Love The Talking Heads? Same As It Ever Was does it right. This 7-piece outfit of Knoxville musicians came together out of their mutual love and respect for the music of the Talking Heads in the summer of 2004 and have not looked back since. Over the years the band has performed extensively, and now nearly have the entire Talking Heads catalog at their fingertips; They bring the excitement and energy of everything from ’77 to Naked, and all the B-sides in between. Same As It Ever Was strives to maintain the integrity of the Talking Heads’ groundbreaking music, while bringing their own panache to the game. Whatever you’re your level of familiarity with Talking Heads, you can expect to have an unforgettable time with Same As It Ever Was!
Sometimes inspiration strikes from the immersion of living in a far away place. The view of the ocean. The sound of a rainforest at sunrise. The smell of an open-air market. The embrace of the wild human experience. However, maybe the nostalgia for a certain place might be attributed instead to a feeling, or a time, or even a person. Sometimes, inspiration stems from a place that everyone can relate to, but maybe no one’s actually been. This is the music of The Hip Abduction, the vibrant St. Petersburg, FL-based collective that formed over a mutual appreciation for West African and early Jamaican reggae/dub music.
The Cleverlys are a one-of-a-kind comedy/music blend coming from the remote part of the Ozark Mountains, near Cane Spur, Arkansas. Digger Cleverly, along with his nephews Ricky Lloyd, Sock, DVD and Cub, make up The Cleverlys. They have traveled the globe, if the globe only consisted of the United States, performing at music venues and some of the nation’s largest festivals like Stagecoach, Telluride, CMA Music Fest and even the Grand Ole Opry.
The New York Times wrote, "If Earl Scruggs, Dolly Parton, and Spinal Tap spawned a litter of puppies, it would be the Cleverlys.”
Don’t be fooled by this faux-family band – they are all accomplished musicians putting their unique bluegrass spin on cover songs from any genre. The Cleverlys’ set list includes genius arrangements of tunes like Psy’s “Gangnam Style,” a medley of Blackstreet’s “No Diggity,” and Flo Rida’s “Low” that recently went viral on Facebook, with over 11 million views from a local TV appearance.
Rolling Stone Magazine says Digger’s “out-of-date eyeglasses are as thick as his hillbilly accent, but whose comic sensibilities are a hilariously off-kilter hybrid of Homer & Jethro and The Office.”
Doors open at 7:00pm; band begins at 7:30pm.
A world prepared for a changing climate requires creative engagement from all people. Founded in 2018 in Asheville, North Carolina, Climate City Expo (CCx) offers professional and experiential tracks for individuals to explore innovation at the forefront of climate adaptation and resilience. The Collider is thrilled to present this hilarious bluegrass quintet as part of the CCx: Arts track. All proceeds will benefit The Collider, a nonprofit innovation center dedicated to advancing climate entrepreneurship.
The Get Right Band is back in the hometown bringing some psychedelic indie-rock to Salvage Station!
***THE GET RIGHT BAND***
WATCH VIDEO: www.youtube.com/watch?v=1p_MOWgckdA
"The Get Right Band are the type of performers that you just know will break out. Their songs are infectious and take you immediately to a very happy place. The lyrics are smart and bear weight."
-The Huffington Post
Billy Strings plays hard and he lives hard, picking so fast and intensely that he’s known to break multiple strings per song, and basing the songs he writes on the hard lives he grew up around in the abandoned rural communities of America. His new album, Turmoil & Tinfoil, taps into a deep vein of psychedelia in Americana, referencing everything from the Dead to Sturgill Simpson, but all underlaid by Billy’s undeniable virtuosity and his knowledge of the roots of American music. He’s one of the most beloved young bluegrass guitarists today within the bluegrass community, and his front porch in East Nashville is constantly filled up with Nashville’s best roots musicians just picking up a storm.
The tricky part of making the new album, Turmoil & Tinfoil, was translating Billy Strings’ incendiary live show into the studio. Returning to his home state of Michigan, Billy enlisted acoustic roots wizard Glenn Brown (Greensky Bluegrass) as producer, and centered the music around his new band, featuring Drew Matulich on mandolin with banjo prodigy Billy Failing and much-loved Nashville bassist Brad Tucker. Rich with special guests, Turmoil & Tinfoil shows off Billy’s East Nashville community of picking friends, among them Miss Tess, Molly Tuttle, John Mailander, Shad Cobb and Peter Madcat Ruth. Of special note is a virtuosic duet between Billy and bluegrass guitarist Bryan Sutton on “Salty Sheep” that shows the speed, precision, and creative craftsmanship of bluegrass when it’s done right.
Leah Song and Chloe Smith, founding sisters of Rising Appalachia, have long witnessed themselves – by both choice and coincidence – carrying harmony into settings of upheaval and discord. Soon after their eponymous release in 2006, the siblings moved to New Orleans to assist in rebuilding efforts following Katrina. There they gained not only a deeper sense of connection to the roots of American music, but also an abiding sense of purpose as musicians. The band, which has now grown to include musicians David Brown on upright bass and baritone guitar, and Biko Casini on world percussion, has settled into its stride and purpose through creating original music with a mission, rooted in the traditions of folk songs, storytelling, and grass roots activism. The band manages to meld traditions and genres the same way Leah and Chloe blend their voices; it’s casual, beguiling, and effortlessly singular.
When you hear your first Garaj Mahal note, leading into an innovative fusion of funky jazz with a tasty world music flare, all other thoughts leave your mind as the music takes you on an unforgettable voyage. Fans return to experience the band again and again because they know they will always hear something new and progressive from four first-class musicians.
Featuring guitar and sitar virtuoso Fareed Haque, world-renowned bass master and educator Kai Eckhardt, Garaj Mahal combines a century of musical experience to create a sound that's always new, freshly infused with a wide spectrum of musical expression, and always smoking hot.
Touring extensively since their formation in 2000, Garaj Mahal continues to earn critical acclaim and a growing fanbase thanks to their ability to deliver serious "shut-up-and-listen" grooves while simultaneously bringing the dance floor alive. Their collective musical experience allows them to constantly push the envelope of composition and improvisation. Garaj Mahal's sound – a convergence of jazz-style improvisation, mystical Middle-Eastern atmospheres, and danceable American funk - attracts music lovers from all parts of the spectrum and creates a profoundly unique experience.
Each band member dedicates every drop of his education, history, and life-long passion for music to their audience every time they step on stage. The band member's virtuosity is no surprise when you look at even a few of the amazing artists they've performed and/or recorded with over the years, including Dizzy Gillespie, John McLaughlin, Sting, Cassandra Wilson, Dave Holland, Bela Fleck, Chick Corea, Steve Smith, Zakir Hussain, Edgar Meyer, Les Claypool, Trey Anastasio, Umphrey's McGee, MMW, Steve Kimock, and Michael Manring. Garaj Mahal's output is the result of years spent honing their musical relationship on the road and following the band’s return from an extended hiatus, Garaj is already accumulating rave reviews around the country.
Doors at 8
Show at 9
Conscious reggae trio, Evan Button, weave the melodies of reggae, soul, and folk to create a sound that is unique, yet comforting with a home-like aura.
Sons of Paradise
Sons of Paradise is a reggae-rock/jam powerhouse with nearly 10 years of live show experience under their belt. Formed in 2009 by former high school classmates, the 5-piece continues to spread a unifying message throughout the Southeast. Following their debut release, Head Held High, members Matt McClanahan (guitar/vocals), Diego Avilez (bass/keys), Adam Bauer (drums), Jordan Gee (keyboards/saxophone), and Matt Brunt (guitar/trumpet) quickly rose on the reggae scene packing venues throughout North Carolina. With influence ranging from Rebelution to the Grateful Dead, the tight-knit quintet is sure to encapsulate listeners with uplifting and tropical vibrations.
Roots Rock Reggae band out of Morganton N.C.
Tim Alimena - Lead Vocals&Guitar
Larry Peterson - Bass
Bobby Pearson - Drums
Jake Leonard - Percussion&Vocals
Come join us for ONE LAST PARTY!!
FREE FOR ALL - just like the Mt Sports Festival
An evening of Music, Memories and Fun
The Get Right Band
After 18 great years of celebrating and sharing with the community the amazing outdoor offerings and activities that are found in WNC, we've decided to shutter the Mountain Sports Festival. So, get on that mountain bike, road bike, cyclocross bike, SUP, kayak, canoe or Bellyak. Lace up those running shoes, trail shoes, climbing shoes or hiking boots and head down to the Salvage Station on Friday, May 3rd to join us for one last big party.
All are welcome to come and listen to some amazing music, have a drink and a bite and participate in a raffle/silent auction and share some memories.
Donations will be accepted for Streets to Peaks (and more).
The schedule for the evening is this:
5 p.m. - Party starts - probably some announcements interspersed
6 to 7:30 p.m. - Supatight
7:30 to 7:50 p.m. - MSF presentation
8 to 9:30 p.m. - The Get Right Band
10 p.m. - tearful group hug (just kidding - but the party is over and you should all go home)
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!
They came out of L.A., four young men in vintage formalwear, playing songs that blended Brazilian Tropicalía with early ’70s psychedelic soul and the romantic pop of bands like Los Ángeles Negros. It was an immediately addictive sonic brew, and their reputation grew fast. Since forming in 2008, Chicano Batman have released two full-length albums—a self-titled 2009 debut, and 2014’s Cycles Of Existential Rhyme—and two EPs. The band has played Coachella, and toured with Alabama Shakes and Jack White, among others. Now, they’re making their boldest statement yet with Freedom Is Free, their third album and ATO Records debut.
Frontman Bardo Martinez met bassist Eduardo Arenas in 2008, and they quickly found common ground in the work of Caetano Veloso and other Tropicalía performers, as well as the kind of vintage soul and pop heard on “the albums our parents have in their closets.” They recruited drummer Gabriel Villa and made their first album as a trio; guitarist Carlos Arévalo joined the band in 2011 and they released The Joven Navegante EP the following year.
Chicano Batman’s look has done as much to set them apart as their sound or their name. Since the beginning, they’ve performed in matching suits and ruffled shirts; Bardo explains, “We’re making a particular reference that some people understand—Los Ángeles Negros, Los Pasteles Verdes. In the ’70s, it was a big thing where all these cats were playing romantic ballads, but they were funky as hell.”
That sharp funk groove shows up throughout Freedom Is Free, but especially on the title song. Bardo’s uplifting lyrics, delivered in his uniquely dreamy/romantic style, are bolstered by the backing vocals of New York’s all-female Mariachi Flor de Toloache.
“It’s a counterpoint to the propaganda catch phrase that was invented by the US government during the first Iraq war, ‘Freedom isn’t free,’” he explains. “It’s a counter-narrative…the song itself relates to the idea that freedom is inherent to every individual on this planet and in the universe. I live in Los Angeles, and people are pretty jaded; everybody’s so caught up in their routine they can’t tap into their own spirits. For me, music is about the spirit.”
The first single, “Friendship (Is a Small Boat In A Storm),” is an organ-driven soul jam with buzzing, psychedelic guitar from Carlos (who wrote the music). “I’m not a lyricist,” he says. “I brought in the chords and the instrumental melodies, and I gave it to Bardo. So he wrote the lyrics and the vocal melodies, and then we brought it to the band and they added the rhythmic elements and the overall feel.”
Perhaps the biggest surprise on Freedom Is Free is “The Taker Story.” Over a slow, ominous groove, Bardo unleashes a stinging indictment of imperialism and conquest, with the Mariachi Flor de Toloache amplifying his simmering fury as the band channels the Funkadelic of “March to the Witch’s Castle” and America Eats Its Young.
“That’s all Bardo; he composed the bass line, he composed the chords, he had the whole idea for it,” says Carlos. “That’s the only song on the album where the vocals were tracked live. What you hear is what we did.”
Freedom Is Free reflects Chicano Batman’s decision to foreground the soul and R&B elements of their sound. To achieve their ambitious sonic goals, the quartet worked with producer Leon Michels (El Michels Affair, The Arcs) in his Diamond Mine Recording studio in Long Island City, NY. Michels, a veteran in the New York soul revival scene, has performed in Sharon Jones & the Dap Kings, The Black Keys and The Menahan Street Band. In addition to tracking the album to analog tape, Michels contributed keyboards and his trademark horn arrangements (he’s been sampled by Jay-Z and Ghostface Killah). The partnership between Michels and Chicano Batman truly captures the band’s live energy and brings their aesthetic goals to life.
“They get together, they rehearse every week, they fight about the arrangements, they have a classic band dynamic,” Michels says. “So for me it was really just about shaping up the songs. They were already there, but some of them were eight minutes long, so we had to cut them up and make it so you were engaged from start to finish. They had just come off a tour, and they were tight as hell, so it was just a matter of getting the right take. At the most, we did three takes of a song.”
Recording with Michels allowed Chicano Batman access to his collection of vintage gear, which helped expand their creative palette. “The possibilities were sonically endless,” Carlos says. “If you wanted to do something, it was like, ‘Yeah, I have that over here. You want a Mellotron? I have a Mellotron.’ He had amazing equipment, and his aesthetic is right in line with ours.”
Outside the studio, Chicano Batman have built a stellar reputation through heavy touring across the country. They’ve played major festivals like Coachella, Bonnaroo, Outside Lands, and opened for Jack White, Alabama Shakes, and Portugal. The Man. The past two years have demonstrated a breakout year, selling out just about every show across the US as a headliner in support of their most recent record.
The Band of Heathens
We were on the road somewhere in New England in early 2017, when the topic of conversation drifted toward the troubled social climate in the country. We all shared a sadness that bordered on despair at the relentless stream of unsettling news of corruption, social injustice, and an overall lack of moral decency. We related similar experiences with how divisiveness was affecting those around us, how families were being torn apart over political and social issues. Eventually the weight of it all left us feeling quite solemn and the conversation trailed off — we returned to our thoughts and personal reflection as we rolled up the interstate. After a long period of silence, we felt like we needed to lighten the mood, and nothing heals the soul quite like music…
Trevor went to an obscure and out-of-print Ray Charles album that he had ripped from vinyl to mp3 to listen to on the road, A Message From The People…how appropriate. Some of us were vaguely familiar with the context of this record — that it was released in the early 70’s (April ’72) during a time of great social upheaval in America. Nixon, Vietnam, race riots, protests in almost every major city…the country had fallen on some hard times. Just by glancing at the LP’s artwork it’s easy to deduce that Ray had a message in mind when he made this record. The cover is a painting of Ray in a reflective pose next to a group of children with different ethnicities. They all sit beneath a Mt. Rushmore-like image with the faces of Bobby Kennedy, Abe Lincoln, Martin Luther King, Jr. and JFK. With the first notes of the opening track “Lift Every Voice And Sing”, Ray had our undivided attention. Often referred to as the Black National Anthem, Ray’s genius is in full flight from the get-go, singing with incredible jubilation and hope, hitting us like a ton of bricks. It seemed like Ray had picked up where our conversation had trailed off just moments before…we were really LISTENING. The second track, “Seems Like I Gotta Do Wrong”, he sings with such a powerful sentiment of loneliness and helplessness — the plight of many in society who are forgotten or ignored. We remained silent, intently listening and reflecting on the meaning of every word he sang. Halfway through the record a couple of us were in tears. The messages in each song that Ray had carefully selected back in 1972 rang as true today as they did during the turbulent times they were initially released. In these moments, Ray’s voice became the voice of an elder — a true master was speaking to us from the past. There is sorrow, protest, and anger but also resolve, hope, and deliverance. On the final track of the record, Ray saved for us his most powerful message and the perfect coda; the definitive version of “America The Beautiful” is absolutely glorious. It is quite simply the apotheosis of soul. “America! God done shed his grace on thee! He crowned thy good, he told me he would, with brotherhood from sea to shining sea!”
Just like that, the masterpiece that is A Message From The People came to an end. Breaking the ensuing silence, Gordy turned around and said, “What if we covered this album? People really need to hear these songs again.” The idea was hatched right then and there.
Fast forward almost a year later. In December 2017 we were working as a backing band on a variety of projects for other artists being produced by Gordy. The sessions took place at the Finishing School, a studio built by close friend, producer, and musical collaborator, George Reiff, who tragically succumbed cancer in May ’17 after a 10-month fight. The studio had been dark since George’s passing. With the blessing of the Reiff family, the lights were turned back on and we went to work for a few weeks. The final four days of session time were blocked off for us to work on something of our own. A few weeks prior to the sessions it was collectively decided that we would use that time to take a shot at recording some of A Message From The People. Working alongside our close friend (and George’s right-hand-man in the studio) Steve Christensen, there was a palpable vibration in the air. It was somber but also very peaceful. Our expectations were tempered, as we knew that doing any Ray Charles record justice was going to be a real challenge — let alone one with such lush arrangements. On top of that, we were working in a new bass player, Jesse Wilson. These sessions would be the first time we had worked with him in a studio environment (which can be a crucible for some). In spite of all that, the collective mentality, while unspoken, seemed to be “let’s give this a shot, this could be cool, there’s no pressure here.” To our amazement, after four days, we had finished the record. In between takes we frequently reminisced about George and were even visited at the studio by some of George’s close friends and family. Feeling confident that what we had accomplished was going to be worthy of a release, we unanimously agreed that it would be dedicated to the memory of George and that proceeds would go to a charitable organization that focused on social justice.
Going forward, our hope is that our performance of these songs has sufficient merit to carry the listener to the musical feeling that we strived to infuse in these recordings — a spirit of brotherhood, hope and understanding, liberty, and justice for all.
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.
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.
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!
TICKETS ON-SALE FRIDAY
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…
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.
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.
Proceeds from this show will benefit African Waterkeepers to help them provide clean water in Togo, Uganda, and Kenya. Sponsored by Waggoner Team at Movement Mortgage, 98.1 River, and MountainTrue. Can you add those logos as well.
DOORS AT 5
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
"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), Freddie Barry (guitar) and Zach Richardson-Bull (keyboard). Influences range from Tito Puente, Fania All Stars and Santana.
Four albums and 15 years in, Possum Jenkins still delivers a sound as unapologetically Southern as bowl of hot grits. Brimming with elements of outlaw and '90s country, raw electric blues, funky soul and rock, the band has been turning heads throughout the Carolinas and beyond with a sound they call "Carolinacana."
Forming at Appalachian State University in Boone in 2004, Possum Jenkins has toiled and triumphed in bars, clubs, theaters and festivals, sharing the stage with several notables, including Jason Isbell, Billy Joe Shaver, Tift Merritt, Southern Culture On The Skids, Greg Humphries, Drivin' 'N Cryin', The North Mississippi Allstars, Yarn and more.
"The three songwriters each bring a different sensibility to band’s signature backwoods stew of country boogie, blues and gospel, with Brewer playing the genial convener and soul channeler, Willis as the laconic blues interpreter and Nathan Turner as the plainsong belter." -Jordan Greene, Triad City Beat 2018
Asheville Second Line 7-8
Fun costumes, musical energy and street charisma have made Asheville Second Line a favorite at local festivals, including the annual Mardis Gras Parade. The band is made up of musicians with day jobs dedicated to bringing heritage sounds to the streets of Asheville.
Bayou Diesel 8-Close
Bayou Diesel has been traveling the obscure gig-highways of Western North Carolina since 2005. The band has always focused on performing the powerful Cajun, Zydeco and Mardi Gras style dance music of Louisiana. Featuring the accordion, rubboard, rhythm section and occasional French lyrics, Bayou Diesel has cooked up some tasty jam-balaya. In 2008, the Asheville Zydeco Dance Krewe challenged the band to play some authentic sounding Zydeco grooves for their monthly dances. A list of favorite tunes was provided and suddenly, those 10-forward-gears lurched into overdrive. With the addition of the 1 and 3-row button-accordions and a dedicated 5 man roster, the band has stirred the roux on the Rue de Zydeco. Bayou Diesel’s mission is to embody the Zydeco “joi de vivre” of high-energy community-friendly dance music that all-ages can enjoy anywhere. In the spirit of Mardi-Gras, the Purple, Gold and ‘Green’ powered Bayou Diesel easily navigates the good-time mountain-bayou experience. Let the Good Times Roll!
Doors at 8
Show 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.
Laura Blackley is a singer, songwriter and purveyor of high lonesome Appalachian blues and soul. She was an on-air host and producer for seven years at WNCW 88.7 FM in Spindale, NC, spotlighting regional music, women in roots music, and bluegrass and old-time. She currently works (in addition to her gig schedule) as a Teaching Artist with Musicworks!, a program that utilizes music and musicianship to teach life skills to young children. A born storyteller, she has played in many bands, traveled many back roads and interstates and enjoys digging up old tunes and hearing the stories behind them. She believes that music has a healing power and is a communal act, and is very much looking forward to the next gig.
Eliot Lipp is a producer, DJ and sound designer. After more than a decade living in Chicago, Los Angeles, and San Francisco (but equally home on the road), the intrepid producer has landed in beautiful Brooklyn. He's been spending most of his time collaborating with musicians, DJing, performing and grinding in the studio. There's no particular style of electronic music that takes the focus but there's always a good amount of hip-hop and funk influences. Over the years Lipp has developed a palette of electronic beats & soulful samples while crafting a unique style.
Representing Baltimore, MD, USA, JoeNice is universally recognized as the ambassador of the dubstep sound in North America and has been instrumental in the global growth and success of dubstep for over a decade. He is North America's first and most respected dubstep DJ.
Joe started playing dubstep in June 2001 with a collective of Baltimore dj's, the 2 Charming Crew. Nice earned a residency at Sonar Baltimore and was headlining local, regional and national shows shortly thereafter. In September 2003, JoeNice co-created a monthly internet radio show on GourmetBeats.com. His show was the first to feature dubstep in North America. In June 2005, while gigging and doing internet radio, Nice co-founded and was a resident DJ at the first dubstep night in North America, DubwarNYC.
JoeNice is the first American-based DJ to play on the London pirate radio station, Rinse FM. He was also the first American-based DJ to play the legendary DMZ bi-monthly bash and Forward. In 2007, he was proudly selected as one of URB magazine's NEXT 100. In July 2011, Nice co-founded and was named a resident DJ at a new dubstep night in New York City, Reconstrvct. In May 2012, Joe transitioned his monthly radio show from Gourmetbeats.com to the award-winning SubFM, where his GourmetBeats radio show can be heard on the second Tuesday of each month, 7pm - 9pm EST.
Since 2001, JoeNice has performed extensively across the globe and his worldwide fan base continues to grow with his enthusiastic live performance and stage presence, upfront selection and skillful mixing. His bag of 10" dubplates is a who's who of dubstep. If you've never heard it before, chances are you'll hear it from JoeNice.
Machine Funk "Tribute to Widespread Panic" was formed in the summer of 2006 in Florence, SC. The band tours the southeast, night after night their set lists are never the same. With having over 120 songs in their repertoire you will not see the same show twice. They also include songs from Led Zeppelin, Black Sabbath, Talking Heads and many others. Machine Funk has shared the stage with musicians from The Dirty Dozen Brass Band, North Mississippi Allstars, Keller Williams and Jojo Herman of Widespread Panic. Each show is a musical journey that can't be explained, only experienced! We thank you for your support. See you on the road!
Abbey Road LIVE! presents:
"All You Need Is Love"
Valentines Beatles Tribute
Doors at 7
Music at 8
Celebrate love and music this Valentines Day with Abbey Road LIVE! and their "All You Need Is Love" Valentines show!
From "I Wanna Hold Your Hand" to "I Want You (She's So Heavy)", the four lads from Athens GA will play more than 3 dozen love-themed Beatles songs, from every one of the Beatles' studio albums.
Come early and enjoy a fabulous Valentine's dinner with your sweetheart!
Opening: People’s Blues of Richmond
On their new album Shapeshifter II: Outbreak, New York-bred band TAUK offer an unsettling
but ultimately exhilarating look at artificial intelligence and its potential to upend our world.
With its dynamic sense of tension and cinematic mastery of mood, TAUK’s all-instrumental
blend of progressive rock, hip-hop, and jazz proves to be the perfect backdrop for such
explorations, giving way to an album that’s both powerfully hypnotic and intensely thought-
“We’re all very much interested in A.I., and this idea of machines getting out of the hands of the
people trying to control them,” notes TAUK guitarist Matt Jalbert, whose bandmates include
bassist Charlie Dolan, keyboardist Alric “A.C.” Carter, and drummer Isaac Teel. “This album
felt like a good setting to tell that kind of story, but in a way where we could have fun with it and
let the listener escape into a whole other world.”
Equally inspired by classic sci-fi like Blade Runner and more recent films like Ex Machina,
Shapeshifter II: Outbreak embeds that narrative into TAUK’s most sonically adventurous,
emotionally expansive work to date. A continuation of their early-2018 EP Shapeshifter I:
Construct, the new album picks up its predecessor’s narrative thread with “Prelude”: a
fantastically unsettling intro track whose frenetic keyboard work and chilling vocal samples set
the tone for what’s to come. “The idea is that in the EP you’re seeing the construction of this
being, and in the album you’re seeing it break out and become something that you can’t ignore
anymore,” Carter explains.
From there, TAUK charge forward with the driving rhythms of “Recreational Outrage” (a track
laced with the ominous throb of a robotic heartbeat), the futuristic soundscape and heady grooves
of “CMF 9000,” the gauzy reverie and glorious chaos of “Checkmate,” and the bright melodies
and soulful guitar sprawl of “Convoy.” One of the album’s most mesmerizing moments, “Let It
Ride” builds a brilliant tapestry from its luminous keyboard tones, kinetic guitar work, and
kaleidoscopic rhythms. And on “Upside Down,” TAUK close out Shapeshifter II: Outbreak with
a thrillingly epic burst of unfettered experimentalism.
People’s Blues of Richmond
“Take this band seriously, or miss hearing what vital guitar rock sounds like in 2016.” – Consequence of Sound
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!
John Kadlecik Band
John Kadlecik – Guitar, vocals (Dark Star Orchestra, Furthur, Golden Gate Wingmen)
Jay Lane – Drums, vocals (RatDog, Primus, Furthur, Golden Gate Wingmen)
Benjie Porecki – Keyboards, vocals (Chuck Brown, Keller Williams)
Robin Sylvester – Bass, vocals (RatDog, Live Dead 69)
While John Kadlecik is well-known for his love for playing music of the Grateful Dead and Jerry Garcia, his shows offer an extensive repertoire of songs. John has been writing music and playing in bands for over three decades and has gained an appreciation for music of all kinds. His set lists are original for each show and always include a wide variety of originals and covers. From George Harrison to The Who, from Bob Dylan to Van Morrison, John’s arrangements are both interesting and inventive. And while he enjoys paying tribute to many renowned artists, his song choices are unique and often obscure.
The John Kadlecik Band currently features an amazing line up of longstanding musicians with a variety of musical backgrounds. On drums will be the incredible Jay Lane. He and Kadlecik, first played together in Furthur in 2009. Lane had been drumming in RatDog prior to the dawn of Furthur, and with Primus before that. As of late, Golden Gate Wingmen and Oteil and Friends have been ongoing projects for Kadlecik and Lane, as their musical brotherhood continues to deepen.
Benjie Porecki will be delighting audiences with his soulful and playful approach to keys. Porecki has been playing for many years with numerous great artists, such as Chaka Khan, Marshall Keys, Chuck Brown and Pieces of a Dream n the DC area and beyond. More recently he has been featured in Keller Williams’ Grateful Gospel and plays frequently with his jazz organ trio, Firm Roots.
New to JKB for this tour is San Francisco-based bassist, Robin Sylvester. Well-known for his work with Bob Weir and RatDog, Sylvester has played with many greats, including Billy Preston, Bo Diddley and Chuck Berry and more recently with David Nelson & Friends and Melvin Seals & JGB. Most recently, Robin has been touring with Live Dead ‘69. His creative and energetic musicianship, connection to the Grateful Dead family and long-term background with Jay Lane are sure to make this show an extravaganza not to be missed!
Karl Denson's Tiny Universe is gearing up for its biggest year yet in 2019. In February, the band releases its first new studio album in over five years entitled 'Gnomes & Badgers.’ Highly regarded as one of the best live acts on the planet, the new recording distills the sweeping stylistic range of KDTU's concert performances into its own authentic sound. Masterfully incorporating elements of vintage rock, old school soul and classic funk, the inimitable saxophonist/flutist/vocalist Karl Denson and his long-standing six piece unit that includes guitarist DJ Williams, drummer Zak Najor, bassist Chris Stillwell, keyboardist David Veith, trumpeter Chris Littlefield and slide/lap steel guitarist Seth Freeman, have delivered what is undoubtedly their strongest work yet. As always, KDTU will hit the road hard with plans to visit all corners of the U.S. on a national tour supporting ‘Gnomes & Badgers.’ Along with KDTU, Denson—who the Austin Chronicle declared "embodies modern honk”—currently serves as the touring saxophonist with The Rolling Stones, while continuing to hold down his role as a founding member of the seminal funk band, The Greyboy Allstars.