Calendar of Events
A Fundraiser Concert to Bring the Wold Peace Flame to Ashland
$15 advance /$20 door
Doors 5 pm
- Ashland Culture of Peace Commission: http://www.ashlandcpc.org/
- Info about the World Peace Flame: http://www.ashlandcpc.org/ashland-world-peace-flame-monument
18 and Over
Doors at 8 pm
It’s impossible to describe Beats Antique using just a single genre. One listen to their forthcoming album, Shadowbox (released on their own Beats Antique Records imprint), and their unique hybrid of sound makes perfect sense; their ability to blend so many different kinds of music in to an incredibly vibrant, distinctive and peerless album is what this band has been doing for the past ten years.
Based in Oakland, California, Sidecar Tommy, David Satori and Zoe Jakes make up Beats Antique, who released their 10th album on October 5th 2016 to commemorate their tenth year as a band. They’ve mounted a larger-than-life cross-country tour that will take their vision to theaters across America. “Shadowbox is both the title of our new album, the theme of our tour, and our new store front in Berkeley CA. We decided to bring it all together on this release.“
Mostly recorded at their studio in Oakland (which has been around since the 50s), the Bay Area band also recorded in Russia and Israel. “We were lucky to record in both Moscow and Tel Aviv, because we had shows there and wanted to connect with the local artists. We had amazing sessions in both locations; In Moscow we recorded on the outskirts of the city in a wild Industrial complex. We ended up going through strange corridors into this plush bamboo-floored-Hare-Krishna-owned recording studio with state of the art gear. When we were in Tel Aviv, we gave a call to a local legend Yossi Fine and he helped us get time at Pluto Studios, which is one of the best in the city. We recorded with Talya Solan and her amazing group of musicians. We used elements of the Tel Aviv session to create our track “Bdna Salam,” which is raising money for Syrian refugees.”
Along with Talya other features on Shadowbox include Lafa Taylor, Alam Khan, Tatiana Kalmykova, brasshouse trio Too Many Zooz (who are touring with Beats Antique), Preservation Hall Jazz Band, Dana Elle, Madoline Tasquin and Medium Troy Orchestra. Shadowbox is a retrospective of sorts, with Beats Antique pulling from all of their previous work as almost a homage to the first ten years of their career. “This will be our first full album produced in Beats Antique’s recording studio/dance performance space. We feel like Shadowbox touches on all our styles from down-temp Middle Eastern influences to cinematic orchestral arrangements. The songwriting process is also different for every song. Sometimes David will come in with a melody and Sidecar will add the bass and beats, and vise versa. One thing that always makes the songwriting process unique is that Zoe creates and arranges music based around stories she wants to tell though dance, so sometimes the performance aspect influences the creation of the music.”
In June, the group premiered the first single, “Killer Bee,” featuring Lafa Taylor, on Billboard.com. The track is “about standing up to prejudices. Just because someone calls you a killer bee, doesn’t mean you need to kill. We want people to define themselves and not be defined by what people think they should be.” In addition to being a ‘killer’ track, with a compelling music video directed by Kyrian Bobeerian, Beats Antique donated a percentage of the proceeds from their July 1st show at Red Rocks Amphitheatre to The Honeybee Conservancy, a non-profit dedicated to raising awareness about the importance of bees.
An enthusiastic touring band, a new album also means a new tour, and since Beats Antique is all about the ‘concept,’ Shadowbox (the album and the idea) is another opportunity for them to get the creative juices flowing for the live shows. The band plan to use shadows, light, Indonesian shadow puppetry, custom-created lanterns, dance, story telling, crowd participation and more to make sure this is an unforgettable visual spectacle for their audience.
Shadowbox, an album that is an amalgamation of the history of Beats Antique, merged with a tour that will both tease and excite the senses, shows off what this band does best.
Tickets: $25 advance / $30 day of show (Tickets available soon!)
18 and over
Limited seating, mostly standing room
Must bring your valid ID to enter Beer Garden
Mark Farina has solidified himself in the world of Dance Music as a trailblazing DJ, Producer, tastemaker and bona fide House Music icon. After 3 decades crisscrossing the globe, he shows no signs of slowing down remaining innovative, humble, and firmly rooted in the underground.
“I look at my job as a ‘modern day traveling minstrel’ bringing new music to as many places as I can and exposing audiences to obscure records that otherwise might go hidden.”
As an early House Music pioneer in the late 80’s, Farina’s history includes an impressive long standing residency at Smart Bar Chicago and a job at the legendary Gramaphone Records. In the 90s, Mark pushed musical boundaries and blended genres to create “Mushroom Jazz”. Eventually, Mark made San Francisco his home as his signature sound created a strong demand for his DJ sets. The Bay Area proved to be a perfect match for Mark’s musical vision and he released a string of major mix compilations including his Mushroom Jazz series. With a tireless passion for playing extended sets, B2B shows with fellow House Music icons, or playing both of his signature styles on 2 stages on the same night, Farina continues to entertain his incredible fans all over the globe with over 100 shows per year.
Currently, Farina is the head honcho at his record label, Great Lakes Audio Recordings. Next up in 2018 are residencies at House of Yes (NY), Grasshopper Underground (MI), and Site 1A (MKE).
Doors open at 7 p.m.
Local support to be announced.
The Lacs are an American musical duo that combines southern rock with southern rap, that consists of Clay Sharpe and Brian King.
You and I both know that America has been through a lot these past few years. Clay “Uncle Snap” Sharpe and Brian “Rooster” King know it better than most. But as The Lacs, they’ve had a unique view of where we’ve been, where we’re going — and what parts of our identity haven’t changed at all.
On American Rebelution, their aptly titled sixth album, The Lacs take all that they’ve witnessed, roll it up in a unique sound they call “dirt rock” and lay down the truth as they see it. Yes, these 12 tracks stand on the hip-hop/country/Southern rock bedrock Clay and Brian pioneered along with a handful of other innovators. But that’s just the beginning of this story.
Nearly 20 years ago, these proud sons of Baxley, Georgia, unleashed their first beats and ripped through their first rhymes. Since then they’ve headed down highways far from the hometown dirt roads, watching landscapes roll past on the way to their next shows. Over time their venues got bigger, their audiences more diverse. They still play the mud parks for their longtime fans, but lately they’ve noticed differences in the crowds they’re drawing.
“We’ve really noticed how our crowds are growing. That’s awesome,” Brian rumbles over the phone from their bus, en route to wherever joint he and Clay will be rockin’ in a few hours. “It feels great when people come up and say that because of our music they went to a mud park for the first time. I’m like, ‘Don’t you wish you’d done it years ago?’”
He laughs, a gully-deep chuckle as Clay jumps in. “It’s definitely no disrespect for anybody that don’t live our lifestyle, but this is us and everybody who comes to our shows is just like family. We’ve learned a lot from our fans over the past few years.”
Much of what they’ve learned courses throughout American Rebelution. The soul of The Lacs is right where it’s always been, front and center in their music, infused by pride in their country, love for their family, an inclination toward rowdy celebration and an unexpected tenderness when it comes to the ladies in their lives. What’s different is how they color these qualities, with a wider palette than they’ve ever used before.
“This album was different because we used four different producers for the first time,” Clay explains. “We realized that you can’t just stay with the same sounds forever. You can’t stay one-dimensional. You’ve got to evolve. It’s a fine line to walk while still being true to yourselves.”
They walked that line without a misstep. A stinging electric guitar lick and mellow electric piano on “Redneck As Me,” old-school steel and fiddle on the romantic “One More,” retro organ and front-porch banjo on “I’m Good,” an electronic pulse punctuated by the ominous click of a gun being cocked on the title cut — The Lacs have widened their scopes but stayed focused on what they believe.
“For the most part, we write about home,” Brian says. “That’s why we do our writing back in Georgia. We’ll write about things we’ve seen on the road but even then it’s about how we see them because of who we are and where we’re from.”
Home, on American Rebelution, is where you kick it with your friends, on a mellow afternoon in “Lake Somewhere” or a wild Friday night in “Drink as a Team.” It’s spending time with your family where you grew up, in their “white trash trailer on a dirt road” (“My Kinfolks”). It’s the satisfaction you feel when you can persuade an “uptown girl” to reconsider her ways (“Now I’ve got her listening to Merle and I think she might be changing her mind,” Brian slyly suggests on “Redneck As Me.”) It’s that edgy underside of braggadocio when comparing the size of your truck to someone else’s on the metaphorical “Mine’s Bigger.” Sometimes home is where you’ve passed your limit and drunkenly improvise the latest chapter of The Lacs’ ongoing epic, “Great Moments in Redneck History.”
It’s also a place where you invite your fellow artists to challenge you, inspire you and let them feel the energy bounce back from you in the studio. Cympleman and Hard Target trade verses with Brian on “Happens Every Time” in a volley of sizzling rhymes. Hard Target returns with another fiery guest shot on “Her Way,” a reflection on love lost delivered over a snapping beat and sweetened by rhythmic mandolin. And on “Jack in My Coke” The Lacs welcome two longtime heroes for the first time.
“We’ve been fans of Montgomery Gentry for a long time,” Brian points out. “We first opened up for them five or six years ago before a NASCAR race at the Atlanta Motor Speedway. We’ve always wanted to work with them but we didn’t have the perfect song until now.”
“It’s not like we wrote this with them in mind,” Clay adds. “It’s just that when we wrote this, it was like, ‘Man, they would sound great singing on this!’”
Above all else, home is where everything The Lacs do begins and ends. They still live near where they were born; you can sense it in every note the sing and word they say. “You want to make the folks back home proud when they listen to you,” Clay says.
This means not trading in what you know and who you are for something glitzier or trendier. It’s being true to yourself and trusting people will notice. That’s been borne out so far, as The Lacs have already passed half a billion streams on Pandora.
“None of that has come from radio or big publicity campaigns,” Clay insists. “It’s all from our fans telling other people about our music.”
“And those new fans have been coming around,” Brian says. “People are starting to get tired of this so-called pop country. They want something a little more hard-core, something that comes from rock ’n’ roll and the kind of country we had back in the Nineties.”
“There’s always gonna be old-school country fans that ain’t ever gonna accept rap,” Clay notes. “But the people who do give this music a chance, it can touch them in a way they’ve never experienced before.”
Which takes us back to the top: America has been through a lot recently. But all of the changes we’ve weathered have only sent us back toward the things that endure, the beliefs that anchor us and tie us together. The Lacs have always known that. That rings truer than ever throughout this American Rebelution.
Thursday October 11th, 2018
Ages 16 and over
Doors open at 8:00 p.m.
Limited early bird tickets available!
Physical tickets available at Music Coop in Ashland and Immortal Spirits in Medford
Local support to be announced.
208 Oak St, Ashland, OR 97520
Doors open at 7:00PM
Physical Tickets at Magic Man & Music Coop
Local support to be announced.
“You can kill the lights and the amplifiers/But dreams don’t care if you’re tired,” “No Rest”
With his sixth studio album, the aptly named Love Hope Faith, his follow-up to 2014’s Thanks for Listening, Colt Ford continues to live out his boyhood dream – the one where you “wake up on a mission/to buy that beat-up Gibson,” as he sings on “No Rest.” Love Hope Faith is exactly that, a message to to his loyal fan base, and a strike against the divisiveness plaguing our country, celebrating the things that bring us together – friends, family, our faith in a better future.
Featuring such guests as Music City stalwarts Brad Paisley (“Lookin’ for a Hand Out”), Toby Keith (“Time Flies”), Lady Antebellum’s Charles Kelley and brother Josh (“Young Americans”) and veteran rockers Lit (“I’m Mud”); promising newcomers like Waterloo Revival’s Cody Cooper and George Birge (“Dynamite”), Tyler Farr (“My Truck”), Taylor Ray Holbrook (“Reload”), Javier Colon (“No Rest”) and Granger Smith (“Keepin’ It Real”), Love Hope Faith is the ultimate populist country record, featuring a little something for everyone.
“I’m just trying to bring people together,” says the Georgia native, a one-time golf pro who still frequents the links and the co-founder/owner of his own Average Joes Entertainment. “There’s so much conflict out there, it’s hard to decide who’s right and who’s wrong.”
And while he admits to a populist fan base and down-to-earth, “Keepin’ It Real” attitude, Colt cautions, “I’m not a politician. I’m a musician, a performer. We have to get past our differences and find a common ground.”
And what better way to do that with Colt Ford’s groundbreaking hybrid of country, blues, rock and rap rhythms, who has built up a following that started with mud trucker events and graduated to arena status sharing the stage with the likes of golfing buddy Toby Keith.
From the statement of beliefs in “Reload” (“We can agree to disagree. That doesn’t make you a bad person, I’m just telling you what I think. If you pet that dog, you might get bit”) and the adolescent dreams of “trying to live big in a small town” in “Young Americans,” singing “Free Bird” and “Free Falllin’ to the country/EDM mash-up of “Dirt Road Disco” (“Can there be a more fun song than that?”) and the ode to the joys of running your fingers in the wind of an open car window (“Lookin’ For a Handout”) or “one more shot of Baccardi” in “Time Flies,” Colt Ford breaks boundaries and mends fences along the way.
“I feel more confident than ever as an artist,” says Ford, and while he numbers some of the most important supporters in Music City, his lack of country radio acceptance and award show accolades continues to drive him. “I’ve given it my best shot. Some of that outsider thing is tongue-in-cheek, but some of it is true. I’m unbelievably accepted by artists and songwriters. There’s no one I can’t work with. They know I’m real. I’ve built those relationships over time, and I feel I’ve created a body of work.”
“Love Hope Faith” was created with some of the leading songwriters in music today, Jeff Hyde (“Lookin’ for a Hand Out”) and Jeffrey Steele, Jeremy Popoff, Shane Minor, Vicky McGehee (Bad Day Feat. Rizzi Myers), to Jaren Johnston, Neil Mason and Jesse Frasure (“Dirt Road Disco”) to Walker Hayes and Thomas Archer (“No Rest”), Eric Dodd & Alex Hall (“Dynamite”) and Rodney Clawson, Chris Tompkins, David Lee Murphy (Keepin’ It Real Feat. Granger Smith). Still, it is the sturdy persona of Colt Ford that gives them their consistency.
“There are a lot of different styles on this album, but I think my fans will hear it’s just me,” he says. “As long as I remain true to myself, I can delve into all of them.”
Songs like the rock/hip-hop “Dynamite” reference the Scorpions (“rock like a hurricane”), Marvin Gaye (“let’s get it on”), Michael Jackson (“Billie Jean on the radio”) and Jay Z, while the first single, “4 Lane Gone,” sports a full-blown rock intro before settling into a lament for a lost romance in which the individuals are on their separate paths. “My Truck” is a hilarious “can you top this” playground rank-out session, while the anthemic “I’m Mud” is just that, a self-deprecating, but in-your-face song from the perspective of the dirt below (“I’ve been played on, spit at, kicked until I turned to dust”). “Keepin’ It Real” is just that… Colt on staying the distance, “headlights on the highway/just keep going… Beer is cold and life is good.”
“No Rest” probably sums up Colt’s ambitions on Love Hope Faith, his tribute to being a working musician, what he calls “my version of ‘My Way.’”
“I’m proud of that song,” he says. “I think it’s one of the best I’ve ever done. It’s not just about being a rock star, but accomplishing your dreams, a passion that can’t be stopped. Anyone who has that drive will appreciate it. Everybody’s got fears, but when you hear that song, it’s me.”
“I built walls… and I’ll be here when they’re gone,” he says, taking the role of “I’m Mud,” but you know he might as well be talking about himself.
Love Hope Faith is Colt Ford’s musical message, one so universal it tears down those walls, then invites everyone into the tent.
Insane Clown Posse is an American hip hop duo composed of Violent J and Shaggy 2 Dope. Founded in Detroit in 1989, Insane Clown Posse performs a style of hardcore hip hop known as horrorcore and is known for its elaborate live performances.
Thursday, August 9th, 2018--Prominent Event Production brings you Immortal Technique and Chino XL, along with local and regional hip hop openers.
Doors 8:30 PM
Bistro food available for purchase, catered by local favorite Plancha.
Immortal Technique (NYC) is a Peruvian-American hip hop recording artist and activist. Most of his lyrics focus on controversial issues in global politics. His lyrics are largely commentary on issues such as politics, socialism, class struggle, poverty, religion, government, imperialism, economics and institutional racism.
Chino XL (NJ), is an American rapper and actor, known for his "technically" accomplished style, consisting of self-consciously over-the-top punchlines, exaggerated egotism, complex rhyme schemes, and use of multiple similes, puns, metaphors, and word play. He has collaborated on various projects with some of the most well known in Hip Hop. Chino is also an avid bodybuilder. Chino started rhyming in 1986, as said in his song "Don't Say A Word". He has released four solo studio albums, in which his most recent Ricanstruction: The Black Rosary - won the 2012 HHUG Album of the Year award.
local/regional openers TBA
All persons subject to search. No weapons. No outside food or beverage. No large bags. No dogs. Visibly intoxicated persons will be refused service. No refunds.
NOTE: This show is in the Lounge upstairs. Limited capacity! So get your tickets while they last.
There are two kinds of people in this world: those who love Diego’s Umbrella and those who don’t know them yet. Celebrated as San Francisco’s ambassadors of Gypsy Rock, these world-renowned entertainers have created an irresistible mélange that is entirely their own.
A Diego’s Umbrella show is a singular, ecstatic experience. One concert is all it takes to becoming a believer. Night after night they effortlessly blend eastern European sounds, marching drums, beautiful harmonies and catchy hooks with a showmanship that has all the fire and unpredictability of youth, marked by a chiseled refinement of years of experience on the road.
The group’s uncanny gift for pleasing crowds, from standard clubs to huge festivals such as High Sierra and Outside Lands, has earned them a zealous and ever-expanding following across the United States and Europe. Continuously touring abroad has always fed their aesthetic, and has resulted in incorporating the scales of klezmer, the strings of flamenco, and the energy of punk rock.
Their new material is some of the most exciting to date, tipping a hat to the raucous Croatian dance parties the band played in their early days. With a quest to fulfill and broadcast the true meaning of Gypsy Rock, Diego’s Umbrella continues to tour the world.
$20 in advance, $25 day of show
21 and Over
Tickets available online (link below), Immortal Spirits in Medford, and at the Music Coop in Ashland.
MarchFourth is a joy-inducing force of entertainment. The colorful explosion of brassy funk, rock, and jazz is all about the groove. This larger-than-life group of musicians and acrobats tours the country year-round, bringing a spirit of celebration wherever they go. MarchFourth is, in a word, FUN!
Fifteen MarchFourth musicians traveled from Portland, Oregon to New Orleans, Louisiana to record their fourth studio album, MAGIC NUMBER, self-released in September 2016. With Producer Ben Ellman (Galactic) and Engineer/Producer Mikael “Count” Eldridge (DJ Shadow, Tycho, Trombone Shorty) at the helm, the album is full of the captivating grooves and brassy swagger you’d expect from MarchFourth, plus a healthy dose of New Orleans magic, with guest appearance by Trombone Shorty, Stanton Moore (drums), and Matt Perrine (sousaphone). The album was fan-funded through Kickstarter.
“Perfectly merging the artistic spirit of Portland with the musical spectacle of New Orleans, MarchFourth put on one of the most complete shows of any band on any stage. From rocking big band jam tunes, choreography and feats of strength that need to be seen to be believed, MarchFourth entertains on every level every second they are on the stage…or off!” ~Live for Live Music
“From the first note to the last, the sound was pumping and the fun never stopped… It’s worth noting that there are serious musicians behind all the fun. It’s obvious these guys (and gals) have had lots of training and formal practice. Talented band geeks turned rebels.” ~USAToday
“Just when you think you’ve heard it all, suddenly a band crosses paths with your ears and changes everything… Full of auditory goodness...” ~NYS Music
“Mighty, Explosive, Carnivalesque Brass Band Funk” ~New York Music Daily
Born in SoCal and raised in the North West, RuKuS aka. Chad Lopez is deeply rooted in the Hip-Hop culture and West Coast lifestyle . After developing a strong passion for music and the art of Hip-Hop at the age of 18, he discovered the way of the turntablist was his calling soon there after.
RuKuS really honed on his craft while making an impact on the underground hip-hop scene in Boise, ID in 2010, sharing stages with acts like Chali 2Na, Mac Lethal, Suppose, Mickey Avalon, Rehab, Turqouise Jeep and also performing with local artists Charles Engles and the family matters, P-Dirt, Oso Negro, Movement Music, Actual Depiction, Evolucid and more....
Currently residing in Medford, OR, he continues to take the stage performing all over the Rogue Valley, while spreading the true art of Hip-Hop and emerging into the EDM cultures of Trap, House, and Future Bass music.
His goal is to keep the art of DJing alive while sharing the experience of what the culture is truly about.
Ticket: $20 / $25
The SugarBeats Live Band takes the cross between funk and bass music to the next level. Complete with an arsenal of live instruments and stacks of subs, the live band blends elements of trap, funk, & soul to create a unique & high energy experience. Showcasing their new record "Stereo Midnight", the live band is set to make moves in 2018 on their debut west coast tour.
BAMBOOZLE has appeared to carry the burning, stinking torch of funk deep into the dark night of your soul. Having given birth to itself in a fit of pain and ecstasy in the year 2016, Bamboozle has quickly rocketed its way to becoming the band you never knew you wanted - but always knew you needed
nown for combining elements of funk, jazz, and blues with live instrumentation and electronic music production, Grid Division has a unique, well developed sound that’s guaranteed to get you out on the floor, movin’ and groovin’ in a whole new way. ince arriving on the scene two short years ago, Grid Division has been making some of the funkiest tunes in the electronic music scene. You're guaranteed to bust some groovy moves and walk away with a few new tricks up your sleeve after getting down with Grid Division.
18 + / Doors at 8 pm
Tickets: $25.00 Advance / $30.00 Day of Show
Special Guest Leon Four Star
Los Angeles, CA- (October 16, 2014)- Grammy Nominated Artist, Afroman is remaking his hit single, “Because I Got High.” The new song will feature a video that will highlight the positive side of marijuana; taking the song from cool party anthem to real-time legalization anthem!!
The focus of the new version is a result of the pairing of Afroman with the National Organization for the Reform of Marijuana Laws (NORML) and Weedmaps. The updated song will promote the medical and economical benefits of marijuana in order to make educate the public and push for legalization.
Afroman says, "The remake of "Because I Got High" is a collaboration that evolved from passion on all sides. I’m still living in prohibition while my fellow comrades across state lines are living legalized. I had to take a stand."
The successful app, Weedmaps.com also joins as co-sponsor and hopes that the song will help engage and enlighten people about the goals in order to strive for more lenient policies in regard to marijuana in America.
Weedmaps is the most heavily trafficked dispensary locator and digital marijuana resource in the world – essentially, Yelp! for pot. It was founded in 2008, and has become the go-to destination for medical marijuana patients and recreational cannabis smokers to find dispensaries or recreational centers in their area. Weedmaps also offers members the ability to view menus, view weed photography, watch dispensary tours, and interact socially with one another.
Sabrina Fendrick, NORML's Director of Strategic Partnerships says, "NORML is thrilled to be part of this unique cultural collaboration merging art, entertainment, and activism into a single campaign to highlight some of the positive benefits of cannabis, and raise awareness for marijuana law reform."
Justin Hartfield, CEO of Weedmaps says, "Afroman's cult classic "Because I Got High" was nominated for a Grammy and crossed over to have mass appeal and viral spread. Working with NORML and Afroman to update the song, this time showing the positive effects of marijuana, is a great example of how far we've come in the last 10 years to educate and improve things."
The new version of "Because I Got High" is set for release in mid-October on WeedmapsTV. Please check www.ogafroman.com and WeedmapsTV for more information on the exclusive video.
In partnership with Red Light Productions Presents
Doors at 7:00 PM PDT
Tickets: $25 / No Refunds
Country music trailblazer, Granger Smith, is the flagship artist on BBR Music Group’s imprint, Wheelhouse Records. Over the course of his groundbreaking career, Granger Smith has amassed a massive and rabid audience now known as "Yee Yee Nation" built through heavy touring and grassroots fan engagement. He now has a social media following of over 6 million and over a quarter of a BILLION online video views. Smith broke onto the national scene with Remington, an album that garnered him the No. 1 single "Backroad Song" (Billboard Country Airplay, Mediabase and Music Row charts). Smith also received a BMI Country Award for writing, producing, publishing (Climbing Windmills) and performing “Backroad Song.” “Backroad Song” was one of the Top 10 Most Played country singles of 2016 according to Mediabase and has been certified RIAA GOLD. The follow up smash, “If The Boot Fits,” reached the Top 5.
Smith was nominated in the Best New Country Artist category for the 2017 iHeartRadio Awardsand was also included in the 2017 crop of artists honored to perform at the 2017 CRS “New Faces” show.
Smith recently released his new album When The Good Guys Win on October 27, 2017. The lead single “Happens Like That” was the #1 Most Added at Mediabase the week of release and has already entered the Top 20 at country radio.
He just got off the road with Luke Bryan on the "Huntin', Fishin', And Lovin' Every Day Tour" and began his headlining “Don’t Tread on Me Tour” this year to support the new album.
Smith just released his own Podcast titled “Granger Smith Podcast” and it soared to the #1 spot on iTunes the day of release.
Granger’s comical country boy alter-ego, Earl Dibbles Jr., has its own fanatical following and garnered him a weekly segment called “Dip ‘Em and Pick ‘Em” on CBS Sports Network’s “Inside College Football,” in which he has appeared for the past four seasons. Granger has even been recognized by Variety for being the brainchild behind Earl Dibbles Jr. (among other character alter-egos including Donny Cowboy and Live with Lionel) and named one of their annual and lauded “10 Comics to Watch for 2016.”
Smith has been lauded by outlets like People, New York Times, Variety, Forbes, Fox News, Rolling Stone, Billboard, Huffington Post, Taste of Country, Rare Country, CMT, MusicRow,among many others. He has also performed and appeared on Jimmy Kimmel Live!, the Today Show and Fox & Friends.
For the past quarter-century, Colorado's Leftover Salmon has established itself as one of the great purveyors of Americana music, digging deep into the well that supplies its influences; rock 'n' roll, folk, bluegrass, Cajun, soul, zydeco, jazz and blues. During their twenty-five plus years as a band they have headlined shows and festivals from coast to coast, released nine albums, and maintained a vibrant, relevant and influential voice in the music world. The evolution of Leftover Salmon's music is influenced by Leftover Salmon co-founders Drew Emmitt (mandolin/vocals) and Vince Herman's (guitar/singer) keen musical instincts, and follows a musical path that adheres to the deep tradition the duo started when they first formed the group along with deceased banjo player Mark Vann. The addition of new band members over the years has nurtured an unmistakable evolution and freshness in Leftover Salmon's sound, and has added an edge to the long-lasting power of the band's music. Fueled by the rhythm section of long time bassist Greg Garrison, drummer Alwyn Robinson, and Salmon's newest member, keyboardist Erik Deustch, the band is currently enjoying a creative renaissance. The front line trio of Emmitt, Herman and prodigious banjo player Andy Thorn are continually challenged and pushed in new directions as the band collectively searches for new spaces and sounds within their extensive catalog of songs.
Keller Williams released his first album in 1994, FREEK, and has since given each of his albums a single syllable title: BUZZ, SPUN, BREATHE, LOOP, LAUGH, HOME, DANCE, STAGE, GRASS, DREAM, TWELVE, LIVE, ODD, THIEF, KIDS, BASS, PICK, FUNK, VAPE, SYNC and RAW, , those who have followed his career will know this. Each title serves as a concise summation of the concept guiding each project. GRASS, for example, is a bluegrass recording cut with the husband-wife duo The Keels. STAGE is a live album and DREAM is the realization of Keller’s wish to collaborate with some of his musical heroes. THIEF is a set of unexpected cover songs, KIDS offers Keller’s first children’s record, PICK presents Keller’s collaboration with royal bluegrass family The Travelin’ McCoury’s, and RAW is a solo acoustic album. Each album showcases Keller’s comprehensive and diverse musical endeavors and functions to provide another piece of the jigsaw puzzle that is Keller Williams. Keller’s collaborative and solo albums reflect his pursuit to create music that sounds like nothing else. Unbeholden to conventionalism, he seamlessly crosses genre boundaries. The end-product is astounding and novel music that encompasses rock, jazz, funk, and bluegrass, and always keeps the audience on their feet.
Since he first appeared on the scene in the early ’90s, Williams has defined the term independent artist. And his recordings tell only half the story. Keller built his reputation initially on his engaging live performances, no two of which are ever alike. For most of his career he has performed solo. His stage shows are rooted around Keller singing his compositions and choice cover songs, while accompanying himself on acoustic guitar. With the use of today’s technology, Keller creates samples on the fly in front of the audience, a technique called live phrase sampling or looping, with nothing pre-recorded, the end result often leans toward a hybrid of alternative folk and groovy electronica. A genre Keller jokingly calls “acoustic dance music” or ADM.”
That approach, Williams explains, was derived from “hours of playing solo with just a guitar and a microphone, and then wanting to go down different avenues musically. I couldn’t afford humans and didn’t want to step into the cheesy world of automated sequencers where you hit a button and the whole band starts to play, then you’ve got to solo along or sing on top of it. I wanted something more organic yet with a dance groove that I could create myself.”
Williams’ solo live shows—and his ability to improvise to his determinedly quirky tunes despite the absence of an actual band—quickly became the stuff of legend, and his audience grew exponentially when word spread about this exciting, unpredictable performer. Once he began releasing recordings, starting with 1994’s FREEK, Williams was embraced by an even wider community of music fans, particularly the jam band crowd. While his live gigs have largely been solo affairs, Williams has nearly always used his albums as a forum for collaborations with fellow musicians. An alliance with The String Cheese Incident on 1999’s BREATHE marked Williams’ first release on the band’s label SCI Fidelity Records, DREAM, Keller’s 2007 release, found him in the company of such iconic musicians as the Grateful Dead’s Bob Weir, banjo master Béla Fleck, bass great Victor Wooten, American musician/poet Michael Franti and many others.
“That album took, from start to release time,” says Williams, “about three years. The object was to get people that I admire musically to play my stuff, so when I’m old I can crank this album in my pimped-out golf cart and have something that I’m really proud of. I was going for the historical effect for my own personal listening pleasure.
“Each record,” he continues, “is a little snapshot of history. I like to think of it as a period piece for an artist. Each record is a little bit different but all of them have some kind of common thread, which is my musical ability as far as I can take it. I enjoy making records. In some people’s eyes, they’re a dying breed, but I’m very passionate about it. They document where my head is at that time in my career and where I am in my songwriting.”
Williams’ story begins in Fredericksburg, Virginia, just south of Washington, D.C. There he was exposed to a wide variety of music at an early age, starting with country and bluegrass and working his way up through hip-hop and go-go, a brand of funk particular to that part of the country. Once he began playing guitar, Williams’ sphere expanded to what he calls “the post-pseudo-skateboarder punk-rock rebellious type of thing, Black Flag and Sex Pistols and Ramones, Dead Kennedys, things like that. That slid into the more melodic college rock, like the Cure and the Cult, the Smiths, R.E.M.’s first five or six records.
Then came the Grateful Dead, a seminal influence on Williams’ own music. “I studied and learned their music and went to the shows,” he says, adding that the impact of Jerry Garcia on his attitude toward music remains incalculable. Another major influence was Michael Hedges, the late virtuoso acoustic guitarist. “He was really excelling in a whole different world from what I knew,” says Williams.
After relocating to Colorado, further exposure to bluegrass music and progressive acoustic artists such as Béla Fleck and the Flecktones also had a major impression on Williams. As he began to develop his own distinctive compositional and performing style, Williams incorporated all of the lessons he’d learned from the long list of artists who’d found their way into his world, then filtered their music through his own experiences until something wholly unique emerged. The list of artists whose music he has covered either in concert or on his recordings constitutes a mind-blowing spread: songs originally performed by everyone from Pink Floyd and Ozzy Osbourne to Ani DiFranco and old-school rappers the Sugar Hill Gang!
When he first started out, Williams played in regional bands but also performed as a solo artist, “me sitting on a stool playing covers, like a happy hour situation,” he says. “I’d get dinner and maybe tips. There were bands in high school and in college. But it turned out I could get the same money playing solo that I was getting with the band. Around that time I was also doing temporary jobs and I was making the same amount playing music as I was scraping mortar out of the cracks of cinder block walls for eight hours in the summertime at minimum wage. So it seemed like the obvious choice was to play music. I started to work and over the years I incorporated more technology. The looping thing started to happen and tickets were sold and people came to shows, so there wasn’t any reason to fix something that wasn’t broken.”
What Williams calls “the looping thing” is actually a big part of what has made him such a compelling live performer. “Basically, I have these machines that are essentially delay units,” he explains. “What I do is step on a button and sing or play something. Then I step on the same button in time and it repeats what I just played or sang. Once that initial loop is created, I can layer on a bass line or a drum line and then have this layer that I just created in front of an audience that I could sing over and solo over. Nothing is pre-recorded. Everything is created onstage in front of the audience.”
If it sounds complicated, it is: but the basic thrust is that the technology has allowed Williams to go out on tour week after week, year after year, and play music by himself—without limiting his sound to what we most often associate with the solo singer-songwriter: a guy strumming a guitar and singing. With his arsenal of tech toys, Williams can expand his reach onstage by, in essence, jamming with himself.
As years have gone by and Keller has continued to evolve he has created more and more unique projects and collaborations with fellow musicians. In 2007 Keller formed a band of his own, Keller Williams with Moseley, Droll and Sipe which featured Keller on rhythm guitar and vocals, Jeff Sipe on drums, Keith Moseley on bass and Gibb Droll on lead guitar. After touring throughout 2007 - 2008, they subsequently released a double live record with a companion DVD, in true Keller Williams fashion, it’s called Live.
The summer of 2010 found Keller sharing a bus with two of his biggest heroes, former Grateful Dead drummers Bill Kreutzmann and Mickey Hart, as a member of their powerhouse assemblage the Rhythm Devils. “That was a very surreal experience,” Williams says. “We rehearsed for a few days and then we were on a bus with 12 people, two of them being the original drummers from the Grateful Dead.” On that tour, Williams was put in the enviable position of singing many songs from the Grateful Dead catalog for audiences that loved every minute of it. Inspired by this experience and his admiration for The Grateful Dead, Keller added two Grateful Dead projects to his repertoire: Grateful Grass and Grateful Gospel. With an ever revolving cast of Jam, Bluegrass, and Gospel musicians, Grateful Grass and Grateful Gospel have become fan favorites and festival staples. Keller’s Grateful Grass tunes can be heard on two live digital releases, REX and DOS. Keller’s guests on these recordings include: Jeff Austin (Jeff Austin Band), Keith Moseley (String Cheese Incident), Michael Kang (String Cheese Incident), Reed Mathis (Tea Leaf Green), The Keels and many more.Following the Grateful Dead theme, keller also released KEYS, a digital only release on which Keller is at the piano singing a collection of Dead tunes. All three of these releases donate proceeds to the Grateful Dead’s Rex Foundation.
Williams has also toured as part of a string trio with fellow Virginians, singer/guitarist Larry Keel and his wife, singer/bassist Jenny Keel, dubbed Keller and the Keels. You can find them hitting key stops on the bluegrass festival circuit playing songs from their two releases GRASS AND THIEF.
If it seems as if this is a man who never stops, that would be about right. Keller released the amusingly titled THIEF—his all-covers project with the Keels—early in 2010, and KIDS, his sixteenth album, in the fall of that same year. A father of two himself, Williams was, of course, inspired by his own offspring but, he says, some of the songs were written before his children were born. “When Not For Kids Only by Jerry Garcia and David Grisman came out, I knew that there was hope for me with kids music,” he says. “I was really attached to that record.” The songwriting for Kids, Keller says, “was not necessarily singing to the kids. A lot of it was me singing from the perspective of the kids. That was my plan, to get on their wavelength, on their level, and be one of them, so it’s kind of like one of their friends singing to them.”
In 2011, BASS found the multi-instrumentalist only playing bass guitar. BASS was also the first album to be recorded with Keller’s live reggae-funk band Kdubalicious, which in addition to Keller on bass and vocals, features Jay Starling on keyboards and Mark D on drums. On the other end of the spectrum – but just as tasty – is Keller’s 2012 release PICK. This collaboration featuring Keller Williams with The Travelin’ McCourys is a classic case of the whole being greater than the sum of its parts—although the parts are rather massive on their own, to be sure. “Performing with The Travelin’ McCourys is one of my favorite things to do in the world,” Keller explains. “This project has struck a special chord with me [pun intended]. It is very addictive.”
Indeed, Keller always enjoys working with a band. For 2013 he stepped out with a new muse, a 6-piece funk band dubbed More Than a Little. Williams drew from the Richmond, VA R&B/gospel scene including a pair of show stealing female singers. FUNK – a sexy live recording that pays deep homage to the genre’s roots, Keller style – hit the streets in November 2013 and More than a Little made its way around the country becoming a festival staple all their own.
Early 2015 found Keller back in the studio working on his 20th release, VAPE. While mainly a solo endeavor, it does feature a few special guests such as Sampson Grisman, John Kadlecik and a track with the Travelin’ McCourys. In Keller’s own words “Imagine taking these songs and blowing high pressured life through them in a low pressured atmosphere. Out comes highly concentrated music that can be heated up and inhaled through your ears...Vape”.
In 2016, Keller assembled yet another band, Keller Williams’ KWahtro. KWahtro, featuring Gibb Droll, Danton Boller and Rodney Holmes, toured the country throughout the winter and fall of 2016. The first KWahtro album, SYNC will be released in January of 2017. According to Keller, SYNC began as acoustic dance music but with the help of Droll, Boller and Holmes and special guests Mike Dillon and The Accidentals, the album “morphed into a type of acoustic acid jazz that draws on imagery in both the lyrics and the music.”
As if one album release wasn’t enough for 2017, Keller’s first all solo acoustic album, RAW, will also be released in January of 2017. Keller started working on RAW in 2011 but got sidetracked by a number of other projects that began to take form. It was when Keller’s 2017 winter tour, Shut the Folk Up and Listen with Leo Kottke, started to take form, that he jumped back into it and completed the album. For Keller this album and tour represent his roots; all solo acoustic guitar and vocals, no looping, pedals or bands.
Two albums at once, why not! Something different. That, we can assume, is how it will always be with Keller Williams.
Unlike rock 'n' roll, bluegrass music's boundaries are often defined in very narrow terms and that has caused some bands to carefully consider their place within the genre. But, in order to survive, everything must evolve... even bluegrass. Enter the Infamous Stringdusters, the very model of a major modern bluegrass band.
“At a certain point in our career, there was hesitation in calling us a bluegrass band,” guitarist Andy Falco admits. “These days, we’re much more comfortable with that label.” Banjo man Chris Pandolfi echoes the point: “We love bluegrass, but we have been influenced by other genres as much, if not more. When it comes to making music, we always try to be a blank slate and give new songs whatever they need to come to life. We just try to make something good, something that is true to who we are.”
On Laws of Gravity, that's exactly what the Infamous Stringdusters — Andy Hall (dobro), Jeremy Garrett (fiddle), and Travis Book (double bass), in addition to Falco and Pandolfi — have done. Their seventh studio set further proves that the band's collective whole is far greater than the sum of its individual parts, as the song selection and pitch-perfect performances weighs the Stringdusters' appeal to traditional fans against their musical quest to attract new listeners. It's a balance that comes naturally to the band.
Here, trad-leaning tunes like “Freedom,” “A Hard Life Makes a Good Song,” “Maxwell,” and “1901: A Canyon Odyssey” pick hard and soar high, letting trade-off solos and layered vocal harmonies work their magic. As it continues on, Gravity reaches its roots deep and wide, but never sacrifices the wings of the band, as exemplified in tracks like “Back Home” and “This Ol' Building” which pull from the blues and R&B strands of the Stringdusters' musical DNA.
“The specific feelings in those songs lend themselves to a soulful sound,” Hall explains. “The longing of 'Back Home,' the passion of 'This Ol' Building.' Slowing things down a bit, but still having a real edge and passion is the essence of that. And probably a bit of maturity on our part brings out a more authentic soulful sound.”
Indeed, the Stringdusters have worked hard to become the band they are or, perhaps, the band they wanted and knew themselves to be — a self-discovery process to which Laws of Gravity bears witness. “Once you start to move out of that, a lot of good things happen,” Pandolfi says. “You know who you are, and how to do your thing with confidence and experience. This colors the songwriting process as much as anything. We work so hard on the music, but it's not hard work. It's really the payoff, and it comes more naturally with time.”
Letting the past inform and the present propel, the Stringdusters' style and substance are uniquely Infamous. Since 2007, the band's ever-evolving artistry and boldly creative collaborations — including Ryan Adams, Joss Stone, Bruce Hornsby, Joan Osborne, and Lee Ann Womack — have pushed them past the edges of traditional acoustic music and carved out a musical niche all their own in the hearts of fans and critics, alike. Over the past couple of years, they released 2015's Undercover, a covers EP, followed by 2016's Ladies & Gentlemen, an album featuring multiple female guest vocalists. Those projects may have seemed like artistic tangents, but they actually proved to be a pretty direct route from there to Gravity.
“Being singers and songwriters, we were really ready to put some of our own songs out with us singing them,” Falco says. “In the same way solo projects can take you away to be able to come back and feel refreshed, the last two records have done that and we were ready to hit the studio with our songs sung by us.”
“We had much more of a vision for how we wanted this album to come together than we did with past projects,” Pandolfi adds. “We got the music, including all our individual parts, to a place where we knew we could go into the studio and just let it happen live. We are a band. We play live together and, more than any one song or achievement, this is what we do. Now we have an album that captures that.”
Part of Gravity's vision involved not road-testing and adapting the songs before taking them into the studio. That's a new step in the Stringdusters' process which starts with filtering through and whittling down a wealth of material to the best of the batch. “We take those 20 or so songs and take them to the next level as a band,” Pandolfi explains. “So much gets accomplished in this writing/arranging stage. It's where songs become Stringduster songs. In the end, we share the songwriting credit because of all the collective work that goes into this (and every other) aspect of being in a band.”
“We may try the song in a number of different feels before landing on something that works for the sound of the band. If a song is good, it usually comes together fairly quickly,” Halls says, adding, “But we’re writing more diverse stuff these days, so some experimentation is always welcome.”
While the new record boasts a single instrumental track, “Sirens,” where the five fellas really cut loose on their respective strings, the vocals across the other dozen tracks tie this music to the bluegrass tradition in an even more profound way. “Singing is a big part of bluegrass music,” Falco says. “It’s an important part of the sound and I think that part of music gets overlooked a lot. The singing should convey the emotion of the song. That's what we aim to do. One could argue that it's more important than the playing.”
Out beyond Laws of Gravity, the Infamous Stringdusters have an even broader vision. “We just want to keep making original music, keep evolving as people and musicians, and continue to help our amazing community of fans grow and enjoy this experience together,” Pandolfi says. “When we hear from people that our music or the community around our music has helped them find joy in life, it makes everything seem very worthwhile.”
Falco adds, “We love playing together and that’s the reason we’ve been doing it for as long as we have. We want to able to do this until we’re old and grey. That’s really it — making music together and continuing to evolve our brand of bluegrass music.”
Please note that this show is in the LATA Lounge upstairs at the Armory. Capacity is 49 people, so there are limited tickets.
Tickets: $10 in advance / $15 day of show
Doors: 8:30 pm
LOCATION: upstairs in Suite #302 in the Lounge, at the Historic Ashland Armory
Zach Deputy was raised in the South Carolina heat, all cooked up in his Puerto Rican, Cruzan and Irish heritage. The Calypso rhythms and folk songs of St. Croix competed with the R&B / soul of pioneers like James Brown and Ray Charles for space on the family stereo. As Deputy honed his craft, a unique hybrid of these influences emerged, ultimately creating the signature Zach Deputy sound. To bring this sound to the stage, the big, impossibly upbeat South Carolinian with the infectious smile puts on a solo show– enhanced by looping technology– that is essentially a one man dance party offering up what he calls “Island-infused, Drum ‘n’ Bass, Gospel-Ninja-Soul” to the enthusiastic crowds of dancers who flock to clubs from coast-to-coast. Over 1000 shows in the past 4 years have made Zach Deputy one of the most in-demand performers on the grassroots festival circuit and a big hit on the national club circuit.
Tickets $30 in advance / $35 day of
The British Invasion brought us the two most popular rock groups of all time, the Beatles and the Rolling Stones, as well as the liveliest debate in rock history - which band is the greatest? These two legendary bands will engage in an on-stage, mash-up duel featuring internationally renowned tribute bands, Abbey Road and Satisfaction - The International Rolling Stones Show.
- O.C. Register.
“The most unique tribute show in decades,”
- L.A. Times.
“The crowd was on their feet screaming the entire time!”
- Idaho Statesman.
“If you missed The Beatles and The Rolling Stones live, here is your second chance."
- the San Clemente Times.
Alternating power sets with the two bands coming together on stage for an amazing encore makes this show a once-in-a-lifetime event.
Doors: 7 pm / 21 and Over
Tickets: $30 in advance / $35 day of show
Get Tickets online, or at The Music Coop in Ashland,
Or Immortal Spirits in Medford
Using entire shows from the Grateful Dead’s 30 years of extensive touring as a launching pad, Dark Star Orchestra (DSO) recreates the original song for song performance set list for an entirely new generation of, as well as old school, Deadheads. Dark Star Orchestra presents its critically acclaimed live show at esteemed venues from coast to coast and internationally.
Dark Star Orchestra performs Grateful Dead classics the same way an orchestra interprets music of classical composers. The composer-spirit is channeled, as the players capture the passion and innovation of the original. Touring nationwide for nearly two decades, with more than 2500 shows in the rear view mirror, the band’s steadfast commitment to “raising the Dead” has drawn national media attention and a huge “deadicated” fan base.
The group has their craft so well-refined that even members of the Dead themselves, rhythm guitarist/singer Bob Weir, drummer Bill Kreutzmann, and keyboardist Vince Welnick, have appeared on stage and performed with these live music interpreters.
Precision is king with this group, who position the stage plot based on the year of Grateful Dead show they are performing. Dark Star Orchestra adapts their phrasing, voice arrangements, and even arranges specific musical equipment for the various eras in which they perform.
At the end of every performance, the band announces the date and venue where the original show just covered took place. Dark Star Orchestra dips into every incarnation of the Dead, so most fans can “see” shows that happened long before they were born.
“We’re given a canvas with a boundary, whatever the stage set up is the framework and all of the painting that we do within that framework is unique to us,” says rhythm guitarist/vocalist Rob Eaton. “So we offer the sound and the structure, but all the stroking and painting is all us. So it’s fresh at the same time and also very historically correct.”
Are you ready? We are calling SOS to all for the next movement.
RLM Entertainment brings to you 2018 inspiration now, let's build with this Realizum!
This show is ALL AGES.
Tickets: $15 advance / $20 day of show
Solillaquists of Sound
Marv Ellis & WE Tribe
Quincy Davis Music
Light Dancing by: Rogue City Flow Arts
Live painting by: Michael Vee Art
Our intention for this mini-tour is to help unify communities and to raise consciousness towards social and political issues here in the U.S. and around the world. We are pleased to extend an invitation, encouraging you to join and support us on this journey!
Tickets: $25 advance / $30 day of show
21 and Over
Doors: 8 pm
There’s a great scene in The Last Waltz – the documentary about The Band’s final concert – where director Martin Scorsese is discussing music with drummer/singer/mandolin player Levon Helm. Helm says, “If it mixes with rhythm, and if it dances, then you’ve got a great combination of all those different kinds of music: country, bluegrass, blues music, show music…”
To which Scorsese, the inquisitive interviewer, asks, “What’s it called, then?”
“Rock & roll!”
Clearly looking for a more specific answer, but realizing that he isn’t going to get one, Marty laughs. “Rock & roll…”
Well, that’s the way it is sometimes: musicians play music, and don’t necessarily worry about where it gets filed. It’s the writers, record labels, managers, etc., who tend to fret about what “kind” of music it is.
And like The Band, the members of Railroad Earth aren’t losing sleep about what “kind” of music they play – they just play it. When they started out in 2001, they were a bunch of guys interested in playing acoustic instruments together. As Railroad Earth violin/vocalist Tim Carbone recalls, “All of us had been playing in various projects for years, and many of us had played together in different projects. But this time, we found ourselves all available at the same time.”
Songwriter/lead vocalist Todd Sheaffer continues, “When we started, we only loosely had the idea of getting together and playing some music. It started that informally; just getting together and doing some picking and playing. Over a couple of month period, we started working on some original songs, as well as playing some covers that we thought would be fun to play.”
Shortly thereafter, they took five songs from their budding repertoire into a studio and knocked out a demo in just two days. Their soon-to-be manager sent that demo to a few festivals, and – to the band’s surprise – they were booked at the prestigious Telluride Bluegrass Festival before they’d even played their first gig. This prompted them to quickly go in and record five more songs; the ten combined tracks of which made up their debut album, “The Black Bear Sessions.”
That was the beginning of Railroad Earth’s journey: since those early days, they’ve gone on to release five more critically acclaimed studio albums and one hugely popular live one called, “Elko.” They’ve also amassed a huge and loyal fanbase who turn up to support them in every corner of the country, and often take advantage of the band’s liberal taping and photo policy. But Railroad Earth bristle at the notion of being lumped into any one “scene.” Not out of animosity for any other artists: it’s just that they don’t find the labels very useful. As Carbone points out, “We use unique acoustic instrumentation, but we’re definitely not a bluegrass or country band, which sometimes leaves music writers confused as to how to categorize us. We’re essentially playing rock on acoustic instruments.”
Ultimately, Railroad Earth’s music is driven by the remarkable songs of front-man, Todd Sheaffer, and is delivered with seamless arrangements and superb musicianship courtesy of all six band members. As mandolin/bouzouki player John Skehan points out, “Our M.O. has always been that we can improvise all day long, but we only do it in service to the song. There are a lot of songs that, when we play them live, we adhere to the arrangement from the record. And other songs, in the nature and the spirit of the song, everyone knows we can kind of take flight on them.” Sheaffer continues: “The songs are our focus, our focal point; it all starts right there. Anything else just comments on the songs and gives them color. Some songs are more open than others. They ‘want’ to be approached that way – where we can explore and trade musical ideas and open them up to different territories. But sometimes it is what the song is about.”
So: they can jam with the best of them and they have some bluegrass influences, but they use drums and amplifiers (somewhat taboo in the bluegrass world). What kind of music is it then? Mandolin/vocalist John Skehan offers this semi-descriptive term: “I always describe it as a string band, but an amplified string band with drums.” Tim Carbone takes a swing: “We’re a Country & Eastern band! ” Todd Sheaffer offers “A souped-up string band? I don’t know. I’m not good at this.” Or, as a great drummer/singer/mandolin player with an appreciation for Americana once said: “Rock & roll!”
Doors: 8:00 PM / Music: 9:00 PM
Tickets: $15 presale / $20 day of event
21 and Over event
Bring a food donation for the Ashland Emergency Food Bank and receive $2 off at the door, (unavailable for presales).
This celebration of life, art, local community and new beginnings is the perfect way to kick off 2018! Various local artists, performers and vendors will be showcased. And the event itself will help local non-profits and community projects such as the Ashland Emergency Food Bank.
- DJs: Alcyon Massive, NoWa, G-Rad and Jeffrey Smith
- Visual artists – LIVE Painting
- Flow artists – Hooping, Poi Spinning, Rope Darts, Wands, etc.
- Areal Silk Performances
- Food and beverage vendors
- And MORE!
The amount of diverse talent in the local area is amazing! So let’s ring in the New Year together with an incredible showcase of local DJs, artists, vendors and performers!
$25 advance / $30 day of show
21 and Over
doors at 8 pm
Bridging the gap between retro funk & soul, while keeping a focused eye on the future of funk, The Motet blasts off with their latest single, Supernova. The recent addition of singer Lyle Divinsky, who joined the band in 2016, fans the flames of this already hot band. His sinfully soulful voice and rich lyrics are powerfully prevalent throughout Supernova and light up the performances of the 7-piece funk powerhouse.
The Motet began in 1998 in Denver, Colorado, where the band’s then-rotating cast of musicians amassed an enthusiastic and loyal throng of hometown fans. The Motet took their infectious dance parties on the road about four years ago, and their national fan base has been growing exponentially ever since. Today their shows sell out from coast to coast at iconic venues Red Rocks Amphitheatre, The Fillmore in San Francisco, Tipitina’s in New Orleans, Brooklyn Bowl, Chicago’s Park West, Portland’s Crystal Ballroom, and Variety Playhouse in Atlanta. A favorite along the festival circuit, The Motet has performed at Bonnaroo, Electric Forest, Summer Camp, All Good Music Festival, High Sierra Music Festival, Peach Fest and many others.
The Motet are Lyle Divinsky (vocals), Dave Watts (drums), Joey Porter (keyboards), Garrett Sayers (bass), Ryan Jalbert (guitar), Gabriel Mervine (trumpet), and Drew Sayers (saxophone).
$25 in advance / $30 day of show
21 and Over only
For the past 18 years Grateful Dead band, Terrapin flyer has been performing with former members the Grateful Dead, Ratdog and Jerry Garcia Band. On Thursday November 30th, at Historic Ashland Armory, the band will feature Scott Guberman and Brian Rashap from Phil Lesh and Friends, Sikiru Adepoju from Mickey Hart Band, Richie Nagan from Parliament Funkadelic, Jeremy Hoening from The Terrapin Allstars, and Kara Cavanaugh, Josh Olken and Doug Hagman from Terrapin Flyer.
$40 advance / $45 day of
21 and Over
Brooklyn hip-hop trio mixed jazz backbeats, positivity, and enlightened conciseness.
Digable Planets are an American alternative hip hop trio based in Brooklyn, New York, composed of Ishmael “Butterfly” Butler (from Seattle), Mary Ann “Ladybug Mecca” Vieira (from Silver Spring, Maryland) and Craig “Doodlebug” Irving (from Philadelphia).
Butler and Irving met in Philadelphia in the late 1980s; Vieira and Irving had been a couple while attending Howard University. Originally from Seattle, Butler was interning at Sleeping Bag Records in New York and would visit his grandmother in Philadelphia where Irving was living and rapping with an outfit called the Dread Poets Society (later known as the 7 OD’s). The initial demos recorded under the name Digable Planets featured only Butler. After a brief stint with two other members, Butler began collaborating with Irving and Vieira in 1989.
1992–1993: Reachin’ (A New Refutation of Time and Space)
The group signed to Pendulum Records in 1992 and all three band members moved to New York, where Butler and Irving became roommates. Their debut album Reachin’ (A New Refutation of Time and Space) was released in 1993 and certified gold by the RIAA. The album’s lead single, “Rebirth of Slick (Cool Like Dat)” became a crossover hit, peaking at #15 on Billboard magazine’s singles chart, earning gold certification by the RIAA, and winning Best Rap Performance by a Duo or Group. The track peaked at #67 in the UK Singles Chart in February 1995.
1994–1995 Blowout Comb and breakup
The group’s second album Blowout Comb was released in 1994. The album was noted by critics as a stark departure from the previous album, being darker, less hook-oriented and more overtly political in its references to Black Panther and Communist imagery. Writing for Spin in December 1994, Craig Marks declared it “… a beguiling, demanding, damn near revolutionary follow-up.”Blowout Comb features guest appearances from artists Jeru the Damaja, Sulaiman and Guru of Gang Starr.
In the same year the group appeared on the Red Hot Organization’s compilation album, Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African American community, was heralded as “Album of the Year” by Time magazine.
The band subsequently disbanded in early 1995 citing “creative differences”.
In February 2005 the trio reunited and embarked on a reunion tour, which was followed by the release of a compilation album titled Beyond the Spectrum: The Creamy Spy Chronicles on October 15, 2005 that combined previously released material with remixes and B-sides.
From 2009 to 2011, Butler and Irving toured across the U.S., Canada, and Europe with a live band, the Cosmic Funk Orchestra. Support acts included Camp Lo and Butler’s Shabazz Palaces.
The group performed at Numbers, in Houston, Texas, on May 15, 2010, alongside the hip hop duo Camp Lo. During an interview with the Houston Chronicle near the time of this show, Doodlebug stated that a new single would be released, called “Fresh Out”, and that a new album was planned for digital release in summer of 2010. The group also performed alongside hip-hop group The Pharcyde at the North by Northeast music festival in Toronto, Ontario on June 19, 2011.
A reunion show scheduled for December 2012 in Seattle, Washington was cancelled days before the performance. When asked in a subsequent interview about the group’s status, Butler stated “I think it’s the end.”
Despite Butler’s previous statement, it was announced in October 2015 that the trio would again reunite for a concert at Seattle’s Neptune Theatre on December 30 alongside Shabazz Palaces.
Butler released Bright Black under the moniker Cherrywine in 2003 before going on to collaborate with multi-instrumentalist Tendai ‘Baba’ Maraire as Shabazz Palaces. In 2009 the duo self-released two EPs, Shabazz Palaces and Of Light before becoming the first Hip-hop act to be signed to Sub Pop Records. Their debut LP Black Up was released in 2011 followed by Lese Majesty in 2014, both to wide critical acclaim. Butler has also been signed to Sub Pop’s A&R division and is helping the label build its repertoire of artists that are ‘imaginative’ and ‘daring’. Butler and Maraire later collaborated with Hussein Kalonji as Chimurenga Renaissance to release riZe vadZimu riZe in March 2014 on Brick Lane Records.
Irving, also known as Cee Knowledge, tours with Cee Knowledge & the Cosmic Funk Orchestra and has released two albums in limited edition on FarmHouse Records.
Vieira (now known as Lady Mecca) released Trip The Light Fantastic in 2005 and has collaborated regularly with other musicians, notably on Legacy/Sony’s Billie Holiday Remixed and Reimagined album (on the song “Spreadin’ Rhythm Around”), Del tha Funkee Homosapien’s Eleventh Hour (on the song “I Got You”), and with hip-hop supergroup eMC on the song “The Show”. Vieira also contributed the voice of Tracey Triceratops on the Dino-5 children’s CD through Ropeadope Records as well as continuing to perform as DJ Lady Mecca.
21 and Over
$20 advance / $25 day of
Rich with bold brass and hypnotic percussion, Polyrhythmics' latest album, Caldera, showcases the instrumental eight-piece's impossibly tight grooves and virtuosic musicianship as they tear through a singular blend of funk, soul, psychedelic rock, R&B, progressive jazz, and Afrobeat. Calling to mind everything from Antibalas and the Dap-Kings to The Meters and Fela Kuti, it's without a doubt their strongest work to date, merging the infectious power of their live show with a sleek and nuanced studio sophistication.
Named for the smoldering crater left after a volcanic eruption, Caldera was written during a band retreat to rural Oregon, where Polyrhythmics embraced truly collaborative songwriting for the first time during a marathon session in the shadow of Mt. Hood (itself an active volcano). The resulting album is a blistering declaration from a band that's progressed beyond the sum of its influences to come fully into its own. From the downtempo, Afrobeat trance of "Stargazer" to the triumphantly anthemic, high-octane pump-up funk of "Marshmallow Man," Caldera is instrumental music at its best: emotional, evocative, mesmerizing. On "Cactus Blossoms," Polyrhythmics craft an eerie, retro gem straight out of a 70's film score, while the trippy effects and wah-wah guitar of "Goldie's Road" suggest a psychedelic journey (or perhaps a bad trip), and the shuffling "Vodka For My Goat" draws on Stax soul while hinting at BB King's merger of the blues and jazz. It's an eclectic collection, tied together by the melding of eight distinct musical voices coming together as a cohesive whole.
The record follows the Seattle band's stellar third album, Octagon, which earned them tour dates around the country along with plenty of critical acclaim. The Stranger dubbed Polyrhythmics a group to watch, hailing their "sophisticated slinkiness and expressive brassiness," while WNCW praised their "modern afro-psycho-beat blend," and the Seattle Times dubbed them "funk maestros." The band was invited to perform live on influential Seattle NPR station KEXP, shared bills with everyone from Snarky Puppy to Booker T, and played massive festival stages including Bumbershoot, High Sierra, and Vancouver International Jazz Fest.
Polyrhythmics are: Ben Bloom: Guitars, Grant Schroff: Drums, Nathan Spicer: Keys. Lalo Bello: Percussion, Karl Olson: Percussion, Jason Gray: Bass, Scott Morning: Trumpet, Elijah Clark: Trombone, Art Brown: Sax and Flute
PORTLAND BORN, DIRTY REVIVAL HAS EVOLVED FROM THE CONFINES OF A BASEMENT, TO SOME OF PDX’S MOST SOUGHT AFTER STAGES. THEIR SOULFUL SOUNDS AND ENERGETIC BEATS DELIVERS AN ATMOSPHERE THAT ENRAPTURES ANY AUDIENCE.
Led by the soulful vocals of Sarah Clarke, Dirty Revival has made their mark on the Pacific Northwest music scene. The unique ensemble delivers powerful original tracks and superbly arranged classics with a resounding presence, delivering passionate performances from dimly lit dive bars to crowded concert halls and open festival skies.
The dynamic, seven-piece soul outfit shines on stage, and defines influences from funk- and soul-infused icons of the past. Dirty Revival has shared the stages with musical heavy-hitters such as Michael Franti, George Clinton and the Parliament Funkadelic, Sir Mix-A-Lot, Slick Rick, Nappy Roots and Gift of Gab, and have several multi-regional tours already under their belt.
The band has been actively touring in support of their debut album, the self titled, Dirty Revival, release in September of 2015.
The release was marked by a sold out CD release party at one of Portland’s premier venues, Mississippi Studios. Driven by the warm reception of their freshman album, Dirty Revival has the heart and mind behind the music and the unyielding drive to share their soul.
LINEUP (learn more about artists below)
- Vince Herman (from Leftover Salmon)
- Alice DiMicele Band
- Rogue Suspects
- Inger Jorgenson
- Paul Turnipseed
- 33 String Drive
- Frankie Hernandez
- Bishop Mayfield
- B Wishes
- Diane Patterson
- Phoenix Sigalove
- Shybo Torres
- Marc Gostnell
Donations at the Door
Hilltop Music Shop, United Way of Jackson County, Havurah Shir Hadash.
Lagunitas Brewing Company
"Another Alice & Greg Disaster Relief Production”
All proceeds will go towards helping the most vulnerable in Puerto Rico. We will be sending Domes for use as schools and community centers with a group from Atlanta who are going to help re-build schools. People from Oregon who would like to help and can provide for their own transportation to Puerto Rico would be welcomed to join the effort. We will also be sending money towards disaster relief through the Hispanic Federation.
When Hurricane Maria reached Puerto Rico she pummeled the island and destroyed
homes, hospitals, schools, and most of the islands power grid. Access to food, potable
water, shelter, and medical attention is difficult or impossible depending on where you
are on the island. Another disaster creating suffering and chaos. Local musicians and
activists Alice DiMicele and Greg Frederick immediately got together to plan something
to help, as they did after disasters in Haiti, Japan, and Nepal. After searching countless
websites and non-profit organizations, they found an opportunity to make a big
difference without just throwing money into the pockets of a big organization with a CEO
who has a six figure salary. DiMicele’s brother-in-law, Randy Ortiz is going to Puerto
Rico next month with a group of business people and volunteers from Atlanta, Georgia
to help rebuild schools and medical facilities and to help distribute much needed aid to
the most vulnerable. Randy has participated in secular missions all over the world with
Caritas, a Catholic non-profit committed to serving the poor and most vulnerable in the
world. Thanks to the generosity of Asha Deliverance at Pacific Domes and Eric Hansen
at True South Solar we are able to buy Domes and solar systems at cost to send with
Randy and his team to put up to make instantly solid shelters, schools, community
centers, and whatever else may be needed. After buying these supplies we will donate
the remaining cash to the Hispanic Federation who is leading the way in bringing relief
aid to Puerto Rico.
Alice called Vince Herman from Leftover Salmon who recently moved to Ashland and
asked him help. His answer, a resounding Yes! Herman will headline the event and will
sit in with Alice DiMicele Band and also local bluegrass band 33 String Drive. Greg
Frederick’s two bands LEFT and the Rogue Suspects are on the bill along with a bevy
of local talent including: Inger Jorgenson and Paul Turnipseed, Phoenix Sigalove, Diane
Patterson, B Wishes and Jack Hopfinger, Frankie Hernandez, Bishop Mayfield, Shybo
Torres, and Marc Gostnell. The event will open with a song and prayer by Rabbi David
Zaslow of Havurah Shir Hadash Synagogue who is also one of our generous sponsors
along with Live At the Armory, United Way of Jackson County, ORD2 Indivisible, Hilltop
Music Shop, Pacific Domes, and True South Solar. If your group or church would like to
be a sponsor for the event or would like to send volunteers to help please contact Alice
DiMicele at email@example.com
Please join us for an evening of great music and solidarity with Puerto Rico at the
“People for Puerto Rico” event on Sunday November 5th from 5-9pm at the Historic
Ashland Armory. The event is all ages and there will be a 21-over area with adult
beverages available. We’re asking for a suggested donation of $20 or as much as you
care to donate at the door and will also be selling raffle tickets with wonderful prizes
including a guitar, music, gift certificates for massage, and much more.
About some of the musicians:
Vince Herman is a guitarist and singer best known for being one of the founding
members of Leftover Salmon and Great American Taxi. His infectious stage presence
and humor engage his audiences and leave them overjoyed and wanting more.
Alice DiMicele is a singer/songwriter and acoustic guitar player that seamlessly works
jazz/blues phrasing and R&B and rock & roll rhythms into a broadened Folk/Roots/
Americana sound she calls "Organic Acoustic Groove.” For more than 30 years, Alice
has been bringing her wide-ranging vocal prowess, humor, and distinctive guitar style to
festival stages, theaters, clubs, and house concerts.
LEFT is a labor of love comprised of 5 of Southern Oregon's most accomplished and
creative players who came together in support of the original music written by Singer
Songwriter Bret Levick. Greg Frederick on Bass, Don Harriss on Keys, Bob Evoniuk on
Slide Guitar and Matt Terreri on Percussion. Levick's music can be heard
on Televisions top hit shows "Lucifer" "Shamless" "Grays Anatomy" "Son's of Anarchy"
The Rogue Suspects have been Southern Oregon’s premier musical act for 18 years.
Whether appearing with or behind rock and rolls who’s who, or gracing the most
prominent stages in the area, the Suspects have earned the honor of being named The
Rogue Valley’s favorite band over and over again.Shae Celine, Greg Frederick, Dirk
Price, Don Harriss, and David Bolen.
21 and Over
Tickets: $27 advance / $32 day of
Lagunitas Brewing Co
Ashland Alternative Health
Rising Appalachia brings to the stage a collection of sounds, stories, and songs steeped in tradition and a devotion to world culture. Intertwining a deep reverence for folk music and a passion for justice, they have made it their life’s work to sing songs that speak to something ancient yet surging with relevance. Whether playing at Red Rocks or in rail cars, at Italian street fairs or to Bulgarian herbalists, this fiercely independent band has blazed a unique and colorful path across the globe. 11 years into their movement, Rising Appalachia believes that the roots of all these old songs are vital to our ever evolving soundscape.
Led by the collective voice of sisters Leah and Chloe, and joined by their beloved band – percussionist Biko Casini and bassist/guitarist David Brown – Rising Appalachia is a melting pot of folk music simplicity, textured songwriting, and those bloodline harmonies that only siblings can pull off. Listen for a tapestry of song, clawhammer banjo tunes, fiddle, double bass, acoustic guitar, djembe, barra, bodhran, spoken word, and a wealth of musical layering that will leave you called to action and lulled into rhythmic dance simultaneously. It is both genre bending and familiar at the same time. Proudly born and raised in the concrete jungle of Atlanta, Georgia, sharpening their instincts in the mountains of Appalachia, and fine tuning their soul on the streets of New Orleans they have crafted a 6-album career from the dusts of their passion.
In 2015 Rising Appalachia founded the Slow Music Movement, to help maintain an independent musical spirit in the face of such a fast-paced world. They are creatively committed to keeping their work accessible at the local street level as well as expanding to larger audiences abroad, and have continued to maintain autonomy by self- managing, recording, producing and creating, and directing their work.
They are greatly honored to do the work that they do.
“Music is the tool with which we wield political prowess. Melody for the Roots of each of us…spreading song and sound around the globe. Music has become our script for vision- not just for aural pleasure, not just for hobby, but now as a means to connect and create in ways that we aren’t taught by mainstream culture. We are building community and tackling social injustice through melody, making the stage reach out with wide arms to gather this great family. It has taken on its own personality, carrying us all along the journey. Heres to poetic observations, social change, lyrical messages, political focus, symphonic coercing, ferocious bantering, bicycles and train tracks, primal will, fresh air, harmony, flow, and beautiful noise. ”- Leah Song.
“Green Album of the Year” – the Huffington Post
“Rising Appalachia seeks to showcase the beauty of the simple, the subtle, and the sometimes unseen with its soulful folk music” – anonymous
Love and hate need each other for either to have meaning and I feel like it’s the same way with people. I’d like to believe love always wins coming down the stretch—it just might not be the way you envisioned it. In my experience love often isn’t what I expected and wouldn’t be half as good if it was. That basically is what I wrote this album about.
Townes Van Zandt once said “There’s only two kinds of music: the blues and zippety doo-dah.” I’ve always loved that. In my opinion, labeling music sucks, but clearly marketing and classifying music without some label is near hopeless, so here we are. This is not a blues album, though if someone asked me what kind of music I write, I’d like to say blues. Blues singing is an exorcism of the blues itself, and that’s how I relate to what I write. This album for me is an attempt to shine a light on my various traps and sorrows as well as explore their emotional depths. I try to purge hard times in song and can only hope that through sharing these glimpses of hard-to-pin-down emotions, others may feel less alone. So that’s how I approach songwriting—hopefully not wasting anyone’s time, and contributing meaningfully to the conversation within the songs of man.
Since making my last record, I destroyed all the pillars of my life intentionally and by accident. I found myself wondering what the hell I was doing, and had to slowly start rebuilding. When you go back to the ground level in any field, with your toes in the dirt, you've got to really want to do it. I already came up through the clubs, playing all the small gigs, busking the streets, and also got the delusions of grandeur that come from playing in much bigger places. When you've been through it and you know how much work it is to start from the bottom, you have to ask yourself if it's truly what you want. Here we are, so I guess the answer is yes.
A little over two short years ago, I was set to be married to a woman I loved very much, had just won my second Grammy with Old Crow Medicine Show, and life was good by all perceivable standards. However, I was deeply unsatisfied artistically and needed to leave the band. After the first year of touring my last album, I swore to myself I wasn’t writing another goddamned broken-hearted love song, but then my lover took flight and I found myself alone, worn out, disillusioned, and heartbroken in a way I hadn’t known before. The future was looking like an exhaustingly long walk through a knee-deep tunnel of shit ending in death, so, it seemed like it wasn’t going to be an overly joyous next record after all. BUT, I wanted to find a light in the darkness. This album is more of ‘a map out of the darkness’ than ‘an invitation to it.’
In writing this album, I wanted to paint a vision of the prison of expectations that eat loving relationships at their core and can turn them into a mechanical farce. The premise through most of this album can be summed up by the title “Scripted Love”. The songs reveal characters trapped in scenes they didn’t create as much as rehearsed. Their roles are played through narratives either engrained or sold to them through: Hollywood, social norms, family, fairy tales, etc. Hung up on “what’s supposed to happen” over what’s happening. They find themselves disappointed with the reality of relationships due to their false idealizations. Love becomes a possession rather than a presence. This isn’t to say I don’t think that there aren’t millions of people living in harmonious, real, and loving relationships. I don’t happen to know an overwhelming amount of them, but I know they exist.
In December, I spent two weeks on the Washington coast at a friend’s place where I wrote over half of these songs. I was alone with the cold wind and rain pounding in from the North Pacific. Then I ended up back in Nashville living above my friend Nikki Lane’s for a few months where I wrote the rest of them. I moved to a cabin in the country outside Whites Creek, Tennessee to record the album and then took it on the road where I finished vocals and bits in Stockholm, The Isle of Skye, and Blue River, Oregon.
I wanted to personally tell the story behind this record, but there are some things I can’t write so freely. Here’s all the name-dropping, self-congratulatory bits that I’d feel like an ass saying myself, written by a professional.
Gil Landry’s ‘Love Rides A Dark Horse’ follows his critically acclaimed self-titled 2015 ATO debut, which featured appearances by Laura Marling and Robert Ellis among other musical pals. Rolling Stone raved that the record landed at "the four-way intersection between Dylan-inspired folk-rock, atmospheric Americana, dusty cowboy songs and street busker ballads," while American Songwriter hailed it saying “these songs, and especially Landry’s honest performance, resonate long after the last note fades. They beckon you back to further absorb his heartfelt, occasionally comforting, musings on the trials and tribulations of romance-gone-sour. It’s a subject most of us have experienced, can easily relate to and one that Landry explores with taste and subtle, refined passion.” The album earned Landry dates with Ben Harper, Laura Marling, Brandi Carlile, Justin Townes Earle, Warren Haynes, Bruce Hornsby, The Wood Brothers, and more, in addition to festival appearances in the US, UK, & Europe.
'Love Rides A Dark Horse' breaks new ground for Landry with contributions from fiddler Ross Holmes (Mumford & Sons, Bruce Hornsby), keyboard player Skylar Wilson (Andrew Combs, Rayland Baxter), and drummer Logan Matheny (Roman Candle, Rosebuds), the songs explore a more seductive, stripped-down sound built upon a hushed sense of intimacy that calls to mind Leonard Cohen and Tom Waits. The album's tattered narratives cast aside romanticism in favor of reality.
Landry sets the tone from the outset with the alternately joyous and ominous album opener "Denver Girls," singing, "If it's not paradise now / Tell me what you're waiting for / Don't you know there is no evermore?" The song features haunting background vocals from First Aid Kit's Klara Soderberg, who joins Landry again later for a proper duet on the driving "Berlin." Additional female vocals appear throughout the album, some from Karen Elson and others from Odessa, their presence a gentle reminder that, as Landry puts it, "it takes two to disagree."
On the spare "Bird In A Cage," Landry searches for escape from the prisons we build inside our own minds, while the classic country of "The Only Game In Town" offers up biting wit in its take-down of love for love's sake. It's a sentiment he explores from a number of angles, perhaps most poetically on "Scripted Love," which looks at the ways we set ourselves up for failure by aspiring to unrealistic standards.
The scope of Landry's songwriting extends beyond just romance, though. On "The Real Deal Died," he laments the performance nature of style-over-substance art, while "The Woman You Are" finds solace in the company of a partner equally alienated by gentrification and sanitization of contemporary culture.
Tickets: $25 advance / $30 day of
21 an Over
Doors: 8:30 pm
Lagunitas Brewing Co
Ashland Alternative Health
FALLING SOMEWHERE BETWEEN ROCK, JAZZ AND ELECTRONIC MAYHEM WE FIND SPACE ROCK. PAPADOSIO STRIVES TO CREATE MUSIC THAT IS STRANGELY FAMILIAR, AND CALLS ALL WALKS OF HUMANITY TO BASK IN A UNIQUE EXPERIENCE CELEBRATING THE ONE CONSTANT IN AN EVER CHANGING WORLD: MUSIC.
Phutureprimitive is the moniker of Bay Area producer and songwriter Rain. Early childhood photos reveal Rain sitting at the piano plinking keys, grinning from ear to ear… a true sign of things to come. Continuing his early fascination, Rain was later drawn to electronic music, inspired by its ability to combine the best of organically played instruments and the synthetic pleasures of sounds more exotic to the human ear. After beginning a DJ career in the 90s, Rain began incorporating the music he was making in his home studio into his DJ sets. That was all it took to trigger a full blown love affair with electronic music and the process of its creation… and Phutureprimitive was born.
Phutureprimitive’s music is best described as dripping wet love drops of nasty mind melting sonic bliss. Lush melodies drift across intricate rhythms, groove heavy beats and warm, fuzzy bass lines. Often exploring a dark and dense palette, there is also a profound sense of tranquility and beauty, engaging the listener into hypnotic movement and often escalating into a full-on kinetic experience. Shimmering with cinematic qualities, his music ultimately speaks to the body, mind and soul.
Despite electronic music’s tendency to suffer a short shelf life, Phutureprimitive has already demonstrated a timeless quality with his debut album “Sub Conscious” on Waveform Records, which remains the top seller on the label since its release in 2004, obtaining a cult status among fans and collectors. With a string of singles released in the interim on various labels, the birth of Native Harmonix (Rain’s own Record Label) brought us the “Luminous” EP in 2010; delving into a lyrical based production, supported by undulating synth work and a palpable haunting texture throughout. His second full-length release “Kinetik” forged new territories of emotional electronic dance music, exploring a heavier, bass-centric sound that adds raw energy to intricately detailed tracks. “Kinetik” remains on the iTunes Top 100 Electronic Music Chart, 3 years after its release.
With a new collection of songs released in 2 parts titled “Searching for Beauty in the Darkest Places,” he takes ideas from his previous releases and supercharges them with hard-hitting dancefloor appeal, while maintaining the depth and prowess this trusted producer is so well known for. His first national headlining tour in Fall 2013 debuted his collaboration with ritual dancer Caeli La. The tour launched with the release of their first official music video, “Lucid Dream,” a collaboration with multi-media production team Vinton Depiction & Michael Miller, the animation/visual effects creator behind NBC’s “Grimm.” The Dance Out Your Demons Tour featured an interactive game, in which the audience members write down a “demon,” fear, or something they are letting go of on a piece of duct tape, stick it to the bottom of their shoe, and then “dance out their demons.” Due to the success of DOYD, Phutureprimitive announced that they will continue to incorporate the game on future tours.
Tickets: $20 in advance / $25 day of show
Doors: 7:30 pm / 21 and Over
Turkuaz is a 9-piece “Powerfunk” outfit from Brooklyn, NY, whose modern take on the classic funk sound has established them as leaders in the funk revolution that’s currently taking place in the genre. Blending elements of Pop, R&B, and Soul with their distinct aggressive funk core, Turkuaz sounds like the musical love child of Sly & the Family Stone and Talking Heads.
With the release of their new album Digitonium, Turkuaz’s sound is more accessible than ever and poised to break out to a more mainstream audience. With a playful feel that evokes the best of 80s dance music, Turkuaz’s tightly arranged songs are built on thick grooves, driven by powerhouse rhythm and horn sections, as well as four distinct vocalists.
The group’s constant coast-to-coast touring since 2012 has earned them a passionate and dedicated national fan base that’s consistently growing. A dance band at their roots, Turkuaz’s live shows are high-energy, floor-shaking, visually appealing events filled with colorful clothing and choreographed dance moves that always leave attendees wanting more.
Turkuaz’s crossover appeal has never been more evident-- from a recent video performance going viral and receiving over 2 million Facebook views, to their music providing the soundtrack to New York Knicks games at Madison Square Garden, to constant rotation on Sirius XM Radio, Turkuaz is, as Relix Magazine says, “on the verge.”
Over a few short years of touring, Jelly Bread has risen from Reno/Lake Tahoe area favorites into a nationally- touring, powerhouse quintet that delivers a high-energy, chameleonic playlist all over the United States. Jelly Bread’s distinct style is identified by a blend of desert twang meeting the urban tones of funk and rock. Exceptional songwriting and storytelling interlaced with four part harmonies, intricate “in-the-pocket” drum and bass grooves, swampy lap steel guitar, dirt under the fingernails guitar licks, tasty talkbox, “take-’em-to-church” organ come together into a sound that is downright appetizing.
Here, There & Everywhere was mixed by renowned engineer/producer Justin Phelps (Cake, Galactic, Fruition, The Mars Volta, The Neville Brothers, and Dead Kennedys among many others). Jelly Bread has performed direct support for the likes of Robert Cray, Robert Randolph and the Family Band, Moe, Rusted Root, JJ Grey, Dragon Smoke (members of Galactic), The Motet, Ivan Neville’s Dumpstaphunk, Lukas Nelson and the Promise of the Real, Pimps of Joytime, Sister Sparrow and the Dirty Birds, Allen Stone Band, Orgone, Kyle Hollingsworth Band, Carolyn Wonderland, and The California Honeydrops. The band has also appeared at premiere festivals including the Xerox Rochester International Jazz Festival, Safeway Waterfront Blues Festival, High Sierra, Joshua Tree, Strawberry, and Mammoth Festival of Beers and Bluesapalooza.