejandro Rose-Garcia - wrote and illustrated, tells the tale of a once-courageous, now retired mouse who must journey to the moon to save his sweetheart. At the time, he envisioned the photocopied storybook as a potential vessel for releasing his music.\N“There was a lot of conceptualizing going on - trying to figure out what I wanted stuff to look like, sound like, and be like,” Rose-Garcia recalls, shuffling through the physical files on his second-story deck in South Austin. “And, honestly, a lot of trying to keep myself from going crazy.”\NIn this lode of unreleased ephemera, CD-Rs are the most bountiful element. There are dozens of burned discs with widely varying track lists, loosely resembling what would become the Austin native’s 2011 breakout debut Roll the Bones. For Rose-Garcia, who’s long loved the incongruous art form of sequencing strange mixtapes for friends, his own record was subject to change every time he burned a disc for somebody. Consistency didn’t matter, he asserts, because there was no demand or expectations.\NThus Roll the Bones was by no means a Big Bang creation story, rather a years long process of metamorphosis where literally hundreds of tracks were winnowed down into ten. As the album took shape, he began manufacturing one-off editions of the CD, stapled to self-destruct in brown paper, with black and white photographs glued upon them, and an ink pen marking of the artist's enduring logo: a skull struck by an arrow.\N“I liked that if they were opened, you couldn’t close them again,” he smiles. “Sometimes I’d spray paint the CD so they looked good and people would stick them in their car stereo and it would fuse in and never come out. They’d tell me, ‘You’re lucky I like this record because it’s the last one I’ll ever be able to listen to in my car.’”\NIn the shadows self-doubt that surrounds any artists first record, Rose-Garcia had a fantasy: he releases Roll the Bones, only ten people hear it, it’s rediscovered a decade later by Numero Group, hailed as before-its-time, and finds an audience as a lost treasure. He still plays that scenario through his mind like an alternative reality.\NOf course, that’s far from what actually materialized. Roll the Bones was released on the first day of 2011 without a lick of promotion advancing it. It was simply thrust into the world as a decapod of perplexingly memorable, narrative-wrapped songs with a mysterious cover and no information about the artist... only available on the relatively new platform of Bandcamp.\NThat year, an editor at Bandcamp made it a featured album for a month and from there it stayed in the website’s top selling folk albums evermore. The record has since seen well over 100,000 units sold - even while being available for free download. In the “Supported By” section of the Roll the Bones Bandcamp page, you can endlessly click “more” and squares of avatars will keep showing up until you grow tired and stop.\N“If you discover something for yourself, it will always hold more water because it’s tied to memory and coincidence,” Rose-Garcia reasons as to why he never pushed Roll the Bones onto a wider marketplace. “It gives you a sense of ownership as a listener.”\NNow fans can obtain Roll the Bones as their own physical artifact. Through Dualtone Records, Shakey Graves will release a Ten Year Special Edition double LP with a black and gold foil re-arting of the taxidermied cow head cover. Separate iterations, hitting record collections on April 2, offer the 180g vinyl in a black and gold combination or two marbled “galaxy gold” discs. The lovingly assembled packaging includes handwritten deep explanations of every song, offset with original photography.\NAlong with its deluxe vinyl emergence, Roll the Bones today becomes available through all digital service providers - Spotify, Apple Music, YouTube, et all. For the last decade, the songs have lived exclusively on Bandcamp. This full-spectrum digital release arrives concurrent with Shakey Graves Day, which was minted on February 9, 2012 by Austin Mayor Steve Adler. Year one, Rose-Garcia spent what he calls his “alter ego’s birthday,” as an excuse to go play laser tag. Ever since, he’s used it as an occasion to stage intimate pop-up shows and open up the attics of his discography - making all of his albums, plus hundreds of unheard songs temporarily available for free.\N“I’ve used Shakey Graves Day as a challenge to myself,” he assesses. “I make so many random songs throughout the year that I either forget about or I’m too nervous to put on an album and it becomes a clearinghouse for that. It surprises me when people tell me that something released that day is their favorite of my stuff. In a larger sense, it builds off what I initially did with Roll the Bones - which is give it away for free.”\NAccompanying Roll the Bones anniversary pressing are 15 additional tracks comprising an Odds + Ends LP, which stands as an essential document of Grave’s early era. Highlights include the mandolin imbued “Chinatown,” which sounds like it could be dubbed off a 1930’s silver screen soundtrack, and “Saving Face” - a seminal version of what would become Roll the Bones title cut. The crown jewel, however, may be a the first ever proper recording of the trifling love song “Late July,” a version that’s drastically different than the live rendition that’s racked 14 million views on YouTube.\NPrepping Roll the Bones thoughtful 2021 edition gave Rose-Garcia an opportunity to take a new look at the person.\N“I hear someone who felt really trapped,” he reveals. “In a lot of ways it was a breakup record. My first serious relationship had fallen apart and I was wanting to break up with my life - run away, be transient, and figure out who I was in the world. I can hear myself blaming the girl and trying to support myself, like maybe it’s okay to be dirty and crazy and have blinders on. Then, at the end, everything’s zooming back in and I’m saying ‘I guess I just got hurt and I’m in a bit of pain and, you know, it’s going to be okay.’”\NClaiming he’s “further confused” listeners with each release, Rose-Garcia believes this purge of early output will provide some needed framing for his discography. It’s his genesis story, before he had the studio time to make the shiny And the War Came or the full-band cohesion to make the painstakingly dense Can’t Wake Up. To him, it’s a scrappy effort, but the most intentional work he’s ever produced - and, a decade later, he wouldn’t change a thing.\N“It’s a record that sounds like my years of exploration and influence, funneled through my abilities at the time - and it all became something bigger,” he muses. “If you would’ve offered to me: ‘Let's do exactly what you want, right now” Roll the Bones wouldn’t have come out like this... and I’m happy that’s the case. Total control is an unhealthy myth, it leaves out the emotional side of how all the accidents come together. This record’s a period of\Ntime smashed into a single product and, in my own heart, it’s a moral compass: to always get back to feeling like this about the songs I make.” X-ALT-DESC;FMTTYPE=text/html:The prehistory of Shakey Graves exists in two overstuffed folders. Inside them, artifacts document an immense era of anonymous DIY creativity, from 2007 through 2010 - the three years before Roll The Bones came out and changed his life.
There are stencils, lyrics, drawings, prototypes for concert posters, and even a zine. The latter, which Graves - aka Alejandro Rose-Garcia - wrote and illustrated, tells the tale of a once-courageous, now retired mouse who must journey to the moon to save his sweetheart. At the time, he envisioned the photocopied storybook as a potential vessel for releasing his music.
“There was a lot of conceptualizing going on - trying to figure out what I wanted stuff to look like, sound like, and be like,” Rose-Garcia recalls, shuffling through the physical files on his second-story deck in South Austin. “And, honestly, a lot of trying to keep myself from going crazy.”
In this lode of unreleased ephemera, CD-Rs are the most bountiful element. There are dozens of burned discs with widely varying track lists, loosely resembling what would become the Austin native’s 2011 breakout debut Roll the Bones. For Rose-Garcia, who’s long loved the incongruous art form of sequencing strange mixtapes for friends, his own record was subject to change every time he burned a disc for somebody. Consistency didn’t matter, he asserts, because there was no demand or expectations.
Thus Roll the Bones was by no means a Big Bang creation story, rather a years long process of metamorphosis where literally hundreds of tracks were winnowed down into ten. As the album took shape, he began manufacturing one-off editions of the CD, stapled to self-destruct in brown paper, with black and white photographs glued upon them, and an ink pen marking of the artist's enduring logo: a skull struck by an arrow.
“I liked that if they were opened, you couldn’t close them again,” he smiles. “Sometimes I’d spray paint the CD so they looked good and people would stick them in their car stereo and it would fuse in and never come out. They’d tell me, ‘You’re lucky I like this record because it’s the last one I’ll ever be able to listen to in my car.’”
In the shadows self-doubt that surrounds any artists first record, Rose-Garcia had a fantasy: he releases Roll the Bones, only ten people hear it, it’s rediscovered a decade later by Numero Group, hailed as before-its-time, and finds an audience as a lost treasure. He still plays that scenario through his mind like an alternative reality.
Of course, that’s far from what actually materialized. Roll the Bones was released on the first day of 2011 without a lick of promotion advancing it. It was simply thrust into the world as a decapod of perplexingly memorable, narrative-wrapped songs with a mysterious cover and no information about the artist... only available on the relatively new platform of Bandcamp.
That year, an editor at Bandcamp made it a featured album for a month and from there it stayed in the website’s top selling folk albums evermore. The record has since seen well over 100,000 units sold - even while being available for free download. In the “Supported By” section of the Roll the Bones Bandcamp page, you can endlessly click “more” and squares of avatars will keep showing up until you grow tired and stop.
“If you discover something for yourself, it will always hold more water because it’s tied to memory and coincidence,” Rose-Garcia reasons as to why he never pushed Roll the Bones onto a wider marketplace. “It gives you a sense of ownership as a listener.”
Now fans can obtain Roll the Bones as their own physical artifact. Through Dualtone Records, Shakey Graves will release a Ten Year Special Edition double LP with a black and gold foil re-arting of the taxidermied cow head cover. Separate iterations, hitting record collections on April 2, offer the 180g vinyl in a black and gold combination or two marbled “galaxy gold” discs. The lovingly assembled packaging includes handwritten deep explanations of every song, offset with original photography.
Along with its deluxe vinyl emergence, Roll the Bones today becomes available through all digital service providers - Spotify, Apple Music, YouTube, et all. For the last decade, the songs have lived exclusively on Bandcamp. This full-spectrum digital release arrives concurrent with Shakey Graves Day, which was minted on February 9, 2012 by Austin Mayor Steve Adler. Year one, Rose-Garcia spent what he calls his “alter ego’s birthday,” as an excuse to go play laser tag. Ever since, he’s used it as an occasion to stage intimate pop-up shows and open up the attics of his discography - making all of his albums, plus hundreds of unheard songs temporarily available for free.
“I’ve used Shakey Graves Day as a challenge to myself,” he assesses. “I make so many random songs throughout the year that I either forget about or I’m too nervous to put on an album and it becomes a clearinghouse for that. It surprises me when people tell me that something released that day is their favorite of my stuff. In a larger sense, it builds off what I initially did with Roll the Bones - which is give it away for free.”
Accompanying Roll the Bones anniversary pressing are 15 additional tracks comprising an Odds + Ends LP, which stands as an essential document of Grave’s early era. Highlights include the mandolin imbued “Chinatown,” which sounds like it could be dubbed off a 1930’s silver screen soundtrack, and “Saving Face” - a seminal version of what would become Roll the Bones title cut. The crown jewel, however, may be a the first ever proper recording of the trifling love song “Late July,” a version that’s drastically different than the live rendition that’s racked 14 million views on YouTube.
Prepping Roll the Bones thoughtful 2021 edition gave Rose-Garcia an opportunity to take a new look at the person.
“I hear someone who felt really trapped,” he reveals. “In a lot of ways it was a breakup record. My first serious relationship had fallen apart and I was wanting to break up with my life - run away, be transient, and figure out who I was in the world. I can hear myself blaming the girl and trying to support myself, like maybe it’s okay to be dirty and crazy and have blinders on. Then, at the end, everything’s zooming back in and I’m saying ‘I guess I just got hurt and I’m in a bit of pain and, you know, it’s going to be okay.’”
Claiming he’s “further confused” listeners with each release, Rose-Garcia believes this purge of early output will provide some needed framing for his discography. It’s his genesis story, before he had the studio time to make the shiny And the War Came or the full-band cohesion to make the painstakingly dense Can’t Wake Up. To him, it’s a scrappy effort, but the most intentional work he’s ever produced - and, a decade later, he wouldn’t change a thing.
“It’s a record that sounds like my years of exploration and influence, funneled through my abilities at the time - and it all became something bigger,” he muses. “If you would’ve offered to me: ‘Let's do exactly what you want, right now” Roll the Bones wouldn’t have come out like this... and I’m happy that’s the case. Total control is an unhealthy myth, it leaves out the emotional side of how all the accidents come together. This record’s a period of
time smashed into a single product and, in my own heart, it’s a moral compass: to always get back to feeling like this about the songs I make.”
LOCATION:235 N 500 W\, Salt Lake City\, 84116 GEO:40.78110040;-111.90492540 LAST-MODIFIED:20230814T155202Z X-ACCESS:1 X-HITS:1162 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231115T193000 DTEND;TZID=America/Denver:20231115T203000 UID:D6D402A6-C03E-4A16-BE40-29AE196F8040 SUMMARY:SPIDER-MAN DTSTAMP:20231113T191852Z DESCRIPTION:Live at the Eccles presents SPIDER-MAN: INTO THE SPIDER-VERSE LIVE IN CONCERT on Wednesday, November 15, 2023 at the Capitol Theatre in downtown Salt Lake City. ArtTix is the official source for tickets for Live at the Eccles events.\NGo back to where it all began with this concert event! Featuring a soundtrack that blends symphonic orchestral music with hip-hop, Spider-Man: Into The Spider-Verse Live in Concertpairs a screening of the Academy Award®-winning animated film with live musicians and turntables featuring a DJ scratcher live on stage. Emmy® winner Daniel Pemberton composed a sprawling score of boundary-pushing original music that is complimented with song contributions by Post Malone, Lil Wayne, Jaden Smith, and Nicki Minaj. The hip-hop based score results in a sonic universe that is woven throughout the fabric of the film, supporting its themes of resilience and universal heroism. Joining the tour is The Broadway Sinfonietta, an all-women and majority women-of-color orchestra led by conductor Emily Marshall.\NABOUT THE FILM Spider-Man: Into The Spider-Verse introduces Brooklyn teen Miles Morales, and the limitless possibilities of the Spider-Verse, where more than one can wear the mask. A superhero classic for a new generation, Miles is an Afro-Latinx teen who is bitten by a radioactive spider in the subway and gains mysterious powers. Joined by spider-heroes from parallel universes, Miles must master his new powers to save his city from a villain who could destroy it all. X-ALT-DESC;FMTTYPE=text/html:Live at the Eccles presents SPIDER-MAN: INTO THE SPIDER-VERSE LIVE IN CONCERT on Wednesday, November 15, 2023 at the Capitol Theatre in downtown Salt Lake City. ArtTix is the official source for tickets for Live at the Eccles events.
Go back to where it all began with this concert event! Featuring a soundtrack that blends symphonic orchestral music with hip-hop, Spider-Man: Into The Spider-Verse Live in Concertpairs a screening of the Academy Award®-winning animated film with live musicians and turntables featuring a DJ scratcher live on stage. Emmy® winner Daniel Pemberton composed a sprawling score of boundary-pushing original music that is complimented with song contributions by Post Malone, Lil Wayne, Jaden Smith, and Nicki Minaj. The hip-hop based score results in a sonic universe that is woven throughout the fabric of the film, supporting its themes of resilience and universal heroism. Joining the tour is The Broadway Sinfonietta, an all-women and majority women-of-color orchestra led by conductor Emily Marshall.
ABOUT THE FILM Spider-Man: Into The Spider-Verse introduces Brooklyn teen Miles Morales, and the limitless possibilities of the Spider-Verse, where more than one can wear the mask. A superhero classic for a new generation, Miles is an Afro-Latinx teen who is bitten by a radioactive spider in the subway and gains mysterious powers. Joined by spider-heroes from parallel universes, Miles must master his new powers to save his city from a villain who could destroy it all.
LOCATION:50 W 200 S\, Salt Lake City\, Salt Lake 84101\, United States GEO:40.76518270;-111.89604200 LAST-MODIFIED:20231113T192011Z X-ACCESS:1 X-HITS:66 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20231117T200000 DTEND;TZID=America/Denver:20231117T233000 UID:F473EC26-E6BF-4E30-A2BE-95DFBF7EE7D0 SUMMARY:St. Paul & The Broken Bones DTSTAMP:20230502T143745Z DESCRIPTION:Live at the Eccles presents St. Paul & The Broken Bones with special guest Maggie Rose on Friday, November 17, 2023 at Capitol Theatre in downtown Salt Lake City. ArtTix is the official source for tickets for Live at the Eccles events.\NFounded in Birmingham, Alabama in 2011, St. Paul & the Broken Bones consists of Paul Janeway (vocals), Jesse Phillips (bass), Browan Lollar (guitar), Kevin Leon (drums), Al Gamble (keyboards), Allen Branstetter (trumpet), Chad Fisher (trombone), and Amari Ansari (saxophone). The eight-piece ensemble burst into the world with their 2014 debut Half the City, establishing a sound that quickly became a calling card and landing the band a slew of major festivals including Lollapalooza, Coachella and Glastonbury. Critical praise from The New York Times, Rolling Stone, SPIN and NPR followed, leading to shared stages with some of the world’s biggest artists—Elton John and The Rolling Stones among them—and launching an impressive run of headlining tours behind what Esquire touted as a "potent live show that knocks audiences on their ass.”\NThe group has continued to expand their sound with every record, branching out well beyond old-school soul into sleek summertime funk and classic disco on albums like 2018's Young Sick Camellia. Their forthcoming LP, Angels In Science Fiction, stretches their limbs further afield, building on the shadowy psychedelia and intricate, experimental R&B of 2022’s The Alien Coast. X-ALT-DESC;FMTTYPE=text/html:Live at the Eccles presents St. Paul & The Broken Bones with special guest Maggie Rose on Friday, November 17, 2023 at Capitol Theatre in downtown Salt Lake City. ArtTix is the official source for tickets for Live at the Eccles events.
Founded in Birmingham, Alabama in 2011, St. Paul & the Broken Bones consists of Paul Janeway (vocals), Jesse Phillips (bass), Browan Lollar (guitar), Kevin Leon (drums), Al Gamble (keyboards), Allen Branstetter (trumpet), Chad Fisher (trombone), and Amari Ansari (saxophone). The eight-piece ensemble burst into the world with their 2014 debut Half the City, establishing a sound that quickly became a calling card and landing the band a slew of major festivals including Lollapalooza, Coachella and Glastonbury. Critical praise from The New York Times, Rolling Stone, SPIN and NPR followed, leading to shared stages with some of the world’s biggest artists—Elton John and The Rolling Stones among them—and launching an impressive run of headlining tours behind what Esquire touted as a "potent live show that knocks audiences on their ass.”
The group has continued to expand their sound with every record, branching out well beyond old-school soul into sleek summertime funk and classic disco on albums like 2018's Young Sick Camellia. Their forthcoming LP, Angels In Science Fiction, stretches their limbs further afield, building on the shadowy psychedelia and intricate, experimental R&B of 2022’s The Alien Coast.
LOCATION:50 W 200 S\, Salt Lake City\, Salt Lake 84101\, United States GEO:40.76518270;-111.89604200 LAST-MODIFIED:20230823T210634Z X-ACCESS:1 X-HITS:1205 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240210T180000 DTEND;TZID=America/Denver:20240210T223000 UID:055B4982-E37C-43B9-8BE1-D78E7F883F27 SUMMARY:Winter Elixir Mixer DTSTAMP:20240206T214146Z DESCRIPTION:A winter celebration of cocktails and our famous snowpack, plus a pub crawl and afterparty featuring live music, food, art, and more. X-ALT-DESC;FMTTYPE=text/html:A winter celebration of cocktails and our famous snowpack, plus a pub crawl and afterparty featuring live music, food, art, and more.
LOCATION:239 S Main Street\, Salt Lake City\, 84111 GEO:40.76412763;-111.89098500 X-ACCESS:1 X-HITS:139 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240226T190000 DTEND;TZID=America/Denver:20240226T200000 UID:33CE865C-3163-478B-A61F-1BA2DBF9F0A0 SUMMARY:Tommy Emmanuel DTSTAMP:20230822T001733Z DESCRIPTION:The real-time exuberance Tommy Emmanuel brings to every note of every song he plays is palpable and infectious. His fans are in love with his unbound talent as a guitarist of multitudes, his ability to play three parts at once, always with pure heart and real soul. He is a true virtuoso. But he seems as delighted always with the magic of the music as the audience, if not more, and his joy illuminates everything.\NIt’s one thing to play these multi-dimensional arrangements flawlessly on an acoustic guitar. But to do it with that smile of the ages, that evidence of authentic, unbridled delight, is an irresistibly infectious invitation to feel his music as deeply as he does. “The joy, " he says, “is there always because I’m chasing it through music. Seeing the surprise in peoples’ eyes is worth living and working for... I can’t help but play to the people with all my heart, which is overflowing with joy of being in that moment that I’ve worked all my life for. And here it is!”\NThat authentic exuberance Tommy brings to every show and every record is especially powerful, given the profound deficit of real joy in so many lives. Tommy’s happiness, like his music, is pure and expressed in real-time. Nothing is phony. It’s a quality that does reach far beyond any one language, and it’s instantly understood by all his fellow humans. It’s the reason he smiles so much while playing, and why his audience does as well. As many have said, it’s hard not to be happy at his shows. Because his joy, and the timeless river of inspiration, which is the source, is universally recognized. And it feels good.\NIn 2018, Tommy made the great album, Accomplice One, a series of duets with musicians great and varied, and all at his level. It’s a concept that worked, as the range of artists reflected Tommy’s expansive love of all kinds of music, including Rodney Crowell, Mark Knopfler, Amanda Shires, Jason Isbell, Jerry Douglas, Jake Shimabukuro and more. Each of his accomplices seemed as inspired by his energy and passion as much as Tommy was by theirs, and he played with effortless grace.\NNow comes the long-awaited sequel, Accomplice Two. It shares the same exuberance, diversity, and sense of adventure as the first album, with a great range of artists. This album features rock legends Michael McDonald, Jorma Kaukonen, and Little Feat; bluegrass superstars such as Billy Strings, The Del McCoury Band, Sam Bush, Jerry Douglas, Sierra Hull, and David Grisman; country icons such as Nitty Gritty Dirt Band, Jamey Johnson, and Raul Malo; and guitar heavyweights like Yasmin Williams, Larry Campbell, and Richard Smith. The first single “White Freight Liner Blues” is out now and features the Grammy award winner and claw hammer guitarist, Molly Tuttle.\NTommy also has a new television special called Accomplice LIVE! which begins airing on PBS in March of 2023. This special features some of Tommy’s best-known songs and duets with his accomplices such as Emmylou Harris, Rodney Crowell, Sierra Hull, Yasmin Williams, and many others.\NTommy was born in 1955 in Muswellbrook, New South Wales Australia, and started playing the guitar at age four. In his twenties, he was the most sought-after performer and session musician in Sydney. By age 30, he was burning on electric guitar with several rock bands in stadiums across Europe. He could have gone on to live the rock star life. Yet, he yearned for something purer and closer to his heart. Casting off the reliable rock band engine of monstrous sonics blasting, Tommy went acoustic.\NThe inspiration for Tommy’s transformation was his hero, Chet Atkins, who represented the purity of one man, one guitar, and unlimited passionate for serving the song. Eventually Tommy met his hero and started a lifelong friendship which shaped Tommy’s music forever. Chet welcomed Tommy into guitarist knighthood by bestowing upon him the coveted title of CGP (Certified Guitar Player), an honor awarded only to four other humans ever, and they recorded an album together, The Day Finger Pickers Took Over the World. Receiving the love and esteem of Chet lifted Tommy into a different realm. Because, as Chet recognized instantly and told the world, musicians like this don’t come along that often; pay attention to this man. And people have paid attention from sold out shows all over the world to multiple Grammy nominations, ARIA Awards, IBMA Awards, and countless “Best Acoustic Guitarist” wins in numerous music magazine readers polls.... the world is taking notice. X-ALT-DESC;FMTTYPE=text/html:The real-time exuberance Tommy Emmanuel brings to every note of every song he plays is palpable and infectious. His fans are in love with his unbound talent as a guitarist of multitudes, his ability to play three parts at once, always with pure heart and real soul. He is a true virtuoso. But he seems as delighted always with the magic of the music as the audience, if not more, and his joy illuminates everything.
It’s one thing to play these multi-dimensional arrangements flawlessly on an acoustic guitar. But to do it with that smile of the ages, that evidence of authentic, unbridled delight, is an irresistibly infectious invitation to feel his music as deeply as he does. “The joy, " he says, “is there always because I’m chasing it through music. Seeing the surprise in peoples’ eyes is worth living and working for... I can’t help but play to the people with all my heart, which is overflowing with joy of being in that moment that I’ve worked all my life for. And here it is!”
That authentic exuberance Tommy brings to every show and every record is especially powerful, given the profound deficit of real joy in so many lives. Tommy’s happiness, like his music, is pure and expressed in real-time. Nothing is phony. It’s a quality that does reach far beyond any one language, and it’s instantly understood by all his fellow humans. It’s the reason he smiles so much while playing, and why his audience does as well. As many have said, it’s hard not to be happy at his shows. Because his joy, and the timeless river of inspiration, which is the source, is universally recognized. And it feels good.
In 2018, Tommy made the great album, Accomplice One, a series of duets with musicians great and varied, and all at his level. It’s a concept that worked, as the range of artists reflected Tommy’s expansive love of all kinds of music, including Rodney Crowell, Mark Knopfler, Amanda Shires, Jason Isbell, Jerry Douglas, Jake Shimabukuro and more. Each of his accomplices seemed as inspired by his energy and passion as much as Tommy was by theirs, and he played with effortless grace.
Now comes the long-awaited sequel, Accomplice Two. It shares the same exuberance, diversity, and sense of adventure as the first album, with a great range of artists. This album features rock legends Michael McDonald, Jorma Kaukonen, and Little Feat; bluegrass superstars such as Billy Strings, The Del McCoury Band, Sam Bush, Jerry Douglas, Sierra Hull, and David Grisman; country icons such as Nitty Gritty Dirt Band, Jamey Johnson, and Raul Malo; and guitar heavyweights like Yasmin Williams, Larry Campbell, and Richard Smith. The first single “White Freight Liner Blues” is out now and features the Grammy award winner and claw hammer guitarist, Molly Tuttle.
Tommy also has a new television special called Accomplice LIVE! which begins airing on PBS in March of 2023. This special features some of Tommy’s best-known songs and duets with his accomplices such as Emmylou Harris, Rodney Crowell, Sierra Hull, Yasmin Williams, and many others.
Tommy was born in 1955 in Muswellbrook, New South Wales Australia, and started playing the guitar at age four. In his twenties, he was the most sought-after performer and session musician in Sydney. By age 30, he was burning on electric guitar with several rock bands in stadiums across Europe. He could have gone on to live the rock star life. Yet, he yearned for something purer and closer to his heart. Casting off the reliable rock band engine of monstrous sonics blasting, Tommy went acoustic.
The inspiration for Tommy’s transformation was his hero, Chet Atkins, who represented the purity of one man, one guitar, and unlimited passionate for serving the song. Eventually Tommy met his hero and started a lifelong friendship which shaped Tommy’s music forever. Chet welcomed Tommy into guitarist knighthood by bestowing upon him the coveted title of CGP (Certified Guitar Player), an honor awarded only to four other humans ever, and they recorded an album together, The Day Finger Pickers Took Over the World. Receiving the love and esteem of Chet lifted Tommy into a different realm. Because, as Chet recognized instantly and told the world, musicians like this don’t come along that often; pay attention to this man. And people have paid attention from sold out shows all over the world to multiple Grammy nominations, ARIA Awards, IBMA Awards, and countless “Best Acoustic Guitarist” wins in numerous music magazine readers polls.... the world is taking notice.
LOCATION:138 W Broadway\, Salt Lake City\, Utah 84101\, United States GEO:0.00000000;0.00000000 LAST-MODIFIED:20240207T211040Z X-ACCESS:1 X-HITS:824 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240606T140000 DTEND;TZID=America/Denver:20240608T150000 UID:CE7B96CF-09A7-435E-A30D-DF7B2FB0C4CF SUMMARY:Fort Desolation Fest DTSTAMP:20240125T165625Z DESCRIPTION: Fort Desolation isn’t a place. It’s the notion that the road can always take you somewhere wonderful—where you can climb a mountain, soak in a secret swimming hole, gaze at a starry sky and get as lost as you want to be. That’s what inspires us as we create gatherings and goods for outdoor adventure travelers, music lovers and everyone in between.\NFort Desolation Fest returns this June 6-8, once again giving attendees three days to explore the Capitol Reef National Park area and three nights to enjoy an incredible lineup of live music in the red rocks of Cougar Ridge Resort in Torrey, Utah.\NIt’s All About the Experience: Fort Desolation Fest keeps things small to ensure a premium experience for all. By limiting attendance to a fraction of what most major festivals allow, we can better pay attention to the things that matter most. “It’s pretty simple, really: By keeping attendance down, you ensure people can move around comfortably, get close to the music—and order food, drinks or find a restroom without making it a major endeavor. This has been a core value for us since we started, and our attendees have made it clear that they appreciate it,” said Jeremy Rawle, founder of Fort Desolation Fest. \NDouble the Camping Space This Year: The Fort Desolation Fest campground has become a legendary experience over the years. From after-hours jams with festival artists to campsite cook-offs to stargazing in this International Dark Sky Community, there’s a lot to love. We know more people want to be able to stay on-site at the festival, but camping always sells out fast. So we’ve doubled that space for 2024 with the new Sidewinder Campground that’s just a short walk from the main stage. \NIntroducing a New Glamping Experience: For those who want to experience the campground with the niceties of a luxury hotel, we’ve added a new glamping experience. Glampers will stay in a Scandinavian-inspired tent and have access to a concierge lounge, baggage assistance, parking, a morning coffee and pastry bar and much more. Attendees who are even more “indoorsy” will find plenty of other lodging in and around the Torrey area. \NNational Park Adventures: Fort Desolation Fest takes place just a few miles from Capitol Reef National Park, one of Utah’s “Mighty Five” national parks. The music takes place at night, so attendees have three days to craft their own adventures in the awe-inspiring red-rock cliffs, canyons, domes and arches of the surrounding landscapes. From hiking to fly-fishing to cycling to off-roading, there’s something for everyone in the area.\NVolunteer Opportunities: Local Torrey-area volunteers can exchange volunteer hours for a music pass. And select traveling volunteers can volunteer for a music pass and a spot in our volunteer campsite. Email info@fortdesolation.com to find out about any open volunteer positions. X-ALT-DESC;FMTTYPE=text/html:Fort Desolation isn’t a place. It’s the notion that the road can always take you somewhere wonderful—where you can climb a mountain, soak in a secret swimming hole, gaze at a starry sky and get as lost as you want to be. That’s what inspires us as we create gatherings and goods for outdoor adventure travelers, music lovers and everyone in between.
Fort Desolation Fest returns this June 6-8, once again giving attendees three days to explore the Capitol Reef National Park area and three nights to enjoy an incredible lineup of live music in the red rocks of Cougar Ridge Resort in Torrey, Utah.
It’s All About the Experience: Fort Desolation Fest keeps things small to ensure a premium experience for all. By limiting attendance to a fraction of what most major festivals allow, we can better pay attention to the things that matter most. “It’s pretty simple, really: By keeping attendance down, you ensure people can move around comfortably, get close to the music—and order food, drinks or find a restroom without making it a major endeavor. This has been a core value for us since we started, and our attendees have made it clear that they appreciate it,” said Jeremy Rawle, founder of Fort Desolation Fest.
Double the Camping Space This Year: The Fort Desolation Fest campground has become a legendary experience over the years. From after-hours jams with festival artists to campsite cook-offs to stargazing in this International Dark Sky Community, there’s a lot to love. We know more people want to be able to stay on-site at the festival, but camping always sells out fast. So we’ve doubled that space for 2024 with the new Sidewinder Campground that’s just a short walk from the main stage.
Introducing a New Glamping Experience: For those who want to experience the campground with the niceties of a luxury hotel, we’ve added a new glamping experience. Glampers will stay in a Scandinavian-inspired tent and have access to a concierge lounge, baggage assistance, parking, a morning coffee and pastry bar and much more. Attendees who are even more “indoorsy” will find plenty of other lodging in and around the Torrey area.
National Park Adventures: Fort Desolation Fest takes place just a few miles from Capitol Reef National Park, one of Utah’s “Mighty Five” national parks. The music takes place at night, so attendees have three days to craft their own adventures in the awe-inspiring red-rock cliffs, canyons, domes and arches of the surrounding landscapes. From hiking to fly-fishing to cycling to off-roading, there’s something for everyone in the area.
Volunteer Opportunities: Local Torrey-area volunteers can exchange volunteer hours for a music pass. And select traveling volunteers can volunteer for a music pass and a spot in our volunteer campsite. Email info@fortdesolation.com to find out about any open volunteer positions.
LOCATION:800 S 600 E\, Torrey\, 84775\, USA GEO:0.00000000;0.00000000 LAST-MODIFIED:20240207T170942Z X-ACCESS:1 X-HITS:4479 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Denver:20240614T170000 DTEND;TZID=America/Denver:20240615T180000 UID:A5118477-474E-4E84-B97F-3982ADC94FDB SUMMARY:Utah Blues Festival DTSTAMP:20231113T232804Z DESCRIPTION:The 8th Utah Blues Festival returns to the Gallivan Center, in Salt Lake City, Utah on June 14-15, 2024!\NCome join us in the heart of downtown Salt Lake City to experience another unbelievable weekend of blues music! We’ll also feature our award-winning free workshops, unique artistic and non-profit vendors, great food trucks, beer, wine, hard seltzer, soda, and free water! It’s one of the finest blues festivals in the country, with our host hotel, the Marriott City Center, overlooking the venue.\NFRIDAY, JUNE 14 from 5 PM – 10 PM\N\N\NLarry McCray\N\N\NAnnika Chambers & Paul Deslauriers\N\N\NTab Benoit\N\N\NAfter show: Mitch Woods - Club 88\N\N\NSATURDAY, JUNE 15 from NOON – 10 PM\N\N\NDennis Jones\N\N\NCash Box Kings\N\N\ND.K. Harrell\N\N\NSue Foley\N\N\NSouther Avenue\N\N\NAfter show: Mitch Woods - Club 88\N\N X-ALT-DESC;FMTTYPE=text/html:The 8th Utah Blues Festival returns to the Gallivan Center, in Salt Lake City, Utah on June 14-15, 2024!
Come join us in the heart of downtown Salt Lake City to experience another unbelievable weekend of blues music! We’ll also feature our award-winning free workshops, unique artistic and non-profit vendors, great food trucks, beer, wine, hard seltzer, soda, and free water! It’s one of the finest blues festivals in the country, with our host hotel, the Marriott City Center, overlooking the venue.
FRIDAY, JUNE 14 from 5 PM – 10 PM
Larry McCray
Annika Chambers & Paul Deslauriers
Tab Benoit
After show: Mitch Woods - Club 88
SATURDAY, JUNE 15 from NOON – 10 PM
Dennis Jones
Cash Box Kings
D.K. Harrell
Sue Foley
Souther Avenue
After show: Mitch Woods - Club 88
Nickel Creek is mandolinist Chris Thile, violinist Sara Watkins and guitarist Sean Watkins. Together a sum of more than their staggering parts, the trio revolutionized bluegrass and folk in the early 2000s and ushered in a new era of what we now recognize as Americana music. After a nine year absence, the Platinum-selling, Grammy Award-winning trio returned in 2023 with the highly-anticipated album, Celebrants—a bounty of 18 disparate but loosely connected songs written collectively during a creative retreat in Santa Barbara in early 2021. The result is perhaps the most audacious yet accessible release of the Grammy-winning trio’s 34-year career. The entire enterprise is, naturally, shot through with the trio’s virtuosic picking and shiver-inducing harmonies. The lyrics—addressing love, friendship, time, and the universal travails of travel—combine the poetic and plain-spoken, hitting a sweet spot of ethereal and relatable as bridges are built, crossed, burned, and rebuilt. In celebration of the release, the trio will return to the road including three sold-out shows at Nashville's Ryman Auditorium with more dates to be announced soon.
LOCATION:1245 E 9400 S\, Sandy\, Utah 84094\, United States GEO:0.00000000;0.00000000 LAST-MODIFIED:20240212T172426Z X-ACCESS:1 X-HITS:859 X-URL: X-COLOR:3366cc X-SHOW-END-TIME:0 END:VEVENT END:VCALENDAR