FREE SHOW INSIDE AFTER GREENSKY
Born in the soul-basted countryside of Alabama, and brought to the heart of the Blue Ridge mountains to marinade and mature, Red Clay Revival delivers an experience that reshapes the parameters of “roots music” as its known. Songsmith extraordinaire, Doug McElvy, lays a solid foundation at the epicenter of Red Clay’s musical magnitude. McElvy’s skillful, heart-driven compositions are orbitted by the most noteabble and virtuosic musicians in the industy today. For the 2012 full-length debut, “Barefoot,” McElvy teams with resophonic guitar guru, Billy Cardine, as creative consultant and coproducer. The album features collaborations with decorated pros, such as; Keller Williams, Larry and Jenny Keel, and Tim carbone of Rail Road Earth. “Barefoot” received stellar reviews and accolades from industry peers, and listeners alike. The title track earned a spot on Relix Magazine’s widely distributed July-August 2012 compilation disc. For the 2014 EP, “Chilly,” McElvy and Cardine again pair in production, recruiting the talents of world class violinst, Casey Driessen, and beat master Jeff Sipe for backing elements. “Chilly” delivers nothing short of pure musical gold. Red Clay Revival’s powerful live performance harnesses an energy that electrifies any room, leaving audiences with an embedded musical experience.
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 Drez. 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.
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?
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?
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?
Winston-Salem singer-songwriter Caleb Caudle was raised on rock n’ roll and Southern hospitality. Influenced by bands like The Clash and Velvet Underground, Caudle was playing North Carolina’s punk rock circuit by the age of 15.
As his music has matured with his age, Caudle was recently dubbed “the musical equivalent of high-proof bourbon – rich in flavor, with a subtle, satisfying bite,” by Rolling Stone editors for their list of “10 New Country Artists You Need To Know”.
His song “Borrowed Smiles” was featured CMT’s Nashville 2017 season finale and he’ll start out 2018 with a highly-coveted slot on the Cayamo Cruise before releasing his latest album Crushed Coins, a dark and dreamy narrative about following the light at the end of the tunnel. Caudle says the album was inspired by Miles Davis among others. Crushed Coins was released on Cornelius Chapel Records in Feb 2018.
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.
Doors at 8
Music at 10
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.
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.
DOORS AT 5
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
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.
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!
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.
GrudaTree is an Asheville, NC-based musical unit that plays "experimental blues." Their live shows are notably groove-oriented, energetic and eclectic: funk, blues, soul, psychedelic rawk, space-jazz; it's in there...and out there. They perform original tunes and classic covers from the likes of Thelonious Monk, James Brown, Howlin' Wolf, Miles Davis and other greats with a freeflowing improvisational spirit...
el 'Tree-oh = Kris Gruda (elec.guitar/FX/objects/lead vocal), Michelangelo Amore (elec. bass/vocal) & J. Good (drums/aux.howls) w/ Ian Taylor (keyboards/synthesizers) and JP Furnas (trombone/FX)
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1.) /n/ a high-energy, horn-driven funk party from Asheville, N.C.
2.) /n/ the rhythm that started it all.
Open RODZ AND KUSTOMZ , RAT RODZ ,TRADITIONAL AND AMERICAN MUSCLE CARS , HARLEYS AND BOBBERS. LIVE MUSIC AND PINUP AND BEARD CONTEST FIRST 25 REGISTERING FREE TSHIRT SIZES LIMITED . REGISTRATION $20 9:30 TO 11:30 MUSIC, FOOD , DRINKS CARS , DOOR PRIZES, TROPHIES AND LOTS OF FUN.
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.
The Polish Ambassador (real name David Sugalski) is raising the bar for what it means to be a professionally touring musician. Sure, the electronic musician lays claim to producing the sweetest beats this side of the Milky Way Galaxy, but the world’s funkiest diplomat is also using his popularity to steer the millennial generation toward a nourishing and sustainable way of relating with art, community and the planet. From birthing the Permaculture Action Movement (a movement where the energy of show/festival goers is catalyzed into community action), to launching a Village Building Convergence in his hometown to creating a program where nutritious beverage options are available at music venues on a routed TPA tour, the ambassador is using his clout to make real, tangible change, and along the way inspiring hundreds of thousands.
With a stack of 17 albums and countless remixes, the jumpsuited one ( that’s right…TPA rocks the freshest jumpsuit) has swirled together a cornucopia of music for your auditory senses…and your booty. Over the last decade, his sound has dipped and swirled through a staggering range of styles, each album exploring uncharted sonic territory. Warm, analogue dreamwave; mind-altering glitch; world-infused groove; bass-fueled breaks; sexified down-tempo; electric lullabies; and psy-fi funk are just a few of the genres that have poured from the Ambassador’s soul into earbuds and ghetto-blasters across the galaxy.
In the live setting, expect to be taken on a masterfully crafted and evocative journey mixing old and new into an auditory canvas that will spark nostalgia, titilate your senses, and make you drop that bottom like it was ‘92…3092. All of that music you hear? It’s all created via solar power on TPA’s off-grid community homestead AND it’s available for free or “Name Your Price.” Just one of the ways The Ambassador says “Thank You” to all of the people out there who have supported the project along the way.
So if TPA’s earth-space escalade is docking at a city or festival near you…dust off your onesie, get ready to boogie and gear up for an epic community action day. Welcome to the future, where we don’t just party. We party with a purpose.
Garrett "G.Love" Dutton, Jeffrey "The Houseman" Clemens and Jimmy "Jazz" Prescott are celebrating their 25th year as touring and recording artists. With over 15 records released, this pioneering band has been an influence to artists such as Jack White, Jack Johnson, The Avett Brothers, Slightly Stoopid and many more. With their signature blend of Delta Blues, Hip Hop, Funk, Rock and Roll and Jazz, The Special Sauce have literally created their own funky stew of American music. Expect a high energy mashup of funky beats and songs written from the front porch to get the world smiling and dancing to the positive message of Love and the Blues.
Throughout history, unity starts on the dancefloor. From ancient tribal cultures to neon night clubs, beats bring bodies together. Once grinding and grooving in unison, the movement generates friction, sparks, and light. That might just be the purest form of energy on the planet. The Motet harness such energy on their ninth full-length, Death or Devotion. In fact, the Denver septet—Dave Watts [drums], Joey Porter [keys], Garrett Sayers [bass], Ryan Jalbert [guitar], Lyle Divinsky [vocals], Drew Sayers [sax], and Parris Fleming [trumpet]—encode a message in their energetic mélange of boisterous badass funk, swaggering soul, and thought-provoking pop.
In the process, they challenge convention and arrive with a dynamic, diverse, and definitive statement.
“The essence is always going to be the groove, but we wanted to expand the idea of what a funk album could be,” says Lyle. “Of course, you want a driving backbeat. However, with the division that’s going on in this country and the world, I think it’s every artist’s responsibility to create a conversation. That conversation doesn’t have to be political either. It can be about love or an introspective journey. I think the commentary should be on what it’s like to be alive today. By drawing on funk, we create a fun, palatable musical vehicle for the message to go down. Our goal is for you to recognize we’re all dancing on the same dance floor—even though our steps may look a little different.”
Death or Devotion earmarks an important point in the band’s own journey. Since emerging in 1998, the boys have cooked up eight full-length albums and entranced countless crowds. 2016’s Totem saw them welcome Lyle behind the mic and Drew on sax. Shortly after, they kicked off what has become an annual tradition by selling out the legendary Red Rocks Amphitheater for the first time. “It was my six-month anniversary and first show for a hometown crowd,” recalls Lyle. “I’ve got 10,000 people looking at me like, ‘Who the hell is that?’,” he laughs.
That night would be chronicled on the fan favorite Live at Red Rocks. In the meantime, the group maintained a prolific pace of 100 shows per year in support of Totem. Along the way, The Motet started recording Death or Devotion during intermittent sessions at Scanhope Sound in 2017.
For the first time, Lyle, Drew, and Parris (who joined in 2018) worked on a Motet record together from start-to-finish.
“On Totem, the train was already moving, and I was just a train hopper,” says Lyle.
“Drew, Parris, and I came onboard within the same year. Now, we’re all bringing our pieces to the puzzle. For me, I brought that R&B style. Funk is the common ground, but the music is a result of different inspirations: namely Drew’s hip-hop and reggae knowledge, Ryan’s psychedelic jamming, Dave with the worldbeat, Joey with his encyclopedic understanding of punk, and Garrett being the best bass player to exist. We found a really cool balance between the funkiness and songs that challenge your emotional headspace more than typical pop.”
The first single “That Dream” showcases the myriad of musical flavors from all seven members. Clean palm-muted guitars bristle against a swaggering beat as the horns enliven each verse, while a vocal call-and-response relays a head-spinning tale.
“I took a nap, and I had the craziest dream I’ve ever had,” he recalls. “In the dream, I’m heartbroken from a nonexistent relationship, so I go out to a bar. I get seduced by this beautiful woman who serves me a glass of wine with poison. I wake up handcuffed and she’s stealing from me and torturing me. It was so dark, but I woke up and thought, ‘That would be a crazy subject to write a party song about!’”
Elsewhere, “Highly Compatible” hinges on an unshakable riff and raucous refrain upheld by sizzling sax. “It’s like that beautiful moment of falling in love where you recognize something as supremely real-life magic,” Lyle goes. “Harry Potter couldn’t conjure a better spell. It’s the magnetic nature of the chemistry. We captured that chemical recognition.”
From the infectious hooks of “Contagious” to the instrumental fireworks on “Speed of Light,” The Motet ultimately propose an important question at the heart of Death Or Devotion.
“What are you going to bring to yourself and the world?”, Lyle leaves off. “Are you going to bring death, or are you going to bring devotion? The choice is yours. When you listen to this record, I’d love for you to walk away feeling a little bit more connected, whether it be to yourself, to your friends, or to your community. Being able to drop all of the vision for a minute, be present, smile, and dance reminds us we’re all going through this together.”
In his 1942 essay The Myth of Sisyphus, Camus wrote that “All great deeds and all great thoughts have a ridiculous beginning. Great works are often born on a street corner or in a restaurant's revolving door.” 15 years later Richard Wayne Penniman wrote “Wop bop a loo bop a wop bam boom”, an undeniably powerful vocalization that on any given Wednesday in any given situation, civilized or otherwise, is still fully capable of setting somebody’s stuff aflame. Over ten years and seven long players into their career, White Denim are still in the relentless pursuit of a thread - in other words, a wick.
The Austin,Texas band have carefully and continuously studied the greatest records ever made, but they write songs just dumb enough to drink, dance, and fight to. Theirs is a music that aims for the whole body, while equally satisfying the mind. While it has morphed, expanded, and even burst apart, White Denim’s sincere and human drive and ability to spark true rock & roll exhilaration have been unerring constants of the band’s 10-year existence.
“White Denim are one of the best live bands you will ever see if you live to be a million. That’s not excitable hyperbole, merely a bald statement of undeniable fact...” — Time Out
“The last great rock & roll band!” — The Guardian
At one point on his 2019 album, Buddha and The Blues, Anders Osborne sings, “Oh, it’s a miracle we still care. Oh, it’s so wonderful we’re still here. We’re still here!”
He’s not going anywhere either…
Osborne’s six-string virtuosity, inventive musicality, and poetic songcraft underpin an ever-expanding three-decade catalog celebrated by fans and critics alike. As a sought-after studio talent, his writing resounds through Keb Mo’s GRAMMY® Award-winning Slow Down, Tim McGraw’s number one “Watch The Wind Blow By,” and covers by Brad Paisley, Jonny Lang, Edwin McCain, Aaron Neville, and more. His output live and in the studio spans working with everyone from Eric Church, Toots and the Maytals, and John Scofield to The Meters, North Mississippi Allstars, and Galactic. His extensive touring history encompasses gigs, collaborations, and performances alongside everyone from Derek Trucks, Warren Haynes, and Stanton Moore to The Grateful Dead’s Phil Lesh and Jackie Greene. Not to mention, he lights up the screen on an episode of the HBO hit Treme. Plus, he has garnered acclaim from USA Today, Guitar Player, Relix, Offbeat, and more.
He also gives back whenever possible via the “Send Me A Friend” foundation and through writing music for New Orleans Children’s Museum. A pair of 2016 albums—Spacedust & Ocean Views and Flowerbox—maintained his prolific output at a record pace. Now, 2019’s Buddha and the Blues references the full scope of the creative and personal duality at the heart of everything this maverick does.
“I came up with the title early on, so I knew what the vibe of the record should be,” he explains. “Buddha and the Blues means the duality of our existence.”
As Osborne crafted the music, he pondered an existential struggle we all face. On the one hand, humans do good, but it’s under the expectation of personal gratification. On the other hand, they desire success and wealth, but they attempt to maintain an appearance of humility. This constant push-and-pull led him to write about “not getting lost in a sunken path or idolizing an intangible future, but instead to be present in this moment and to be fully alive.”
These thoughts filtered into the words, especially.
He goes on, “The lyrics are supposed to be true, conversational, and uplifting with clean, classic, and thumpin’ sounds. That’s what I set out to accomplish.”
In order to do so, he joined forces with “a world-class ensemble” of Waddy Wachtel [guitar], Bob Glaub [bass], Benmont Tench [keys], Windy Wagner-Cromwell [background vocals], and Chad Cromwell [guitar]. Chad also assumed the role of producer. Like “a big brother” to Osborne, the producer and artist leveraged years of friendship, trust, and creative kinship to “make a record [they] wanted to do for many years.”
“I didn’t have to push,” admits Chad. “It was his idea to let me ‘drive the bus,’ so to speak. That allowed him to focus on songs and his performances. The freer he is to write, play, and sing; the better the record. He really trusted me. To trust someone to help you make a record is an act of faith. It’s a big responsibility to make sure that happens. That’s a mighty thing Anders did, and I appreciate his trust. All signs pointed to this team, this time, and this music.”
The setting proved to be as instrumental as the players did. From the beginning, Osborne envisioned making the album in California, but not the big screen vision of Hollywood. It made perfect sense to zero in on a location just far enough from the city. Ojai felt perfect to siphon the soul of SoCal into wistful sun-soaked soundscapes. You can practically hear Ojai in the aural fabric of the album.
“The Southern California vibe was essential to the record,” Osborne continues. “Early on, Chad and I agreed it had to be tracked out there. I’ve been wanting to do this for a while, and we needed to go out there. You can hear the influence. It’s played with a gentle breeze and tight precision. Cutting it in Ojai was crucial to achieving the right atmosphere. I usually write with a location in mind, so it helps me stay focused and guides me to craft a body of tunes rather than individual songs.”
That “body of tunes” kicks off with the dusty dynamics of “Alone.” In the pocket of a steady beat, the twang of clean guitar offsets his gruff delivery as the track unfurls towards a discordant guitar lead highlighted by organ.
“‘Alone’ was a meditative prose I wrote in my backyard,” he says. “It had a circular vibe to it, When I added the music, I wanted it to match the poem: a small word with an epic impression.”
Elsewhere, “Escape” captures the tension prior to his California trip with its off-kilter groove and roots-y shuffle. A wail of slide guitar cuts through sunny strumming as an idyllic narrative unfolds on “Traveling with Friends.”
He adds, “I wrote ‘Traveling with Friends’ on St. Thomas, Virgin Islands while on vacation with my family. We had an amazing spot on top of a mountain overlooking a big part of the island, and I felt inspired and really grateful. I had a moment of relief from all of my searching and dissonance. I saw us all for what we are—beautiful, fragile, and in this tumultuous space trip all together.”
He crafted the perfect soundtrack to the trip with Buddha and The Blues, illuminating his own duality like never before. The message ultimately becomes clear in the music.
“Learn to choose,” he leaves off. “Be happy or continue suffering.”
Take a journey back in time to the life and music of "The Man in Black" performed by Cash Unchained. The band has been national sought after while touring all over US bringing the sights and sounds of the legendary Johnny Cash.
Johnny Cash may not have been the greatest singer or musical technician, but his sound was unforgettable. Steady like a train, sharp like a razor, with the perfect blend of country, rock 'n' roll, and folk music, Cash paved the way for artists of all genres for years to come. With out Johnny Cash, we wouldn't have some of the finest music we've all enjoyed over the past 6 decades. Performed by some of the finest musicians in the state of Virginia, 18 year old James Tamelcoff
III captures Cash's trademark baritone voice, while his band delivers the infectious, driving rhythm of the Tennessee Three.
Melvin Seals has been a powerful presence in the music industry for over 30 years with a long-established reputation as a performer, recording artist and producer. Melvin is most revered for his powerful, high-spirited, Hammond B-3 and keyboards in the Jerry Garcia Band. Melvin spun his B-3 magic with the Jerry Garcia Band for 18 years and in doing so helped pioneer and define what has now become “Jam Band Music”. From blues to funk to rock to jazz, Melvin Seals serves up a tasty mix with a little R&B and gospel thrown in to spice things up.
The California Honeydrops celebrate their 11th year together with the release of their latest live album, Honeydrops Live 2019 and an international tour to Australia, New Zealand and Europe. This follows the release of their 7th studio album and first ever double album, Call It Home: Vol. 1 & 2 in 2018. Led by dynamic vocalist and multi-instrumentalist Lech Wierzynski, and drawing on diverse musical influences from Bay Area R&B, funk, Southern soul, Delta blues, and New Orleans second-line, the Honeydrops bring vibrant energy and infectious dance-party vibes to their shows. They’ve taken the party all over the world, playing festivals of all kinds and touring widely across North America, Europe and Australia. In 2016 & 2017 the Honeydrops were honored to support Bonnie Raitt on her North America release tour -- and in the past have been privileged to support the likes of B.B. King, Allen Toussaint, Buddy Guy, and Dr. John. Whether in those high-profile performances or in more intimate venues where the band itself can leave the stage and get down on the dance floor, the California Honeydrops’ shared vision and purpose remain: to make the audience dance and sing.
The Honeydrops have come a long way since guitarist and trumpeter Lech Wierzynkski and drummer Ben Malament started busking in an Oakland subway station, but the band has stayed true to that organic, street-level feel. Listening to Lech sing, it can be a surprise that he was born in Warsaw, Poland, and raised by Polish political refugees. He learned his vocal stylings from contraband American recordings of Sam Cooke, Ray Charles, and Louis Armstrong, and later at Oberlin College and on the club circuit in Oakland, California. With the additions of Johnny Bones on tenor sax and clarinet, Lorenzo Loera on keyboards, and Beau Bradbury on bass, they’ve built a powerful full-band sound to support Wierzynski’s vocals. More like parties than traditional concerts, their shows feature extensive off-stage jamming and crowd interaction. “The whole point is to erase the boundaries between the crowd and us,” Wierzynski says.
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.
Opening: Roots & Dore Band
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!
Empire Strikes Brass
Empire Strikes Brass (ESB) is a high energy Brass-Funk-Rock band hailing from the city of Asheville, North Carolina. Formed on the streets of their hometown, ESB is rooted in the New Orleans Brass Band tradition of second-line parades and deep moving grooves reminiscent of old school funk. Combining complex musical arrangements with thoughtful lyrical song structure, ESB can stretch out and dig deep when they are feeling it or keep things tight and concise. The fat sound of the horns paired with one dirty rhythm section makes the music downright psychedelically nasty! Founded in 2012, ESB intentionally stretches the boundaries of the stereotypical brass band paradigm, fusing sounds from various genres and weaving them together with the common thread of Brass. The diversity of the music within their sets keep audiences guessing what is next to come.
Featuring rich group and strong lead vocals including Grammy Award winner Debrissa McKinney (Secret Agent 23 Skidoo), ESB not only takes its audiences on a ride to the dark side and back instrumentally, they also use the force of soaring melody and lush harmony to transport the listeners to another dimension. The band released its debut album, "Theme For A Celebration" in 2017 and it was tapped as one of the top 100 album releases in 2017 by WNCW 88.7 radio. Since their conception, ESB has been a consistent fixture at various festivals throughout the east coast. They've had the pleasure of having Warren Haynes (Allman Bros. Band and Gov’t Mule) sit in with them at New Mountain Amphitheater in Asheville, NC and the honor of headlining four years in a row celebrating the life of Dizzy Gillespie in his hometown of Cheraw, SC, for the South Carolina Jazz and Heritage Festival. ESB has co-billed with such artists as Dr. John & Lettuce. The horns have sat in on performances with Galactic, The Big Something, and many others. ESB horn players JP Furnas, Paul Juhl and Alex Bradley are also featured on the live album compilation from world-renowned artists Beats Antique entitled “Creature Carnival” released in 2015. The band is known to regularly parade off stage into the audience leading a the crowd in a raucous procession around the venue before, during or after their set.
Members of the band have also been expanding their musical resumes and repertoire. Notable side projects and performances include keyboardist Lenny Pettinelli’s recording and performing with Jazz is Phish featuring such artists as Jeff Coffin (Bela Fleck, Dave Matthews Band), Chris Bullock (Snarky Puppy), Michael Ray (Sun Ra, Kool and the Gang), the Chase Brothers and many more. The band's founder, saxophonist Paul Juhl, performed with John Oates (Hall and Oates) at MerleFest. In addition to her work with Skidoo, Debrissa McKinney has performed with artists such as Karl Denson and George Clinton. ESB horn players Kyle Snuffer and Alex Bradley have recorded on Marcus King's upcoming 2018 release produced by Eric Krasno of Soulive and Lettuce.
Later this year, the band is slated to get back in the studio for a follow up sophomore effort to 2017's Theme For A Celebration. Look for the band on the road and at festivals in a town near you!
Forrest “Offsides Blitz” Whitlark
Position: Team Mascot
Height: 6’ 0”
Weight: 188 lbs.
Hometown: The Red Zone
40 Yard Dash Time: Please refer to https://www.hudl.com/profile/1248370/Forrest-Whitlark
Fun Fact: Has the complete series of Gunsmoke on DVD.
Kelly “The Wizard” Bouchillon
Position: HR department for the band
Height: 1 Fathom
Weight: 180 lbs.
Hometown: The 9-1-deuce
40 Yard Dash Time: Faster than Forrest
Fun Fact: Is Diamond 3, Division 3 in Rocket League.
John “Lightning Fingers” Cherry
Position: Fun Ensurer
Height: Varies with temperature
Weight: 800 Newtons
Hometown: Bootsy Collins’s Space Ship
40 Yard Dash Time: 40 seconds
Fun Fact: Is scared of the sun and drinks SPF 70 sunscreen.
Cam “Wam Bam” Corsino
Position: A wave pool
Height: 6’ 0”
Weight: 4.2 bench presses
Hometown: McDonough, GA
40 Yard Dash Time: 4.6 seconds
Fun Fact: Listens to a lot of classical music.
John “Die Hard” MacLane
Position: Public Relations
Height: ‘Bout sebum
Hometown: Atlanta (ITP)
40 Yard Dash Time: Faster than you
Fun Fact: Once acted in a Pamper’s baby commercial.
Will “DJ Kill Will” MacLane
Position: Resident DJ/Hype Man
Height: 6’ 1”
Hometown: Atlanta (ITP)
40 Yard Dash Time: 140 BPM
Fun Fact: Follow @killwill_music on Soundcloud.
Opening: Blue Footed Boobies
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!
Blue Footed Boobies
Guitar/vocalist, Logan Chaucer(23), and drummer, Sam Baker(26), captivate crowds with their energetic and charismatic stage theatrics, powerful licks, and thunderous drums. The two-piece delivers a range of sounds reminiscent of the 60’s greatest, such as Jimi Hendrix, The Beatles, Led Zeppelin and contemporary blues rock bands like The Black Keys, with their blues/psych rock portfolio. Chemistry and soul are the magic ingredients that are propelling The Boobies forward at a rapid rate giving them noticeable recognition from audiences and booking agents throughout theSoutheast. The Blue Footed Boobies have played with The Blues Travelers, Stop Light Observations, ASG, The Nude Party, Hannah Wicklund and The Stepping Stones, Deerhunter, and more. The Boobies concerts aren’t just a “listening experience”, they are a “must see live” performance.
Their sell out shows of 350+ people and festival turnouts of 1,000-2,000+ are evidence of that claim. And after all, who doesn’t like a nice set of boobies?
Swirling psychedelia, funk and fusion in lively whirlwinds of sonic pleasure, The Snozzberries are Asheville's freakiest musical pioneers.
Since their formation in fall of 2017, The Snozzberries have been building their name as the Southeast's most electrifying live band. Their infectious grooves have been unavoidable for Asheville concert goers, who caught them headlining the Asheville Music Hall, hosting the Disco Biscuits afterparty, and playing at The Orange Peel supporting Here Come The Mummies.
Their 2019 summer highlights include Sweetwater 420 Festival in Atlanta, Papadosio’s Summer Seequence (afterparty), Soulshine Farm Fest (2 sets), Xpandfest, Groverfest, Dark Star’s Pisgah Jubilee and more.
The Snozzberries newest release, "No Evil," came out in January 2019. Recorded at The Eagle Room in Asheville, NC, these studio cuts reflect the band's unique dichotomy of thoughtful bliss and visceral excitement.
Doors at 5
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.
Born and raised in Philly and crash-landed in Charleston, John and Kevin Shields are
the minds behind the quirky indie hip-hop group Little Stranger. Performing as a duo,
Little Stranger is a fresh hybrid of John’s singer-songwriter magnetism and Kevin’s
hard hitting, in-your-face delivery. Stylistically reminiscent of Gorillaz and Twenty One
Pilots, Little Stranger inhabits a relatively unexplored niche at this point in time.
They’re all about originality, every song is a separate work unto itself with all the
strangeness that their name implies.
John and Kevin Shields bring years of experience to the table. With previous bands,
they’ve played with names like Slightly Stoopid, Del the Funky Homosapien, Grace
Potter, Papadosio, The Heavy Pets, and John Brown’s Body. Little Stranger was
quickly recognized at home, named “Hip-Hop Act of the Year” in the 2016 & 2017
Charleston City Paper Music Awards and listed jointly as one of “17 People to Watch
in 2017” in the Charleston Indie blog, Out of the Wood- work. They’ve toured up and
down the East and West Coasts and recently released a string of eclectic music videos
to their fans. With an ever-increasing arsenal of new tunes, Little Stranger is poised
and making 2018 a big year.
For more info visit:
Liz Teague Band presents Liz Teague’s original Americana music, mixed with a dash of covers from the likes of Elizabeth Cotton and Bob Dylan. Liz is a Brown Bag Songwriting Competition Finalist and released a stellar album, Little Graces, in 2012. Her wordplay and catchy choruses shine as she is explores the themes of family, friends, community and spirituality- always keeping those toes tapping and grins grinning!
MoonFish 2 plays a wide range of tunes: ‘70s “yacht rockers” , ‘80s bangers, even some ‘90s Americana faves. Throw in a couple of Dead/Dylan/Neil classics and you have a MoonFish 2 show!
"Infectious Latin groove masters Sol Rhythms will get you spinning under the sun with their eclectic world music." - livemusicnewsandreview.com
Using the power of music, Sol Rhythms' mission is to promote a care-free and celebratory atmosphere. We encourage our audiences to dispel of all their worries, be themselves and to let loose to our fiery rhythms.
The lyrical content in our music sends out a message of peace, love, and harmony. Many different rhythms can be heard throughout our music including salsa, merengue, bomba and plena. Percussionists/singers Roni Delerme and Sergio Diaz, who are natives of Puerto Rico, have played together for over twenty years. Together they provide the crucial rhythm combo of timbales and congas. In recent years, Sol Rhythms has re-emerged in Asheville with the help of musicians Gary Morris (bass) and Freddie Barry (guitar). Influences range from Tito Puente, Fania All Stars, Santana and Plena Libre.
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.
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.
KinSong is a family band that would love to have you as part of their Kin. With a blend of classic rock vibes, re-imagined hits and original music, KinSong brings sounds and songs that resonate with any generation. Known for their powerful vocals, rockers JD, Cindy and Andrew Ross present a song list of artists that range from Jethro Tull, The Beatles and Jefferson Airplane to Fleetwood Mac, Ed Sheeran and Train. They also mix original tunes into their set, songs that mirror the band’s ability to cross genres, from pop style rhythms (think the Eurythmics “Sweet Dreams”) to the bluesy rock feel of Jefferson Airplane.
Married for 40 + years, JD and Cindy have been making music together since 1977. Both play multiple instruments and will keep you guessing who will play what next - bass guitar, flute, acoustic guitar, mandolin, harmonica or ukulele.
Andrew Ross, their son, brings 15 + years as a percussionist to the mix. His tasteful catchy beats get everyone involved and the musical energy flows freely from the band to the crowd and back again. KinSong fans have been heard to say that a KinSong show makes them “feel good.”
Doors at 5
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…
All American Food Fights presents the 2nd Annual Asheville Taco Takeover Presented by Olmeca Altos coming to the Salvage Station on June 16.
Sample tacos from all over the area while sipping on house made palomas, ice cold beer and listening live music by the riverside.
Only 150 VIP tickets will be offered and they include a taco from each of the vendors, unlimited beer and samplings of Mexican inspired cocktails. The cost is $45 per ticket
General admission will be limited to just 500 tickets, so get them while they are still available. They will go fast. General Admission is $8 in advance and $12 at the door.
Usted pidío una competencia de tacos. ¡Vamos a entregar! All American Food Fights presenta el primero Asheville Taco Takeover que llega a la Salvage Station en 14 de octubre.
Pruebe tacos de toda la zona mientras saborea palomas caseras, cerveza helada y escucha música en vivo junto al río.
Solo se ofrecerán 150 boletos VIP e incluyen un taco de cada uno de los vendedores, cerveza ilimitada y degustaciones de cócteles inspirados en México. El costo es de $45 por boleto.
La entrada general estará limitada a solo 500 boletos, así que consíguelos mientras estén disponibles. Ellos irán rápido. Admisión general es de $8 por adelantado y $12 en la puerta.
Doors at 5
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.
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!!
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.
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.
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.