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The Claypool Lennon Delirium
Marco Benevento | @9:30 club | view more info »
Sep
1

The Claypool Lennon Delirium

Marco Benevento


Thursday Sep 1|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


The Claypool Lennon Delirium

official band site »

Two worlds have collided, and what glorious and odd worlds they are. After a successful summer tour pairing Primus with Ghost of a Saber Tooth Tiger, Les Claypool and Sean Lennon have decided to combine their abstract talents into a project called The Claypool Lennon Delirium. Their efforts thus far have spawned the upcoming, full-length release called “Monolith of Phobos.”

“Sean is a musical mutant after my own heart,” said Claypool. “He definitely reflects his genetics—not just the sensibilities of his dad but also the abstract perspective and unique approach of his mother. It makes for a glorious freak stew.” After some impromptu, backstage jams and an epic live sit-in on Primus’s psychedelic opus, “Southbound Pachyderm,” Claypool approached Lennon about doing a recording project. “I was trying to wrangle up an Oysterhead reunion since Primus was taking a rest for 2016 but the planets just wouldn’t align for that,” said Claypool. “I don’t like sitting around, so when Sean said he didn’t have plans for this next year, we started kicking around the notion of making an old-school, psychedelic/prog record. Next thing I know, he’s staying in my guesthouse, drinking my vino and banging on my drums.” Lennon responded, “I told Les that I was Neil Diamond’s nephew. I think that is what really sold him on the idea of working with me.”

Over the course of six weeks or so, the two wrote and recorded a total of ten songs with both of them sharing various vocal and instrumental responsibilities, going beyond their core instruments of bass and guitar. Claypool explained, “Usually I play the drums and percussion on my records but Sean has such a different feel than I do, it just made more sense for him to man the kit on most of the tunes on this project. I took the helm at my old vintage API console and let him bang away. He was happy as a piggy rolling in shit every time he grabbed the sticks…his drumming is like a cross between Ringo and Nick Mason. But I think folks will be most surprised by what a monster guitar player he is, especially when you prod him a bit.”

“Monolith of Phobos” is just how the title implies—an old-school approach to a psychedelic space rock record. Lennon added, “It’s been an honor and a challenge playing with someone of Les’ caliber, but luckily the Gods of Pinot Noir shone favorably down and granted us a bundle of devilish tunes about monkeys, outer space and sexual deviancy.”

The Claypool Lennon Delirium “Monolith of Phobos” record is slated for a spring release and the band will be touring through the summer.


Marco Benevento

official band site »

Marco Benevento is used to doing a lot of things for himself: Since he launched his solo career six years ago, Benevento has co-founded the label that releases his music, The Royal Potato Family, and built the studio, Fred Short, where he works every day that he’s not on the road. And in the past, of course, he’s written, arranged and played his largely instrumental anthems, leading a band from behind his customized piano and a tiny armada of drum-machines and sequencers, keyboards and pedals.

But until Benevento set out to complete his fifth album under his own name, he’d never sung his own songs, a strange omission for music that’s so often been lyrical. That changes—decisively, assuredly, triumphantly—on Swift, the boldest and most bracing album of Benevento’s career.

“I never really liked the sound of my singing voice. I have a low voice. I can’t really sing too high. It’s nasally,” Benevento confesses. “But I had to get over it. And now, singing is awesome.”

Sure, 2012’s TigerFace opened with two vocal gems, the greasy “Limbs of a Pine” and the gorgeous “This is How It Goes.” But Rubblebucket’s Annakalmia Traver had handled those melodies, and Benevento assumed for months that she’d handle these, too. At one point, though, he decided that he liked the way his voice was sitting in the songs he was building; that it felt not only interesting, but surprisingly intuitive. His wife, Katie, would join him in the studio and sit with him at the piano, helping him to shape strings of nonsense syllables into words he liked. And in November 2013, he invited Ween’s Aaron Freeman, a nearby neighbor and longtime friend, to visit the studio and offer criticism of what he was singing and how he was singing it. Freeman had specific quibbles and improvements, but he largely approved of the work Benevento had done, providing the boost that powered Swift toward completion.

“It was nice to be tested and prepared by a singer I really like. It was validating,” Benevento explains. “I’m surprised it took me this long to sing, but growing older, getting into music by The Band and James Booker and the Grateful Dead, the singing door has opened. It’s a new instrument.”

Benevento’s urge to commandeer the microphone and fill the record with his thoughts isn’t a mere power grab from a bandleader. To the contrary, bassist Dave Dreiwitz (Ween) and drummer Andy Borger (Tom Waits, Ani DiFranco, Norah Jones) flex more than ever before on Swift. Dreiwitz dances atop the start of “If I Get to See You At All,” his rich fuzz-tone affording the melody the feeling of a sinister carousel. And on “The Saint,” he and Borger emerge as powerhouse, the viscous bass line rumbling over drums that slow and spring, stutter and stomp. A minute into the track, Benevento has to wait for just the perfect moment in which to slide his silvery piano. Swift is an unselfish album, then, guided more by a sense of giving songs maximum impact than proving the incontrovertible worth of the players who made it.

That directness is due in large part to Richard Swift, the esteemed indie rock producer who invited the trio to his Oregon studio to record the album that, in turn, Benevento named for him. Benevento’s sister-in-law lived nearby, so he’d gotten to know Swift through years of touring. He’d also fallen in love with his work thanks to Swift-helmed albums such as Foxygen’s We Are the 21st Century Ambassadors of Peace and Magic and his own song “Lady Luck.” Benvento says that several mixtapes Swift compiled and put online—humid spheres of vinyl static and rubbery bass, woozy soul and swerving rock—saved his life on several long, late-night tour drives. He trusted Swift’s ears, and he wanted to put this record in his hands—to go to Oregon, record for three days, let the producer produce, and do as little tinkering to the results as possible.

“I was sick of going back to my studio and turning a session into something else. I wanted my process to be different. I wanted someone else to say, ‘Leave it like that,’” Benevento says. “I was surprised how easy it was going to be. I made two or three edits, and it was done.”

That comfort and energy radiate throughout Swift, an album that’s every bit as delightful and kinetic as its title suggests. Opener “At the Show” is a handclap invocation, the big-bottomed drums and Benvento’s fleet keyboard line motioning toward the dance floor. “Eye to Eye” moves with an indomitable, street-smart swagger, while closer “Free Us All” prompts eyes-closed, mouths-open bliss. Even “No One is to Blame,” the album’s ostensible down-tempo drift, can’t suppress the excitement of the new setting, the new singer or the new approach. Its climax offers arching catharsis, Benevento’s multi-tracked harmonies curving like a rainbow.

“To finally make a record that feels and sounds like a record; something that is musically consistent and almost thematic, whereas my other releases have been so stylistically diverse,” says Benevento, “is, for me, an accomplishment.” He did it himself, you could say—and then some. The Royal Potato Family released Swift on LP, CD and Digital on Tuesday, Sept. 16.


 
Assembly Of Dust
Adam Ezra Group | @Gypsy Sally's | view more info »
Sep
10

Assembly Of Dust

Adam Ezra Group


Saturday Sep 10|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Assembly Of Dust

official band site »

“As a child I can remember locking myself in my room with a big old set of headphones and listening to The Band's Music From Big Pink album over and over again,” said Reid Genauer, the lead singer and founder of the New York based quintet Assembly of Dust. “Besides loving the hell out of the music, I was intrigued with the production value in the recordings. As I listened I felt almost like I was there in the room with The Band at a moment of perfection. That intimate listening experience drew me in and is what inspired me to be a musician.”

Drawing on that influence and countless others, over the last ten years Assembly of Dust has crafted a unique sound that recalls the likes of The Band, Traffic and Neil Young. They have taken that early 70's Americana swagger, put their own funky spin on it, and earned comparisons to the next generation of Americana heroes including Ryan Adams, Mumford and Sons and Wilco. Hooky melodies, poetic lyrics, and a profound depth of musicianship promptedUSA Today to say Assembly of Dust has what it takes to "dazzle the Alt-Country universe."

The allure of spacious production value has clung with Genauer his whole life and when he listened to Ray Lamontagne's 2010 album God Willin' & The Creek Don't Rise, he heard something that struck a chord deep within him. After just a few seconds sniffing around the liner notes he found the name he was looking for and within a couple of months Assembly of Dust was in the studio with engineer Ryan Freeland.

With three Grammy's on the shelf and credits that include musical luminaries like Bonnie Raitt, Joe Henry, and Art Garfunkel, Freeland's aesthetic was exactly what Genauer was going for on Assembly of Dust's fourth studio album Sun Shot. "I’ve always had a penchant for acoustic music” said the songwriter. “While Sun Shot isn’t an acoustic record by any stretch of the imagination it has the touch and nuances that allows the listener to be nearer to the music. It’s certainly a mellower record, it’s a vibey record, and it’s the most singer-songwriter record we’ve done."

While the recording processes used on Sun Shot harkens back to an analogue past, the rest of the project was decidedly technology driven. In the summer of 2012, as they struggled with the realities of financing an artistic venture of this scale, the band launched a crowd sourced funding campaign through Kickstarter. Looking back on it Genauer talks about the project as more of a spiritual journey than simply a fund raising exercise.

"When we went into it we were thinking of a black and white exchange of goods and services, but what we discovered was a weighty emotional interchange" he admitted. "The Kickstarter contributors demand something beyond a record and we found it to be a really intimate experience to craft special rewards for people who genuinely care about us and our music. It helped us truly appreciate the passion our fans feel for us and the depth of our community.”

Sun Shot is one part Singer-Songwriter, one part Alt- Country and one part Rock and Roll, but the thread tying it all together is Genauer's heartfelt and beautifully written lyrics. In 2009 The New York Times praised Genauer's songwriting skills as some of the most eloquent "to emerge in the long wake of the Grateful Dead” and the songs on Sun Shot may be the best work of his career.

The raw building blocks of Genauer's songs stand strong on their own and they are polished to brilliance in the hands of the band he’s surrounded himself with: Adam Terrell (Lead Guitar), John Leccesse (Bass), and two newer members Jason Crosby (Piano and Violin) and Dave Diamond (Drums). Together Assembly of Dust has created an album laced with the influences Genauer recognized as a child. It’s a recording with many rooms. Some are flashy and aloof, others bony and pale, but collectively they are Sun Shot.


Adam Ezra Group

official band site »

Adam Ezra Group's songwriting is making waves around the country.

The co-write, “Let Your Hair Down” with producers Shep Goodman and Aaron Accetta, (American Authors), just received "Song of the Year" at the New England Music Awards. A songwriting partnership with the legendary John Oates is taking Ezra back and forth between Nashville and tour. The theme song, "Grow Your Own Way," was central to Midwest insurance giant, Country Financial's 2014/15 marketing campaign. In addition, Adam Ezra's debut efforts in movie scoring have lead to an appearance at the 2016 Tribeca Film Festival and the release of Adam Ezra Group's new album, aptly titled, Songs for a Movie.

This 16 song marathon studio production is the culmination of three years of writing, planning, arranging, and recording for the independent film release, "Folk Hero & Funny Guy." Much of the writing and recording occurred while on tour; in hotel rooms, hallways, green rooms, and while literally driving the American highways often referenced within the album.


 
The Mantras
Projected Man | @Jammin' Java | view more info »
Sep
10

The Mantras

Projected Man


Saturday Sep 10|doors 9:30 pm|all ages
Jammin' Java|get directions »
227 Maple Ave E
Vienna, VA|p: (703) 255-1566


The Mantras

official band site »

The Mantras, a five piece jam machine born of Greensboro, NC have been conquering crowds and melting minds all over the country progressively for over a decade. The band’s music can be described with all types of varying rock and roll terminology, but is absolutely best defined by each listener’s ear and, equally important, their experience.

Since the inception of The Mantras in the mid 2000's, the band has been touring the country and building a catalog of 4 studio albums and over 100 original songs. Performing an entirely different set of music each night is an integral part of the band’s direction and mission as well as the ability to truly improvise in between orchestrated pieces. With eclectic influences of sounds from around the globe, The Mantras create a musical escapade during each performance, giving every ounce of emotion to their craft of expression and communication through music.

The Mantras are a family of rock; their closely-knit bonds can truly be felt by the crowd while the band performs. This is a critical feature of their community. One can easily tell that the musical pockets created by radical guitar riffs, gut checked bass lines, screeching synthesizers, a complete projection light show and two symbiotic drummers are no accident. The musical conversation on stage is simply beautiful to watch. The feeling is not exclusive just to the members on stage, however. The Mantras’ loyal fan base can testify to the reciprocation of love between performer and attendee and in a scene where it is sometimes difficult to stabilize a fan base and a consistent identity, The Mantras do just that. It has all of the ebbs and flows, peaks and valleys and patterns of constriction and release that can hook someone for life. Each show is a story. Each story is unique.

In addition to the collaborative element between band and fans, The Mantras have shared the stage with some of the foremost titans of jam. Their most recent studio release, entitled Jam Bands Ruined My Life was recorded at Umphrey’s McGee, axe man Jake Cinninger’s home studio, where Jake is featured on two tracks. Shortly after recording, The Mantras opened for and shared the stage with Umphrey’s McGee members while performing the thumping single entitled, “Kinetic Bump.” In addition, The Mantras have collaborated with members of The String Cheese Incident, Tea Leaf Green, and Perpetual Groove among many others. The year 2013 saw The Mantras play over 180 shows, culminating in their annual Mantrabash music and arts festival, held in the beautiful backcountry of Ferguson, NC.

Mantrabash stands as a testament to the loyalty of the fan base and the engagement of The Mantras within their local, regional, and national music communities. Attended by thousands, Mantrabash has become the landing spot for live music fans from all over the country to enjoy the hard work and dedication of The Mantras in addition to the other stellar musicians who appear over the 3 days.


Projected Man

official band site »

Projected Man started as a few music teachers hanging out and trading licks at jam sessions in the Washington, D.C. and Northern Virginia area. Not only was it fun but it was effortless. After a short while we decided to work up some material and began gigging. At first it was mainly covers, but it wasn't long before we began writing original music.


 
Earphunk
Madaila | @Jammin' Java | view more info »
Sep
16

Earphunk

Madaila


Friday Sep 16|doors 7:30 pm|all ages
Jammin' Java|get directions »
227 Maple Ave E
Vienna, VA|p: (703) 255-1566


Earphunk

official band site »

200 shows, three trips across the United States and appearances at Electric Forest Festival, Bear Creek Music and Art Festival, and Wakarusa Music Festival. It’s been a busy 24 months for Earphunk who have seen their efforts propel them from small club stages to packed clubs and theaters across the country. The New Orleans born-and-bred quintet shows no sign of letting off the gas, and now, with the band’s third studio album release of Sweet Nasty, the band has captured the energy that has won over a rapidly growing fanbase of loyal listeners.

Recorded at the storied Studio in the Country in rural Louisiana while on break between tour stints, Sweet Nasty is Earphunk’s boldest release to date. “When you hear the album it sounds like a live show, and that’s how it should feel,” explains lead guitarist Paul Provosty, who also handled mixing duties for the record. “We wanted it to sound big – a true representation of our live show.” The Studio’s hallowed halls provided the proper backdrop for the band’s uniquely organic balance of heavy-pocket funk and reckless prog-driven guitar explosions, or “prog-funk”, as the band refers to it.

The band’s early rehearsals saw Provosty, Mark Hempe (vocals/guitar), Michael Matthews (drums), Michael Comeaux (Bass), and Christian Galle (keyboards/organ) as college students around New Orleans and Baton Rouge, LA in 2009 — there were no expectations of national tours and sold out dates. But as things quickly progressed, the option to pursue a full-time career as musicians drove the band to hit the road. “After the first few tours, we were fully vested in this together,” Hempe muses, “and when people are coming to the shows, and appreciating what we’re doing, it gives us the drive to want to step up our game, to be as tight as we can be.”


Madaila

official band site »

Psych pop juggernaut Madaila is upbeat, synth­-heavy, and catchy. Vocal skill and range are immediately apparent. But in the tradition of Prince and more recently Frank Ocean, an ornateness and heaviness expose Madaila's complexity and depth. Tight arrangements and multi-­instrumental performances showcase musical minds at work.

When Madaila is on stage, spontaneous expression and contagious melody coexist. The freakier elements of the band come to the surface as the five-­piece explores the deeper possibilities lying within their concise-recorded material. The band’s improvisational power gives each song the cacacity to have its form pushed to the edges of comfort, or uplifting peaks.

Madaila released its debut, “The Dance”, in 2015. The band generated buzz with large hometown shows held on a ferry, in Burlington’s City Hall, and in an aquarium. Madaila has shared the stage with artists such as BØRNS, Mac DeMarco, Grace Potter, Big Gigantic, Delicate Steve, Deer Tick, Matisyahu, Twiddle and Rubblebucket; and played at festivals such as Mountain Jam, Frendly Gathering, Grand Point North, Waking Windows, Otis Mountain & Burlington Discover Jazz. Madaila is part of Future Fields, an artist­-run label and management group based in Burlington, Vermont that includes Kelly Ravin, Iron Eyes Cody, & The Precepts. Madaila’s sophomore release is slated for release in early fall of 2016.


 
Everyone Orchestra
Of Tomorrow | @The 8x10 | view more info »
Sep
18

Everyone Orchestra

Of Tomorrow


Sunday Sep 18|doors 7:00 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Everyone Orchestra

official band site »

Conducted by Matt Butler
featuring:
Aron Magner (The Disco Biscuits) - Keyboards
Al Schnier (Moe.) - Guitar
Ashish Vyas aka HASH (Thievery Corporation) - Bass
Mikey Carubba (Turkuaz) - Drums
Josh Schwartz (Turkuaz) - Sax
Shira Elias (Turkuaz) - Vocals
Jeremy Schon (Pigeons Playing Ping Pong) - Guitar

The Everyone Orchestra conductor/founder Matt Butler has taken its participants, both on stage and off, on improvisational journeys with the most diverse of lineups at festivals, theaters and philanthropic events both nationally and internationally. A laundry list of hundreds of musicians, dancers, singers, guest conductors and community organizations have embraced the experience of EO in single shots of musical adrenaline to the soul. Tuning in to his energy, the band and audience utilize The Conductor as their pivot to the set mood of each passing jam as he communicates with the musicians using hand signs, whiteboard and assorted mime suggestions.

The list of Everyone Orchestra participants is an increasingly wide and intercontinental group including members of The Grateful Dead, Phish, moe., String Cheese Incident, The Flecktones, Club d'Elf, ALO, Tea Leaf Green and Adrian Belew, Taj Mahal, Maria Muldaur, Tuvan throat singers, live painters, dancers, chanters, choirs, hula hoopers, firespinners, jugglers, stiltwalkers, storytellers, a presidential candidate and hundreds of others among a growing legion of other performers.

Marching clearly into uncharted territory, The Everyone Orchestra balances the challenges of live group improvisation with triumphant tension and release conduits of music which head deep into the soul. This unique collaborative triumph of performance deeply encourages and requires audience interaction, its edge of your seat enthusiasm for what is next is the forte behind the continuous musical experiment of The Everyone Orchestra.


Of Tomorrow

official band site »

of Tomorrow is a funk-rock, trip-hop, reggae, neo-soul, latin jazz, disco danceface spicy-ass horn section explosion from the moon.

"This new band combines some of DC’s most explosive musicians. They’ve all played with projects you’ve heard of on the internet (Nappy Riddem, Fort Knox Five, the wider Thievery Corporation/ESL family, B Side Shuffle, and more), but right now they are onto something new – very new – and they’re seriously poised to take our scene by storm. You should definitely get to know of Tomorrow. This is a band to watch." (Andrew McConnell, Live Music Daily)


 
The Main Squeeze
@Gypsy Sally's | view more info »
Sep
22

The Main Squeeze



Thursday Sep 22|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


The Main Squeeze

official band site »

Seamlessly blending funk, soul and rock ‘n’ roll, The Main Squeeze promises to keep your body moving with their infectious, feel-good musical gumbo. The Chicago-based band has been winning fans over with their unique musical blend since their formation a few years ago.

Ben “Smiley” Silverstein (keys) and Max Newman (guitar), the two founding members of The Main Squeeze, first began writing music together after meeting at a sleepaway camp in upstate New York. The two then went on to study in Bloomington, Indiana, where they formed The Main Squeeze during the summer of 2010. Now based in Chicago, The Main Squeeze is completed by frontman Corey Frye, drummer Reuben Gingrich and bassist Rob Walker.

In the five years since the band’s inception, The Main Squeeze has attracted a remarkably loyal and ever growing national fan base. The rabid following is no surprise as the band boasts a unique sound that is equal parts soul, funk and rock ‘n’ roll - think Stevie Wonder meets Red Hot Chili Peppers. Further, their high-energy live shows that showcase each member’s virtuosic talent -- with soulful vocals, intricate jams, tight grooves and powerful solos -- always leave their audiences awestruck.

The Main Squeeze has released two albums – an EP entitled First Drops and a self-titled sophomore effort that met with great acclaim. In addition, the band placed first at the International Jazz and Blues Competition in Macau, China, put their stamp on the Rolling Stone Super Bowl XLVI Pre-Party and graced the stages at some of the country’s biggest music festivals, including Bonnaroo, High Sierra, Electric Forest, North Coast, Phases of the Moon, Summer Camp and Gathering of The Vibes, among many others.

Having shared the stage with artists like The Roots, Jane’s Addiction, The Meters, Aloe Blacc and Trombone Shorty, the band continues to catch the ear of industry giants, like legendary producer, Randy Jackson, who was the producer on The Main Squeeze's upcoming sophomore full length album, Mind Your Head, due out in September 2015.



 
The Revivalists
The Temperance Movement | @9:30 club | view more info »
Sep
23

The Revivalists

The Temperance Movement


Friday Sep 23|doors 10:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


The Revivalists

official band site »

The formation of The Revivalists was all about chance, but everything since then has been a combination of hard work, awesome music, and friendship. The septet has been playing nonstop since 2007, crafting a genre-hopping sound that rounds out traditional rock instrumentation with horns and pedal steel guitar and mixes the divergent backgrounds of its individual members with the humid, funky undercurrents of the band’s New Orleans home. The result is like English spoken with an exotic accent: familiar, yet difficult to pin down.

Religion aside, a revival is all about the tangible electricity that can only be created when enough like minds are crammed under a single roof for a singular purpose. It’s a spiritual spectacle, a carnival of the divine, a whole greater than the sum of its parts. The same could be said for The Revivalists’ searing live performances. The band has a knack for bringing music to life on a stage, and they have tuned their talents to Swiss-watch precision over years of relentless touring. Their bombastic showmanship is the outgrowth of a desire to connect with audiences on a personal level, and that intimate connection is what elevates their shows above simple entertainment.

True to their name, The Revivalists lean more heavily on the older styles and warmer sounds of the golden age of rock ‘n roll, but the band isn’t afraid to dabble in electronics and sleight-of-studio when it’s right for the song. The group tends not to bother with questions like “does this sound like us?” or “does this fit with our other stuff?”, instead allowing songs to define themselves and take shape organically, each on its own terms. Is this a dark, heavy rock manifesto driven by a steel guitar line that borders on electronica, or is it an airy, acoustic story about star-crossed lovers, rich in vocal harmony and sparsely arranged until the coda? This one’s funky, that one’s sweet, this one’s heavy… To The Revivalists, it doesn’t matter. They just write songs that they want to play.


The Temperance Movement

official band site »


 
Psycho Killers (Talking Heads Tribute)
Rockville Strings | @Gypsy Sally's | view more info »
Sep
24

Psycho Killers (Talking Heads Tribute)

Rockville Strings


Saturday Sep 24|doors 8:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Psycho Killers (Talking Heads Tribute)

official band site »

Over the past 8 years, Psycho Killers have made a name for themselves by delivering high energy explorations into the expansive catalog of one of the most celebrated bands of the 1970s and 1980s, Talking Heads. Inducted into the Rock & Roll Hall of Fame in 2002, Talking Heads are best known for some of the most iconic songs in history including Psycho Killer, Burning Down The House and Once In A Lifetime. With their break-up in 1991 and no signs of a reunion, Psycho Killers hopes to bring their music back to a live setting for fans of all generations to experience.


Rockville Strings

official band site »


 
Tea Leaf Green
Atlas Road Crew | @The 8x10 | view more info »
Oct
6

Tea Leaf Green

Atlas Road Crew


Thursday Oct 6|doors 8:00 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Tea Leaf Green

official band site »

It ain’t easy being a gypsy, especially if one sings for their supper. San Francisco’s Tea Leaf Green are newfangled Lost Boys, a traveling gang dedicated to seeking wisdom and experience in places both glorious and seedy. In many ways, this quintet is the essence of rock’s adventurous, playfully outlaw spirit, all of which ultimately fuels songs that resonate with classic vibrations, open-ended possibilities and radio-ready charm. TLG are bruised romantics with heavy minds and a lighthearted way with experimentation, as likely to jam out a number as they are to nail a primo verse-verse-chorus pop gem.

All the steadily growing promise, evident since they began in the late 1990s, comes to fruition on their seventh studio album, Radio Tragedy, arriving June 7, 2011. With the aid of producer Jeremy Black (Apollo Sunshine), the band has crafted a powerhouse work with the oomph of their stellar live performances melded to a truly impressive array of vocal nuance, rib-sticking song craft and smart studio flourishes. From the Bee Gees-esque bite of “Easy To Be Your Lover” to the bouncing modern rock of “You’re My Star,” Radio Tragedy showcases a contemporary American rock monster fully emerging from the shadows, ready to take on any comers with a sound that stands shoulder-to-shoulder with skilled contemporaries like My Morning Jacket and The Strokes. Together, Trevor Garrod (keys, vocals), Josh Clark (guitar, vocals), Scott Rager (drums), Reed Mathis (bass, vocals) and newest member Cochrane McMillan (drums) have made a record that’s both timely and timeless - a strange, beautiful space that Tea Leaf Green inhabits naturally and gracefully.

“Much of this record is a reflection on the ups and downs on the road to radio gold, chasing dreams and ghosts on America’s highways and finding triumph, sorrow and sacrifice in the pursuit,” says Josh Clark. “Tea Leaf Green has been a band for over a decade. We’ve tried to simply focus on music, just music, honest music, operating in the shadow of braggart auto-tuned rappers and inane teeny bop prop puppets that has come to rule and choke the life out of what was once America’s greatest export - rock and roll.”

“I don't think any of us have ever felt completely satisfied with our past studio experiences, so we went into this one with the deliberate intent of making a complete album. Each of us brought our own vision and we did our best to fuse those ideas in the studio, all of us committed to seeing each member’s vision take shape,” says Scott Rager. “TLG has been a band for 13 years and I think we’ve made the record we always thought we were capable of making.”

“I wanted a story - something loud, something bright, something to scare your kids goodnight. There is adventure to be had. There is an undiscovered country,” says Trevor Garrod. “We have been there for each other through thick (rarely) and thin (mostly). There are five of us now and like a pack of pickpockets, we will steal your heart.”

“At the center, our commitment to this music and our passion for making it and performing it has remained rock steady,” continues Josh Clark. “Like countless bands creating phenomenal music today, we work on the edges of the mainstream where we can be heard, looking in on the tragedy that radio seems to have forgotten where to find the gold. This album is a true story of our lives in pursuit of a dream from another time and how we survive despite it all.”


Atlas Road Crew

official band site »

South Carolina rock 'n' roll shot with southern soul accents. Formed in fall of 2011, Atlas Road Crew is rapidly building one of the most loyal fan bases on the East Coast, packing venues to capacity from South Carolina to New York City, and expanding quickly to major US cities in between.

The overwhelming positive response to the band’s latest recorded effort Halfway to Hopkins,produced by Grammy Award winning producer Rick Beato, has this young band quickly becoming the South East’s “must see” live act of 2015.

Halfway to Hopkins is a sonic blast from start to finish, bringing swampy southern accents to fresh, contemporary tunes while managing to capture the band’s blistering live show prowess on tape. The title refers to a small community outside Columbia where the band lived for several years after graduating from the nearby University of South Carolina. “That house, which was halfway between Columbia and Hopkins on the southeast side of town, was where we really began to come together,” Says drummer Patrick Drohan. “We knew then we wanted to become more than just another bar band.”

Riding the momentum of the record release, Atlas Road Crew’s constant touring led them to a six week European tour in early 2016 followed by an aggressive US club and festival run. Aussie rock ‘n’ roll blog 100 Percent Rock sums it all up nicely in their review, saying in no uncertain terms “This is EXACTLY the sort of music we should be listening to right now: bands taking old favourites and adding new directions, writing great songs, delivering ace performances. This is the good stuff.”


 
Bosley
The Funk Ark | @The 8x10 | view more info »
Oct
7

Bosley

The Funk Ark


Friday Oct 7|doors 8:00 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Bosley

official band site »

Grinding down the soles of endless pairs of dancing shoes somewhere between Saturday night and Sunday morning, Bosley cut his teeth in Baltimore's sultry DIY dance halls. Charm City’s native son, Bosley knew that he had to get funky or die . For the past few years, has been churning out blazing, high-energy live performances and eclectic, original pop music. Bosley performs his unique brand of vintage soul/R&B with his sexy nine-piece band that kicks ass wherever it goes.

The Dirty Dogs Radio Show is his second album and is earning rave reviews and winning the hearts of new fans worldwide. Bosley has shared headlining bills alongside Sharon Jones and the Dapkings, Galactic, and shared the stage with the likes of Dr. Dog, Old Crow Medicine Show, Nickel Creek, and the Easy Star All-Stars. His music has been featured extensively in film and television, including the Comedy Central show Workaholics as well as the film Begin Again starring Keira Knightley and Mark Ruffalo.

Dance parties welcome.


The Funk Ark

official band site »

The Funk Ark is a Funk/Afrobeat ensemble founded by Will Rast (Antibalas, Thievery Corporation, Ocote Soul Sounds) and comprised of the best jazz musicians from the Washington, D.C. area. Drawing from a love of the Latin Funk/Dance music scenes of the 1960s and 70s, The Funk Ark creates music that is gritty, soulful, and invigorating.


 
Tea Leaf Green
@Gypsy Sally's | view more info »
Oct
8

Tea Leaf Green



Saturday Oct 8|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Tea Leaf Green

official band site »

It ain’t easy being a gypsy, especially if one sings for their supper. San Francisco’s Tea Leaf Green are newfangled Lost Boys, a traveling gang dedicated to seeking wisdom and experience in places both glorious and seedy. In many ways, this quintet is the essence of rock’s adventurous, playfully outlaw spirit, all of which ultimately fuels songs that resonate with classic vibrations, open-ended possibilities and radio-ready charm. TLG are bruised romantics with heavy minds and a lighthearted way with experimentation, as likely to jam out a number as they are to nail a primo verse-verse-chorus pop gem.

All the steadily growing promise, evident since they began in the late 1990s, comes to fruition on their seventh studio album, Radio Tragedy, arriving June 7, 2011. With the aid of producer Jeremy Black (Apollo Sunshine), the band has crafted a powerhouse work with the oomph of their stellar live performances melded to a truly impressive array of vocal nuance, rib-sticking song craft and smart studio flourishes. From the Bee Gees-esque bite of “Easy To Be Your Lover” to the bouncing modern rock of “You’re My Star,” Radio Tragedy showcases a contemporary American rock monster fully emerging from the shadows, ready to take on any comers with a sound that stands shoulder-to-shoulder with skilled contemporaries like My Morning Jacket and The Strokes. Together, Trevor Garrod (keys, vocals), Josh Clark (guitar, vocals), Scott Rager (drums), Reed Mathis (bass, vocals) and newest member Cochrane McMillan (drums) have made a record that’s both timely and timeless - a strange, beautiful space that Tea Leaf Green inhabits naturally and gracefully.

“Much of this record is a reflection on the ups and downs on the road to radio gold, chasing dreams and ghosts on America’s highways and finding triumph, sorrow and sacrifice in the pursuit,” says Josh Clark. “Tea Leaf Green has been a band for over a decade. We’ve tried to simply focus on music, just music, honest music, operating in the shadow of braggart auto-tuned rappers and inane teeny bop prop puppets that has come to rule and choke the life out of what was once America’s greatest export - rock and roll.”

“I don't think any of us have ever felt completely satisfied with our past studio experiences, so we went into this one with the deliberate intent of making a complete album. Each of us brought our own vision and we did our best to fuse those ideas in the studio, all of us committed to seeing each member’s vision take shape,” says Scott Rager. “TLG has been a band for 13 years and I think we’ve made the record we always thought we were capable of making.”

“I wanted a story - something loud, something bright, something to scare your kids goodnight. There is adventure to be had. There is an undiscovered country,” says Trevor Garrod. “We have been there for each other through thick (rarely) and thin (mostly). There are five of us now and like a pack of pickpockets, we will steal your heart.”

“At the center, our commitment to this music and our passion for making it and performing it has remained rock steady,” continues Josh Clark. “Like countless bands creating phenomenal music today, we work on the edges of the mainstream where we can be heard, looking in on the tragedy that radio seems to have forgotten where to find the gold. This album is a true story of our lives in pursuit of a dream from another time and how we survive despite it all.”



 
Hot Buttered Rum
Rumpke Mountain Boys | @Gypsy Sally's | view more info »
Oct
12

Hot Buttered Rum

Rumpke Mountain Boys


Wednesday Oct 12|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Hot Buttered Rum

official band site »

Hot Buttered Rum lives for a good time, and a mindful recklessness settles in whenever these five guys step on stage. From Anchorage to Miami, the group’s onstage chemistry fuels the lovefest that is a live Butter show. Rooted in the trajectory of west coast bluegrass, Hot Buttered Rum plays what has been described as California’s own acoustic music.

HBR’s years of touring have given the band the chance to work and play with a wide cross-section of musicians, people like Peter Rowan, Phil Lesh, Chris Thile, Brett Dennen, and Robert Earl Keen. Seasoned veteran Steve Berlin (Los Lobos), acoustic guru Mike Marshall, and left-coast rocker Tim Bluhm (Mother Hips, Nicki Bluhm) have all produced studio albums for the band. Each guided HBR towards the next step in its evolution. It’s a sound that is tough to describe and easy to love, and it has found its way to the most prestigious pop, folk, and bluegrass stages in the country: Telluride, Newport, Bonnaroo, Strawberry, Hardly Strictly, Kate Wolf, Horning’s Hideout, String Summit, Grey Fox, Merlefest, All Good, High Sierra, Wakarusa, and many more.

The next step in Butter’s evolution involves recording three 5-song EPs, each focusing on a part of music that Hot Buttered Rum loves and is inspired by, and each with a different producer. The first EP was recently recorded with Railroad Earth’s Tim Carbone and will be released this fall. The second will be a collection of Ralph Stanley old school bluegrass standards, to be recorded in September with producer Sally Van Meter. The third will be Hot Buttered Rum’s latenight throwdown music, to be recorded in November with SCI’s Kyle Hollingsworth. Together, the three collections of songs will explore Butter’s roots and express Butter’s present passions.

At the center of Hot Buttered Rum is the enduring camaraderie of old friends. The band was conceived on a backpacking trip of high school and college buddies in the High Sierra. What was dreamed up on mountaintops and around campfires has found its way into the hearts, minds, and bodies of thousands.


Rumpke Mountain Boys

official band site »

The Rumpke Mountain Boys combine signature vocals, a unique command of string instruments (acoustic guitar, mandolin, upright bass and banjo) and dynamic special effects into a singular musical experience. An emotion filled musical stream of consciousness with no setlist, minimal structure, and intuitive improvisational flow. In this way, they summon the energy of the crowd as their guide in linking just the right music to precise moments in time.

Grateful Dead Hour host David Gans proclaimed, “One of the things I love about the Rumpke Mountain Boys is that there’s a fundamental honesty in their presentation. This is something they share with my other heroes, Donna the Buffalo and the Grateful Dead. They don’t make set lists ahead of time, they don’t rehearse their songs to a fare-thee-well-- they perform in real time. All four of them write, which is very important, and they draw songs from a tremendous variety of sources... being a musician is a life-long learning experience, if you’re doing it right, and they are.”

Like playing around a campfire, the Boys take turns calling the next tune, distilling shows from a sea of infinite notes created from years of jamming. Drawing upon a growing catalog of originals and and an ecclectic mix of covers, the Rumpke Mountain Boys blend music like a fine Irish whiskey-- the result affectionately dubbed Trashgrass. The Boys titled their 2012 album release with the same name, followed by their 2013 release, Moon, which was recorded at the famed Royal Studios in Memphis. The latest studio release, “High Time, Low Tide” is available mid-January.

2015 was outstanding for the string quartet. The Boys played festivals from coast to coast to ever growing audiences including Northwest String Summit and John Hartford Memorial Fest, while forging new ground throughout the west and east coasts including their first New York city show. Finishing up the year with two stellar highlights, their own Snuggleween and the Rumpke Mountain Boys New Years Eve Ball in their hometown of Cincinnati.

2016 promises to be even better, with extensive touring in support of the new album and the best festival lineup yet. Keep your ear to the ground because the Rumpke Mountain Boys are rolling into a town near you!


 
Beats Antique
Too Many Zooz | Thiftworks | @Rams Head Live | view more info »
Oct
14

Beats Antique

Too Many Zooz
Thiftworks

Friday Oct 14|doors 8:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Beats Antique

official band site »

Celebrating its tenth anniversary with its tenth studio release, the Bay Area’s wildly innovative performance dynamo Beats Antique emerges from the studio with a brand new album and stage show to mark the milestone. With legendary sets at some of the most iconic venues and festivals around the world and collaborations with superstars from Les Claypool to Bassnectar, the next chapter in the trio’s story takes them back to a mysterious world.

When multi-instrumentalists David Satori and Tommy Cappel and choreographer Zoe Jakes dove into development of the new Beats Antique era, the concept of Shadowbox emerged. Driven by the infinite wonders of the deceptively simple design, the narrative of shadows and light, of darkness and contrast, of reality and surreality propelled the music and vision into new territory.

Capturing the heart of the Beats Antique sound means skirting that divide between the electric and the acoustic. Balkan melodies strung over crashing cymbals and marching band horn lines run smack into contemporary electronic grooves. It might be the drums and brass or the sweeping psychedelic strings that will take you for a ride down the rails of a steampunk circus. It’s chaos and cacophony on a very tight leash.

All three members shared production duties to harness the sound they first stumbled upon a decade ago: far east meets wild west. Bringing in sarod master Alam Khan (son of Ali Akbar Khan) Jakes was able to take her study of Indian classical dance from the stage to the studio. Russian singer Tatiana Kalmykova resurrected an ancient folk language to evoke a haunting fairy tale that feels at home in the shadows. Beats Antique also recruited rising stars of brass house TOO MANY ZOOZ for the horn-fueled funk and punk central to their sound.

As always, Tommy Cappel focused his efforts on the beats and bass production, while David Satori assembled an armory of stringed, plucked, and bowed instruments from far-flung lands to adorn the low-end foundation. All samples were created live in the studio—a hallmark of the lush warmth of a Beats Antique record.

The Shadowbox stage show will be teased at Red Rocks and Electric Forest before its full unveiling this fall. Taking the theme of shadow play and expanding the concept forward and backward in time, the core members dove deep, influenced by ancient practices of Indonesian shadow puppetry, falling into the world of wayang kulit, the eons long tradition of storytelling where epic tales unfold into the wee hours of the morning.

Enormous lanterns adorn the stage, casting light upon a maze of curtains where playful new characters dance and fight and rejoice and mourn. Beats Antique is breaking the boundaries of conventional wisdom. Why can’t an electronic music performance encompass a range of emotion?

This isn’t a nuclear-powered laser light show from the ever-intensifying optical arms race of the EDM industry. This is one of the earliest methods of storytelling brought from the past into the present. “The digital is there to enhance the analog,” notes Jakes. “We’re here to tell a story,” Satori adds.

Bringing an album from the shadows of the studio to the brightly lit stage is what Beats Antique does best. These are storytellers for a digital age—equipped with the newest technology and ancient traditions. This is where the Beats meet the Antique.


Too Many Zooz

official band site »

We love making music and sharing it with everyone

Thiftworks

official band site »


 
Cabinet
Horseshoes & Hand Grendades | @The 8x10 | view more info »
Oct
14

Cabinet

Horseshoes & Hand Grendades


Friday Oct 14|doors 7:30 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Cabinet

official band site »

Cabinet is a band with roots firmly planted in the Appalachian tradition. They wear their influences like badges, honoring the canon of roots, bluegrass, country, and folk, weaving these sounds into a patchwork Americana quilt. But this music isn’t romanticizing or rehashing the past. Cabinet makes it mark on today. The steady aim of their harmonies soar straight onto target each time, the soaring vocals giving voice to the story of each song. Their music takes the long way home, treating its listeners like passengers on a ride through scenic back roads. Their live shows are inclusive, celebratory, and community-building. Everyone will want to get on the wagon with Cabinet. Members Pappy Biondo (banjo, vocals), J.P. Biondo (mandolin, vocals), Mickey Coviello (acoustic guitar, vocals), Dylan Skursky (electric bass, double bass), Todd Kopec (fiddle, vocals), and Jami Novak (drums, percussion), all live and love music, and their polished sound belies their young age.

The band‘s latest offering, THIS IS CABINET - SET II, a seven song effort – six originals and a cover of The Byrds’ “Mr. Spaceman” – was recorded in March of 2013 at Stage One in Fairfield, Connecticut, and Club Metronome in Burlington, Vermont. The set is diverse yet cohesive, ranging from the melancholy of “Caroline,” which unfolds into a purposeful jam, to the modern Americana rock of “Heavy Rain,” which closes the album. Along the way, we have the ambling “Doors,” the upbeat and fun “Poor Man’s Blues” -- which would not sound out of place at an Old And In The Way show -- the snaky, reggae-tinged “The Dove” and the instrumental “Susquehanna Breakdown,” another Cabinet contribution to the tried-and-true bluegrass tradition. The group’s take on “Mr. Spaceman” is relatively faithful, but with some Cabinet flair, and offers a glimpse into the band’s myriad influences.

By now, Cabinet’s ability to get a festival crowd dancing and rip tasty instrumental breakdowns is a given. With “Set II,” the band displays its continuing development not only as players, but as songwriters who know how to get to the point – and have some fun going down that road.

Cabinet formed in 2006, bringing together players from various musical and personal backgrounds. Some of the members were barely old enough to drink legally, but their thirst for older music was unquenchable. Whether its rustic "American Beauty"-era Grateful Dead or old-timey bluegrass, Cabinet has digested it all. But that is not to say that Cabinet recreates older styles. No, this is music that might have its roots in the past, but it is current and vibrant, with a sense of celebrating the now.


Horseshoes & Hand Grendades

official band site »

In 2010, the five Wisconsinites that make up Horseshoes & Hand Grenades found themselves in a living room in the college town of Stevens Point, WI, holding acoustic instruments and enjoying a hodgepodge of fermented beverages. Music and revelry ensued that evening and, while many of the party guests eventually bid their goodbye well into the morning hours, Horseshoes & Hand Grenades wasn’t ready to let the get-together fade. Five years later, the music still hasn’t stopped and the party is still going strong, from the mountain west to the river towns of the Midwest that the quintet calls home.

While strongly rooted in bluegrass, old-time, and folk music, the band produces a sound that draws on the vaults of music collectively and individually enjoyed throughout the course of their lives thus far. The music doesn’t lend itself well to categories or boundaries. One could probably be formed, but the boys seem to generally prefer fishing a river, or enjoying the company of friends and barley beers.

Yet with their music well-defined or not, Horseshoes & Hand Grenades has begun to form a place in the Midwest music scene, gaining recognition on both a regional and national scale. The band took 3rd place at the Telluride Bluegrass Festival’s Band Competition in 2012 and has since shared the stage with Trampled By Turtles, The Travelin’ McCourys, Railroad Earth, Merle Haggard, The Infamous Stringdusters, Yonder Mountain String Band, Marty Stuart, and many more. The group’s third full-length Middle Western was released in March of 2015. Being mostly inspired by rivers, valleys, good friends, and good drink, this five-piece is as sturdy as any Midwest riverbed and will make your toes tap from sundown to sunrise.


 
Cabinet
Horseshoes & Hand Grendades | @The 8x10 | view more info »
Oct
15

Cabinet

Horseshoes & Hand Grendades


Saturday Oct 15|doors 7:30 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Cabinet

official band site »

Cabinet is a band with roots firmly planted in the Appalachian tradition. They wear their influences like badges, honoring the canon of roots, bluegrass, country, and folk, weaving these sounds into a patchwork Americana quilt. But this music isn’t romanticizing or rehashing the past. Cabinet makes it mark on today. The steady aim of their harmonies soar straight onto target each time, the soaring vocals giving voice to the story of each song. Their music takes the long way home, treating its listeners like passengers on a ride through scenic back roads. Their live shows are inclusive, celebratory, and community-building. Everyone will want to get on the wagon with Cabinet. Members Pappy Biondo (banjo, vocals), J.P. Biondo (mandolin, vocals), Mickey Coviello (acoustic guitar, vocals), Dylan Skursky (electric bass, double bass), Todd Kopec (fiddle, vocals), and Jami Novak (drums, percussion), all live and love music, and their polished sound belies their young age.

The band‘s latest offering, THIS IS CABINET - SET II, a seven song effort – six originals and a cover of The Byrds’ “Mr. Spaceman” – was recorded in March of 2013 at Stage One in Fairfield, Connecticut, and Club Metronome in Burlington, Vermont. The set is diverse yet cohesive, ranging from the melancholy of “Caroline,” which unfolds into a purposeful jam, to the modern Americana rock of “Heavy Rain,” which closes the album. Along the way, we have the ambling “Doors,” the upbeat and fun “Poor Man’s Blues” -- which would not sound out of place at an Old And In The Way show -- the snaky, reggae-tinged “The Dove” and the instrumental “Susquehanna Breakdown,” another Cabinet contribution to the tried-and-true bluegrass tradition. The group’s take on “Mr. Spaceman” is relatively faithful, but with some Cabinet flair, and offers a glimpse into the band’s myriad influences.

By now, Cabinet’s ability to get a festival crowd dancing and rip tasty instrumental breakdowns is a given. With “Set II,” the band displays its continuing development not only as players, but as songwriters who know how to get to the point – and have some fun going down that road.

Cabinet formed in 2006, bringing together players from various musical and personal backgrounds. Some of the members were barely old enough to drink legally, but their thirst for older music was unquenchable. Whether its rustic "American Beauty"-era Grateful Dead or old-timey bluegrass, Cabinet has digested it all. But that is not to say that Cabinet recreates older styles. No, this is music that might have its roots in the past, but it is current and vibrant, with a sense of celebrating the now.


Horseshoes & Hand Grendades

official band site »

In 2010, the five Wisconsinites that make up Horseshoes & Hand Grenades found themselves in a living room in the college town of Stevens Point, WI, holding acoustic instruments and enjoying a hodgepodge of fermented beverages. Music and revelry ensued that evening and, while many of the party guests eventually bid their goodbye well into the morning hours, Horseshoes & Hand Grenades wasn’t ready to let the get-together fade. Five years later, the music still hasn’t stopped and the party is still going strong, from the mountain west to the river towns of the Midwest that the quintet calls home.

While strongly rooted in bluegrass, old-time, and folk music, the band produces a sound that draws on the vaults of music collectively and individually enjoyed throughout the course of their lives thus far. The music doesn’t lend itself well to categories or boundaries. One could probably be formed, but the boys seem to generally prefer fishing a river, or enjoying the company of friends and barley beers.

Yet with their music well-defined or not, Horseshoes & Hand Grenades has begun to form a place in the Midwest music scene, gaining recognition on both a regional and national scale. The band took 3rd place at the Telluride Bluegrass Festival’s Band Competition in 2012 and has since shared the stage with Trampled By Turtles, The Travelin’ McCourys, Railroad Earth, Merle Haggard, The Infamous Stringdusters, Yonder Mountain String Band, Marty Stuart, and many more. The group’s third full-length Middle Western was released in March of 2015. Being mostly inspired by rivers, valleys, good friends, and good drink, this five-piece is as sturdy as any Midwest riverbed and will make your toes tap from sundown to sunrise.


 
Yonder Mountain String Band
Billy Strings | @9:30 club | view more info »
Oct
15

Yonder Mountain String Band

Billy Strings


Saturday Oct 15|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Yonder Mountain String Band

official band site »

For nearly 18 years, Yonder Mountain String Band has redefined bluegrass music, expanding the traditional acoustic genre beyond its previously established boundaries by steadily pushing the envelope into the realms of rock n’ roll and improvisation. YMSB has always played music of their own design, in the process attracting a devout coterie of fans that often resembles a tight knit family on an epic musical journey as Yonder traverses the country with an ever-rigorous tour schedule. Yonder is a quintessential ensemble honing its craft night after night on the road, and the fans are there to experience it in real time. The result is music that doesn’t stand still, it’s always progressing and breaking unprecedented ground.

With their latest album, Black Sheep (scheduled for national release on their own Frog Pad Records at Telluride Bluegrass Festival on June 16, 2015), Yonder Mountain String Band — Adam Aijala (guitar, vocals), Dave Johnston (banjo, vocals), Ben Kaufmann (bass, vocals), Allie Kral (violin, vocals), and Jacob Jolliff (mandolin, vocals) — begins a new era. The first YMSB release produced by the band itself, Black Sheep is, by any measure, a triumph, perhaps the most mesmeric of their career. The result, says Kaufmann, is that, “This record sounds more like Yonder than any record we’ve ever done. I’m hoping that when people are finished listening to it, they’ll just hit play and listen to it again.”

Black Sheep marks the first time in Yonder’s history that they’re actually utilizing, throughout an entire record, the conventional five-piece instrumental arsenal of bluegrass introduced in the 1940s: guitar, mandolin, banjo, fiddle and bass. With the exception of the album’s sole cover tune, “Ever Fallen In Love,” originally by the late ’70s British punk-rock band the Buzzcocks, each of the album’s new tracks were written by the YMSB members during the past couple of years. Three of the new songs — “Annalee,” “Landfall” and the title track — have already been road-tested on tour; others will be added to the band’s live repertoire following the album’s release. The majority of Black Sheep was recorded at Coupe Studios in Boulder, Colorado, with Adam handling much of the engineering at his home studio and while on the road; the first time a band member has taken on that task.

Even on first listen, it becomes instantaneously apparent that Black Sheep is the work of a new Yonder Mountain String Band, one with a strong commitment to re-exhibiting itself and broadening its parameters following the departure of a founding member. While it’s immediately recognizable as YMSB music, there’s undeniably a raw aesthetic to the studio tracks — a sense of daring is embedded in both the instrumental interaction between these five singular players and in the lyrical content of each song.

Yonder has its roots in the year 1998, when the original quartet came together in Colorado. Through steadfast gigging in all manner of venues from small clubs to massive outdoor festivals, Yonder Mountain String Band quickly built a robust fanbase while continually experimenting to define its sound. Some of the most fervent audiences were at jam band shows and festivals, where fans took readily to YMSB’s potent mix of the traditional bluegrass of Bill Monroe, the Stanley Brothers and Doc Watson and the improvisational sensibilities of the Grateful Dead and Phish. Also deeply ingrained in the band, albeit more subtly, was a fierce love for punk, which provided the members with seminal influences while they were growing up. “We didn’t even hear bluegrass until our 20s,” says Aijala. “Falling in love with the sound of bluegrass instruments, while also having all of these outside influences that had nothing to do with bluegrass — well, what comes out isn’t what we envisioned.”

With the band’s 17th anniversary coming this summer, and an extensive tour schedule running throughout the year, a revitalized Yonder Mountain takes delight in the fact that they are still reaching new fans while simultaneously retaining the characteristics that brought their greater community together in the first place. The loss of one member and the subsequent invitation for some of today’s top pickers to help shape their evolving sound brings intriguing opportunities to the table; ones that set YMSB on its new path. Black Sheep is a bold statement, meant to passionately get fans up on their feet and ecstatically dancing, but it’s also about embracing the moment. Essential changes are a healthy step in keeping the music alive and well.

“We’ve been growing over the years and I feel like we really don’t have any limitations,” says Aijala. “It doesn’t feel like work when you get to hang out with people that you care about and play music.”

Adds Kaufmann, “It’s not just bluegrass — it’s progressive. Everything Yonder has ever tried to do, we’re doing in this record. It’s gonna take some time for fans to get acquainted with the new Yonder. When you make a big change like we did, it’s a huge thing. But the band is a force, and the album is such a perfect example of our new direction.”

Says Johnston in conclusion, “Yonder Mountain String Band is as durable as bluegrass itself. It changes and morphs and has an open-endedness that makes anything possible.”


Billy Strings

official band site »

"Imagine taking a hardcore heavy metal band like Pantera and cramming all that energy into the body of a 23-year-old bluegrass guitarist. That’s Billy Strings. He tears up the stage during his set, grimacing, growling, head-banging and tearing the holy sh*t out of a set of super-charged Americana. Kid can pick! DAMN can he pick! It’s acoustic music with a punk edge and a lot of youthful enthusiasm and, oh man, that PICKING! Strings covers a wide variety of classic tunes and songs in his show, from a slow-burning cover of 'Wild Bill Jones' to a raw cover of 'Cocaine Blues' or picking delights like 'Red Haired Boy' and 'Soldier’s Joy.' But the standout track is the opening song, 'Dust in a Baggie,' a cleverly written mountain song about meth that manages to take a very current and destructive issue and translate it into the bluegrass vernacular. It’s a tour-de-force, written by Strings himself, and is the moment you realize just how far this kid’s gonna go." — D.L. "THE BLUEGRASS SITUATION"


 
John Brown's Body
Nappy Riddem | @Gypsy Sally's | view more info »
Oct
20

John Brown's Body

Nappy Riddem


Thursday Oct 20|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


John Brown's Body

official band site »

Together for two decades and hailed as “Future roots, reggae, and dub with an intricately balanced weaving of vocals, percussion, keyboard, bass, guitar, and stunning 3-piece horn section that ties it all together” (WRUV), John Brown’s Body (JBB) is building “a legacy that has inspired and carved a path for the now thriving contemporary American reggae scene” (Rudeboy Reggae). Formed in Ithaca, New York, in the mid 1990s, at a time when there wasn’t yet a far-reaching U.S. reggae scene, JBB was one of a small handful of U.S. reggae bands that began touring nationally. Since then, JBB has played an important role in helping define distinctly “American reggae.” JBB’s music is steeped in traditional vibes, but unapologetically incorporates elements from other genres. While most American reggae bands tackled typical reggae themes (such as religion and marijuana), JBB acted more like an indie band, writing songs that used the vocabulary of reggae to express their own experiences. Their unique approach resonated with the masses. The group’s 2008 full-length record, Amplify, hit #1 on the Billboard Reggae Chart, 2012’s JBB In Dub EP reached #1 on iTunes’ Reggae Chart, and in 2013 Kings And Queens topped both Billboard and iTunes Reggae Charts at #1. Today, JBB’s signature style has become the norm for U.S. reggae bands - and many in the genre admittedly point to John Brown’s Body as a key influence. Their eleventh studio release, Fireflies, comes out September 9th on Easy Star Records


Nappy Riddem

official band site »

From the diverse, international city, Washington DC, comes a band that intertwines reggae, resistance, love and positivity. Nappy Riddem was born as a collaboration between soulful vocalist Mustafa Akbar and DJ / Producer Rex Riddem in 2009. They move into 2014 with the release of a new EP “Rock Steady” (Fort Knox Recordings) and a 6 piece live band. This new incarnation is rocking the scene as they embark in a new promotional campaign for their new release. Their lyrics about peace, war, tolerance and suspicion on tracks like “Rastaman” are coupled with love songs like “Rock Steady” and traditional reggae positivity like “I Wish”.


 
Langhorne Slim & The Law
SUSTO | @The 8x10 | view more info »
Oct
25

Langhorne Slim & The Law

SUSTO


Tuesday Oct 25|doors 7:00 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Langhorne Slim & The Law

official band site »

Sometimes, truth can’t be explained. But it can be felt, running wild through a song. “I don’t want to tame myself. I want to be wild,” says Langhorne Slim. “If I can continue to refine the wildness but never suffocate or tame it, then I’m on the right path. Because it is a path. I feel it.”

The Spirit Moves is Langhorne’s newest artistic attempt to refine the wildness. The result is an effervescent collection of his now-signature, cinematic, joyful noise, rooted in folk, soul, and blues. Out on Dualtone Records on August 7th, 2015, the album marks his second with rock-solid band The Law, and the highly anticipated follow-up to 2012’s critically acclaimed The Way We Move.

The Spirit Moves is a stunning portrait of Langhorne’s life in transition: the “born to be in motion and follow the sun” rambler found a home in Nashville, Tennessee. While he’s put down roots in a place, he’s unattached to a person, single for the first time in recent memory. The Spirit Moves is also the first album of his career written and recorded entirely sober. Together, the record’s beautiful glimpses of bold beginnings and risks taken create an ode not only to a better life, but to the vulnerability needed to live it.

“I’m a strong believer that sensitivity and vulnerability are not weaknesses. They’re some of the greatest strengths of man and woman kind,” Langhorne says. “And that’s what a lot of the record is about.”

Langhorne and The Law sought out engineer Andrija Tokic (Alabama Shakes, Hurray for the Riff Raff) and recorded The Spirit Moves at Tokic’s studio, the Bomb Shelter, in East Nashville. Producing duties were shouldered by Langhorne, the band, and trusted cohort Kenny Siegal, reuniting the family behind The Way We Move.

“I went to battle with my demons, and I’m still doing it,” Langhorne says. “My brothers stood beside me and kicked ass on the record.” Three of his brothers are The Law: drummer Malachi DeLorenzo, bassist Jeff Ratner, and keys and banjo player David Moore. “My band is not a hired gun group of guys,” Langhorne says. “They are my band and they are uniquely spectacular.”

And then, there’s brother Kenny Siegal. “In Kenny, I’ve found a musical brother,” he says. “We drive each other crazy, but the man understands me somehow in an energetic, spiritual sense, more than most anyone I’ve ever met.”

Langhorne wasn’t looking for a co-writer, but that’s exactly what Siegal became for eight of the record’s songs, making The Spirit Moves the first time Langhorne has ever written with someone else for an album. For Langhorne, writing is often an arduous process.“I rarely write a complete song immediately,” he explains. “Every once in a while, one hits, but songs mostly come in pieces. Those pieces build up and start to taunt me as they swirl around in my head. Eventually, they make me feel like I’m going totally crazy. It’s like they’re gonna devour me––eat me alive.”

He pushed through alone to pen some of the tracks, chasing each song’s individual truth. In creating others, Siegal helped him put the pieces together.

What emerged is a record that delights in contradiction: freewheeling but purposeful; celebratory but confessional; looking to light even when it’s dark. Langhorne’s voice––an arresting howl sublimely at home in a Mississippi roadhouse or on a Newport stage––has never sounded better.

He wrote the title track just weeks before entering the studio, “terrified that I didn’t have enough and what I had wasn’t good enough.” The song is no mere reflection, but a manifestation of unbridled joy, and a celebration of opening up oneself to the supernatural that surrounds us.

“Changes” is an intimate look at a soul being reborn, but Langhorne hopes each listener can hear something of their own in it. “When I’m writing, it’s coming from a heart or soul kind of place, not the mental zone of ‘Well, I moved to Nashville and I got sober and I’m single and I’m going through changes, so let’s write a song about it,’” he says. He calls infectious garage-pop growler “Put it Together” “the most painful song I’ve ever written,” not because of the subject matter, but because of the process. He found the opening lines and crunchy chords while seeking relief after his beloved 1977 Mercury Comet was stolen. But then, the song took months to complete. “I’ve never worked that hard to get a song,” he says.

The refusal to let a heart harden helped bring about “Life’s a Bell,” a dreamy call-to-action that nods to 50s rock-and-roll and Sly and the Family Stone. “A lot of my music is celebration of light,” he says. “It’s a horrible thing to shield our hearts and not be vulnerable.”

“Wolves,” based on a James Kavanaugh poem, tackles similar subject matter, and Langhorne feels it’s the “truest expression of myself that I’ve put into a song.” “I’m tough enough to run with the bulls, and I’m too gentle to live amongst wolves,” he sings, his soul-shouting subdued to a hush that’s just as powerful.

The rollicking “Southern Bells” pulses with the optimism of a new day, while “Strongman” and its piano pay tribute to perseverance and seizing the moment. “Whisperin’” captures another kind of breakthrough, relatable and intense, while “Strangers” is classic Langhorne Slim, and begs to be danced to, uninhibited and free.

“Airplane” is a poignant example of his ability to capture the redemptive hope in desperation. Part meditation, part urging of an unnamed co-conspirator, the song puts his defiantly tender vocals front and center, hugged by a rotating cast of instruments that kicks off with stark guitar and piano, swells into lush strings and percussion, then ebbs back into its stripped-down beginning––like the waves of confidence and doubt that make up faith itself.

The song is undoubtedly a career standout for Langhorne, and creating it was a long road. Three key “muses”––his Grandma Ruth, dear friend Joel Sadler, and another confidant––gave him encouragement along the way. “I kept going for ‘Airplane’ because it made sense to me and there were people around me who were moved very deeply by it,” he says. “It’s one of my favorite songs I’ve ever written.”

With a new home and a clear head, Langhorne is exhilarated thanks to the realization of what he knew was possible. “I had a problem with drugs and alcohol from the time I was 15 until I quit last year on my 33rd birthday,” Langhorne says. “I was hitting my head against the ceiling. I knew all I had to do was quit, and my head would burst through that ceiling. I didn’t really know what would be there, but I knew it’d be something greater.”

For Langhorne, something greater includes making the best music of his life.

“By opening myself, I’m vulnerable and I’m fearful, but I start to get real. And in that realness, there is immense strength that I wish for everybody,” Langhorne says. “Maybe everybody’s scared to be a freak. But when you live as a freak––” he laughs––“it’s so much more fulfilling.”


SUSTO

official band site »

SUSTO is the brainchild of Justin Osborne. It was born out of collaboration between Osborne & various colleagues including but not limited to Johnny Delaware, Wolfgang Zimmerman, Nicholas Scott Woodley & Camilo Miranda. These collaborations took place between 2011 & 2013 in Charleston & Havana.

Early writing & recording for SUSTO began in late 2011.

In early 2013 Osborne began performing solo in South Carolina & Cuba under the name of SUSTO. By August of that year SUSTO was performing as a full band. In addition to Osborne covering rhythm guitar, keyboards, & lead vocals, this line-up included Taylor McCleskey on drums, Eric Mixon on bass and Johnny Delaware on lead guitar & background vocals.

By early 2014 the debut self titled album was finalized & subsequently released by Osborne & Delaware's label Peninsula Records on April Fool's Day (04/01/2014).

After an extensive North American solo tour (Summer 2014) in support of SUSTO's debut album, Osborne returned to Charleston and began to solidify a permanent live band. SUSTO's full band line-up eventually came to be Corey Campbell (Guitar, Keys, Vocals), Johnny Delaware (Guitar, Keys, Vocals), Jordan Hicks (Bass Guitar), Marshall Hudson (Drums/Percussion) and Justin Osborne (Vocals, Guitar, Keys).

The band maintains a moderate tour schedule & a second album with the working title "& I'm Fine Today" is now in production; no timeframe has been established regarding its release.


 
Lettuce
Eliot Lipp | @Rams Head Live | view more info »
Oct
26

Lettuce

Eliot Lipp


Wednesday Oct 26|doors 7:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Lettuce

official band site »

For more than two decades, Lettuce have brought a new vitality to classic funk, matching their smooth and soulful grooves with a hip-hop-inspired urgency and mastery of beat. Now, on their fourth studio album Crush, drummer Adam Deitch, guitarists Adam Smirnoff and Eric Krasno, bassist Erick “Jesus” Coomes, keyboardist Neal Evans, saxophonist Ryan Zoidis, and trumpet player Eric Bloom deepen that sound by channeling the sonic freedom and infectious energy of their incendiary live show.

Produced by Lettuce and recorded/mixed by Joel Hamilton at Brooklyn’s Studio G, Crush first came to life on the road, with the band developing new material and testing it out live as they toured. “We’ve all noticed that our music goes into a lot of different directions onstage, and we wanted to capture that in a way that we never really have before,” says Coomes, who names classic psychedelia and ‘90s hip-hop among Lettuce’s key inspirations on Crush. “It’s definitely more wide-open in terms style, but it still stays true to the funk.”

The follow-up to 2012’s Fly, Crush finds Lettuce brilliantly infusing their psychedelic and hip-hop sensibilities into bass-heavy funk. With its spidery guitar work and hypnotic beats, “Phyllis” is a delicately sprawling epic that embodies what Deitch refers to as “a chill-hop vibe that’s kind of the flip-side of all that powerful uptempo funk that people might expect from us.” On “Get Greasy,” Lettuce give a nod to the groove-fueled EDM subgenre known as future funk, building off its highly danceable rhythm with a blissfully loose and horn-laced arrangement. And on “He Made a Woman Out of Me,” guest vocalist Alecia Chakour lends her bluesy growl to a scorching take on Bobbie Gentry’s 1970 country-soul classic.

According to Lettuce, that sense of unity and togetherness has much to do with a camaraderie that’s only intensified over the lifespan of the band. Formed in 1992, when several band members attended a summer program at Boston’s Berklee College of Music as teenagers, Lettuce was founded on a shared love of legendary funk artists like Earth, Wind & Fire and Tower of Power. After returning to Berklee as undergrads in 1994, Lettuce started playing in local clubs and steadily built up a following that soon extended to cities across the country and then throughout the world. Releasing their studio debut Outta Here in 2002 and its follow-up album Rage! in 2009, the band dedicated the coming years to balancing their frequent touring with involvement in a host of other musical endeavors (including Evans and Krasno’s role as founding members of acclaimed soul/jazz trio Soulive).

In recent years, Lettuce have watched their fan base expand as they’ve hit bigger and bigger stages and earned their name as a can’t-miss festival act. And in making Crush, the band had no trouble harnessing the spirit of their explosive live show. “Some of these shows we’ve played over the past couple years have been so amazing, it’s like you go home a different person,” says Coomes. “I’m sure remembering those moments in our minds and our hearts helped bring out something special when we were recording these new songs.”

So while Crush offers everything from all-out party jams to headphone-ready journeys into space funk, each track was born from an unabashed joy and love of live performance. “That energy we get when it’s prime time and we’re about to go onstage and we’re just excited beyond belief—that all came out on this new album,” says Deitch. “There’s a feeling that the band is rising, and it’s a really beautiful thing.”


Eliot Lipp

official band site »

Eliot Lipp is a veteran musician and sound designer gearing up to release his 9th studio album. After more than a decade living in Chicago, Los Angeles and New York (but equally home on the road), the intrepid producer returned to his roots in the Pacific Northwest before recording the album, much of which came together over a single inspired weekend.

Returning home provided Lipp with new inspirations for his blend of sampledelic funk and techno­ inspired hip­hop beats. The mossy green woods and snowy mountains of the Pacific Northwest were essential to the ambiance and texture of the sounds. The result is a digital landscape filled with beautiful analog creations.


 
The Grateful Ball
The Travelin' McCorys | Jeff Austin Band | @The Hamilton | view more info »
Oct
26

The Grateful Ball

The Travelin' McCorys
Jeff Austin Band

Wednesday Oct 26|doors 6:30 pm|all ages
The Hamilton|get directions »
600 14th Street NW
Washington DC|p: (202) 787-1000


The Grateful Ball

Playing One Set Each then One Set Of Grateful Dead Tunes


The Travelin' McCorys

official band site »

The Travelin’ McCourys do not stand still. They are on the road—and online—entertaining audiences with live shows that include some of the best musicians and singers from all genres. It’s always different, always exciting, and always great music.

No other band today has the same credentials for playing traditional and progressive music. As the sons of bluegrass legend Del McCoury, Ronnie McCoury on mandolin and Rob McCoury on banjo continue their father’s work—a lifelong dedication to the power of bluegrass music to bring joy into people’s lives. And with fiddler Jason Carter and bassist Alan Bartram, the ensemble is loved and respected by the bluegrass faithful. But the band is now combining their sound with others to make something fresh and rejuvenating.

They recently played with the Allman Brothers at Wanee Fest and then brought the house down at Warren Haynes’ Annual Christmas Jam, an invitation only Southern Rock homecoming. Their jam with the Lee Boys was hailed by many as the highlight of the evening, and once word of the live video hit the streets, sent new fans online to watch a supercharged combination of sacred steel, R&B, and bluegrass. They’ve also performed with Warren Haynes, Phish, and have a tour scheduled with the aforementioned Lee Boys. Ronnie McCoury described it as “peanut butter and jelly.” It was just right.

They can push forward so far because their roots are so deep. The band has a confidence that only comes with having paid their dues with twenty years on the bluegrass road. Other groups and new fans hear this immediately—the tight rhythm, the soulful material, and the confidence in taking bluegrass from the safety of the shore into uncharted waters.

Ronnie says, “We like to go in and play traditional bluegrass music the way we do it with Dad, but we also like to be able to step into situations where we can really stretch out. If we need to plug in, we’ll plug in. We’re open to anything.”

It’s that attitude, backed up by talent, that marks great musicians, traditional or progressive. The Travelin’ McCourys are twenty-first century musical pilgrims and adventurers. They’re onto something new, just like Bill Monroe was in the 1940s, but now we can see and hear that adventure live or online. Go see them, or—if you hold still long enough—they’ll come to you.

Jeff Austin Band

official band site »

The work continues...

These words have never rung more true for Jeff Austin.

After almost twenty years of live creation and endless joy seeking Jeff has returned to the scene with a new found sense of passion. Sharing the stage each night with a band of like-minded adventurers he attacks each performance with a fire and desire to move and shake everyone in sight.

Each show stands as a statement.

A statement of music...

A statement of connection...

A statement of just how joyful each moment can be.

From note to note…song to song…these musical warriors set out to turn each ear in a way never heard before.

The path is set.

The energy is undeniable.

Because with each new step The Jeff Austin Band takes...

The work continues.


 
Papadosio
Consider The Source | @9:30 club | view more info »
Oct
28

Papadosio

Consider The Source


Friday Oct 28|doors 10:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Papadosio

official band site »

Falling somewhere between rock, jazz and electronic mayhem we find space rock. This is a genre that is not readily defined, and is a state of mind as much as it could be considered a genre. This range of frequencies is where Papadosio tends to spend their time, sometimes dining in deep space, and other times snacking right on your front porch. 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.

Join Papadosio in an effort to create, augment, and rejoice in the universal language of music. Most importantly, have a good time.


Consider The Source

official band site »

NYC trio Consider the Source defy easy description. If intergalactic beings of pure energy, after initiation into an order of whirling dervishes, built some kind of pan-dimensional booty-shaking engine, powered by psychedelics and abstract math, it’d probably just sound like a CTS tribute band. Drawing from progressive rock, fusion and jazz, with alien sounds soaked in Indian and Middle Eastern styles, CTS blends disparate parts into a striking, utterly original whole. Dubbed “Sci-Fi Middle Eastern Fusion”, the band’s music strikes a rare balance between cerebral and emotional, intellectual and primal. A relentless touring schedule has won the band a fervent following from California to Israel, with fans ranging from jam-band hippies and jazz cats to corpse-painted headbangers and prog geeks.


 
Papadosio
SOOHAN | @9:30 club | view more info »
Oct
29

Papadosio

SOOHAN


Saturday Oct 29|doors 10:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Papadosio

official band site »

Falling somewhere between rock, jazz and electronic mayhem we find space rock. This is a genre that is not readily defined, and is a state of mind as much as it could be considered a genre. This range of frequencies is where Papadosio tends to spend their time, sometimes dining in deep space, and other times snacking right on your front porch. 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.

Join Papadosio in an effort to create, augment, and rejoice in the universal language of music. Most importantly, have a good time.


SOOHAN

official band site »

SOOHAN has returned with his third full length album “SOOHAN- Global Gate 808.” His first two albums became an immediate internet sensation, garnering over 550K this year alone. The widespread popularity of both albums earned SOOHAN his first national tour and sets at 11 different music festivals in 2015, including sets at Camp Bisco, Infrasound Equinox, Great North a main stage set at Camp Question Mark’s Emissions West Coast Bass Festival. For 2016, he has already been confirmed for Sonic Bloom and Lucidity Festival.


 
Eric Krasno Band & Doyle Bramhall II
@The Hamilton | view more info »
Nov
2

Eric Krasno Band & Doyle Bramhall II



Wednesday Nov 2|doors 6:30 pm|18+
The Hamilton|get directions »
600 14th Street NW
Washington DC|p: (202) 787-1000


Eric Krasno Band

official band site »

For nearly two decades, Eric Krasno has been an omnipresent figure in popular music. We've heard his virtuosic, innovative guitar playing with Soulive and Lettuce (both of which he co-founded), seen him onstage supporting the likes of the Rolling Stones and The Roots, watched him take home multiple GRAMMY Awards, and benefited from his deft, behind-the-scenes work as a producer and songwriter for everyone from Norah Jones, Tedeschi Trucks, and 50 Cent to Talib Kweli, Aaron Neville, and Allen Stone. Krasno's rousing new solo album, 'Blood From A Stone,' reveals a previously unknown and utterly compelling side of his artistry, though, inviting us to bear witness as he both literally and metaphorically finds his voice.

"I’ve been writing songs with vocals for other people for a while," explains Krasno, who sings for the first time on 'Blood From A Stone.' "With these songs, we initially wrote them thinking others would sing them, so when I was in the studio with different artists, sometimes I'd introduce one of the tracks and they'd record it, but it wouldn't necessarily work out. Eventually, I realized it was because I'd written these songs for myself."

It might sound strange hearing Krasno discuss the idea of "finding his voice" so deep into a career already chock full of remarkable songwriting, but as he sees it, there's something new, something intimately personal about this album that urged him to step up to the microphone for the first time. And though so much about this album feels like uncharted territory, in some ways, it brings him all the way back to his musical roots.

"Growing up, I listened to Hendrix, the Rolling Stones, Led Zeppelin, and the Grateful Dead, along with a lot of hip-hop," remembers Krasno. "When I linked up with Soulive, we played instrumental music, and that's the path I’ve mostly been on ever since. This record loops back to those initial bands and songs I loved, but with the added experience and influence of the past 20 years."

When it came time to begin formal work on the album, Krasno left his home in New York City to join Dave Gutter from Rustic Overtones in Maine for the first writing session, which turned out to be so productive that the two had penned most of the album in just a few days. In a shift from the looser, jam/funk spirit that has marked Krasno's previous work, the songs for 'Blood From A Stone' took shape as tight, infectious, highly structured blues and R&B-based tracks. Krasno and Gutter commiserated over recent relationship turmoil and their shared love of music like Bobby “Blue” Bland's ‘Dreamer’ and Muddy Waters' ‘Electric Mud’ to create a sonic palette at once classic and modern, deeply personal and totally timeless. Deciding to strike while the iron was hot, the duo headed into Gutter's barn along with Ryan Zoidis (Lettuce) to lay down what they envisioned to be demos, but in fact turned out to be the backbone of the album.

"We set up an old tape machine and pieced together gear and borrowed microphones and cobbled a little studio together," remembers Krasno. "It was one of those things where, once people heard the songs we were coming up with, every musician in town started coming by with gear and helping out. We didn't realize we were actually making the record, so there was no pressure, and that let us experiment in really cool ways. There's a lot of rawness to the recordings, and that really bled into the performances and my vocal delivery."

It's apparent from the first moments of the funky, Hendrix-esque album opener "Waiting On Your Love" that Krasno's voice has been an ace up his sleeve this whole time. Rich, warm, and full-bodied, his tone blends earnest sincerity with casual swagger and, much like his guitar playing, taps into a deep vein of emotion. On "Torture" and "Jezebel," he sings as a bruised survivor of love-gone-bad, while the slow-jam of "Please Ya" channels Otis Redding soul, and "On The Rise" builds off a bass-and-percussion groove with psychedelic samples and gorgeous harmonies. The album has its lighter moments, too, from "Unconditional Love"—inspired by the spirit-lifting arrival of Gutter's daughter after school every day—to "Natalie"—a romantic ode to an automobile originally written during Krasno's Soulive days. It's an eclectic collection, to be sure, but it's all tied beautifully together through Krasno's understated vocals and skillful songcraft, which always leaves enough room for him to stretch out on his six-string.

As brilliant as Krasno's guitar work is throughout the album, though, Derek Trucks arrives as a special guest on "Curse Lifter"—a hypnotic instrumental that lands somewhere between Santana and the Allman Brothers—to give him a real run for his money.

"Derek is my favorite guitar player in the world," says Krasno. "I've known him for close to 20 years, because the first national tour Soulive ever did was with the Derek Trucks Band, and we've been super close ever since. I've watched him progress into the best, and it was really important to have him on this record."

The track's gorgeous, evocative guitar harmonies are a fitting way of bringing things full circle for Krasno, who's so often utilized his guitar in the service of others. In the end, he may not have drawn blood from a stone, but Krasno discovered deep wells of soul and untapped reservoirs of talent by recording this album, and he opened up entirely new worlds for himself as an artist in the process.

"It's something I didn’t know was there," he concludes. "I would have been totally content just being a guitar player and writing songs for other people, but this inspiration just happened, and I'm really glad it did, because it's changed things. I didn't know I had this in me.”


Doyle Bramhall II

official band site »

Doyle Bramhall II stands as one of the most distinctive vocalists, guitarists, composers and producers in contemporary music. Eric Clapton, with whom Bramhall II has collaborated for more than a decade, cites the guitarist as one of the most gifted players he has ever encountered.

Bramhall II was raised in a home filled with the blues and rock & roll sounds that are indigenous to Texas; the state of his birth. His father, Doyle Bramhall, played drums for blues legends Lightning Hopkins and Freddie King and was also an accomplished songwriter and vocalist. Bramhall was a life long collaborator with childhood friends, Stevie Ray and Jimmie Vaughan, composing such signature classics as “Change It” and “Life By The Drop”.

When Doyle was 18, he was recruited by Jimmie Vaughan to play with the Fabulous Thunderbirds. Bramhall II’s reputation blossomed and two years later, he co-founded the Arc Angels with Charlie Sexton and Stevie Ray Vaughan’s rhythm section; Chris Layton and Tommy Shannon. Their self-titled debut album, fueled by such popular songs as “Living In A Dream” and “Sent By Angels” enjoyed wide success.

In the aftermath of two critically acclaimed solo albums Jellycream and Welcome, Bramhall II's unparalleled skills as guitarist won the attention of both Eric Clapton and Roger Waters. Waters showcased the guitarist on his In The Flesh tour and accompanying album. Eric Clapton featured Bramhall II’s songs and guitar work as part of Riding With The King, his Grammy winning project with B.B. King. Clapton then recruited Bramhall II to join him on a full time basis and their association flourished. The guitarist toured with Clapton throughout the world and their dramatic interplay thrilled fans and immediately drew comparisons to past triumphs such as Derek & The Dominoes. Bramhall II’s distinctive guitar work—he is a left handed player who plays a right handed strung guitar flipped upside down—left an indelible mark on Clapton albums such as Me And Mr. Johnson and Searching For Robert J. Both projects were highlighted by Bramhall II and Clapton stirring duets in the same Dallas room where Robert Johnson had originally recorded his legendary songs in 1937. Bramhall II songwriting prowess would also be featured as part of Reptile, Back Home and Road To Escondido. He would next co-produce Clapton’s two most recent albums, Clapton and 2013's Old Sock.

In addition to Clapton, Bramhall II has been in demand as composer, guitarist and producer, collaborating with such as artists as Sheryl Crow, Tedeschi Trucks, Elton John, Questlove, Gary Clark Jr., Erykah Badu, Gregg Allman, Robert Randolph, T-Bone Burnett, Meshell Ndegeocello, Dr. John and many others. Bramhall has produced several records, including Crow's popular 100 Miles From Memphis.



 
Donna The Buffalo
@State Theatre | view more info »
Nov
4

Donna The Buffalo



Friday Nov 4|doors 7:00 pm|18+
State Theatre|get directions »
220 N. Washington st.
Falls Church, VA|p: (703) 237-0300


Donna The Buffalo

official band site »

One of the most dynamic and determined bands continuously touring America for since 1989, Donna the Buffalo has created a community environment at their shows through their distinctive, groove-heavy, and danceable music. Donna the Buffalo is a band for the people that is accessible, positive, and memorable. With roots in old time fiddle music that evolved into a soulful electric American mix infused with elements of cajun/ zydeco, rock, folk, reggae, and country, Donna’s music often contains social and moral responsibility as core beliefs, and they are just simply fun to get out and celebrate life with.

“For the dizzying array of styles and genres with which they work, Donna The Buffalo maintain a surprising level of consistency… over the course of their 25-year career, they retain a sharp focus that has helped them create some truly lasting music…” writes Elmore. “Few groups are this comfortable as performers, and even fewer would take as many risks.”

Donna the Buffalo announced The Stampede: A tour to raise awareness to the inappropriate use of corporate money in politics. They’ve joined forces with Ben Cohen, Co-Founder of Ben & Jerry’s, who has started stamping slogans on currency in protest (stampstampede.org). “As a band, we have made a long term commitment to join this burgeoning movement,” says Jeb Puryear. “It is clear to us that we will never get significant government action on issues like healthcare, student debt, wall street banks, the environment, and corporate tax evasion until we outlaw legalized corporate bribery of our politicians.”

They are joining teaming up with legendary American roots music troubadour Peter Rowan to kick off The Stampede in the Fall of 2015 and are looking to snowball the tour into the election year to raise awareness to the topic. Peter Rowan says, “At last, it comes around again; making music with Donna the Buffalo, one of my favorites.”

Donna the Buffalo is Jeb Puryear (vocals, electric guitar) and Tara Nevins (vocals, guitar, fiddle, accordion, scrubboard) joined by David McCracken (Hammond organ, Honer Clavinet & piano), Kyle Spark (bass) and Mark Raudabaugh (drums). “It’s been really fun with this lineup,” Puryear says. “You get to the point where you’re playing on a really high level, things are clicking and it’s like turning on the key to a really good car. It just goes.”

“You have to do just what you want to do, and everyone likes different things,” Nevins says. “Both Jeb and I come from this background of old-time fiddle music, which is very natural, very real, very under-produced, and all about coming from the gut—flying by the seat of your pants. So we have that in us, too.”

All Music Guide says their most recent album, Tonight, Tomorrow and Yesterday (2013 Sugar Hill Records), “highlights everything this consistent band does, and it has a warm, live-sounding production… This is what 21st century Americana sounds like, a little bit of this and that from anywhere wrapped up into a poignant, jamming dance reel, a place where the past and history meet easily in the immediate now and everybody feels like dancing.”

The band has released ten albums and are affiliated with several others, including Puryear’s 2007 solo album Hopes and Dreams and a 2003 release, Wait Til Spring, with Jim Lauderdale. The band’s 2008 release Silverlined, as well as the 2013 release (both on Sugar Hill) did well on the Americana Music Chart, each placing well into the top ten. In 2011 Nevins released Wood and Stone, produced by Larry Campbell in Levon Helm Studios, and Mule to Ride in 1999 on Sugar Hill Records.

Donna the Buffalo drew it’s original inspiration from a cherished part of the American heritage: the old-time music festivals of the south that drew entire towns and counties together. Not only was it playing music at these events, it was the vibe and the togetherness that bonded the people that attended.

“Those festivals were so explosive, and the community and the feeling of people being with each other, that’s the feeling we were shooting for in our music,” Puryear says. “Donna the Buffalo is an extension of the joy we’ve found.”

This type of bond is what Donna the Buffalo’s fans, self-titled The Herd, connect to and why they travel around to see them at shows and festivals throughout the year, including a family of GrassRoots Festivals that DtB started and is still the driving force behind.

“It’s a great feeling to promote such a feeling of community, like you’re really part of something that’s happening, like a movement or a positive force…” Nevins says, “All those people that come and follow you and you recognize them and you become friends with them — you’re all moving along for the same purpose. It is powerful. It’s very powerful, actually.”

Donna the Buffalo plays music that often moves listeners physically and spiritually. In the words of a longtime fan, “Their songs are well known to contain lyrics offering poetry and sage commentary on the attractions and struggles with love and politics in this life. Their magnetic musical mix has often been described as dance music, and, for sure, there is everything from foot-tapping to get-up-and-feel-ecstatic moving in their sound; but there is also some deeply satisfying solace in what DTB has to say and how they say it.”

Jeb talks of his inspiration “rolling off all the great protest songs and the socially conscious music like Bob Marley and The Beatles and Bob Dylan – all of that stuff. So that, to me, is sort of like a tradition to write from that angle as a way of reflecting on what you feel about the world and how you feel it could be better and getting to a different place as a society. There’s also the strength that comes from music and gives you the feeling like you can change those things and make some progress, and then express some of the particulars about what you’d like to change.”

“If there’s a common thread, it’s an up-tempo beat that gets audiences dancing, moving and smiling, even for the more topical songs. That’s part of the point: Sending energy and spreading joy can be political acts… When the band recently went out to the Occupy Wall Street demonstrations, Puryear read a pamphlet that said ‘it’s about the vibration,’ and he agrees.

‘The vibe is going to be the big change, out of a passion for living.” Jeb says said to the Rochester Messenger Post. “Just that kind of energy, something we kind of feel in ourselves.” It’s certainly kept the band rejuvenated, he noted: It’s “having an absolute chemistry that’s creative and can still be exciting over 20-something years.’”



 
The Infamous Stringdusters
@Rams Head Live | view more info »
Nov
19

The Infamous Stringdusters



Saturday Nov 19|doors 7:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


The Infamous Stringdusters

official band site »

Tradition and innovation provide the interlocking roots of bluegrass and its descendents, a lively dance of elements skipping comfortably from ancient jigs to radio ditties to spacious experimentation. THE INFAMOUS STRINGDUSTERS joyously embody and carry forward the spirit of Bill Monroe, John Hartford, Earl Scruggs, David Bromberg and other originators in their skilled embrace of this music’s twin gravitational pulls, moving dexterously between homespun legacy and creative expansion, a band firmly grounded in what has come before as they grow strong into tomorrow.

“What we do is a hybrid of the improvisational and bluegrass worlds. We take a lot of pride in that. While our music is our own concept, hopefully it does justice to the amazing components of the bluegrass world,” says Stringdusters Chris Pandolfi. “We love to present what we do but we always call on the bluegrass world of chops, technique, and traditions.”

GRAMMY-nominated The Infamous Stringdusters - Andy Hall (Dobro), Andy Falco (guitar), Jeremy Garrett (fiddle), Travis Book (double bass), and Pandolfi (banjo) – are as comfortable at a dirt road pickin’ session as they are on an amphitheatre stage, a collection of talents that can whisper and roar as the circumstance demands, responding in real time to their surroundings, working the angles as they ply their craft and raise their sinewy voices with limber grace.

Equal parts old school cats and modern operators, the Stringdusters’ latest album, Ladies & Gentlemen (arriving February 5th on Compass Records) spotlights the band’s gift for incorporating guests into their world by rolling out the red carpet for an eclectic array of female singers lending their pipes to a dozen original Stringdusters compositions.

Highlighting the group’s instrumental and compositional prowess, the new set opens up fresh spaces including the drum-boosted contemporary country bounce of “Listen” with airwave vet Joan Osborne, the classic Dolly Parton feel “See How Far You’ve Come” with Sara Watkins (Nickel Creek, Watkins Family Hour), the slow jam slink of “Have A Little Faith” with nu-soul belter Joss Stone, the contemporary folk breeze of “I Believe” with Lee Ann Womack, the rousing Americana soar of “Old Whiskey Bottle” with Celia Woodsmith, or the exhilarating style stew of “Hazosphere” with Jennifer Hartswick (Trey Anastasio Band). Elsewhere Mary Chapin Carpenter, Aofie O'Donovan (Crooked Still, Sometymes Why, The Goat Rodeo Sessions), Celia Woodsmith (Della Mae), Sarah Jarosz, Nicki Bluhm, Claire Lynch and Abigail Washburn weave their voices into one of the group’s strongest song cycles to date.

“Something unifying carries across the different tracks despite the diversity. All of the ladies really brought something special, often melodically, to each song,” says Andy Falco. "They took liberties with what we gave them, which is wonderful. They adapted the material and made it their own, so the finished track was truly a merger of the Stringdusters and each unique collaborator.”

“The lineup crosses all these interesting lines, from genres to relationships to different generations. It brings all these different things together,” says Pandolfi. “It has us playing with people that are new to us, playing with people from our scene, and playing with legends. When making a new Stringdusters album the challenge is finding the mojo - the heart of the matter - and this project has so much heart and mojo coming from all sorts of directions.”

Ladies & Gentlemen, the Stringdusters’ sixth full-length studio release, follows on the heels of Undercover, an EP of inspired cover tunes that reflect the variety of interests and influences in the Stringdusters, tapping the catalogs of Pink Floyd, Tom Petty, Bob Dylan, Johnny Cash and The Highwaymen. It’s another sign of the band’s desire to stretch and innovate even as they fully understand and honor the legacies they engage. “It’s a challenge we’ve embraced over the years. We’re a band that’s all about original music AND our own approach to old songs,” says Pandolfi. “It’s always been our thing to find a new way to do this.”

A resounding feeling of rock-ribbed authenticity and charming sincerity infuses every aspect of what the Stringdusters do.

“You can’t fool an audience,” says Falco. “There’s a yearning for real stuff in our time right now. Pop music is so perfect today but it’s sterile and the feeling inside it is being lost. When I listen to The Band, the background vocals aren’t perfectly lined up but it’s perfect in its imperfections. That’s what you want to hear. That’s where something grand unfolds. That’s grandma’s spaghetti and meatballs. When you’re younger you think you want the Spaghetti-Os but really you want what grandma is cooking up. As we grow as a band, we reach for more of those home cooked moments in the studio, in concert, in everything we do.”



 
Trevor Hall
Dustin Thomas | @U Street Music Hall | view more info »
Nov
19

Trevor Hall

Dustin Thomas


Saturday Nov 19|doors 6:30 pm|all ages
U Street Music Hall|get directions »
1115 U Street NW
Washington DC|p: (202) 588-1880


Trevor Hall

official band site »

As an eleven year old, playing harmonica beside his father in South Carolina, music quickly became Trevor’s most intimate companion, guide and creative outlet. In his elementary years, he began to write his own songs and perform them locally. At sixteen he recorded his first record, and the following year he left South Carolina to study classical guitar at Idyllwild Arts Academy, an international boarding school east of Los Angeles. There, Trevor was introduced to yoga and certain spiritual practices found in India, which greatly influenced his music and his life journey. During his senior year, Trevor signed a record deal with Geffen Records and his career as a musician formally began.

Trevor quickly broke through the music scene, with such early accomplishments in his career as having a song recorded on the Shrek the Third soundtrack, as well as joining a series of sold-out tours with artists such as Steel Pulse, The Wailers, Jimmy Cliff, Matisyahu, Michael Franti, SOJA, Brett Dennen and Colbie Callait. Trevor’s quick rise on the scene, however, was ripe with challenges that conflicted with his spiritual life and devotional practice. In order to parallel his life’s path with the messages in his music, Trevor moved into a traditional Hindu ashram in Southern California in 2008. When not on tour, he lived as a monk and devoted his days to spiritual practice and service. His involvement with the temple affected his music and his music quickly became his practice.

Trevor Hall’s music – an eclectic mix of acoustic rock, reggae and Sanskrit chanting – echo with the names and teachings of divinities, while maintaining an incredibly and refreshingly universal message. While on the road, Trevor sees the stage as his moving temple, a place where he can share in the experience of his spiritual journey with his audience. Trevor’s annual trips to India also continue to serve as a source of creativity and motivation for his music. The precious lessons and experiences that he has harvested from his journeys East have moved Trevor to return a service to those whom have colored his music and his life so beautifully. Trevor uses donations collected at his live shows to help support an ashram in Allahabad, India, the home of his Guru, where underprivileged and orphaned boys and girls are given the chance at a better life and a traditional Vedic education.

In 2013 at the age of 26, after touring consistently for ten years, Trevor decided to take a break from the stage and go on an extended pilgrimage to India. There he spent many weeks studying under a classical Baul musician born and trained in the villages of Bengal. Trevor returned from his trip and retreated deep into the green mountains of Vermont and Maine where he spilled all that he had learnt onto the page and into song.

Hall has released a successful series of musical albums. In 2009, Hall released his Vanguard Records debut, a self-titled album, which featured the single “Unity,” written and performed with his longtime friend, Matisyahu. His follow up album, Everything, Everytime, Everywhere, debuted on the iTunes Rock Chart at #3, iTunes Top Albums at #12 and #8 on Amazon Movers & Shakers. The featured single, “Brand New Day” was used as the music bed for the CBS This Morning Show. Hall’s 2014 release, Chapter of the Forest, debuted at #3 on the iTunes Singer/songwriter Chart and #17 on the iTunes Top Albums Chart.

His latest album, KALA, written in Hawaii and recorded in LA, was released August 21st, 2015. It debuted at #2 on the iTunes singer/songwriter chart.


Dustin Thomas

official band site »

Big hair, big smiles, and a whole lot of love- Wild-hearted globe-trotter Dustin Thomas is making waves from America to Australia with his infectious blend of beat-box/soul-folk. Armed with his voice, a guitar, and universal anthems of love and war; this young singer-songwriter continues to inspire hearts around the world on his mission of peace, joy, and unity. As a touring artist Dustin Thomas is known worldwide for his captivating and unifying performances and soulfully crafted sing-a-longs. As a recording artist, Dustin has built a unique grassroots following online and boasts over a half a million streams on his website alone. Truly a man of the road, Dustin Thomas has shared the stage with the biggest names in conscious music including SOJA, Xavier Rudd, Trevor Hall, Rising Appalachia, and Nahko and Medicine for The People. As an advocate for both social and environmental justice, Dustin Thomas uses his platform to inspire both awareness and consciousness about important issues and writes music that encourages all people from all walks of life to work through the hard times, appreciate the good times, and ultimately to love themselves, love the planet, and love each other.


 
Keller Williams' Thanksforgrassgiving
featuring Jeff Austin, Nicky Sanders, Danton Boller & Jay Starling | Love Canon | @9:30 club | view more info »
Nov
25

Keller Williams' Thanksforgrassgiving

featuring Jeff Austin, Nicky Sanders, Danton Boller & Jay Starling
Love Canon

Friday Nov 25|doors 8:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Keller Williams' Thanksforgrassgiving


featuring Jeff Austin, Nicky Sanders, Danton Boller & Jay Starling

official band site »

Keller Williams's presents Thanksforgrassgiving featuring Jeff Austin, Nicky Sanders, Danton Boller & Jay Starling

Love Canon

official band site »

Sprouting from the musical foothills of the Blue Ridge Mountains, Charlottesville, Virginia’s LOVE CANON currently resides in full bloom. The musicians, led by guitarist Jesse Harper, are six seasoned virtuoso string players fused together by wood and wire to become LOVE CANON.


 
TAUK
Consider The Source | @Baltimore Soundstage | view more info »
Dec
2

TAUK

Consider The Source


Friday Dec 2|doors 8:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


TAUK

official band site »

On their third studio album Sir Nebula, TAUK tap into their singular chemistry to elevate and expand their all-instrumental blend of funk, hip-hop, progressive rock, and jazz. Revealing both their refined musicality and unbridled creativity, the Oyster Bay, New York-bred rock-fusion four-piece (guitarist Matt Jalbert, bassist Charlie Dolan, keyboardist/organist Alric “A.C.” Carter, and drummer Isaac Teel) push into new sonic terrain and build entire worlds within each richly textured soundscape.

From the hazy atmospherics of “Time’s Up” and soaring riffs of “Program Select” to the urgent rhythms of “Shenanigans” and sprawling melodies of “Where You Are,” Sir Nebula finds TAUK introducing a cosmically inspired element to their music. “The album ended up taking on a more ambient kind of vibe than anything we’ve done before—there’s a spaciness in the songs that lets you get lost in the sound,” says Dolan. And while the album is endlessly hypnotic, TAUK also deliver the dynamic tension-and-release jams that have helped earn them a devoted following while drawing critical acclaim (the Washington Post, for one, praised TAUK for “creating a hard-charging, often melodic fusion that—thanks to a penchant for improv—offers limitless possibilities”).

Throughout Sir Nebula—the follow-up to their 2015 live double album HEADROOM—TAUK allow a more free-form, instinct-guided approach to steer their music into bold new directions. “With this record, we felt more comfortable in the studio and got to a new level where we were able to constantly feed off each other, so there was a lot of spur-of-the-moment improvisation that really helped shape the album,” says Jalbert. Adds Carter: “We made a point of trying to express ourselves freely and take risks even when that felt challenging and scary, instead of holding ourselves back and possibly taking something away from the songs.” At the same time, TAUK sharpened their songwriting to craft more intricately layered arrangements and powerfully intense grooves.

As with their past four releases, TAUK created Sir Nebula in collaboration with Grammy Award-winning producer/mixer/engineer Robert Carranza (The Mars Volta, Ozomatli, Jack Johnson, Taj Mahal). But in a departure from their previous work, the band made the album in one concentrated period rather than spacing the recording sessions out in between tours. Holing up at the Solar Powered Plastic Plant in Los Angeles, often pulling 12-hour workdays, TAUK ultimately found the revamped recording process hugely beneficial. “Everything just happened so naturally this time around,” says Jalbert. “I can’t think of one moment where it felt like anything was forced. We were all just completely focused and in the same mindset, which made it this incredibly fun and smooth experience.”

TAUK’s creative connection traces back to childhood, when longtime friends Dolan, Jalbert, and Carter formed their first band in seventh grade and held practice in their school basement. After playing together in various projects over the years, the trio brought Teel into the fold in 2012, cementing the final lineup. “We gelled pretty quickly as friends and as musicians, and now there’s a connection onstage that’s unspoken,” notes Teel. “You just feel it from the energy within the band and from the response coming from the crowd—all these people in the same exact headspace.”

Since their formation, TAUK have shared stages with an impressive list of bands (including Widespread Panic, Umphrey’s McGee, Lettuce, and Tim Reynolds & TR3), in addition to appearing at festivals like Electric Forest, Bonnaroo, and The Allman Brothers’ Peach Music Festival. That rigorous touring schedule has gone a long way in strengthening their chemistry, according to Carter. “We’re doing 140 shows a year and we pretty much live with each other, so there’s a healthy respect and trust and love happening there,” he says. “We all have a common goal and an understanding that this is something we’re compelled to do, and that’s definitely brought us close together.” It’s also helped TAUK develop a reputation as a masterful live act: “TAUK is unstoppable,” raved Live for Live Music. “If you haven’t see them, dear God, go.”

Now on the road again (with upcoming dates including a two-night stint at the Brooklyn Bowl and spots on the Hangtown Music Festival, North Coast Music Festival, and Catskill Chill Music Festival), TAUK also have plans to widen their output by composing scores for film and television. In the meantime, the band is focused on instilling their live show with the same kinetic energy and boundless passion that powered the making of Sir Nebula. “Growing up together as musicians and collectively going on this journey—that’s what makes this experience really special,” says Jalbert of TAUK’s continued evolution. “It’s like everything we’ve learned over the years has been funneled into this band, and now it’s taking shape in a really exciting way. We all love what we’re doing, and the band just feels like home.”


Consider The Source

official band site »

NYC trio Consider the Source defy easy description. If intergalactic beings of pure energy, after initiation into an order of whirling dervishes, built some kind of pan-dimensional booty-shaking engine, powered by psychedelics and abstract math, it’d probably just sound like a CTS tribute band. Drawing from progressive rock, fusion and jazz, with alien sounds soaked in Indian and Middle Eastern styles, CTS blends disparate parts into a striking, utterly original whole. Dubbed “Sci-Fi Middle Eastern Fusion”, the band’s music strikes a rare balance between cerebral and emotional, intellectual and primal. A relentless touring schedule has won the band a fervent following from California to Israel, with fans ranging from jam-band hippies and jazz cats to corpse-painted headbangers and prog geeks.

Formed in 2004, Consider the Source features Gabriel Marin on fretless double-neck guitar, bassist John Ferrara, and drummer/percussionist Jeff Mann. Called “the guiding light for his generation of six-stringers”, Marin channels the mystical fury of McLaughlin and Coltrane into wailing melodies, kaleidoscopic soundscapes and boneshaking riffs. With a background in classical musics both Eurpoean and Indian, and an instinct for avant-jazz and destructive metal, Marin’s hypnotic fusion of styles is ever unpredictable. Ferrara’s propulsive, percussive attack, equally suited to simple grooves and impossible chords, can ground the music or launch it into space. His madcap gumbo of slap bass, Indian rhythms, earthy minimalism and complex tapping constantly pushes into strange new worlds, whilst still dropping thick booty-clap beats. Underneath them lies Mann’s rolling thunder; dense rhythmic architecture built from pure swagger and bounce. Half double-bass prog-metal, half crackle-pop Buddy Rich swing, with African and Balkan swirls, Mann’s muscular, freewheeling polyrhythms are the engine fuel for Consider’s multiversal mischief. Even when not improvising, Consider’s music is always a conversation, a roiling stew of dynamic interplay. Each member of Consider the Source alternately leads and follows, spars and assists; in any single song, alliances are made and broken, bargains struck and divorces finalized.

Touring from coast to coast, as well as Europe and the Middle East, has not only earned the band thousands of fans, but has allowed them to perform with a wide variety of well-known artists, including Victor Wooten, Wayne Krantz, King Crimson Projekt, Kris Myers (Umphrey’s McGee), Wyclef Jean, Andy Statman, Matt Darriau (Paradox Trio), Oteil Burbridge, Jacob Fred Jazz Odyssey, Dumpstaphunk, Keller Williams, George Porter, Jr., Jeff Sipe, Panzerballet (Germany), Eatliz (Israel), Freak Kitchen (Sweden), Morglbl (France), and many others. They have performed at numerous festivals and events, including Burning Man, Gathering of the Vibes, the NYC Fretless Guitar Festival, Catskill Chill, Sun Seekers Ball (Canada), Aura Music & Arts Festival (Florida), Jazz Fest (New Orleans), Head For The Hills Festival & SXSW (Texas), Rootwire (Ohio), and the NYC Gypsy Festival. The band’s latest release, “World War Trio (Parts 2 & 3)” (2016) is available at considerthesourcemusic.bandcamp.com.


 
Dark Star Orchestra
@9:30 club | view more info »
Dec
2

Dark Star Orchestra



Friday Dec 2|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Dark Star Orchestra

official band site »

Performing to critical acclaim worldwide for nearly 17 years and over 2200 shows, Dark Star Orchestra continues the Grateful Dead concert experience. Their shows are built off the Dead's extensive catalog and the talent of these seven fine musicians. On any given night the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra's members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations creating a sound that truly encapsulate the energy and the experience.



 
Dark Star Orchestra
@9:30 club | view more info »
Dec
3

Dark Star Orchestra



Saturday Dec 3|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Dark Star Orchestra

official band site »

Performing to critical acclaim worldwide for nearly 17 years and over 2200 shows, Dark Star Orchestra continues the Grateful Dead concert experience. Their shows are built off the Dead's extensive catalog and the talent of these seven fine musicians. On any given night the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra's members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations creating a sound that truly encapsulate the energy and the experience.



 
Turkuaz & The New Mastersounds
@9:30 club | view more info »
Dec
9

Turkuaz & The New Mastersounds



Friday Dec 9|doors 8:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Turkuaz

official band site »

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.”


The New Mastersounds

official band site »

From their inception nearly two decades ago in Leeds, UK, The New Mastersounds have wholeheartedly embraced the “old school” label—their sound rooted deeply in those classic soul jazz, boogaloo and funk albums on labels such as Blue Note and Prestige by artists like Wes Montgomery, Jimmy Smith, Jimmy McGriff and Lou Donaldson. The New Mastersounds’ latest LP, The Nashville Session, takes that devotion one step further by recording in the same tradition that many of those rare groove gems were made.

The Nashville Session, a 10-track collection cut at Welcome To 1979 studio in Nashville, was multi-tracked live onto one-inch tape in a single evening session in front of a small studio audience. Following the performance the recording was mixed down to quarter-inch stereo and cut direct to vinyl lacquers. There are no guests and no overdubs, just bass, drums, guitar and organ—essentially pure New Mastersounds. Hitting the studio at the tail end of their Fall and Winter 2015 cross-country U.S. tour, the band was razor sharp and vise tight. They selected material to record from across their 16-plus year career and ten studio albums. The lone exception being their take on legendary jazz guitarist Grant Green’s arrangement of James Brown’s “In The Middle.”

“We made the decision to record in this context because our older tunes have been evolving over a decade and a half of live presentation.. Once-spontaneous improvised sections have gradually become fixed into the live arrangements. Much of the change has come about since organist Joe Tatton joined the band in 2007,” explains drummer Simon Allen. “It was also the perfect time to capture the cheeky, spontaneous and confident energy of a live show at the point—straight off of tour—when the band was at the top of its game. As lovers of ’60s and ’70s funk and soul jazz, we have never much enjoyed the sound of modern digital live recordings. Somehow the balance of frequencies such recordings deliver is never what we crave; our music just makes the most sense to our ears and to our feet when everything is crunched onto tape, exactly the way the music that first influenced us was recorded.”

The Nashville Session will be released exclusively on vinyl via a limited edition 1000-piece pressing on Royal Potato Family and will not be available in any other formats upon initial release. Top to bottom gritty, greasy and funky to the bone, the collection presents The New Mastersounds at their finest—utterly unadulterated by modern digital technology, full-on analog and unapologetically doing it old school.



 
Keller Williams Grateful Gospel & Keller Solo
John Kadlecik Band | @Rams Head Live | view more info »
Dec
31

Keller Williams Grateful Gospel & Keller Solo

John Kadlecik Band


Saturday Dec 31|doors 7:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Keller Williams Grateful Gospel

official band site »

Definition: The spiritual side of Grateful Dead/Jerry Garcia songs performed in the style of black gospel music.

“I pitched the idea of this project as a Sunday morning set to the Lockn’ festival in 2013 and they went with it, so I rallied my Richmond “More than a Little” crew, added two more female singers and convinced John Kadlecic, from Further, to join us on guitar and Grateful Gospel was immaculately conceived. It’s the gospel of Jerry. Awe man. WARNING: this is not a Christian act.” – Kw


Keller Solo

official band site »

Definition: ADM (Acoustic Dance Music), solo acoustic guitar and voice with every other song walking the line of electronica. If you need a title to file under try electro-hippie acoustic downtempo.

“What kind of definition is that? It’s the kind of definition that will take you actually going to a show to decide for yourself and put it to your own words. This element of my life is what I refer to as my day job. Which is essentially me finding new ways to entertain myself on stage in front of an audience. Using technology and a technique, described by Dr. Didg, as live phrase sampling or looping, I am able to entertain myself for two sets. Nothing is prerecorded and all sounds and beats are created live by layering loops on top of one another and then singing or soloing over top if all if it.

See what I mean? Only being there can explain it. The thousands of hours on YouTube cannot describe the feeling and vibe of one of my solo shows…..at least the feeling that I get. Drawing from almost 2 dozen releases as well as a ridiculous amount of covers, hours are spent on set lists that often get abandoned for requests from the audience. So much fun, it should be illegal and in some counties it is.” –Kw


John Kadlecik Band

official band site »

John Kadlecik is a singer, songwriter, and musician based in the DC-area who can play most string instruments, but is primarily known for being a guitar-slinging sideman to Grateful Dead members Phil Lesh and Bob Weir in the band Furthur. An original co-founder of the group Dark Star Orchestra, John has been performing improvisationally-oriented shows regularly since the late 1980's and touring nationally for the last 20 years. His work also includes several studio releases of original music, and he is currently active with his own group, The John Kadlecik Band, as well as "supergroup" the Golden Gate Wingmen and occasionally Phil Lesh & Friends.