Christy Lynn Band and Gracie Lane
May
23
8:00 PM20:00

Christy Lynn Band and Gracie Lane

Come celebrate Christy Lynns birthday May 23rd at Salvage Station! Be the first to hear Christy Lynn Band perform their upcoming album Sweetheart of the Radio. Joining the night of all original alt country music will be Ashevilles own Gracie Lane.

Christy Lynn Band

Into classic country, rock n roll, and folk music? Christy Lynn Band has been putting 8 years of creating roots influenced music into a meaningfully kitschy album they are excited to share. Meet the Sweetheart of the Radio, Christy Lynn. Her new album has tales of heartbreak and leaving, an outlaw's last wishes before the hangman's noose, a country star's hidden sadness behind the airwaves of her radio success, finding solace in a drinking problem, and more!


Gracie Lane

Born down on the Bayou of Southeast Louisiana, music and dancing were always a sizable part of life for Gracie Lane – something she always assumed was “normal.” At the age of four, she and her family moved (back) to Arkansas to be near her mother’s folks. It was there that Gracie eventually realized her need to create music.

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Casey Kristofferson Band, Devils in Dust, Electric Violets
May
31
8:00 PM20:00

Casey Kristofferson Band, Devils in Dust, Electric Violets

Join us for a night of female fronted americana/country/rock bands!

Casey Kristofferson Band is celebrating the release of their debut album, "Dirty Feet" with a night of fun at Salvage Station!

Music starts at 8pm with a short set from Electric Violets, an (almost) all girl teenage rock band from Black Mountain, NC followed by Leigh Glass with Devils in Dust.

Free show!

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Toots and The Maytals
Jun
2
7:00 PM19:00

Toots and The Maytals

Toots and The Maytals

Toots is one of the true architects of reggae - so much so that “Do the Reggay,” a 1968 single by Toots and his group, the Maytals, is credited with giving the genre its name. Classic songs written and recorded by Toots and the Maytals have been covered by the likes of the Clash and the Specials, and the group was featured in reggae’s greatest breakthrough event – “The Harder They Come,” the 1972 film that became an international sensation. The all-star guests on TRUE LOVE range from legends like Keith Richards, Eric Clapton, and Bonnie Raitt to younger stars including No Doubt, the Roots, and Phish’s Trey Anastasio. The caliber of these collaborators reveals theimpact that Toots has had on several generations of rockers and rappers, while appearances from reggae icons Bunny Wailer and Marcia Griffiths show the respect granted to the man who might be the music’s greatest living vocalist. At the heart of it all is that voice–drenched in soul, rooted in gospel, and still breathtakingly powerful after almost four decades in the spotlight.

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Dub Kartel
Jun
2
10:00 PM22:00

Dub Kartel

FREE SHOW

Inside after Toots!

It more or less took an act of Jah to bring the Dub Kartel together. On January 12, 2010 a devastating earthquake struck in Haiti. After the Haiti earthquake a group of allstar Asheville reggae and ska musicians decided to do a fund raiser benefit for Haitian relief. Bringing together Agent Ishi (Strut), Coleslaw (Gnomebirds), Mike W. (Shining Rock, Natural Healing), Jeremy S.(Natural Healing), Tablesaw (Shining Rock, Cosmic Wind ) Horn players Courtney Hall, Sean Singer and JP Furnas(Empire Strikes Brass/Common Foundation), from this initial benefit show the seeds for Dub Kartel were sown. Dub Kartel pays tribute to the golden era of Jamaican music. Drawing on the tradition of Studio One, Treasure Isle and Dub luminaries like King Tubby and Scientist, DK brings a classic roots tradition into the modern era.

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High Plains Drifters
Jun
7
9:00 PM21:00

High Plains Drifters

High Plains Drifters

Never got a chance to see the Beastie Boys? Damn. Well, High Plains Drifters pay tribute to their legacy by performing entire albums from front to back. Paul’s Boutique? They play it! Check Your Head? They do that, too! The illustrious trio of Josh Phillips, Eli Cramer, and Philo Reitzel spearhead this live band and one DJ, featuring past and present members of Atmosphere, Yo Mama’s Big Fat Booty, Effigy Seed and Josh Phillips Feel Good. This all-star lineup brings you as close to the real experience as you can get, faithfully recreating some of the most influential music of our time.

Opening set with JBOT and late night with Bowie!!

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Nahko And Medicine For The People
Jun
13
7:00 PM19:00

Nahko And Medicine For The People

HeadCount will be registering voters and signing fans up for text alerts about local and national elections at this show. $1 from every ticket was donated to support HeadCount's voter registration programs across the country. 

Opening: Josh Phillips Feel Good

Nahko And Medicine For The People continue to gather dedicated members of their global Medicine Tribe of likeminded fans as they spread their positive and powerful musical message around the world. Fans and critics alike praise the group's worldly blend of rock, hip-hop, and alt-folk with OC Weekly calling the group "empowering" and "powerful”, while The Huffington Post compared Nahko to Bob Marley and called him a "musical prophet". The October 2017 album ‘My Name is Bear’ premiered at #1 on iTunes and debuted on a number of Billboard charts, and the headline tour in support of the album boasted multiple sold-out dates throughout the USA and Europe. ‘My Name Is Bear’ is a 16-track collection that reflects the soul, authenticity, and spirit that Nahko And Medicine For The People’s Medicine Tribe has come to know and love.

Their previous album‘HOKA’, which was released in June 2016, sold over 8,000 units in its first week in the U.S. and debuted at #6 on the Billboard Alternative Albums Chart. The album went on to win Record of the Year
at the Native American Music Awards later that year. Nahko And Medicine For The People are firm believers in using music as a tool of empowerment to protect and preserve all of creation. They aim to inspire others to take a deeper role in protecting and preserving our planet, people, and the spirit in all of creation. Nahko And Medicine For The People will be releasing new music and touring extensively both domestically and internationally in 2019!

Josh Phillips Feel Good 


From acoustic folk ballads to free spirited dance numbers to heavy experimental soundscapes, 

Josh Phillips Feel Good is a crew of 9 long time friends that put their unique musical talents together 

to explore a vast world of song and sound. At the heart of the songs they create is an open and honest 

lyricism that has the refreshing ability to connect us together in the many life experiences that we all share. 

And that connection is the Feel Good. 


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Slightly Stoopid with special guests Matisyahu & HIRIE
Jun
20
7:00 PM19:00

Slightly Stoopid with special guests Matisyahu & HIRIE

Slightly Stoopid


The Ocean Beach, California-based band formed by multi-instrumentalists Kyle McDonald and Miles Doughty has matured into a versatile musical ensemble consisting of drummer Ryan “Rymo” Moran; percussionist Oguer “OG” Ocon; saxophonist Daniel “Dela” Delacruz; keyboardist Paul Wolstencroft; trumpet and trombone player Andy Geib, and an arsenal of guests that frequent the stage, most notably Karl Denson (Rolling Stones/Greyboy Allstars), Don Carlos, Chali 2na (Jurassic 5) and Rashawn Ross (Dave Matthews Band).

The band’s prolific 2017 schedule has included international shows in South America, Australia, England and the Netherlands, in addition to the 30+ national headlining dates that encompassed the band’s annual outdoor amphitheater tour, titled “Sounds Of Summer 2017,” ranking in Pollstar’s Top 100 Global Tours of Summer 2017. In December 2017, the genre-mashing outfit will host its 4th annual Closer To The Sun festival, a four day gathering of music in an intimate "all inclusive" setting for their hardest core fans and favorite hand selected talent, taking place on the sand in Puerto Morelos, Mexico, amidst the spiritual Mayan Peninsula. The Closer To The Sun festival also represents Slightly Stoopid’s philanthropic side, as the event helps to raise funds for the non-profit charity, Positive Legacy.

Additionally, Slightly Stoopid has generously supported the pediatric cancer organizations Grind For Life and the Sheckler Foundation by teaming with the legendary skateboarder Danny Way for a limited edition custom skate deck/CD fundraising project. Also, the 2017 animated video for their recent single “One Bright Day” (featuring singer Angela Hunte), included an “on-line auction” component utilizing limited edition hand-painted canvases used in the video. The effort helped to provide light to 4 villages associated with the Global Brightlight Foundation, a charitable organization for providing third world villages in need of solar power.

Recently Slightly Stoopid churned out their second live webcast performance with music legend Bob Weir (Grateful Dead) at his TRI Studios complex, a session that yielded live versions of Grateful Dead’s “Franklin’s Tower” and Prince’s “Purple Rain” (the latter recorded at the respectful request of Weir on the morning that witnessed the legend’s unanticipated passing).

An eclectic band when it comes to musical styles as well as collaborations, Slightly Stoopid, now in their second decade of making music, continues to manufacture an energizing and multifaceted sound that has been described as “a spiritual bath of positive party energy.” Look for new music from the band in 2018…

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Bruce Hornsby & The Noisemakers
Jun
26
7:00 PM19:00

Bruce Hornsby & The Noisemakers

Doors at 5
Opening: Sam Amidon

Bruce Hornsby and The Noisemakers


Bruce Hornsby, the creatively insatiable pianist and singer-songwriter from Williamsburg, Virginia, always has succeeded on his exceptional gifts, his training, and his work ethic. He became a global name in music by reimagining American roots forms as songs that moved with the atmospheric grace of jazz. “The Way It Is” defined sonic joy on the radio, however as a hit record it also evidenced a thrilling re-structuring, and during the years afterward Hornsby, in staggeringly diverse ways, has kept going.


He has returned to traditional American roots forms, collaborating with Ricky Skaggs. He has played with the Grateful Dead. He has fused the plunk and dazzle of twentieth-century modernist classical composition to singer-songwriter emotional inquiries. He has scored films. He has performed with symphony orchestras. If the sound of an arrogant air-conditioner or a stretch of rude playing caught his ear, he has entered the hallowed doors of the conservatories of punk. So when Hornsby describes Absolute Zero, his new album, as “a compendium of what I like and moves me,” don’t expect perhaps a thing or two new. Prepare for a multi-faceted ride.

A few years ago, Hornsby met Justin Vernon of Bon Iver. “I kept getting these Google Alerts where he shouted me out in the press,” Hornsby says. In time, other musicians praised Hornsby’s work -- including Brandon Flowers, who asked him to play on his solo album. In the indie-rock zeitgeist, Bruce Hornsby became a thing.
After Hornsby began working with Vernon, the Wisconsinite invited Hornsby to perform at his Eaux Claires Music and Arts Festival. “I’d played a thousand-and-one festivals over the years,” Hornsby says. “This one was by far the most beautiful experience for me. They had a modern classical stage where you could hear Frederic Rzewski pieces. Everything was artful and beautiful, so great.”

Before Hornsby played, The Staves and yMusic appeared. “So I’m listening to this British female vocal trio and Brooklyn chamber music group, going ‘Whoa, who is this?”” Hornsby says. “I loved the women, the chamber music group, the whole thing. What they were doing together was adventurous, a different sound.” Hornsby’s discoveries that evening ultimately circled back to Williamsburg, where over the last years he has hosted his own festival. After Eaux Claires, Hornsby invited yMusic and The Staves to appear at the Williamsburg event. “That’s
when I met them,” he says. “We hit it off and became friends. I asked them to play on what became Absolute Zero. We did a session with yMusic in New York. We worked on six pieces; five ended up on the record. It just went from there. yMusic’s leader Rob Moose started doing some things on his own on some new songs that I would write. Rob arranging on his own – where he puts down twenty different string parts (‘Give me another one! OK, there’s that. Another track! Another track!’) – is quite something to see, working his magic in the studio.”

The genesis of Absolute Zero, however, began within Hornsby’s work as a film composer for writer-director Spike Lee. Hornsby started collaborating with Lee in 1992; ultimately, in 2008, he began scoring for Lee. Since then Hornsby has written six full film scores and contributed incidental music to four others. What began to intrigue him were scoring components known as “cues,” those comparatively brief passages of music used in films to heighten certain narrative visuals and/or spoken developments. “Over the past decade I’ve written fully 230 different cues,” Hornsby says, “ranging from one to five minutes in length. Through the last ten years of doing this there always were certain cues that sounded like they wanted to be songs, wanted to be developed into something more than just cues, more than just tiny instrumentals setting moods for conversations in a film over dinner, or whatever.” He asked his engineer to make a file of fourteen. Hornsby began working with these Lee cues -- lengthening or shortening or repeating them. “You sculpt and shape the music accordingly,” Hornsby says, “ based on the new information you’ve created over top of these cues.” Then there was the creation of the songs’ lyrics. “For many years, “Hornsby says, “I’ve been interested in literary fiction.” Even in 2019, when literary fiction exists alongside other types of novels and stories, it remains an extensively chronicled and robustly debated kind of writing. Although it was published centuries before rock and roll exploded, literary fiction shares certain values – constant critical scrutiny, for example, as well as absolute freedom on the part of practitioners, even when that sometimes yields some mighty uneasy reading -- with indie-rock. Literary fiction can show up on best-seller lists, just like indie-rock occasionally storms charts. “Like many readers do,” Hornsby says, “I’d dog-ear a page or mark something I thought was well-said, some amazing description of a thimble, say. So I began to think about what for me were the most memorable passages I’d encountered from my reading, the good bits from two writers admire greatly, Don DeLillo and the late David Foster Wallace. On this record, those are my two literary inspirations and guides, Don and Dave.” Hornsby’s songs, both in spirit and memory, function collectively as an hommage to fiction writing that, while often poetic, takes no prisoners.
Ready for the results? Those would be pieces like the opening title track -- which features drumming by the legendary Jack DeJohnette -- inspired by DeLillo’s Zero K, a book Hornsby describes as about “the cryonic field – or, most baldly put, Ted Williams freezing in a vault somewhere outside Phoenix.” Or “Fractals,” wherein Hornsby compares a relationship with that “rough and fragmented geometrical shape,” as he puts it, “that can be subdivided into parts.” Or “Echolocation,” a stylistic cousin of “Fractals,” that Hornsby calls “one of my musical combines.” He’s remembering the American artist and pop art instigator Robert Rauschenberg, who during the 1950s made famous hybrids of tactile painting and sculpture, where almost anything, assembled just so rightly, goes.

“That aspect of found materials,” Hornsby says, “collages: That’s exactly what my new album is on a musical level. You go into my studio and there’s just crap everywhere – a vibraslap here, a train whistle there, a crappy old violin I’m playing badly. And then there’s my brother playing some dog-shitty violin that’s vibey as hell.” Hornsby produced Absolute Zero, his pastiche of sounds” as it calls the album, with assists from Tony Berg, Vernon, and Brad Cook. Some songs, like “Never in This House,” expose traditional Hornsby songwriting semi-nakedly; others, like “Voyager One” – “sort of chamber art-pop meets Prince,” Hornsby says – and “The Blinding Light of Dreams” – with a groove that Hornsby points out dates back to “Serpentine Fire” by Earth, Wind & Fire – re-stage U.S. r&b as fluidly as the music elsewhere refers to an American modernist composer like Elliott Carter. “Meds,” for example, a particular tour de force of Hornsby/Moose featuring special guitar by Blake Mills, blossoms into gripping ‘60s soul choruses. “Cast Off” manages to animate a rare style – miserablist polyrhythms – without skimping on the funk itself.

“White Noise” Hornsby considers “the Wallace moment.” It offers a passionate singer with a string quartet backing him. “The narrative comes from Wallace’s The Pale King,” Hornsby says, “a novel about boredom, about IRS tax
examiners as unlikely yet convincing American heroes.” And then “Take You There (Misty),” written with Grateful Dead lyricist Robert Hunter, concludes the sequence with romanticism as re-ordered by Hornsby via memories of Steve Reich’s and Philip Glass’s sonically floral minimalism. A ride. There is precedent for musical artists moving from the mainstream of popular music to...somewhere else: Ohio-born Scott Walker, ruling the airwaves with The Walker Brothers in early-‘60s Britain, then concocting uniquely dark-toned symphonic solo albums followed by uncharted lands of vocal compositions even much bleaker. David Byrne, determined that the late-70s downtown Manhattan freedom of Talking Heads expand to include pop styles all over the known universe. Robbie Williams, absolutely dead-set on not letting his ‘90s boy-band years preclude pop and rock and swing styles done with uncommon erudition.

This stripe of music evolution over time clearly has another member to add to its small and restless club. It’s Bruce Hornsby, a great restructuralist from the beginning and onward. Absolute Zero constitutes absolute 2019 proof. And all you need to hear it is a set of open ears.

Sam Amidon

The Following Mountain, Sam Amidon’s sixth album overall and his third for Nonesuch Records, is his first album of original songs. A deeply personal synthesis of folk-based song form and experimental improvisation, it “feels like a liberation” (Uncut) and “provides constant, jolting surprises” (The Guardian). But in his decade-long career as a recording and touring musician, the singer and multi-instrumentalist (banjo, guitar, fiddle) has always managed to create work that’s utterly original, even when, as on previous discs, he was digging through the sounds and stories of traditional American music. The Following Mountain features appearances by musicians such as Shahzad Ismaily, master percussionists Milford Graves and Juma Sultan, and psychedelic jazz musician Sam Gendel.

Prior to The Following Mountain, Amidon released five solo albums on the Bedroom Community and Nonesuch labels. Amidon’s material for these albums consists primarily of reworkings of traditional American ballads, hymns and work songs, with the New York Times writing that Amidon “transforms all of the songs, changing their colors and loading them with trapdoors.” The albums have been deeply collaborative in nature, inviting contributions from musicians such as composer Nico Muhly, guitarist Bill Frisell, producer Thomas Bartlett, and improviser Shahzad Ismaily among others. Amidon has also recorded or performed as a guest artist with groups such as Kronos Quartet, Jason Moran, Bon Iver, Tune-Yards, and Amidon’s wife, the singer-songwriter Beth Orton. 

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Lotus
Jul
5
7:00 PM19:00

Lotus

LOTUS

Lotus has always been difficult to define musically; an instrumental jamband that has favored groove-based improvisation instead of gaudy solos and noodling. Influences of classic electronic dance music, funk, post-rock and dance-rock have all made their way into the Lotus sound. Over the years, their unique musical blend of electronica with jam music has helped forge a new path in the jamband landscape, influencing many younger bands in the scene. Their latest studio effort, Frames Per Second (December 2018), aims to showcase Lotus in a pure, raw form performing live in the studio. Tracked live at Rittenhouse Soundworks in Philadelphia with cameras rolling, the all-instrumental result is both an audio and video project. Instrumental jazz-funk, Norwegian space-disco and other sounds make their way into the expansive 19-song album and documentary. For Frames Per Second, Lotus aimed to incorporate pyschedelia into the album’s sound by combining hypnotic beats with unexpected harmonic or timbral turns. Approaching two decades together, Lotus has toured actively throughout the US working their way up from dingy basement clubs to world-class venues such as Red Rocks. They've become festival favorites, playing everything from Bonnaroo, Camp Bisco and Outside Lands to Ultra Music Festival and Electric Forest, building a hyper-loyal following along the way. A Lotus live show is an experience, a uniquely crafted and improvised set taking everyone, the crowd and band, on a journey.

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Peoples Blues of Richmond
Jul
6
9:00 PM21:00

Peoples Blues of Richmond

PEOPLE’S BLUES OF RICHMOND

People’s Blues of Richmond (or PBR as they are affectionately referred to by their fans) is one of those rare three-pieces that somehow conjures the sonic power and visual intensity of a thunderstorm. Think Jimi Hendrix Experience meets MC5. They take psychedelic blues rock to a different level with a lyrical element seldom found in the genre. Think Bob Dylan writing lyrics for Black Sabbath songs. It’s hard to imagine until it’s right in your face. Then it’s hard to forget.

Their 2016 12-song release “Quit or Die” showcased a travel-hardened band at a crossroads. With drugs taking their inevitable toll on three young men on an endless search for a good time, this trio had a choice to make and “Quit or Die” is a declaration of their purpose as artists above all else. They received praise from Relix, Paste, Guitar World, AfroPunk, and many others as 3/4 of the album was released as critically acclaimed singles and the tour schedule filled up quickly.

In the two years since, they’ve found themselves opening for Gregg Allman, ZZ Top, Nathaniel Rateliff & The Night Sweats, The Revivalists, and Papadosio and playing venues like Red Rocks, 3 sets at Electric Forest, 2 appearances at Lockn, The Brooklyn Bowl, The National, and The Norva.

Before “Quit or Die”, PBR had a cult following built around their album “Good Time Suicide”. It was a big, dark, manic sounding album full of in-your-face riffs and gut-wrenching song writing. It was followed shortly thereafter by the trio heading to Valdosta, GA to meet and record with Mark Neill (who recorded one of their favorite albums, ‘Brothers’ by The Black Keys). They did two songs with Mark and learned a lot about recording that they put to use when they returned home to Richmond to record ‘Quit or Die’.

They are currently working on their next album release and touring constantly so keep an eye and an ear out for when the storm rolls through and don’t miss the wildest show on wheels when it comes to your town!

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Billy Bob Thornton and The Boxmasters
Jul
16
9:00 PM21:00

Billy Bob Thornton and The Boxmasters

Billy Bob Thornton and The Boxmasters

In late 2017 and 2018, The Boxmasters had the honor to team up with legendary Engineer/Producer Geoff Emerick for an album that Geoff has called, “One of the most exciting projects I’ve worked on since The Beatles.” The album “Speck” will be released on June 7th through KeenTone Records /Thirty Tigers. Sadly, before “Speck” was formally released, Geoff passed away.

Known for taking over the engineer’s chair on The Beatle’s albums “Revolver,” “Sergeant Pepper’s Lonely Hearts Club Band” and more, Geoff added a familiar sonic touch to the sound of The Boxmasters, who have been unapologetic Beatles and British Invasion fans. His work on albums by Badfinger, The Zombies, America and Paul McCartney, among many others, have always been huge influences on The Boxmasters.

Sonically “Speck” touches on all of The Boxmaster’s influences, including The Beatles, The Byrds and Big Star but there are new sonic touches as well. Ukulele, cardboard boxes and the Beatle’s famous “tea towels on the drums” trick pop up on songs throughout the album. “Geoff really did an amazing job on the mixing of this album and did it in a way that you recognize sounds you’ve known all of your life, but at that same time are in a new way. And I really loved being able to sit back and enjoy the mixes of an album instead of sweating every tiny detail of every song,” says J.D., who typically mixes all of The Boxmaster’s material.

“Lyrically it deals with every thing from personal relationships to politics, and social issues . The theme being that we are all specks in this universe trying to navigate it , during trying times in the world we still have our own loves, desires , problems and dreams as individuals,” says Bud. “We're just little humans. No matter what our standing is in society”.

The always prolific Bud, J.D. & Teddy have also been working on finishing another long awaited project titled “And Then We Drove” as well as contributing music to an upcoming independent feature film titled “Spare Room.”

The 2019 “Speck Tour” kicks off in the summer and again the Boxmasters will be traveling from coast to coast. For all of the details on the tour, the album, and anything else of note, please visit www.TheBoxmasters.com.


Stay tuned! Before you know it The Boxmasters will have another album ready to go!

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MountainTrue, French Broad Riverkeeper and 98.1 The River present Michael Franti & Spearhead!
Jul
18
5:00 PM17:00

MountainTrue, French Broad Riverkeeper and 98.1 The River present Michael Franti & Spearhead!

Doors at 5
Show at 7

MountainTrue, french Broad Riverkeeper and 98.1 River present Michael Franti & Spearhead

Michael Franti believes that the great battle taking place in the world today is between cynicism and optimism because he feels it in himself. So he made an album to remind himself, and anyone else who’s listening, that there is still good in the world and that it is worth fighting for. The album Stay Human Vol. II, which is an accompaniment to the film Stay Human, is all about how we hold on to our humanity in the challenging times we are living in today, and features 14 uplifting, life-affirming songs that, at their core, are about being your authentic self and standing up for the greater good. “It’s a constant battle for me to stay on the side that believes your goodness will always win, and that there’s goodness within each person,” Franti says. “Sometimes it’s hard to really hold onto that as my moral compass, but I really do believe in that.” The songs on Stay Human Vol. II were inspired by Franti’s new self-directed documentary Stay Human, which won the RWJ Barnabas Health Award at the 2018 Asbury Park Music & Film Festival, audience awards at the 2018 Nashville Film Festival and the 2018 ILLUMINATE Film Festival, the Voice for Humanity Award at the 2018 ILLUMINATE Film Festival, the Inspiration Award at the 2018 Tahoe Film Fest and the Soul in Cinema Award at the 2018 Maui Film Festival. Stay Human features “heroic everyday people” whose stories have inspired the singer, activist and yoga practitioner during his travels around the world. Stay Human Vol. II is the 10th LP from Michael Franti & Spearhead, featuring the group’s signature sound. It follows three consecutive albums that climbed into the top 5 on the Billboard Rock Albums Chart. He’s also charted five singles in the top 30 on the Billboard Adult Contemporary Chart and had eight songs reach the top 25 on the Triple-A Chart. His hit, “Say Hey” has accumulated more than 2 million downloads worldwide. Franti also had a No. 1 hit single with his 2010 song, “The Sound of Sunshine.” Co-produced by Franti with Niko Moon (Zac Brown Band), Ben Simonetti (Zac Brown Band, Shemekia Copeland, Blake Shelton), Kevin Bard (Fitz & the Tantrums), Don Corleone (Rihanna, Migos) and more, Stay Human Vol. II shows the breadth of Franti’s musical talents while working with a group of acclaimed writers including Johan Carlsson (Ariana Grande, Meghan Trainor, Flo Rida) and Ross Golan (Lady Antebellum, Ariana Grande, Nicki Minaj). The album’s cornerstone song, “The Flower,” combines the pain of gun violence and inequality with the positive message that “we can be the healing” and that change is possible. Franti shares, “‘The Flower’ is a song that is really important to me. It’s a song about healing, standing up for what you believe in and helping others to do the same. It’s about unity, being your authentic self in the face of bullying, fighting for female empowerment and bringing an end to violence, in particular the crisis of gun violence that we see touching every community in America today. I wrote the song with Victoria Canal, Niko Moon and Ben Simonetti with the belief that no matter what our walk of life or political viewpoint may be, all of us have an opportunity to play a role in the healing that is needed in our world today.” Franti muses over what really makes the world go ‘round on the opener, “Little Things,” alternately rapping and singing over an Eastern-sounding riff. He is living in the moment over a reggaeton beat and baritone sax on “Every Second,” with an assist from AGoddess. And he turns in an achingly soulful performance over piano and a deep rhythmic groove on “Nobody Cries Alone,” which Franti wrote in the studio after receiving bad news. “My mom had just had a stroke and my son’s kidney disease had worsened to the point where he was going to need a new kidney. And I walk in the studio, and I’m like, ‘OK, guys, let’s get started,’ and then I just burst into tears,” Franti says. The album and film are both part of a multi-pronged effort to spread positivity through Franti’s music, Soulshine Bali hotel that he built as a home for yoga destination retreats, and Do It For The Love, a non-profit he and his wife, Sara Agah Franti, founded in 2013 to bring people living with life-threatening illnesses, children with severe challenges and wounded veterans to live concerts. To date, Do It For The Love has granted more than 2,000 wishes with the support of more than 100 artists. Prior to forming the band in 1994, Franti was a member of the Disposable Heroes of Hiphoprisy, a politically-minded group that blended hip-hop and industrial sounds and toured with U2 on their Zoo TV World Tour. He got started in music as part of the San Francisco industrial-punk quintet, The Beatnigs, in the mid-’80s. What’s the connection between the new album and your documentary Stay Human? The film is all about the power of human connection and how these days it seems like things are such a shit show in the world. I wake up every day feeling anxiety and I’m somebody who’s prone to depression. Over the last five years I’ve traveled around the world and covered stories of ordinary people doing extraordinary things to make a difference, reminding myself what it means to me personally to be human. The album is really an accompaniment to the film, it’s not a literal soundtrack. The songs are inspired by the belief that it’s important to love fully, and to stand up for what you believe in, and to cry when you need to, and dance and to connect with other people. How did these songs take shape? Originally, I just started writing instrumental music for the film. So much of the music we were creating for the background of the film was very powerful and beautiful. I said, “Why don’t I craft songs around these ideas?” We really started recording in the fall of 2017. You did a lot of co-writing on this album. What did that process teach you about yourself? It’s challenging when you get in the studio with any writer because you don’t want to lose you. As the performer, you’re the storyteller. If the story doesn’t have any personal connection to you, it’s hard to deliver it with the passion required. When you go into a session with another writer you’ve got to make yourself vulnerable. You have to have strength and sweetness at the same time to walk out feeling like you’ve created something that you can go onstage every night and sing your heart out with. Is Stay Human Vol. II a sequel to the Stay Human album that you released back in 2001? Not a direct one. The album I did in 2001 was a narrative record about the death penalty. That idea was about how we hold onto our humanity when we’re thinking of killing other people. This record is like, how do we hold onto our humanity in this world we’re in? With all the political division we see in the world, climate change, natural disasters, all these things, how do we hold onto what it is that makes us human? I feel like the phrase “stay human” has taken on more weight today than it did even when I used it for that first album. How have earlier projects like the Beatnigs or the Disposable Heroes of Hiphoprisy influenced what you do now? From the Beatnigs to today, I’ve always had that DIY punk rock spirit. I believe that as a musician you’ve got to work hard. As a band and crew and everybody who works in our touring family, we’re about spreading optimism and positivity. We have to embody that from the minute we step off the bus to the doorman at the hotel, the janitor at the nightclub as the last person is leaving. Also, I believe in the power of music. I did then and I do more so today. I think maybe one way that I’ve changed is back then, I thought music can change the world overnight. Today, I don’t know if it can change the world overnight but I know it can help someone make it through a difficult night. Does that same idea tie into yoga and your Soulshine retreat in Bali? Yoga is something that I found in 2001, September 12th, the day after the attacks of 9/11. I was super stressed out, as everybody in the country was, and I walked into a yoga studio. When I left I felt transformed. Ever since then, yoga has been something that helps me to really look at what’s real for me, what my beliefs are, and to act on them, and to be able to just let go of unnecessary attachments so that I can show up as a full person for my kids, my wife, my community, for people who come to our concerts. Is there a balance that you have to strike between your DIY sensibility and the collaborative nature of making a film? I think DIY is a bit of a misnomer: it’s really do it ourselves. When a group of people say, “Let’s start a band and get in a white van and tour across the country,” and don’t let anybody stop them, they’re on a musical mission. There’s only so much you can do on your own, you learn that quickly in music, and believe me, you learn it even more quickly in film. You started Do It For The Love as a result of making the film. How did that happen? We met this couple, Steve and Hope Dezember, on Twitter. Hope asked if they could come to a concert because it might be Steve’s last concert; he’s in the advanced stages of ALS, Lou Gehrig’s Disease. They came and it was a really powerful experience for us. Steve was in his wheelchair and his body was completely stiff, and he whispers to Hope, “I want to get up and dance.” She lifts him up out of the chair and it was a beautiful dance in front of 20,000 cheering, crying fans. Afterward I said to my wife, “Let’s do this for as many families as we can.” We’re five years in now and have sent more than 8,000 people to see everything from Garth Brooks to Kanye West. I never imagined in my life I would have ever bought as many Taylor Swift tickets as I have; she’s the most popular request at the moment. We do it because we believe in the power of music.

In January 2015, three Western North Carolina environmental and conservation nonprofits joined forces to become MountainTrue. The Environmental and Conservation Organization, based in Henderson County and founded in 1987; Jackson-Macon Conservation Alliance, based in Macon County and founded in 2000; and Western North Carolina Alliance, based in Buncombe County and founded in 1982, merged and adopted three overarching goals:

  • to have a stronger influence on policy at all levels of government through increased local presence;

  • to build a stronger organization and increase our geographic reach;

  • and to strengthen our grassroots engagement and involve a broader spectrum of the population.

To achieve our goals, MountainTrue’s board, volunteers and professional staff focus on a core set of issues across 23 counties of Western North Carolina: sensible land use, restoring public forests, protecting water quality and promoting clean energy – all of which have a high impact on the environmental health and long-term prosperity of our region.

MountainTrue is the home of the French Broad Riverkeeper, the primary protector and defender of the French Broad River watershed, and the Watauga Riverkeeper, the primary watchdog and spokesperson for the Elk and Watauga Rivers. MountainTrue is also the home of the Broad River Alliance, a collection of concerned citizens and organizations advocating for cleaner water, awareness and education, improved access and broadened recreational opportunities within the Broad River Basin.

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MC YOGI & DJ Drez
Jul
27
7:00 PM19:00

MC YOGI & DJ Drez

Asheville Yoga Festival hosts an EPIC CELEBRATION PARTY! Join us for a sunset yoga class at Salvage Station. Soak up lovely views of the river as beloved yoga teacher, musician, and ‘Spiritual Graffiti’ author MC YOGI leads you through an energetic yoga practice (perfect for all levels) followed by a dance party and live concert performance, with beats by DJ SOL RISING. This is the one time the entire festival community can gather together & the one event you don’t want to miss! Bring your mat, your friends and your good vibes — get ready for a night of FUN.

FAQs

Are there ID or minimum age requirements to enter the event?

All ages welcome, children under 5 free.

What are my transport/parking options for getting to and from the event?

There is plenty of parking at the Salvage Station, carpooling is always recommended, it is easy to Uber as well.

What can I bring into the event?

Please bring your own yoga mat or towel for practice.

What's the refund policy?

No refunds.

Do I have to bring my printed ticket to the event?

You may print your ticket or download on your phone.

Can I update my registration information?

Yes.

Is my registration fee or ticket transferrable?

Yes, log in to your eventbrite account and transfer to a friend.

Is it ok if the name on my ticket or registration doesn't match the person who attends?

Yes

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Begin the Days Between w Hooteroll? & Phuncle Sam!
Aug
1
6:00 PM18:00

Begin the Days Between w Hooteroll? & Phuncle Sam!

Salvage Station and Phuncle Sam are thrilled to announce a fitting start to the High Holy Week, known as “The Days Between”!
Beginning on Thursday, August 1st, which would have been Jerry Garcia’s 77th birthday.

Phuncle Sam will be sharing the bill with Hooteroll?!

Nashville's Hooteroll? guitarist Mike Lawson was fortunate to do dozens of shows with Merl Saunders as a "Funky Friend" during Merl's last several years of performing, including performances with Bill Vitt and Martin Fiero from the original lineup. Our Hooteroll? focuses on the early solo efforts of Jerry Garcia and his collaborations with various musicians over the years. With our club venues not unlike playing for an audience at one of the Keystone clubs, we are largely paying tribute to the work with Merl Saunders, and the seminal Keystone performance era, and a bit beyond.

We are inspired by the freeform acid jazz jams of Garcia and Wales, and pull our setlists from those Keystone-era releases, plus the groups Legion of Mary, Reconstruction, and Garcia's solo efforts with Jerry Garcia Band (JGB). Our tribute, 'Hooteroll?" tries to deliver a well-rounded look at and listen to the music they loved to play. It started with Howard, then Merl, and this Hooteroll? honors the magic they conjured for the world.

—-

Phuncle Sam is Asheville's premier Dead-centric "jam band". SInce their formation in 2004, Phuncle Sam has been firmly rooted in musical exploration. The band serves up inventive interpretations of Jerry Garcia, Grateful Dead and many others. They have built up a faithful following by using an approach that deeply respects the improvisational traditions of The Grateful Dead, as individual band members bring their unique influences and interpretations into the mix.

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Runaway Gin
Aug
2
to Aug 3

Runaway Gin

Doors at 8
Music at 10


Runaway Gin
With over 260 shows performed since their inception in 2014, Runaway Gin is the World's Most Active Phish Tribute Band. On July 4th, 2015, after the second show of the Grateful Dead GD50 run, Runaway Gin sold out the Hard Rock Cafe in Chicago and catapulting them from a Southeastern regional act onto the National scene.

The members of Runaway Gin are long time Phish fans who have united with the goal of creating musical moments inspired by Phish. The band's song list is constantly growing and their improvisational and communication skills are constantly developing independently and together. Like Phish, Runaway Gin will never play the same show or jam the same way twice making every show a unique experience and every moment pure artistic creation.

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A Very Jerry Birthday Bash
Aug
3
4:00 PM16:00

A Very Jerry Birthday Bash

A Very Jerry Birthday Bash


Saturday 8/3/19 4pm-close

$10 Adv / $10 DOS

All Ages


The Very Jerry Band

Featuring Spiro Nicolopoulis, The Paper Crowns

and Special Guests


Phuncle Sam


Dirty Dead


The Bald Mountain Boys

performing Old and In the Way

Full Shakedown Vending Scene


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Rebelution
Aug
6
5:00 PM17:00

Rebelution

Proceeds from this show will benefit African Waterkeepers to help them provide clean water in Togo, Uganda, and Kenya. Sponsored by Waggoner Team at Movement Mortgage, 98.1 River, and MountainTrue. Can you add those logos as well. 

DOORS AT 5

Rebelution

Fourteen years into an effervescent career, California reggae band and touring juggernaut Rebelution remains abundantly creative. Its members (singer/guitarist/lyricist Eric Rachmany, keyboardist Rory Carey, drummer Wesley Finley, and bassist Marley D. Williams) are as focused and committed as they are easygoing and laid-back. And they haven’t lost a step since Falling Into Place, their 2016 studio album, became the band’s fourth release to top the Billboard reggae chart, earning them their first ever Grammy nomination in the category of Best Reggae Album. Ever expanding and reaching wider audiences, the Rebelution phenomenon continues to spread good vibes on tour, and in the studio.

Free Rein, their sixth studio album, while still rooted in the Jamaican inspiration that Rebelution’s songs and sounds have always paid homage to, takes experimental leaps and new adventures too, welcoming old fans and new audiences alike. The musicians collaborated with Jamaican artists on three of the 12 new tracks. Don Corleon (Sean Paul, Rihanna) produced “Rise On Top,” a pointed reflection on celebrity and ambition; and Winta James, producer for Damian Marley and Chronixx, worked with the band on “Settle Down Easy” and “City Life,” two songs that reflect a more confessional perspective.

“Celebrate,” the new album’s opening track, nods to the classic Rebelution sound. It has special meaning for the band too. In their long months on the road they’ve met fans with health struggles who’ve said that their music has helped them get through tough times. An energizing shout-out to one and all, the song celebrates the oneness of artist and audience.

“Patience,” a reggae-R&B hybrid, is another hymn to human connection, a haunting message from the well of romantic love: “Maybe isn’t good enough / I’m patient, I ain’t giving up…Can I be your everything and more?”

Other tracks take a wider perspective. “City Life” is one that hits home for Rachmany. “There are moments,” he says, speaking for urban dwellers everywhere, “when I just want to get out and find some solitude and find the beauty of mother nature.” The uptempo groove conveys the positive energy of this universal desire.

The band remains in touch with the traditions that it builds on. Much of the style, the songwriting, and the quality of the instrumentals derive from Jamaican roots, says Rachmany, stressing what an honor it is that producers from reggae’s birthplace signed on to work with Rebelution.

But every great band is its own life force as well, and the musicians of Rebelution take inspiration from other genres, including soul, r&b, and folk. “A lot of this album has to do with being comfortable in your own skin,” the singer notes. In “Take On Anything,” for example, “what I’m trying to get across is that it’s OK to be different, different is actually a beautiful thing – if you’re comfortable in your own skin every single day then you really can take on anything.”

Manifesting the singer’s love for acoustic guitar are two quieter numbers, one of which, “Healing,” takes the long view: “I wrote that song to remind people that life is always worth living, and to provide some healing energy to a person listening.” Again, always making that connection with the audience.

Rebelution formed in Isla Vista in 2004 when a group of college friends discovered a mutual love for reggae. After their debut album Courage to Grow reached #4 on the Billboard reggae chart, there was no stopping them. Many more releases followed, and in 2012 Peace of Mind debuted at #13 on the Billboard Top 200, hit #1 on both the Reggae and Independent charts, and was the #4 iTunes album overall. 2014’s Count Me In made an even bigger splash than its predecessor, entering the Reggae chart at #1 and the Billboard overall chart at #14. Then came the Grammy-nominated album Falling Into Place and the Rebelution concert experience, Live At Red Rocks.

With Free Rein, Rebelution is poised to continue spreading the joy. The band boasts an impressive 85 million spins on their Top 5 Spotify tracks alone, and will continue playing sold-out shows as well as taking the coveted headlining slots at some of the nation’s top festivals this year. Additionally, Rebelution continues to transcend the world of music and break barriers with their entrepreneurial prowess. They recently launched their own four-night destination event on the beach in Jamaica and released their customized cannabis oil battery pen, herb vaporizer, and oil, which are currently available in select dispensaries in California, Colorado, Nevada, and Oregon. The journey rolls on.

For more information, please visit

www.rebelutionmusic.com


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Sons of Paradise
Aug
6
to Aug 7

Sons of Paradise

FREE SHOW inside after Rebelution

Sons of Paradise is a Reggae-Rock/Dub Quintet with an explosive upcoming in the midst. Guided by its strongest lineup yet Matt McClanahan (guitar/vocals), Jordan Gee (keyboards/saxophone), Adam Bauer (drums), Matt Brunt (guitar/trumpet) & Diego Avilez (bass/keys) the Raleigh based group, with its newest release , Through The Haze, has quickly rose to headlining numerous venues throughout the Southeast with some of the biggest Reggae names in the industry.

Conscious of the realities of the Socio-political environment around the world they make it a mission to channel their inspirations in favor of equality, freedom, love, and nature through lyrically driven and uniquely melodic originals. Equipped with a good dose of poeticism, their creations turn out spontaneously fresh with a contemporary connection that holds universal value.

Sons of Paradise doesn’t limit its style to strict labels or genres. Although their musical base is “Reggae” you can find strong influences of different styles of Rock and Jazz music, Latin Beats and Ska, as well as a strong presence of Rap lyricism, an undebatable synthesis of the Afro-Caribbean roots they pay homage to. The texture is rich in harmonies and rhythms alas producing a unique blend of sounds that continues to captivate different listeners around the world.

https://www.sonsofparadise.com

https://www.facebook.com/sonsofparadise

https://instagram.com/sonsofparadisemusic

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Big Head Todd and the Monsters
Aug
15
9:00 PM21:00

Big Head Todd and the Monsters

Big Head Todd and The Monsters

Big Head Todd and the Monsters are not that big on anniversaries, so there won’t be any big hoopla over the fact that the band is officially crossing the three-decade mark this year. Thirty years would seem like something to commemorate, especially with the same core lineup, an achievement few other name-brand bands can boast of. Yet right now they’re less about celebrating stability than volatility, in the form of their eleventh studio album, New World Arisin’, which makes good on its forward-facing title with what might be the brashest rock and roll of their career. The old world can’t rest on any laurels, and neither will they.

“We’re in a real exciting part of our career right now,” says co-founder Todd Park Mohr. “We’re a viable band with a great audience and we’re able to work at a very high level. It’s a career that’s getting more and more interesting, rather than less, which is remarkable,” he says, chuckling at the unlikelihood of anyone being this cheerfully all-in, this far in. “I mean, 30 years into it, I really feel like: Wow, this is getting fun. I’m learning more about music and about my instrument, and it’s just really engaging in every way. We also dovetail well with the times, I think; I feel like we have something to say.”

That desire to communicate and connect is very much reflected in a new album that explores a variety of subgenres, from the funky (“Trip”) to the unexpectedly punky (“Detonator”), with stops along the way for raging country-rock (“Damaged One”), expansive storytelling in the Van Morrison/early Springsteen mode (“Wipeout Turn”), a Jimi Hendrix cover (“Room Full of Mirrors”), and, in the title track, “New World Arisin’,” a Charley Patton-inspired tune that ended up having what Mohr describes as “a heavy metal/gospel feel.” He doesn’t feel these musical zigzags will give fans musical whiplash. “The fact is, most people, like myself, listen to multiple genres of music, so I don’t think people have a problem with variety. I love it.”

But if there’s a dominant musical motif to New World Arisin’, it’s “straight-up rock-pop,” says Mohr. That contemporary approach might come as a slight surprise to hardcore fans that saw the Monsters take a seriously rootsy turn or two in the last 10 years. The band embarked on a side project, dubbed Big Head Blues Club, that saw them paying homage to Robert Johnson and bringing in venerable guest collaborators like Charlie Musselwhite and the late B.B. King. The heavy blues influence that dominated their alter-ego band carried over some into the last actual Big Head Todd and the Monsters album, 2014’s Black Beehive. That element isn’t altogether missing in New World Arisin’; you’ll certainly hear it recur in “Long Coal Train.” But this time the blues take a definite back seat to the unapologetically mainstream instincts that had Big Head Todd going platinum in the mid-’90s with the album Sister Sweetly, which spawned the rock radio hits “Broken Hearted Savior,” “Bittersweet,” and “Circle.” 

“Commercial success is still a goal for me and for our band,” Mohr says, “as far as the sense of communicating to, or striking a chord with a large number of people. We feel like we have something to say and something to offer the culture.” Plus, a true confession: “I’m interested in the pop song! And I think ‘Damaged One,’ for one, is a classic pop song. Our label would have killed for that song, back then,” in the wake of those mainstream radio hits that established the band. “They begged me to write it! So there’s a lot of irony in our coming back to that.”

The history of the group actually stretches farther back from the 1987 point at which they took their name. The core members came together at such an early age that it’s hard to know exactly how many candles to put on their collective cake. “It’s murky,” Mohr says, “because I’ve been playing with Brian (Nevin, their drummer) since junior high school, so the two of us go back to 1982. Brian and I played a talent show with Rob (Squires, the bass player) in 1983, and then we continued to plug at it, at a kids’ pace,” he laughs. They began playing original music in earnest in a nascent Colorado music scene that then consisted almost entirely of cover bands. A debut album, Another Mayberry, arrived in 1989, though it would be another four years before Sister Sweetly made them a national phenomenon. The only personnel change in these three decades has been the addition of a fourth member, putative “new guy” Jeremy Lawton, in 2004.

While they enjoy a robust fan base around the country, their success is outsized in Colorado, where they’re practically the unofficial state band. That’s evident in their ability to sell out Red Rocks, the most revered amphitheater in the nation, where they’ve headlined 19 times. It also comes into play when the band gets asked to be a part of commemorative moments: Mohr recently sang the national anthem at a Rockies game, and the entire band took part in the parade through Denver after the Broncos took the Super Bowl. 

Their honors extend beyond their home state and even home country… into space. In 2005, they released the single “Blue Sky,” a tribute to the space program, written at the behest of crew members taking to the heavens aboard the space shuttle Discovery; it was performed years later as a live wake-up call to the astronauts on the shuttle. The song had enough appeal back on earth, too, that it was picked up by the Hillary Clinton campaign in 2008 and used to introduce her keynote speech to the Democratic convention.

That campaign usage didn’t come about as a result of any desire on Mohr’s part to take the band in a political direction. He’s not so interested in getting Big Head Todd and the Monsters caught up in that particular fray as looking at the smaller and bigger pictures, wanting to keep the material topical in some far deeper fashion.

“Our audience is America, and I’m guessing it breaks down to the same percentages the country itself has,” he says. “We’ve never gotten in the business of polarizing people politically. But at the same time, as artists, it’s our job to observe and to hopefully find some insight. I’ve always been interested in the human condition more than politics. Politics are a part of it, but I always look at conflict as personal before it’s political. And I would consider conflict my dominant lyrical theme now— how people are trapped in it, and how conflict relates to intimacy and pleasure.” A Big Head Todd show, in any case, is a place where those conflicts might resolve, or dissolve. “In talking about our apolitical-ness, I think unity is an important thing,” Mohr says. “Being a human being, you have a lot in common with other human beings, and why not maximize those things? Music has an incredible capacity to convey other cultures and times, and to create a lot of empathy and togetherness. There’s harmony in it, and it implies oneness — the root.”

There’s an economy to the songs on the new album, most of which clock in around four minutes, and sometimes even closer to three. You’d think this would make Big Head Todd and the Monsters the farthest thing from a jam band. Yet they have a fervent following among that subset of rock fans, lack of noodling notwithstanding. Maybe it’s because of the changing nature of their set lists, since the Monsters are known to take requests, both in person and online. 

“Our focus has always been on serving the song,” Mohr says. “We haven’t historically been that jammy. Which isn’t to say that we don’t have an occasional six-minute number -- we do. But having said that, I have a great respect for that audience, which I think is just a music-loving audience. You know, one year I got invited to the Jammies at Carnegie Hall, and I got in a discussion with somebody: ‘Well, how do you define a jam band?’ And he told me, ‘A jam band doesn’t repeat a song for three shows in a row.’ That was the only way that he would define it. I could almost follow that rule, except there are probably four songs I have to play every night. So I guess those four songs are what’s keeping us from ever being a jam band,” he laughs. 

What’s clear is that Big Head Todd is one multi-headed rock monster, easily traversing the most accessible hooks and the heaviest grooves. It’s not surprising that they would appeal to any audience or sub-audience that values durability over flavors of the moment. But Mohr has to laugh when he thinks about how little the possibility of long-term perseverance was on the members’ minds 30 years ago. 

“When you form, I think your goal is to make it through the party on Saturday night,” he points out. “In art, longevity isn’t the goal. It’s a happy accident if it happens, and I think ours was one of those convenient accidents that led to a happy marriage. But we happen to get along really well and love being with each other and playing music for a living.” Simple as it may sound, that’s a profound recipe for endurance in both the old world and the new.

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Lettuce
Sep
12
7:00 PM19:00

Lettuce

Adam Deitch: drums, percussion

Adam “Shmeeans” Smirnoff: guitar

Erick “Jesus” Coomes: bass

Ryan Zoidis: alto, baritone and tenor sax, Korg X-911

Eric “Benny” Bloom: trumpet, horns

Nigel Hall: vocals, Hammond B-3, Rhodes, clavinet, keyboards

LETTUCE is (a) the prime ingredient in a salad, (b) a slang for cash, (c) a green herb that can be

smoked, (d) a genre-busting six-member funk/jazz/soul/jam/psychedelic/hip-hop/art-

rock/ambient/ avant-garde/experimental collective formed in 1992 by four alumni of the

prestigious Berklee College Of Music, or (e) all of the above.

If you answered “e,” then you’re on to the ever-changing musical palette and all-inclusive goals

of LETTUCE’s sixth studio album, Elevate, and its ongoing re-interpretation of the band’s name

as “Let Us.” In their earliest days as students, they would roam the cities of the Northeast, and

implore others to “Let Us play.” Starting with their 2002 debut album, the phrase has been

affixed to their first four albums, as in (Let Us) Outta Here (2002), (Let Us) Rage! (2008), (Let

Us) Fly! (2012) and (Let Us) Crush (2015). Elevate (2019) is the band’s first studio album since

2016’s Mt. Crushmore and the follow-up to its 2017 live effort, Witches Stew.

Recorded at Colorado Sound outside of Denver, near the home of New York transplants and

band co-founders, guitarist Adam “Shmeeans” Smirnoff and percussionist Adam Deitch, with

legendary engineer Russ Elevado (D’Angelo, The Roots, Erykah Badu), Elevate shows

LETTUCE touching on its past while moving full force into the future. The band explores its

funk roots in the Tower of Power like punch of “Ready to Live” (the cover of a song by Cold

Blood’s Lydia Pense), the Prince-like swagger of “Royal Highness” and the OG blues-soul of

“Love Is Too Strong,” while expanded trip-hop sounds of the space age audio-scapes like

“Trapezoid,” “Gang 10” and “Purple Cabbage” show the influence of sax player Ryan Zoidis’

Korg X-911 synths and Nigel Hall’s Rhodes keyboards.

“This album definitely stretches the boundaries,” says chief composer/percussionist Deitch,

whose chance meeting with co-founder “Shmeeans” while 16-year-olds at a summer camp

before their freshmen year of college proved momentous. “The idea was to keep exploring the

different areas of funk and hip-hop beats, then writing melodies to those songs that made sense.”

The more progressive/spacey vibe, with elements of Pink Floyd, the Grateful Dead, Eno and

Miles Davis, also comes naturally to the band, according to founding member and bassist Erick

“Jesus” Coomes, an Orange County native whose father, Tommy Coomes, is a successful

musician with a number of albums to his credit.

“We’re big improvisational music and arts fans,” Erick says. “We consider them part of the same

world. It’s like painting live with five other people, one arm and a single brush.”

Guitarist Shmeeans compares the group’s eclectic, free-wheeling approach to “the modern NBA

and its position-less basketball,” Nigel Hall, the band’s resident singer, also takes vocals on the

album’s two covers, Tears for Fears’ “Everybody Wants to Rule the World” (one of the album’s

two focus tracks, along with “Krewe”) and Lydia Pense’s “Ready to Live.” “As long as you

listen, play your part and remember where the ‘one’ is, you can thrive in this band,” says Nigel.

Trumpet and horn-player Eric “Benny” Bloom, a Rhode Island native who has been a full-time

member of LETTUCE since 2011, notes, “This isn’t just a funk band anymore. We’re playing

every style of music in every song. You can’t categorize it. We have the freedom to do whatever

we want that’s appropriate for the song.”

Much of the futuristic, yet warm and analog feel, of Elevate can be attributed to sax player,

Portland, ME native and co-founding member Ryan Zoidis, who continued to explore the limits

of his new toy, a vintage Korg X-911 synth.

“I was still figuring it out on the last album, trouble-shooting how it would work,” says Ryan.

“It’s responsible not just for the ways the band has changed musically, but it’s improved my life

in general. It’s great to have have a lot more options with my sound rather than just relying on

the one standard timbre of the dry saxophone. There are now a bunch of different voices I can

pull up.” He points to “Trapezoid” as a piece for which he recorded himself playing the synth

over a click track and then sent to Deitch, who turned it into the song on the album.

Other album highlights include Smirnoff’s nod to Carlos Santana and Trey Anastasio on the

Latin-flavored and playfully named “Shmink Dabby,” the spaghetti western meets ‘60s Ethiopian

funk by way of the French Ethiopiques compilation albums in the focus track, “Krewe” and the

Marcus King cameo vocal on the B.B. King/Al Green gospel blues of “Love Is Too Strong.”

The latter is reminiscent of other guest appearances in the past by the likes of John Scofield and

Fred Wesley on LETTUCE’s debut, Outta Here, or Dwele on Rage!

“There’s always something new to be learned as musicians and as people,” adds Shmeeans.

“We’re trying to get a little bit better every day.”

Says Ryan: “We realize more and more that this band is a gift we’ve been given. Everyone

contributes, like a successful sports team. We’ve really become family over the years. We’ve

known there was magic in this from the moment we first got together as 16-year-olds.”

That magic continues to grow with the band’s new album, a democratic ensemble in which there

is no leader, but a complete unit that functions as a single entity, with plenty of moving parts.

All together now… Let us Elevate.

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Salvage Station Presents: Beatles Sunday Funday
May
19
12:00 PM12:00

Salvage Station Presents: Beatles Sunday Funday

Sun, May 19

Salvage Station Presents:

Beatles Sunday Funday
12pm-4pm

Entry at door: Suggested Donation $5-$20
featuring:

The Asheville Beatles, an all-star cast of AVL musicians performing The Beatles' Revolver album in its entirety. 


Asheville Music School student bands & ensembles:

King, led by Gabrielle Tee: 6th-10th grade students playing classic and contemporary pop/rock music.

Masque, led by Juan Holladay: middle school students playing classic, alternative, and contemporary rock music. 

AMS Fiddle Squad, led by Holley Ross & Paul Stroebel: young violinists playing all sorts of fun fiddle tunes.

AMS Flute Choir, led by Delia Lytle-Bailey: young flute students playing an eclectic mix of classical, folk, pop, and maybe even some jazz. 

Sponsored by: Charlotte Street Computers, McKibbon Hospitality, Strada Italiano, Honeypot Vintage, WNC Magazine, Prestige Subaru, Carol Marin at Mosaic Realty

Beatles Sunday Funday is a great day for music fans of all ages! Come learn all about Asheville Music School, hear their students perform live, and see some of their talented teaching artists, along with special guests, perform The Beatles' Revolver album in its entirety. 

Expect all sorts of fun games, raffles, prizes and surprises.

This is a fundraising event for Asheville Music School. Suggested donation of $5-$20 accepted at the door. Cash or card. 

Asheville Music School's mission is to strengthen Western NC communities through music education, outreach, and scholarships; and to provide resources for music educators and teaching artists to thrive in a supportive environment. 

AMS is a 501(c)(3) organization. All donations are tax-deductible.

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The Band of Heathens
May
18
9:00 PM21:00

The Band of Heathens

Opening: Gold Rose

The Band of Heathens

We were on the road somewhere in New England in early 2017, when the topic of conversation drifted toward the troubled social climate in the country. We all shared a sadness that bordered on despair at the relentless stream of unsettling news of corruption, social injustice, and an overall lack of moral decency. We related similar experiences with how divisiveness was affecting those around us, how families were being torn apart over political and social issues. Eventually the weight of it all left us feeling quite solemn and the conversation trailed off — we returned to our thoughts and personal reflection as we rolled up the interstate. After a long period of silence, we felt like we needed to lighten the mood, and nothing heals the soul quite like music…


Trevor went to an obscure and out-of-print Ray Charles album that he had ripped from vinyl to mp3 to listen to on the road, A Message From The People…how appropriate. Some of us were vaguely familiar with the context of this record — that it was released in the early 70’s (April ’72) during a time of great social upheaval in America. Nixon, Vietnam, race riots, protests in almost every major city…the country had fallen on some hard times. Just by glancing at the LP’s artwork it’s easy to deduce that Ray had a message in mind when he made this record. The cover is a painting of Ray in a reflective pose next to a group of children with different ethnicities. They all sit beneath a Mt. Rushmore-like image with the faces of Bobby Kennedy, Abe Lincoln, Martin Luther King, Jr. and JFK. With the first notes of the opening track “Lift Every Voice And Sing”, Ray had our undivided attention. Often referred to as the Black National Anthem, Ray’s genius is in full flight from the get-go, singing with incredible jubilation and hope, hitting us like a ton of bricks. It seemed like Ray had picked up where our conversation had trailed off just moments before…we were really LISTENING. The second track, “Seems Like I Gotta Do Wrong”, he sings with such a powerful sentiment of loneliness and helplessness — the plight of many in society who are forgotten or ignored. We remained silent, intently listening and reflecting on the meaning of every word he sang. Halfway through the record a couple of us were in tears. The messages in each song that Ray had carefully selected back in 1972 rang as true today as they did during the turbulent times they were initially released. In these moments, Ray’s voice became the voice of an elder — a true master was speaking to us from the past. There is sorrow, protest, and anger but also resolve, hope, and deliverance. On the final track of the record, Ray saved for us his most powerful message and the perfect coda; the definitive version of “America The Beautiful” is absolutely glorious. It is quite simply the apotheosis of soul. “America! God done shed his grace on thee! He crowned thy good, he told me he would, with brotherhood from sea to shining sea!”

Just like that, the masterpiece that is A Message From The People came to an end. Breaking the ensuing silence, Gordy turned around and said, “What if we covered this album? People really need to hear these songs again.” The idea was hatched right then and there.

Fast forward almost a year later. In December 2017 we were working as a backing band on a variety of projects for other artists being produced by Gordy. The sessions took place at the Finishing School, a studio built by close friend, producer, and musical collaborator, George Reiff, who tragically succumbed cancer in May ’17 after a 10-month fight. The studio had been dark since George’s passing. With the blessing of the Reiff family, the lights were turned back on and we went to work for a few weeks. The final four days of session time were blocked off for us to work on something of our own. A few weeks prior to the sessions it was collectively decided that we would use that time to take a shot at recording some of A Message From The People. Working alongside our close friend (and George’s right-hand-man in the studio) Steve Christensen, there was a palpable vibration in the air. It was somber but also very peaceful. Our expectations were tempered, as we knew that doing any Ray Charles record justice was going to be a real challenge — let alone one with such lush arrangements. On top of that, we were working in a new bass player, Jesse Wilson. These sessions would be the first time we had worked with him in a studio environment (which can be a crucible for some). In spite of all that, the collective mentality, while unspoken, seemed to be “let’s give this a shot, this could be cool, there’s no pressure here.” To our amazement, after four days, we had finished the record. In between takes we frequently reminisced about George and were even visited at the studio by some of George’s close friends and family. Feeling confident that what we had accomplished was going to be worthy of a release, we unanimously agreed that it would be dedicated to the memory of George and that proceeds would go to a charitable organization that focused on social justice.

Going forward, our hope is that our performance of these songs has sufficient merit to carry the listener to the musical feeling that we strived to infuse in these recordings — a spirit of brotherhood, hope and understanding, liberty, and justice for all.


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Groverfest Showcase
May
17
9:00 PM21:00

Groverfest Showcase

DUK TAN, Freeway Jubilee, Coddle Creek plus members of Motion, Bobby's Jorts, The Snozzberries and more will be joining up at The Salvage Station for a night of good music with great friends! Please come out and get a taste of what's to come this June at Groverfest Music Festival! Tickets available at groverfest.com now!

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Bernie Sanders Rally
May
17
12:00 PM12:00

Bernie Sanders Rally

RSVP HERE: https://act.berniesanders.com/event/bernie-rally-campaign/7194/

Join Bernie Sanders in Asheville on Friday. This event is free and open to the public. Tickets are not required, but an RSVP is encouraged. There is limited parking available on site. Attendees are encouraged to walk, bike, carpool, or take a taxi or ride-share service to the event.

Date: Friday, May 17
Time: Doors open 10:30 am - event starts at 12 pm

Salvage Station
466 Riverside Drive
Asheville, NC 28801

RSVP HERE: https://act.berniesanders.com/event/bernie-rally-campaign/7194/

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Eggy
May
11
9:00 PM21:00

Eggy

FREE SHOW

Eggy is the group that brings balance to your musical diet. The band offers timeless songwriting both lyrically and in composition creating works worthy of repeated consumption. Drawing influences from classics like Bruce Hornsby, CSNY, Herbie Hancock, & the like; Eggy is the fresh but familiar music you’ve been craving. In a live setting moving lyrics & four piece harmonies coupled with eclectic improvisations create performances that take on a life of their own. Eggy’s music offers the full pallet of emotion & style and invites you to share in the experience! Their debut album “Watercolor Days” (released March 2019) reflects the band’s fine palate & musical breadth.


Michael Goodman (bass/vocals), Jake Brownstein (guitar/vocals), Dani Battat (keys/vocals) and Alex Bailey (drums/vocals) work in tandem, sending sizzling musical ideas across the stage from years of sharpening their craft together. The result is an original & organic musical blend inspired by their heroes of the past and present.

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Maradeen
May
10
9:00 PM21:00

Maradeen

FREE SHOW

MARADEEN is an American rock band from Nashville, TN comprised of Whit Murray (guitar, vocals), Kaitlyn Connor (piano, vocals), Tom Galloway (guitar, vocals), & John Rodrigue (drums).

In 2014, founding members Murray and Connor fused their jazz and classical backgrounds with their affinity for high-energy electric rock, creating an undeniably unique sound and on-stage chemistry. In 2015, songwriter Tom Galloway moved to Nashville and began collaborating with the band. Murray and Galloway shared a musical history under the band, Mama's Love, who had also shared the stage with Connor's prog rock band, Afro. Berklee School of Music connected Murray with John Rodrigue, rounding out the lineup.

Their first LP, Mirage (2015), revealed well-versed musicianship and intricate sonic dynamics. Moon Taxi's Wes Bailey took the production helm for MARADEEN's second album, Above the Horizon (2016), and brought to life a sound that was more eclectic, more layered, and more refined all at the same time. 

MARADEEN is currently on tour across the country with highly-acclaimed reception. They have shared the stage with acts like Bon Jovi, The Rhythm Devils, Todd Nance, Keller Williams, The Revivalists, Moon Taxi, Perpetual Groove, The Apache Relay, Bloodkin, and Colonel Bruce Hampton, to name a few. MARADEEN is poised as a rock band on the rise, breaking musical ground both in songwriting and in the live arena.

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Chicano Batman
May
9
9:00 PM21:00

Chicano Batman

Opening: SadGirl

Chicano Batman

They came out of L.A., four young men in vintage formalwear, playing songs that blended Brazilian Tropicalía with early ’70s psychedelic soul and the romantic pop of bands like Los Ángeles Negros. It was an immediately addictive sonic brew, and their reputation grew fast. Since forming in 2008, Chicano Batman have released two full-length albums—a self-titled 2009 debut, and 2014’s Cycles Of Existential Rhyme—and two EPs. The band has played Coachella, and toured with Alabama Shakes and Jack White, among others. Now, they’re making their boldest statement yet with Freedom Is Free, their third album and ATO Records debut.


Frontman Bardo Martinez met bassist Eduardo Arenas in 2008, and they quickly found common ground in the work of Caetano Veloso and other Tropicalía performers, as well as the kind of vintage soul and pop heard on “the albums our parents have in their closets.” They recruited drummer Gabriel Villa and made their first album as a trio; guitarist Carlos Arévalo joined the band in 2011 and they released The Joven Navegante EP the following year.


Chicano Batman’s look has done as much to set them apart as their sound or their name. Since the beginning, they’ve performed in matching suits and ruffled shirts; Bardo explains, “We’re making a particular reference that some people understand—Los Ángeles Negros, Los Pasteles Verdes. In the ’70s, it was a big thing where all these cats were playing romantic ballads, but they were funky as hell.”


That sharp funk groove shows up throughout Freedom Is Free, but especially on the title song. Bardo’s uplifting lyrics, delivered in his uniquely dreamy/romantic style, are bolstered by the backing vocals of New York’s all-female Mariachi Flor de Toloache.


“It’s a counterpoint to the propaganda catch phrase that was invented by the US government during the first Iraq war, ‘Freedom isn’t free,’” he explains. “It’s a counter-narrative…the song itself relates to the idea that freedom is inherent to every individual on this planet and in the universe. I live in Los Angeles, and people are pretty jaded; everybody’s so caught up in their routine they can’t tap into their own spirits. For me, music is about the spirit.”


The first single, “Friendship (Is a Small Boat In A Storm),” is an organ-driven soul jam with buzzing, psychedelic guitar from Carlos (who wrote the music). “I’m not a lyricist,” he says. “I brought in the chords and the instrumental melodies, and I gave it to Bardo. So he wrote the lyrics and the vocal melodies, and then we brought it to the band and they added the rhythmic elements and the overall feel.”


Perhaps the biggest surprise on Freedom Is Free is “The Taker Story.” Over a slow, ominous groove, Bardo unleashes a stinging indictment of imperialism and conquest, with the Mariachi Flor de Toloache amplifying his simmering fury as the band channels the Funkadelic of “March to the Witch’s Castle” and America Eats Its Young.


“That’s all Bardo; he composed the bass line, he composed the chords, he had the whole idea for it,” says Carlos. “That’s the only song on the album where the vocals were tracked live. What you hear is what we did.”


Freedom Is Free reflects Chicano Batman’s decision to foreground the soul and R&B elements of their sound. To achieve their ambitious sonic goals, the quartet worked with producer Leon Michels (El Michels Affair, The Arcs) in his Diamond Mine Recording studio in Long Island City, NY. Michels, a veteran in the New York soul revival scene, has performed in Sharon Jones & the Dap Kings, The Black Keys and The Menahan Street Band. In addition to tracking the album to analog tape, Michels contributed keyboards and his trademark horn arrangements (he’s been sampled by Jay-Z and Ghostface Killah). The partnership between Michels and Chicano Batman truly captures the band’s live energy and brings their aesthetic goals to life.


“They get together, they rehearse every week, they fight about the arrangements, they have a classic band dynamic,” Michels says. “So for me it was really just about shaping up the songs. They were already there, but some of them were eight minutes long, so we had to cut them up and make it so you were engaged from start to finish. They had just come off a tour, and they were tight as hell, so it was just a matter of getting the right take. At the most, we did three takes of a song.”


Recording with Michels allowed Chicano Batman access to his collection of vintage gear, which helped expand their creative palette. “The possibilities were sonically endless,” Carlos says. “If you wanted to do something, it was like, ‘Yeah, I have that over here. You want a Mellotron? I have a Mellotron.’ He had amazing equipment, and his aesthetic is right in line with ours.”


Outside the studio, Chicano Batman have built a stellar reputation through heavy touring across the country.  They’ve played major festivals like Coachella, Bonnaroo, Outside Lands, and opened for Jack White, Alabama Shakes, and Portugal. The Man.  The past two years have demonstrated a breakout year, selling out just about every show across the US as a headliner in support of their most recent record.  

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Jerry Garcia Band Cover Band
May
4
9:00 PM21:00

Jerry Garcia Band Cover Band

Doors 8
Music 9

Formed in Athens, GA in 2012, JGBCB has been filling a hole in the Grateful Dead scene by offering up spirited covers of classic songs pulled exclusively from the repertoire of the Jerry Garcia Band, Garcia's long-running side-project. JGBCB has played shows from Key West to Colorado, exciting audiences with performances of beloved Garcia tunes not found within the traditional Grateful Dead catalog.

The Jerry Garcia Band (famously known to Dead Heads as "JGB") was as much a songwriting outlet for Garcia as it was a chance for him to cover the music he loved. With Jerry and bassist John Kahn as the band's staples (playing together as far back as 1970), a varied set of keyboardists, drummers, and backup singers filled out the lineup over the years, each bringing their own unique character to the band. Over the course of it's existence, JGB played a number of diverse musical styles, covering artists such as The Beatles, Van Morrison, Bob Dylan, The Band, Jimmy Cliff, Smoky Robinson, The Rolling Stones, the Wailers, J.J. Cale, and Ray Charles. The list goes on and on, recalling the names of rock, soul, and folk royalty.

It is with a deep love of Jerry Garcia's music and the music that he loved that the members of JGBCB approach this project. The band came together for a single show in December 2012, which led to a local weekly residency in Athens. The positive response they received ultimately led JGBCB to tour around the country, giving fans all over a taste of the music of the Jerry Garcia Band. Count on hearing different material from night to night, consisting of JGB staples and deep cuts. How sweet it is!

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Mountain Sports Festival Going Away Party
May
3
5:00 PM17:00

Mountain Sports Festival Going Away Party

Come join us for ONE LAST PARTY!!
FREE FOR ALL - just like the Mt Sports Festival
An evening of Music, Memories and Fun
featuring ~
Supatight
The Get Right Band
After 18 great years of celebrating and sharing with the community the amazing outdoor offerings and activities that are found in WNC, we've decided to shutter the Mountain Sports Festival. So, get on that mountain bike, road bike, cyclocross bike, SUP, kayak, canoe or Bellyak. Lace up those running shoes, trail shoes, climbing shoes or hiking boots and head down to the Salvage Station on Friday, May 3rd to join us for one last big party.

All are welcome to come and listen to some amazing music, have a drink and a bite and participate in a raffle/silent auction and share some memories.

Donations will be accepted for Streets to Peaks (and more).

The schedule for the evening is this:
5 p.m. - Party starts - probably some announcements interspersed
6 to 7:30 p.m. - Supatight
7:30 to 7:50 p.m. - MSF presentation
8 to 9:30 p.m. - The Get Right Band
10 p.m. - tearful group hug (just kidding - but the party is over and you should all go home)

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Random Animals
Apr
27
10:00 PM22:00

Random Animals

FREE SHOW
INSIDE AFTER DUNGEON FAMILY

Random Animals is an Asheville-based quintet of the funk, soul, and blues persuasion. Random Animal's shows are always a party, bringing a mix of originals and creative covers.

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Evan Button, Sons of Paradise, Turnup Truk
Apr
26
9:00 PM21:00

Evan Button, Sons of Paradise, Turnup Truk

$5 cover
Doors at 8
Show at 9

Evan Button

Conscious reggae trio, Evan Button, weave the melodies of reggae, soul, and folk to create a sound that is unique, yet comforting with a home-like aura.

Sons of Paradise

Sons of Paradise is a reggae-rock/jam powerhouse with nearly 10 years of live show experience under their belt. Formed in 2009 by former high school classmates, the 5-piece continues to spread a unifying message throughout the Southeast. Following their debut release, Head Held High, members Matt McClanahan (guitar/vocals), Diego Avilez (bass/keys), Adam Bauer (drums), Jordan Gee (keyboards/saxophone), and Matt Brunt (guitar/trumpet) quickly rose on the reggae scene packing venues throughout North Carolina. With influence ranging from Rebelution to the Grateful Dead, the tight-knit quintet is sure to encapsulate listeners with uplifting and tropical vibrations.

Turnup Truk

Roots Rock Reggae band out of Morganton N.C.


Band members:
Tim Alimena - Lead Vocals&Guitar
Larry Peterson - Bass
Bobby Pearson - Drums
Jake Leonard - Percussion&Vocals

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Garaj Mahal
Apr
20
10:00 PM22:00

Garaj Mahal

When you hear your first Garaj Mahal note, leading into an innovative fusion of funky jazz with a tasty world music flare, all other thoughts leave your mind as the music takes you on an unforgettable voyage. Fans return to experience the band again and again because they know they will always hear something new and progressive from four first-class musicians.

Featuring guitar and sitar virtuoso Fareed Haque, world-renowned bass master and educator Kai Eckhardt, Garaj Mahal combines a century of musical experience to create a sound that's always new, freshly infused with a wide spectrum of musical expression, and always smoking hot.

Touring extensively since their formation in 2000, Garaj Mahal continues to earn critical acclaim and a growing fanbase thanks to their ability to deliver serious "shut-up-and-listen" grooves while simultaneously bringing the dance floor alive. Their collective musical experience allows them to constantly push the envelope of composition and improvisation. Garaj Mahal's sound – a convergence of jazz-style improvisation, mystical Middle-Eastern atmospheres, and danceable American funk - attracts music lovers from all parts of the spectrum and creates a profoundly unique experience.

Each band member dedicates every drop of his education, history, and life-long passion for music to their audience every time they step on stage. The band member's virtuosity is no surprise when you look at even a few of the amazing artists they've performed and/or recorded with over the years, including Dizzy Gillespie, John McLaughlin, Sting, Cassandra Wilson, Dave Holland, Bela Fleck, Chick Corea, Steve Smith, Zakir Hussain, Edgar Meyer, Les Claypool, Trey Anastasio, Umphrey's McGee, MMW, Steve Kimock, and Michael Manring. Garaj Mahal's output is the result of years spent honing their musical relationship on the road and following the band’s return from an extended hiatus, Garaj is already accumulating rave reviews around the country.

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Rising Appalachia Plays a Clean Water Benefit hosted by the French Broad Riverkeeper
Apr
20
5:00 PM17:00

Rising Appalachia Plays a Clean Water Benefit hosted by the French Broad Riverkeeper

VIP 5-7PM

Rising Appalachia

Leah Song and Chloe Smith, founding sisters of Rising Appalachia, have long witnessed themselves – by both choice and coincidence – carrying harmony into settings of upheaval and discord. Soon after their eponymous release in 2006, the siblings moved to New Orleans to assist in rebuilding efforts following Katrina. There they gained not only a deeper sense of connection to the roots of American music, but also an abiding sense of purpose as musicians. The band, which has now grown to include musicians David Brown on upright bass and baritone guitar, and Biko Casini on world percussion, has settled into its stride and purpose through creating original music with a mission, rooted in the traditions of folk songs, storytelling, and grass roots activism. The band manages to meld traditions and genres the same way Leah and Chloe blend their voices; it’s casual, beguiling, and effortlessly singular.

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Gruda Tree
Apr
19
8:30 PM20:30

Gruda Tree

Kris Gruda (electric guitar/effects/objects/lead vocals), Michelangelo "Miko" Amore (electric bass guitar/vocals) and Paul Gladstone (drums). Extended musical family: Linda Wolf (alto saxophone), JP Furnas (trombone), Ian Taylor (keyboards)...and so the 'Tree grows on...

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Billy Strings - SOLD OUT
Apr
18
9:00 PM21:00

Billy Strings - SOLD OUT

Billy Strings

Billy Strings plays hard and he lives hard, picking so fast and intensely that he’s known to break multiple strings per song, and basing the songs he writes on the hard lives he grew up around in the abandoned rural communities of America. His new album, Turmoil & Tinfoil, taps into a deep vein of psychedelia in Americana, referencing everything from the Dead to Sturgill Simpson, but all underlaid by Billy’s undeniable virtuosity and his knowledge of the roots of American music. He’s one of the most beloved young bluegrass guitarists today within the bluegrass community, and his front porch in East Nashville is constantly filled up with Nashville’s best roots musicians just picking up a storm.

The tricky part of making the new album, Turmoil & Tinfoil, was translating Billy Strings’ incendiary live show into the studio. Returning to his home state of Michigan, Billy enlisted acoustic roots wizard Glenn Brown (Greensky Bluegrass) as producer, and centered the music around his new band, featuring Drew Matulich on mandolin with banjo prodigy Billy Failing and much-loved Nashville bassist Brad Tucker. Rich with special guests, Turmoil & Tinfoil shows off Billy’s East Nashville community of picking friends, among them Miss Tess, Molly Tuttle, John Mailander, Shad Cobb and Peter Madcat Ruth. Of special note is a virtuosic duet between Billy and bluegrass guitarist Bryan Sutton on “Salty Sheep” that shows the speed, precision, and creative craftsmanship of bluegrass when it’s done right.

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The Get Right Band
Apr
6
9:00 PM21:00

The Get Right Band

Opening: Sister Ivy

The Get Right Band is back in the hometown bringing some psychedelic indie-rock to Salvage Station!

$5 cover

***THE GET RIGHT BAND***
WEBSITE: thegetrightband.com
WATCH VIDEO: www.youtube.com/watch?v=1p_MOWgckdA

"The Get Right Band are the type of performers that you just know will break out. Their songs are infectious and take you immediately to a very happy place. The lyrics are smart and bear weight."
-The Huffington Post

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