Big Something & Hot Buttered Rum
@The 8x10 | view more info »
May
6

Big Something & Hot Buttered Rum



Friday May 6|doors 8:00pm |all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Big Something

official band site »

Named Best Rising Artist of 2014 by Live Music Daily, Big Something is one of the most exciting new bands to emerge from the Southeast. A 6 piece powerhouse with a sound that is both unique and timeless, BIG Something fuses elements of rock, pop, funk, and improvisation to take listeners on a journey through a myriad of musical styles. Soaring guitars, synths, horns and alluring vocal hooks rise to the top of their infectious collection of songs and represent a sound that has caught the ears of such revered Summer circuit stalwarts as Galactic, moe., Robert Randolph, and even The B52s who have all tapped Big Something as direct support.

The group recently released its 3rd full-length studio album - Truth Serum - with the help of Grammy-nominated producer John Custer. Recorded almost entirely live in the studio, Truth Serum, is a great snapshot of the magic the band is capable of creating on stage. The album, which also features an appearance from DJ Logic, was named 2014 Album of the Year by The Homegrown Music Network, which makes Big Something the only band ever to win this award 3 times with 3 different releases (2010, 2013, and 2014). Truth Serum is available to stream for free in its entirety at: www.bigsomething.bandcamp.com


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.


 
Hot Buttered Rum
The Herd of Main Street | @Gypsy Sally's | view more info »
May
7

Hot Buttered Rum

The Herd of Main Street


Saturday May 7|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.


The Herd of Main Street

official band site »

The Herd of Main Street blends a soulful mix of Americana, classic country and classic rock n’ roll. Their music will “take the listener on a journey far outside the grip of the cold, grey city. This is the music of wind-swept country plains and stretches of open road disappearing into a distant vanishing point.” The full band is fronted by prolific songwriter Peter McKibben, who also plays guitar, harmonica, and piano. Other members include his wife Gena McKibben -(Vocals, Guitar, Slide guitar, Pedal Steel, Piano, Mandolin) Corey Zook – (Guitar), Kevin Alban – (Bass) and Lance Smith – (Drums).

 
Fruition
The Bones of J.R. Jones | @The 8x10 | view more info »
May
17

Fruition

The Bones of J.R. Jones


Tuesday May 17|doors 7:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Fruition

official band site »

The first time they ever made music together, Fruition’s three lead singer-songwriters discovered that their voices naturally blended into beautiful three-part harmonies. In the eight years since that impromptu busking session, the Portland, Oregon-based quintet has grown from a rootsy, string-centric outfit to a full-fledged rock band with an easy but powerful grasp of soul, blues, and British Invasion era pop.

On their new album Labor of Love, Fruition shows the complete force of their newly expanded sound, matching their more daring musicality with sophisticated, melody-minded song craft. The album subtly imparts the sense of being swept along on a journey, one reflecting an open-hearted spirit that sets in from the first notes of the dobro, mandolin and electric guitar driven title track, carries on to the sleepy soul of “Santa Fe,” and unfolds into the epic balladry of “The Meaning.”

“A common theme for all three songwriters is trying to embrace being out on the road all the time, but also feeling like you’re missing out on the everyday lifestyle that most people get to have,” says Leonard. Embedded within that tension is a wistful romanticism that imbues many of the album’s songs. “Most of the love songs are very much about those rare moments of getting to be with the people you love,” says Anderson. “And then other songs are about coming back to the people you love, and trying to deal with the strange ways things change because of being apart.”

After releasing their debut EP Hawthorne Hoedown in 2008, Fruition moved from busking on the street, to scraping their way onto the lower levels of festival lineups, to opening tours for bands like ALO and Greensky Bluegrass and onward, to being invited to play bigger festivals with ever bigger billing on those lineups.

Last year saw them appear at Bonnaroo, Northwest String Summit and Telluride Bluegrass where Rolling Stone cited their artful choice of covers and “raucous originals filled with heartfelt lyrics and stadium-worthy energy.” This year will see them share a Red Rocks bill with JJ Grey and Mofro and The Infamous Stringdusters, along with a full headline tour of the United States.

That breadth of touring experience has steadily reshaped the band and ultimately allowed them to achieve a sound they’ve long aspired toward. “We all tend to write on acoustic guitar and let things start in the same stripped-down, folky sort of way that we always did,” says Naja. “So where the songs come from hasn’t really changed much at all. What’s different is where we let them go from there.”


The Bones of J.R. Jones

official band site »

On a recent trip to Southern California, Jonathon Linaberry did the one thing he knows best: he wrote music. That it happened to be during his honeymoon mattered little to the New York-based musician. “I feel like I’m always writing,” the artist who performs as The Bones of J.R. Jones says with a laugh. “I feel ever more confident in the sound I’m trying to create.”

In many ways, Linaberry is a victim of his own creativity. Where some musicians lock themselves away in a studio to create an album or a concrete collection of songs, Linaberry can’t help but write whenever inspiration strikes. The blues singer and multi-instrumentalist, who incorporates elements of old-time folk into the all-encompassing persona of The Bones of J.R. Jones, describes his songwriting as “a continuing evolution.” Nonetheless, he admits he often wishes his ever-wandering creative spirit would settle down. “I would jump at the chance to have the flexibility where I can have six months locked away in a room and focus on one solid cohesive theme for a record,” Linaberry says. “But unfortunately with my schedule I try to cram these songs into the spaces of my life where I can fit them.”

Thankfully, within these delicate cracks of life, Linaberry is able to strike musical gold: The Bones of J.R. Jones’ latest album, Spirit’s Furnace, a crisp nine-track effort that bubbles with barroom dust and hard-won wisdom, finds the musician expanding the scope of his musical vision while stripping away the excess. “I’m a little clearer on the message that I’m trying to put out into the world,” says the singer who has effectively blurred the line between his own life and The Bones J.R. Jones character; he draws evermore from his personal life on his songs, most notably the tender, banjo-plucked “Wedding Song” written day’s before his own nuptials.

“It’s definitely a balance,” Linaberry says of expanding beyond his self-created alter ego. “I try to inhabit this character… whoever it may be. But obviously a huge influence on that is what’s going on at that time in my life. And then I’ll twist it through the spectrum of The Bones of J.R. Jones. It usually gets a lot darker after but they both inform each other.”

While 2014’s Dark Was The Yearling hinted at an artist grappling with his influences, albeit still carving out his own existence, the new Bones of J.R. Jones LP instead “feels a little sharper, a little more defined” to Linaberry. “On this album I’m more confident in my choices and feel better about the performances.”

Linaberry remains a disciple of early 20th-century blues and folk artists like Blind Lemon Jefferson and Lightnin’ Hopkins, both of whom the singer discovered in his teenage years. Still, he readily admits more contemporary influences are beginning to creep into his musical oeuvre. “I like to think I’m casting a wider net,” Linaberry says, citing opening Spirit’s Furnace track “13 Kinds” and “I’m Your Broken Dog” as “major departures” for him, what with their heavy folk influences and electric guitar as opposed to his earlier more traditional blues numbers. “I definitely still listen to the folk and blues stuff, but I really try to make a conscious effort to listen to music outside that box — whether it be bands like Sylvan Esso or more pop-influenced stuff,” he adds. “Sometimes you have to find out what the kids are listening to!”

Part of his current challenge, he explains, is paying homage to his influences while still making his own mark. “I am hyperaware of the history that a lot of the music I play brings with it,” he says. “I’m trying my damnedest not to reinvent the wheel but carve out my own voice. It’s very tough to create something in this day and age with everything being a tap away without having a little history involved in it. But it’s about finding that balance where the music does feel fresh and new but also familiar at the same time.”

What has continued to define The Bones of J.R. Jones is the musician’s hypnotic live show. He operates as a one-man band — playing guitar, drums, and singing in unison, creating the feeling of a raucous blues band with more immediacy. However, as a result of his new album’s size and scope there has emerged a stirring impulse in him to bring other musicians onstage.. “These songs are big enough that if I wanted to have another drummer up there with me it would make sense,” he explains. “I’m trying to evolve the live show and the space it lives in.

”Anytime I think about my live show I try to view it from one of my audience member’s perspective,” he concludes. “I do a lot up there. I cover a lot of ground sonically. I’m trying to give myself room to grow.”

 
Everyone Orchestra
Of Tomorrow | @Gypsy Sally's | view more info »
May
20

Everyone Orchestra

Of Tomorrow


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


Everyone Orchestra

official band site »

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.

conducted by Matt Butler
featuring:
Shmeeans (Lettuce)- guitar
Jeff Franca (Thievery Corporation)- percussion
Rob Mercurio (Galactic)- bass
Jen Hartswick (Trey Anastasio Band)- trumpet / vocals
Natalie Cressman (Trey Anastasio Band)- trombone / vocals
Cris Jacobs (The Bridge)- guitar / vocals
Johnny Kimock (Mike Gordon)- drums


Of Tomorrow

official band site »

Jonathan Modell (drums), Nicholas Soderstrom (bass), Geoff Browning (guitar, vocals) and a rotating cast of amazing, hand-picked collaborators who never cease to bring the beat to the street.

 
The Devil Makes Three
Joe Fletcher & The Wrong Reasons | @Rams Head Live | view more info »
May
20

The Devil Makes Three

Joe Fletcher & The Wrong Reasons


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


The Devil Makes Three

official band site »

“There’s a road that goes out of every town. All you’ve got to do is get on it,” Pete Bernhard says.

The guitarist/singer and his cohorts in the raw and raucous trio The Devil Makes Three have found their way onto that road numerous times since they first left their picaresque rural hometown of Brattleboro, Vermont. Back then, they had no idea it would lead them to such auspicious destinations as the Newport Folk and Austin City Limits Festivals, Bonnaroo and Lollapalooza, and on tours with Willie Nelson, Emmylou Harris and Rodney Crowell and Trampled By Turtles. Along the way, they drew numerous accolades from a growing fan base and press alike.

TDM3’s travels and travails serve as inspiration for their fourth album and their New West Records debut, I’m a Stranger Here, produced by Buddy Miller and recorded at Dan Auerbach’s (Black Keys) Easy Eye Sound Studio in Nashville.

With upright bassist Lucia Turino and guitarist Cooper McBean, Bernhard crafted a dozen tunes, part road songs, part heartbreak songs and part barnburners. While most bands are propelled from behind by a drummer, TDM3 builds exuberant rhythms from the inside out, wrapping finger-picked strings and upsurging harmonies around chugging acoustic guitar and bass, plying an ever-growing audience onto its feet to jump, shake and waltz.

TDM3’s sound is garage-y ragtime, punkified blues, old n’ new timey without settling upon a particular era, inspired as much by mountain music as by Preservation Hall jazz. “We bend genres pretty hard,” Bernhard says.

The combination could only have happened via the circuitous route each of them took to forming the band. As kids in Vermont, “all raised by sort of hippie parents” who exposed them to folk, blues and jugbands, Bernhard says, they blazed a path to nearby Boston, Massachusetts in search of punk rock shows. They found venerable venues like The Rat and The Middle East, drawn to east coast bands like the Dropkick Murphys and Aus-Rotten.

“It would be like 6 bucks for 13 bands, everyone playing for 20 minutes,” Bernhard says. “I had so much fun going to shows like that. The energy coming off the stage makes a circle with the crowd and comes back. We were really attracted to that energy.”

Bernhard and McBean, a multi-instrumentalist who plays banjo, musical saw and bass, forged a particular bond. Unlike most of their mutual friends, they both liked to play acoustic music, with McBean showing Bernhard the wonders of Hank Williams and Bob Wills & the Texas Playboys. They kept in touch after high school, when nearly everyone in their clique relocated to the west coast like the characters in Delbert McClinton’s song “Two More Bottles of Wine.”

“It was a mass exodus of kids who went out to start bands and be creative, searching for the unknown, dreaming of something different,” Bernhard says. “We wanted to get away from where we were from, as many kids do, and California was the farthest we could get.” Eventually they landed in sunny Santa Cruz, California, where TDM3 took shape in 2001. Their early gigs were house concerts, then small bars, punk shows, bigger rock clubs and theaters and festivals, all the while defying genre and delighting whomever turned up to listen.

Turino learned bass to join the band, but her unremitting sense of rhythm comes naturally from being raised by parents who were dance teachers, and from her own dance background. Attacking the strings of her upright, she understands how to infuse songs with the force it takes to get a crowd moving.

And the songs on I’m a Stranger Here tell the rest of the story, with the music often joyously juxtaposed against lyric darkness…the rootless nature of being in a touring band, traveling from town to town with little sense of community, represented by a devil-like character (“Stranger”)...thorny transitions into adulthood…struggling with relationships (“Worse or Better”), watching friends succumb to addiction (“Mr. Midnight”), coming to terms with mortality (“Dead Body Moving”), nostalgic notions of childhood (“Spinning Like a Top”). Bernhard even considers the destruction of changing weather patterns, inspired in part by Hurricane Katrina as well as a flood that wreaked havoc in Brattleboro (“Forty Days,” a gospel rave-up recorded with the Preservation Hall Jazz Band).

Bernhard wrote more than 20 songs for the album and turned them over to producer Buddy Miller, who gravitated toward the darker material but insured that the recording was lit up by the band’s innate ebullience. It was Miller’s idea to record at Easy Eye rather than his renowned home studio. “Easy Eye is like Sun Records,” Bernhard says. “There’s one live tracking room filled with amazing gear, and that defines the kind of record you’re going to make. That was exactly the record we wanted to make, and we knew Buddy was the one who could capture us playing together like we do.”

For a band that made its bones with dynamic performances, recording an album is almost like coaxing lightning into a bottle, but Miller and TDM3 succeed on I’m a Stranger Here. Now they’re continuing the journey that began when they found their way to the road that led them out of Vermont. “I can’t wait to get onstage, I love it,” Bernhard says. “Playing music for a living is a blessing and a curse, but for us there’s no other option.”


Joe Fletcher & The Wrong Reasons

official band site »

Joe Fletcher is a midwestern born, New England raised singer-songwriter living in East Nashville, TN. He released his third independent record, You've Got the Wrong Man, in October of 2014. This intimate solo album is a departure from his previous efforts with his band The Wrong Reasons (White Lighter and Bury Your Problems).

Made up of his gritty original songs as well as covers by his peers Brown Bird and Toy Soldiers, it was recorded live over a few months on a mobile recording unit in Rhode Island, Georgia, and Tennessee in the spirit of some of Joe's favorite records by Woody Guthrie, Leadbelly, Jimmie Rodgers, and Bruce Springsteen among others.

Now a four year veteran of the Newport Folk Festival, Joe has toured with The Devil Makes Three, Band of Heathens, Deer Tick and has opened for the likes Jason Isbell, Lucero, Robert Ellis, John Doe, The Low Anthem, and many more. Joe spends most of his time touring in what has truly been a grass roots operation thus far.

 
Atlas Road Crew
The Southern Belles | Bencoolen | @9:30 club | view more info »
Jun
16

Atlas Road Crew

The Southern Belles
Bencoolen

Thursday Jun 16|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Atlas Road Crew

official band site »

Named for the road in front of their original practice space in Columbia, South Carolina, Atlas Road Crew now calls Charleston, South Carolina home; it's an appropriate base of operations for a group that has perfected a classic rock 'n' roll sound shot through with southern soul accents. On a foundation of Allman Brothers Band riffs and Black Crowes attitude mixed with Memphis blues, soul and the Rolling Stones, Atlas Road Crew has been building a fan base through constant touring.

Atlas Road Crew, often abbreviated to “ARC”, started while students at the University of South Carolina; they like to say that they were friends first, then a band. Singer and guitarist Taylor Nicholson has developed into a swaggering powerhouse of a vocalist with plenty of natural soul; the band has grown up as well, into a road-tested example of the resurgence of classic southern rock and soul.

Atlas Road Crew can jam and they like to stretch things out in their live shows when the groove is right, but they are focused on perfecting the four-minute radio-ready pop and rock hit whether that means a slow burning, soulful ballad or a get-up-and-dance groove.

“We've improved our songwriting over the different recording sessions the band has done and developed the ability to boil the songs down into their essence,” Says bassist Max Becker. “We're more interested in writing a great song first, then we'll take it on the road and mess with it live.”

The band likes to refer to themselves not as southern rock but “Southeastern Rock,” an appropriate designation since their popularity in college towns across the country began in the Carolinas and Georgia and spread to the deep south and up the East Coast before going nationwide; they have a sound that transcends region by traversing diverse styles. The result is something that's familiar yet new, the kind of twangy, swampy southern rock 'n' soul that one might expect to come out of a Muscle Shoals session in the 1970's but it's as immediate and fresh as anything on the contemporary scene.


The Southern Belles

official band site »

The Southern Belles are Adrian Ciucci (guitar/vocals), Tommy Booker (keys/vocals), Aaron Zarrow (drums/vocals) and Andrew Carper (bass/vocals). Playing a high-octane mix of funky southern psychedelic Rock & Roll, the Belles perform hundreds of shows and festivals each year. Their ability to instinctively communicate with one another was apparent right from the start, but as they've continued to play together this cultured ability has grown exponentially. The Southern Belles road-tested sound has earned them a devout following, with fans traveling far and wide to catch the show. With their new album "Close To Sunrise," released in July of 2015, the Southern Belles are picking up steam and gaining national notoriety for their original compositions and song craft. Their songs are both fun and moving, with lyrical stories evoking familiar emotions and complex musical journeys. Wherever the Southern Belles are, they are sure to bring the party with them.

Bencoolen

official band site »

Known for their live act, Bencoolen defines their sound as maximalist rock with soaring vocal lines, massive guitar tones, and swift saxophone solos. The band was credited as the best Washington DC college band of 2015, was featured in USA Today, closed an Arlington Virginia festival, and opened for Cold War Kids.

 
Rebelution
The Green | J Boog, Stick Figure, Through The Roots | @Pier Six Pavilion | view more info »
Jun
17

Rebelution

The Green
J Boog, Stick Figure, Through The Roots

Friday Jun 17|doors 5:30 pm|all ages
Pier Six Pavilion|get directions »
731 Eastern Ave
Baltimore, MD|p: (410) 783-4189


Rebelution

official band site »

“Too blessed to be stressed,” is one of many key song lyrics from Rebelution’s new album Count Me In. The California band’s fourth full-length release on its own label 87 Music, and partnering for the first time with Easy Star Records, marks its tenth year together. And while surely every band has its share of stress, Rebelution feels they have been “too blessed” to have much time to worry about it.

Said guitarist/singer Eric Rachmany about the band in its decade milestone, “we still have the same energy as we did as a young band, if not more. The more experience we had doing this, the more inspired we became.”

The songs on Count Me In show that as they combine ever-youthful energy with a mature perspective. For every hopeful “Count Me In,” there’s a worldly-wise “Counterfeit Love.” For every message of positivity, as in “More Love” (“You’re in a dream, wake up and now gear up/Come on”), there’s a look at the hard edge of history: “Invasion” recounts the plight of the oppressed as Eric sings, “No time for questions/Don’t ask for reasons/Washed of their faith/Thrown in the fire.” “Every song has a story,” the singer explains matter-of-factly. The acknowledgement of injustice that deepens some of Rebelution’s stories draws on the roots-reggae tradition that inspired the band in the first place. Indeed, their love for the inspirational roots of modern Jamaican music have culminated in a collaboration with Don Carlos himself, on the jam-anthem “Roots Reggae Music.”

Count Me In, released on June 10th, 2014, debuted on the Billboard Top 200 at #14 and marked the band’s third consecutive #1 Reggae album.

The seeds of Rebelution germinated in Santa Barbara’s college town of Isla Vista in 2004. A student named Marley D. Williams had recently switched from baseball to bass guitar when, walking to choir practice one night, he heard strains of roots-reggae coming through a door. The fellow reggae enthusiast turned out to be Rachmany, a devotee of roots-reggae and dancehall, and especially the music of Don Carlos and Black Uhuru.

The nucleus of a new and innovative “California Reggae” band got rock-solid when Marley heard percussionist and drummer Wesley Finley’s impressive solos on a big African drum in a World Music class. At the same time, the bassist had befriended a local band featuring keyboardist Rory Carey, who soon became another cornerstone of the budding Rebelution.

Fate? Good luck? Some combination of forces had stirred in Isla Vista to bring these boys together. Guerilla-style cover gigs led to bigger local shows, original songs, and a homemade five-song EP that surprised everyone by becoming a radio hit in Hawaii, quickly leading to a tour there. The eye-opening thrill of headlining a show in front of 600 fans, all singing along, told the young musicians that even though they were still college kids, they were onto something big there on the Big Island.

Back home, it was time to invest in recording a full album. After a few growing pains, Courage to Grow hit the airwaves, and of course the internet – it was the heyday of Myspace, and the band took full advantage. The album’s title expressed their fearless energy, and the same kind of organic underground surge that had created their early Hawaiian fan base propelled Courage to Grow to #4 on the Billboard Reggae chart and earned it the nod as iTunes’ Editors’ Choice for Best Reggae Album of 2007.

Bright Side of Life, released on their own 87 Music label in 2009, hit #1 on the iTunes Reggae chart, and was the third most downloaded album in the U.S. in all genres while reaching No. 1 on the Billboard Top Reggae Albums chart and #34 on Billboard’s top 200.

As if that weren’t enough, their third LP, Peace of Mind, released in 2012 with additional acoustic and dub versions of all twelve songs, marked an even higher chart debut: #13 on the Billboard Top 200, not to mention #1 on the Reggae chart and #1 on the Independent chart – and it was the #4 iTunes album overall.

All very different, but always musical brothers, these tireless pioneers of California Reggae now play 100-120 shows a year. Tours have taken them to South America, Guam, Aruba, New Zealand and Europe. They’ve performed at Bonnaroo, Outside Lands, Glastonbury, Lollapalooza, and Austin City Limits. They’ve headlined and sold out Red Rocks and the Santa Barbara Bowl, and done all this with no backing from any major label and very little media support.

Marley explains: “Our music is meant to move people physically and mentally at the same time. When people are really dancing and really thinking, that’s a double threat.” Among other things, he adds, it evokes “It’s a ‘one love’ spirit and we’re doing it in our own style, influenced by the diversity in California and the people we were surrounded by growing up.”

Still, at heart, the story of Rebelution is a pretty easy one to understand. As the band embarks on its second decade, Eric explains, “Rebelution is a great example of four friends who got together to play music for the fun of it, and still do that today. We just play music that we really enjoy.”


The Green

J Boog, Stick Figure, Through The Roots

 
Grace Potter
@9:30 club | view more info »
Jun
22

Grace Potter



Wednesday Jun 22|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Grace Potter

official band site »

This is the rescheduled date from Friday, January 22, 2016.
All original tickets for 1/22/16 will be honored.
Refunds available at place of purchase until 3/1/16.


Grace Potter’s epic musical journey reaches a new milestone with the arrival of her solo debut, Midnight (released August 14 on Hollywood Records), an inspired work that is surprising, revelatory and wildly original.

Midnight was recorded and mixed at Barefoot Studios in Hollywood with producer Eric Valentine, whose own diverse discography—from Queens of the Stone Age to Nickel Creek—evidences a similarly adventurous spirit and openness to possibility. If Valentine’s studio work has a distinguishing characteristic, it’s his hard-hitting sonic signature, which is on display throughout Midnight’s dozen tracks. The core studio band consisted of Potter and Valentine on most of the instruments, with Burr on drums and percussion. In addition, members of Potter’s longtime band The Nocturnals: guitarists Scott Tournet and Benny Yurco and bassist Michael Libramento contributed to the sessions, as well as former tour-mates and friends including singer-songwriter Rayland Baxter, Audra Mae, Noelle Skaggs of Fitz & the Tantrums, Wayne Coyne of The Flaming Lips, and Nick Oliveri of Queens of the Stone Age.

“This album is about embracing life as it comes at you – with all its unexpected twists and turns,” says Potter. “I took a much more open approach to songwriting than I have in the past – probably because it was unavoidable. I’ve experienced a huge amount of growth and change in the past two years - both personal and professional, and it can be overwhelming for an artist to find ways to express that in a vacuum. So I tried to strip away the confines of other people’s expectations. I started tapping into some of the deep-running themes that have shaped me into the human I’ve become, and as I went deeper and deeper, I found the results to be insanely satisfying.

“This music means so much to me because it was hard-won. It was a terrifying yet fulfilling process of boiling down what I really wanted to say – peeling back all the protective layers of lyrical metaphor and sonic padding that I’m so used to leaning on. Ultimately the process has fueled` me to share more, learn more, listen carefully, work harder, love harder... Our time on earth is far too short to be resistant to beautiful opportunities as they come our way, so when my inspiration took me somewhere new, I did what I always do: stripped buck-ass naked and ran straight into the fire.”

Citing Miles Davis, Dylan, the Beatles, Bowie, Blondie and Beck as prime examples, Potter says she is drawn to artists who make sonic leaps from record to record—a notion she has explored throughout her career. For an artist who has built a devoted fan base through her electrifying live show, Potter seems hell-bent on breaking out of the box when it comes to studio work. She refuses to be defined by a single genre. Over the last three years, she has seamlessly transitioned from collaborating with the Flaming Lips, for a Tim Burton film, to songwriting and producing for soundtracks and theme songs for film and TV, to multi-platinum, Grammy-nominated country duets with her friend Kenny Chesney, to most recently joining The Rolling Stones on stage for an inspired rendition of “Gimme Shelter.”

“The bands and artists that captivate me,” Potter explains, “are the ones who are always pushing it, always taking risks. A great musician can shine in any genre. I refuse to make the same kind of record over and over—that’s not how art works for me. The worst thing an artist can do,” she asserts, “is what is expected of them.”

The seeds for what would become Midnight were planted by Potter at home, in Vermont, in the fall of 2013. “I had been messing around for a few weeks with making really wacked-out home demos - lots of sounds, beats and melodies that I had never tried before,” she recalls. “It was a dark, stormy, moody day and I could hear the thunder in the distance — these big ominous clouds were rolling in fast. There was something about that threat of inclement weather beyond my control that just made me vibrate with anticipation and adrenaline, so I channeled it into this heavy boogie song—it goes right for the throat and says ‘Own your existence on earth, because who knows what’s gonna happen next.’ That solitary moment guided everything that followed, and “Alive Tonight” was the beginning of it.”

Fittingly, “Alive Tonight” is Midnight’s lead single.

Valentine was intrigued by Grace’s sonic experiments in her work-tapes, so much so that they formed the blueprint for a number of the arrangements that made the final cut. “Her demos had an incredible vibe that really captured a groove or mood that would immediately grab your attention,” he notes. “So it seemed like that was the way to chase down this record as an honest representation of what Grace wanted to say and how she wanted these tracks to feel—because she had done such a good job of laying it out herself.”

“Hot to the Touch,” the aggressive, hook-heavy rocker that Grace chose to open the album, was the last song written for it. “When you’re making an album, you rarely have the opportunity to look at the whole thing and ask yourself what’s missing,” she points out. “And “Hot to the Touch” was the song that tied the whole thing together—the culmination of how I felt about making this entire record. It has a sexy, fiery, James Bond kind of vibe to it, and I came up with this snippy, edgy guitar part that fit really nicely. Lyrically, it’s about the tempestuous nature of love and attraction. That type of songwriting doesn’t happen very often when you’re making an album, so it felt like the cherry on top.

“The song “Delirious” was the tipping point of the album in many ways. I was in a really prolific stage of the process. The heart of the record had really taken shape in my mind. I was desperate to get everything down on paper before it left my mind and sleep felt like a distraction - but strange things happen when you haven’t slept in days. I reached a moment where finally, all my pretensions, judgments and preconceived notions vanished. I’d had so many sleepless nights trying to crack the code that my defenses were down, my nerves numb and I needed a real-deal freak-out dance party - an implosion of all the walls I had built around myself.”

Looking at some of Midnight’s other key songs, the stirring “Look What We’ve Become” began with a borrowed premise yet wound up as the album’s autobiographical centerpiece. “The label was really pushing me to do co-writes, which I’ve always tried to avoid, but Eric and I quickly developed a creative trust and symmetry that allowed me to feel more open to the possibilities...a few weeks later he set me up with a guy he’d worked with for years, who does a lot of co-writing, who played me a great demo,” she remembers. “When I heard the chorus, I knew I had to sing it—I found myself really attached to the melody and the message. I love the universality of it; everyone has been made to feel that they are unworthy in some way. So I wrote the verses and the bridge about my own experience with the music industry and the band. It turned out to be an excellent example of how co-writing can expand an artist’s field of play.”

Grace undertook the writing of “Your Girl” with the aim of coming up with a new take on a classic love triangle on this 70’s tinged soul gem. “In one way or another, we’ve all gone through the struggle of wanting something we can’t have...but this particular cliche? has been so overdone. If I wanted it to work, I needed a plot twist that was true to personal experience. Then we basically treated it a lot like a hip-hop track and just set it over an undeniable groove with some awesome quirky hooks,” she says. “In chasing down an originality in the confines of a heavily tread genre, Eric and I landed on one of my favorite sonic and lyrical moments of the album.”

With its rippling guitar riff and gospel-choir payoff, “Empty Heart” is one of the catchiest songs on the album. “I wrote “Empty Heart” in the hotel room of a casino in the mid-west somewhere; bored out of my mind after a show. I had a crappy guitar with two broken strings and as I started banging away, hooting and howling, my neighbors one room over started BUMPING Usher... That’s when it hit me: ‘How cool would it be to put a super hi-fi urban beat against this janky- twangy acoustic sound?’ I never expected that it would become the feel-good song that it did...but it just goes to show that you never know where inspiration will come from – or where it will take you. You just gotta take the ride and hang on for dear life.”

The release of “Alive Tonight” was shrouded in mystery, and word of Potter’s creative leap sans the Nocturnals hit the blogosphere quite suddenly causing many devoted fans to wonder if this record signaled the end of an era. Fans and friends had lots of questions, but Potter remained silent. “Yeah. People kinda freaked out, some in really good ways, some...not so much. I knew they would and I understood why; this is a bold new sound and for a hardcore fan, it’s a big deal. Loyalty has always been really important to me and so has evolution. It’s hard sometimes to understand that they don’t need to be at odds. The band is an extension of me. They are my family and a huge part of my life. I have no intention of burning bridges or leaving it in the dust.

“I’ve been a Nocturnal for a decade....but I’ve been a musician forever. I’ve got a lot of different influences and creative impulses and I can’t always use my band as my springboard. Sure, I could’ve called this a GPN record, but why would I slap a sticker on an apple and call it an orange? Just to keep a few people from freaking out? Shit no! I have a responsibility to the legacy we built. It was hard. It was scary, but it was the right time to jump off with my own momentum – to open the door a little wider so the world can see another side, see what else turns me on. I’m mixing it up, doing something different...feels fucking awesome,” Potter says with a smile and a defiant shrug.

“In many ways, Midnight feels like a new beginning, but really, it’s a continuation of my story. I’ve always taken chances and sharp turns. So here I am again wandering into completely uncharted waters—just laying it all out there because ‘why the fuck not?’ I have absolutely no control over how this music will be received, and that’s OK. The risk is mine, and I'm taking it with all my heart.”


 
Grace Potter
@9:30 club | view more info »
Jun
23

Grace Potter



Thursday Jun 23|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Grace Potter

official band site »

This is the rescheduled date from Saturday, January 23, 2016.
All original tickets for 1/23/16 will be honored.
Refunds available at place of purchase until 3/1/16.


Grace Potter’s epic musical journey reaches a new milestone with the arrival of her solo debut, Midnight (released August 14 on Hollywood Records), an inspired work that is surprising, revelatory and wildly original.

Midnight was recorded and mixed at Barefoot Studios in Hollywood with producer Eric Valentine, whose own diverse discography—from Queens of the Stone Age to Nickel Creek—evidences a similarly adventurous spirit and openness to possibility. If Valentine’s studio work has a distinguishing characteristic, it’s his hard-hitting sonic signature, which is on display throughout Midnight’s dozen tracks. The core studio band consisted of Potter and Valentine on most of the instruments, with Burr on drums and percussion. In addition, members of Potter’s longtime band The Nocturnals: guitarists Scott Tournet and Benny Yurco and bassist Michael Libramento contributed to the sessions, as well as former tour-mates and friends including singer-songwriter Rayland Baxter, Audra Mae, Noelle Skaggs of Fitz & the Tantrums, Wayne Coyne of The Flaming Lips, and Nick Oliveri of Queens of the Stone Age.

“This album is about embracing life as it comes at you – with all its unexpected twists and turns,” says Potter. “I took a much more open approach to songwriting than I have in the past – probably because it was unavoidable. I’ve experienced a huge amount of growth and change in the past two years - both personal and professional, and it can be overwhelming for an artist to find ways to express that in a vacuum. So I tried to strip away the confines of other people’s expectations. I started tapping into some of the deep-running themes that have shaped me into the human I’ve become, and as I went deeper and deeper, I found the results to be insanely satisfying.

“This music means so much to me because it was hard-won. It was a terrifying yet fulfilling process of boiling down what I really wanted to say – peeling back all the protective layers of lyrical metaphor and sonic padding that I’m so used to leaning on. Ultimately the process has fueled` me to share more, learn more, listen carefully, work harder, love harder... Our time on earth is far too short to be resistant to beautiful opportunities as they come our way, so when my inspiration took me somewhere new, I did what I always do: stripped buck-ass naked and ran straight into the fire.”

Citing Miles Davis, Dylan, the Beatles, Bowie, Blondie and Beck as prime examples, Potter says she is drawn to artists who make sonic leaps from record to record—a notion she has explored throughout her career. For an artist who has built a devoted fan base through her electrifying live show, Potter seems hell-bent on breaking out of the box when it comes to studio work. She refuses to be defined by a single genre. Over the last three years, she has seamlessly transitioned from collaborating with the Flaming Lips, for a Tim Burton film, to songwriting and producing for soundtracks and theme songs for film and TV, to multi-platinum, Grammy-nominated country duets with her friend Kenny Chesney, to most recently joining The Rolling Stones on stage for an inspired rendition of “Gimme Shelter.”

“The bands and artists that captivate me,” Potter explains, “are the ones who are always pushing it, always taking risks. A great musician can shine in any genre. I refuse to make the same kind of record over and over—that’s not how art works for me. The worst thing an artist can do,” she asserts, “is what is expected of them.”

The seeds for what would become Midnight were planted by Potter at home, in Vermont, in the fall of 2013. “I had been messing around for a few weeks with making really wacked-out home demos - lots of sounds, beats and melodies that I had never tried before,” she recalls. “It was a dark, stormy, moody day and I could hear the thunder in the distance — these big ominous clouds were rolling in fast. There was something about that threat of inclement weather beyond my control that just made me vibrate with anticipation and adrenaline, so I channeled it into this heavy boogie song—it goes right for the throat and says ‘Own your existence on earth, because who knows what’s gonna happen next.’ That solitary moment guided everything that followed, and “Alive Tonight” was the beginning of it.”

Fittingly, “Alive Tonight” is Midnight’s lead single.

Valentine was intrigued by Grace’s sonic experiments in her work-tapes, so much so that they formed the blueprint for a number of the arrangements that made the final cut. “Her demos had an incredible vibe that really captured a groove or mood that would immediately grab your attention,” he notes. “So it seemed like that was the way to chase down this record as an honest representation of what Grace wanted to say and how she wanted these tracks to feel—because she had done such a good job of laying it out herself.”

“Hot to the Touch,” the aggressive, hook-heavy rocker that Grace chose to open the album, was the last song written for it. “When you’re making an album, you rarely have the opportunity to look at the whole thing and ask yourself what’s missing,” she points out. “And “Hot to the Touch” was the song that tied the whole thing together—the culmination of how I felt about making this entire record. It has a sexy, fiery, James Bond kind of vibe to it, and I came up with this snippy, edgy guitar part that fit really nicely. Lyrically, it’s about the tempestuous nature of love and attraction. That type of songwriting doesn’t happen very often when you’re making an album, so it felt like the cherry on top.

“The song “Delirious” was the tipping point of the album in many ways. I was in a really prolific stage of the process. The heart of the record had really taken shape in my mind. I was desperate to get everything down on paper before it left my mind and sleep felt like a distraction - but strange things happen when you haven’t slept in days. I reached a moment where finally, all my pretensions, judgments and preconceived notions vanished. I’d had so many sleepless nights trying to crack the code that my defenses were down, my nerves numb and I needed a real-deal freak-out dance party - an implosion of all the walls I had built around myself.”

Looking at some of Midnight’s other key songs, the stirring “Look What We’ve Become” began with a borrowed premise yet wound up as the album’s autobiographical centerpiece. “The label was really pushing me to do co-writes, which I’ve always tried to avoid, but Eric and I quickly developed a creative trust and symmetry that allowed me to feel more open to the possibilities...a few weeks later he set me up with a guy he’d worked with for years, who does a lot of co-writing, who played me a great demo,” she remembers. “When I heard the chorus, I knew I had to sing it—I found myself really attached to the melody and the message. I love the universality of it; everyone has been made to feel that they are unworthy in some way. So I wrote the verses and the bridge about my own experience with the music industry and the band. It turned out to be an excellent example of how co-writing can expand an artist’s field of play.”

Grace undertook the writing of “Your Girl” with the aim of coming up with a new take on a classic love triangle on this 70’s tinged soul gem. “In one way or another, we’ve all gone through the struggle of wanting something we can’t have...but this particular cliche? has been so overdone. If I wanted it to work, I needed a plot twist that was true to personal experience. Then we basically treated it a lot like a hip-hop track and just set it over an undeniable groove with some awesome quirky hooks,” she says. “In chasing down an originality in the confines of a heavily tread genre, Eric and I landed on one of my favorite sonic and lyrical moments of the album.”

With its rippling guitar riff and gospel-choir payoff, “Empty Heart” is one of the catchiest songs on the album. “I wrote “Empty Heart” in the hotel room of a casino in the mid-west somewhere; bored out of my mind after a show. I had a crappy guitar with two broken strings and as I started banging away, hooting and howling, my neighbors one room over started BUMPING Usher... That’s when it hit me: ‘How cool would it be to put a super hi-fi urban beat against this janky- twangy acoustic sound?’ I never expected that it would become the feel-good song that it did...but it just goes to show that you never know where inspiration will come from – or where it will take you. You just gotta take the ride and hang on for dear life.”

The release of “Alive Tonight” was shrouded in mystery, and word of Potter’s creative leap sans the Nocturnals hit the blogosphere quite suddenly causing many devoted fans to wonder if this record signaled the end of an era. Fans and friends had lots of questions, but Potter remained silent. “Yeah. People kinda freaked out, some in really good ways, some...not so much. I knew they would and I understood why; this is a bold new sound and for a hardcore fan, it’s a big deal. Loyalty has always been really important to me and so has evolution. It’s hard sometimes to understand that they don’t need to be at odds. The band is an extension of me. They are my family and a huge part of my life. I have no intention of burning bridges or leaving it in the dust.

“I’ve been a Nocturnal for a decade....but I’ve been a musician forever. I’ve got a lot of different influences and creative impulses and I can’t always use my band as my springboard. Sure, I could’ve called this a GPN record, but why would I slap a sticker on an apple and call it an orange? Just to keep a few people from freaking out? Shit no! I have a responsibility to the legacy we built. It was hard. It was scary, but it was the right time to jump off with my own momentum – to open the door a little wider so the world can see another side, see what else turns me on. I’m mixing it up, doing something different...feels fucking awesome,” Potter says with a smile and a defiant shrug.

“In many ways, Midnight feels like a new beginning, but really, it’s a continuation of my story. I’ve always taken chances and sharp turns. So here I am again wandering into completely uncharted waters—just laying it all out there because ‘why the fuck not?’ I have absolutely no control over how this music will be received, and that’s OK. The risk is mine, and I'm taking it with all my heart.”


 
Merryland Music Fest Kick-Off Concert featuring
Papadosio
ELM | @Rams Head Live | view more info »
Jul
8

Merryland Music Fest Kick-Off Concert featuring
Papadosio

ELM


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


Merryland Music Fest Kick-Off Concert featuring
Papadosio

official band site »

Tickets for this show are only available as an add-on following the purchase of a Merryland Music Fest ticket. Visit www.merrylandmusicfest.com for complete details.


Mesmerizing, spellbinding and genre-defying: With their fourth full-length studio release Extras In A Movie, Papadosio reveals a striking cinematic cornucopia of sounds: orchestral, electronic, organic, acoustic, psychedelic and celestial. The 16 selections that comprise the song cycle are concise and structured – launch pads for the improvisational excursions that are a hallmark of the band’s celebrated concert performances.


ELM

official band site »

Electric Love Machine (ELM) is best described as an outer space adventure through sound, infused with doses of electronic funk, traditional Americana and improvisational jazz, and whose foundation is built on a sense of community. Their first full-length album, XenofoneX, touches upon the aural sense, and travels through one’s heart, makes a stop in the brain, all while travelling across the cosmic plane.

 
Merryland Music Fest Kick-Off Concert featuring
Soul Rebels
People's Blues of Richmond | @9:30 club | view more info »
Jul
8

Merryland Music Fest Kick-Off Concert featuring
Soul Rebels

People's Blues of Richmond


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


Merryland Music Fest Kick-Off Concert featuring
Soul Rebels

official band site »

Tickets for this show are only available as an add-on following the purchase of a Merryland Music Fest ticket. Visit www.merrylandmusicfest.com for complete details.


THE SOUL REBELS are riding high into 2016 after recently touring four continents including Europe, Australia, debuting in China and Japan, selling out shows, collaborating live with artists spanning from Macklemore & Ryan Lewis, Marilyn Manson, Joey Bada$$, Big Freedia, Lettuce, Umphrey’s McGee, Robert Glasper, Kool & The Gang, Rakim, Slick Rick, The String Cheese Incident, Black Thought of The Roots, Pharoahe Monch and opening for Bruno Mars. The Soul Rebels start off the year strong with a tour featuring special guest Talib Kweli, complimented by a three night residency at New York’s Brooklyn Bowl featuring special guests Big Freedia, Talib Kweli and other iconic artists.


People's Blues of Richmond

official band site »

People’s Blues of Richmond brings a carnival-like mayhem to their dark, blues-infused psychedelia. The power trio’s new single “Gone Gone Gone” b/w “Outta My Mind” was produced & engineered by the highly sought-after Mark Neill, the man behind The Black Key’s platinum-selling, Grammy-winning Brothers record.

 
Merryland Music Fest Late-Night Concert
Hosted By Kung Fu
with guest appearances by Karl Denson and more!
@Rams Head Live | view more info »
Jul
9

Merryland Music Fest Late-Night Concert
Hosted By Kung Fu
with guest appearances by Karl Denson and more!



Saturday Jul 9|doors 10:30 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Merryland Music Fest Late-Night Concert
Hosted By Kung Fu
with guest appearances by Karl Denson and more!

official band site »

Tickets for this show are only available as an add-on following the purchase of a Merryland Music Fest ticket. Visit www.merrylandmusicfest.com for complete details.


Proud to be firmly installed in the new-funk movement, KUNG FU is quickly popularizing their unique sonic contribution, blurring the line between intense electro-fusion, and blistering dance arrangements. Making fusion music "cool" again, the band draws on influences such as early Headhunters and Weather Report, and merges those ideas with a contemporary EDM informed sensibility. Imagine 70's funk-fusion meets a modern dance party!


 
All Good Presents
Merryland Music Fest
The String Cheese Incident, Lotus, Stephen "Ragga" Marley and more!

@Merriweather Post Pavilion | view more info »
Jul
9

All Good Presents
Merryland Music Fest
The String Cheese Incident, Lotus, Stephen "Ragga" Marley and more!



Saturday Jul 9|doors 1:00 pm|all ages
Merriweather Post Pavilion|get directions »
10475 LITTLE PATUXENT PARKWAY
COLUMBIA, MD|p: (410) 715-5550


All Good Presents
Merryland Music Fest
The String Cheese Incident, Lotus, Stephen "Ragga" Marley and more!

official band site »

All Good Presents is stoked to announce our first-ever Merryland Music Fest at one of the nation’s most beautiful and legendary outdoor amphitheatres, Merriweather Post Pavilion.

Merryland Music Fest will include an expanded footprint featuring a second stage and an interactive space amongst Symphony Woods, with unique local artisans, philanthropic organizations, and crowd performers. For microbrew fans, Flying Dog Brewery will be serving up our very own All Good ISA (India Seasonal Ale) along with other selected brands.

Beyond Merryland’s two days and nights of music at Merriweather Post, All Good Presents is offering those hard-core music enthusiasts their choice of Kick-Off and Late-Night Concerts at premiere venues in Baltimore and DC.

Bring your fellow music lovers and join us in celebrating music and life.


 
All Good Presents
Merryland Music Fest
Ben Harper & The Innocent Criminals, Grace Potter, Greensky Bluegrass and more!

@Merriweather Post Pavilion | view more info »
Jul
10

All Good Presents
Merryland Music Fest
Ben Harper & The Innocent Criminals, Grace Potter, Greensky Bluegrass and more!



Sunday Jul 10|doors 1:00 pm|all ages
Merriweather Post Pavilion|get directions »
10475 LITTLE PATUXENT PARKWAY
COLUMBIA, MD|p: (410) 715-5550


All Good Presents
Merryland Music Fest
Ben Harper & The Innocent Criminals, Grace Potter, Greensky Bluegrass and more!

official band site »

All Good Presents is stoked to announce our first-ever Merryland Music Fest at one of the nation’s most beautiful and legendary outdoor amphitheatres, Merriweather Post Pavilion.

Merryland Music Fest will include an expanded footprint featuring a second stage and an interactive space amongst Symphony Woods, with unique local artisans, philanthropic organizations, and crowd performers. For microbrew fans, Flying Dog Brewery will be serving up our very own All Good ISA (India Seasonal Ale) along with other selected brands.

Beyond Merryland’s two days and nights of music at Merriweather Post, All Good Presents is offering those hard-core music enthusiasts their choice of Kick-Off and Late-Night Concerts at premiere venues in Baltimore and DC.

Bring your fellow music lovers and join us in celebrating music and life.


 
Dark Star Orchestra & The Bridge
@Pier Six Pavilion | view more info »
Jul
29

Dark Star Orchestra & The Bridge



Friday Jul 29|doors 5:00 pm|all ages
Pier Six Pavilion|get directions »
731 Eastern Ave
Baltimore, MD|p: (410) 783-4189


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.


The Bridge

official band site »

The fearless leaders of The Bridge have traveled an enormous distance to get where they are; all the way from living off-the-grid on a remote Hawaiian farm—in Kenny Liner’s case—and chafing in the buttoned-down corporate world—in Cris Jacobs’—to making a formidable album that’s fed by hometown roots and laced with wanderlust. It’s called National Bohemian, a nod to both the Baltimore-based sextet’s beloved local brew and their creatively rewarding but often unglamorous hard-touring lifestyle. It’s also the work of a dexterous band of players to be reckoned with.

From the eleven new, original tracks, this much is clear: Jacobs (vocals and guitar), Liner (mandolin and beatboxing), Dave Markowitz (bass and vocals), Patrick Rainey (saxophone), Mike Gambone (drums) and Mark Brown (keyboards)—otherwise known as The Bridge—have come into their own, covering unbounded musical territory with no shortage of verve and striking a rare balance between high-quality songs and sharp instrumental interplay. They have the tools to see their expansive musical vision through, starting with the unorthodox nature of their lineup: string band elements powered by a plugged-in R&B- and roots rock-ready rhythm section, heated by keyboard and horn and, here and there, seasoned with syncopated beatboxing.


 
Galactic
@Flying Dog Brewery | view more info »
Jul
30

Galactic



Saturday Jul 30|doors 5:30 pm|21+
Flying Dog Brewery|get directions »
4607 Wedgewood Blvd
Frederick, MD|p: (301) 694-7899


Galactic

official band site »

It’s been more than 20 years since Ben Ellman, Robert Mercurio, Stanton Moore, Jeff Raines and Rich Vogel began exploring the seemingly limitless musical possibilities born out of their work together as Galactic. Since then, the seminal New Orleans band has consistently pushed artistic boundaries on the road and in the studio, approaching their music with open ears and drawing inspiration as much from the sounds bubbling up from their city’s streets as they do from each other.

A key part of that creative spark comes from the teamwork of Mercurio and Ellman, whose ever-evolving production and arranging skills helped usher the band into a new phase of studio work beginning with the loop-centric “Ruckus” in 2007. A series of albums focused around specific concepts like Carnival followed, as did collaborations with guests hailing from worlds outside the one Galactic calls its own.

On “Into the Deep,” the band members look within themselves instead, drawing inspiration from people and ideas that have long been close to their hearts – and, in turn, close to the development of their unique sound. Shot through with soul, funk, blues and rock, the result is an organic riff on elements of Galactic’s past, filtered through the lens of where they’re headed in 2015. “I see this album as a kind of culmination of all of our collaborations or experiences, from [trombonist] Corey Henry to the people we met on the road, touring,” says Mercurio, referencing Ellman’s first full-time gig in New Orleans, which kicked off when Henry hired him into the Little Rascals Brass Band in 1989. “The previous albums took us in the opposite direction,” Mercurio says. “We collaborated with rappers that we had never dealt with and even on the New Orleans tracks, we didn’t have working experience with most of those artists before the recordings.”

In contrast, “Into the Deep” contributors like JJ Grey, David Shaw and Maggie Koerner spent significant time touring with Galactic. A few years ago, Mavis Staples sat in with the band, all of whom are longtime fans of the legendary singer’s R&B-meets-gospel soul style. They caught up with Macy Gray when she performed a memorable concert at Tipitina’s where Ellman says he could see from the outset “how much she cares about the music.” And each of the players had also developed a deep appreciation for the Honorable South’s Charm Taylor, whose contribution, “Right On” was written specifically to suit her vibe.

“Quint Davis [the producer of] Jazz Fest always has a couple people he books at the festival that aren’t big names but that Quint knows are going to be super cool,” says Ellman. “That’s how we met Brushy One-String. We originally wanted to bring him in to do anything, just to see what would happen. But when we heard his song ‘Chicken in the Corn,’ we really wanted to do our version of it.”

In the end, he joined them on the road for over a month, collaborating with the band onstage at each show.

For the instrumental tracks, Galactic mined the interests and tastes they’ve cultivated together for years in New Orleans. “Buck 77” was written via improvisation, a long-standing cornerstone of their live shows. The funky bass line and tumbling guitar part on “Long Live the Borgne,” meanwhile, represents an updated, more composed take on some of the concepts that made early albums like “Coolin’ Off” so strong.

As for the opener “Soogar Doosie,” Ellman points out Galactic tends to record at least one track on each album that speaks to the band’s collective love of brass band music.

“We write [those songs] with the idea of how awesome it would be to hear the Rebirth going down doing the street in a second line playing one of our songs. We try to think of a real second line song that would get people slapping stop signs and dancing on cars,” he says.

The album, Ellman says “is all about people. It’s these connections we’ve made over 20 years. They’re people in our orbit that have come into our little world and affected us in some way.”

It’s also about how the individual musicians within Galactic have grown over time. When it comes to trying new approaches as players, producers, songwriters and arrangers, Ellman muses, “it’s an evolution.”


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

The Claypool Lennon Delirium

JJUUJJUU


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.


JJUUJJUU

official band site »

JJUUJJUU is an astral union, an arcane ritual, and above all, a conversation. Harnessing an unspoken energy, the duo have exponentially blossomed from a sonic experiment to a forceful, telepathic dialogue of distinct-but-aligned vibrations. Releasing this dynamic on an expanding spiral of planned and impromptu live shows in the American southwest, the magnetism of the duo only continues to grow, along with its devoted, traveling coterie of entranced acolytes. - S.M. 2012