Nashville Concert Calendar

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Oct
21
Tue
Lightning 100 Presents Julian Casablancas + The Voidz @ Marathon Music Works
Oct 21 @ 7:00 PM – 11:00 PM

77-atlgWith his new album, Phrazes for the Young, Julian Casablancas enlisted the help of producers Jason Lader (Jenny Lewis, Brandi Carlile) and Mike Mogis (Bright Eyes, Monsters of Folk). The resulting release is a mélange of everything from country to synth-laden rock, expanding on Casablancas’ skilled songwriting.

Wilco @ Ryman Auditorium
Oct 21 @ 7:30 PM – 11:00 PM
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Click here to enter to win a limited edition Hatch Show Print.

A limited number of two-night ticket packages are available here.

Givers @ Exit/In
Oct 21 @ 8:00 PM – 11:30 PM
Givers | 10:00 PM
In understanding GIVERS, it’s helpful to think of a constellation, a configuration of points of brightness that when placed in succession, led to the Lafayette, Louisiana-based quintet’s brilliant debut. The metaphor proves particularly useful given the name of their album – In Light (Glassnote Entertainment Group) is a collection filled with joy and brightness, buoyed by constantly evolving rhythms, warmed by spangling guitars, and illuminated by the melodic altruism that is the band’s mission statement.

The first point of light in the pattern stretches back to the band’s origins- lead singer/guitarist Taylor Guarisco and lead singer/percussionist Tiffany Lamson both signed up to attend the music school at the University of New Orleans in the fall of 2005. A fallen-through accommodation led to Lamson crashing on Guarisco’s couch, bonding over their shared love of sound. Guarisco’s immersion in the sounds of New Orleans as a youth led him to play in handful of different funk, Cajun, and Zydeco groups. This influence on his playing was easily complimented by Lamson’s strong upbringing and appreciation for classic rock, soul, and pop. The musical connection between them was immediate and thrilling to them both. With her drums set up in the kitchen and Guarisco on bass, the duo would play together long into the night, eventually singing together as well as finding their voices matched each others’ perfectly. “There’s a very magical part,” explains Guarisco. “We slowly started inspiring each other to sing more and more. Honestly, that’s one of the major miracles of my connection to Tiffany, and hers to me. We didn’t have anyone else in our lives beckoning us to sing out.” Guarisco specifically remembers an evening spent on a friend’s balcony in Baton Rouge that sealed Lamson’s status as a genuine singer.

That fall of 2005, Hurricane Katrina forced them back to their home of Lafayette where they began to form the basis for GIVERS. The next point of light occurred when Guarisco found himself playing music with drummer Kirby Campbell and trumpet player Josh LeBlanc. Campbell and Guarisco had played together before in various situations; they knew LeBlanc as one of the most impressive trumpeters in Lafayette. “One night we decided to meet up in this very small practice room that had no air-conditioning, very low ceilings…it was very intimate and very loud. Josh grabbed the bass instead of playing trumpet, and we were all blown away by how amazing he was,” explains Guarisco. All three of them describe that night as a “game-changer”, ending with Guarisco asking Campbell and LeBlanc to properly form a band. “I was going to go to Berklee College of Music,” says Campbell, “but that night Taylor pretty much convinced me to stay.“

A few months down the road, Lamson got a call from a club looking for a band to fill a last minute spot. Though there wasn’t a band to speak of between her and Guarisco, they immediately called Campbell, Leblanc, along with keyboardist Will Henderson and saxophonist/keyboardist Nick Stephan, their most consistent companions at that point. The night would serve as yet another point of light. As the band improvised for over two hours—the crowd’s response was immediate. “Being into improvised music and having that be a big part or our lives has had a huge influence on our sound as a whole,” explains Lamson. The connection was working; the six of them began playing together regularly, deciding to call themselves GIVERS.

The band would spend that next year holing up in Campbell’s apartment, molding improvised jams into taut, finely-honed songs, and recording an EP along the way in the very same place. “Kirby and Will and Nick all lived in the same house, and Taylor was basically living there,” explains LeBlanc. “Everyone was hanging out all the time, and that’s what solidified us as a group.” The closeness became immediately apparent in their songs. “We had all been in a bunch of bands, but for some reason, the chemistry with these people seemed to do something very special to all of us,” Guarisco says. Their friendships and musical bonds became a source of inspiration and empowerment.

Both Guarisco and Lamson credit being back in Lafayette as one of the major influences on what they were creating. “I can’t imagine growing up anywhere else and being the way we are. There is a life about the music here. People are drawn to dance with freedom; there is a sense of enjoyment in music that I haven’t seen in many other places,” says Lamson. “Being from southwest Louisiana has an effect on everything we do,” agrees Guarisco. “The way in which we play music…the way we talk…the way we think…the way we dance…everything really. Because of the heat in the South, people take their time in their day-to-day affairs. Being from the South, we have all learned how to slow down and appreciate life as it is here now, something that in most parts of the world is totally lost. All of this is directly reflected in every aspect of our music, as well as every other celebratory music in Louisiana, whether it be Zydeco, Cajun, Creole, jazz, or funk.” After a few more shows, their break came when Lamson approached their future manager, Aaron Scruggs, booker for Baton Rouge venue Spanish Moon. “I went and begged Aaron for three days in a row to give us a show, this random band from Lafayette that nobody’s ever heard of,” says Lamson. With the band’s members returning to school and scattering across the country imminently, the show would decide the future of GIVERS. Scruggs eventually booked them for a Friday night and was impressed enough to offer them an opening spot for Dirty Projectors in July, one of the only stops in their tour where they happened to need an opener. “With that one show, everybody dropped out of their college career, the touring Zydeco band, and whatever else prevented us from preparing for that one show. And it wasn’t for a tour, it was for a single show” says Guarisco. Dirty Projectors liked the show enough that night in Baton Rouge to book them as an opener for the east coast leg of their fall tour. “It was that tour that solidified our paths in music. We thought, if this can happen, anything can happen.” explains Guarisco.

In listening to In Light, it’s easy to hear what propelled the band so quickly to blog buzz, coastal tours and opening slots for Dirty Projectors and Ra Ra Riot. While on tour with Ra Ra Riot, the band made a stop at the Austin City Limits festival, where their set was seen by Daniel Glass, founder of Glassnote Entertainment Group, who was immediately taken by their sound and charisma. “GIVERS are genuine, unique and uplifting,” says Glass. “Their live show is a visceral experience that captivates you, and makes you feel like a member of the band.”

GIVERS signed to Glassnote Entertainment, and set upon making their debut album with acclaimed producer Ben Allen, who had worked with bands like Animal Collective, Cee-Lo, Deerhunter and more. “Ben Allen seemed like a great option for us in the sense that his experience ranges from left field experimental all the way to right field pop. We wanted someone who would understand both the pop sensibilities of our music, as well as appreciate and highlight the more unconventional aspects of our songs,” says Guarisco. The resulting record, In Light, perfectly emphasizes everything exciting within a GIVERS song. “Up Up Up,” the bones of which were born out of the band’s second improvised show, is a bouncing ode to resilience, featuring waves of glimmering programming and infectious guitar peals. “On one end there’s a joyful, celebratory side of the album,” says Guarisco. “On the other, it’s more introspective, more meditative.” Towards the end of the album, “Atlantic” is one of the more meditative songs, placing Lamson’s once-hidden vocals at the forefront, as delicate ukulele gives way to almost Celtic beats while her voice, warm and gritty, like sand sifted, echoes out over the song. In order to tap into the more serious and solemn-natured songs, they called upon producer and mixing engineer Chris Coady, who’s back catalog includes Grizzly Bear, TV on the Radio, and Beach House. Coady’s contribution to the album lies within the darker, more moonlit songs that seem to bring an overall balance to the album.

Above all is the unrelenting positivity in every note of the record, central to the band’s polarity. It’s the joy that only the truly gracious can have, and in discussing their trajectory, they marvel at the pattern and fortune in their wake. “Every dot is just as important as another. All these dots are so crucial,” says Guarisco. “One without the other – it wouldn’t be the constellation that is GIVERS.” more >>>

Vance Joy w/ Jaymes Young @ Cannery Ballroom
Oct 21 @ 8:00 PM – 11:00 PM

p18t5gbfsh1tfu2pn1hbdkue6gp6Vance Joy’s debut EP “God Loves You When You’re Dancing” worms its way under your skin. It’s not an easy task to produce a record so evocative, yet so stripped-back; simplicity in art is often a challenging feat. For Melbourne-based singer and songwriter Vance Joy, the songs began as a collection of loose threads, which over time naturally weaved together, like they were always meant to find a life of their own.

Like the unforced orchestration of his songs, Vance Joy’s recent success developed organically. Earning his chops on Melbourne’s open mic circuit, he tested out new material at venues like the iconic Great Britain Hotel in Richmond. Naturally, his music attracted fans, press and label interest. Before long, the musician played sold-out shows at The Worker’s Club and The Toff in Town in Melbourne, and penned a deal with Liberation Music. He’s since hit the national touring circuit with support slots for Of Monsters and Men and Julia Stone already this year. In March, Vance Joy embarks on his first international appearance at SXSW.

Vance Joy’s love of music was inspired by his mother’s aptitude at literature and his father’s fondness of singing. His parents’ vast, eclectic record collection only served to heighten his partiality to it — while he was growing up he would listen to everything from The Pogues to Paul Kelly. After completing a university degree in law, he decided to take a year’s break to focus on making music. He travelled to India and South-East Asia with a collection of songs rattling around in his head. When he came home, they all fell into place. “I’m learning subtleties in my voice, understanding what I sound like and trying to embrace who I am,” he intimates. “It wasn’t rushed song writing at all.”

The production process for “God Loves You When You’re Dancing” was any artist’s dream. For just one week Vance Joy holed up with producer John Castle (Lior, The Drones) in The Shed Studios with Ed White on percussion and cello. “It was spontaneous,” Vance Joy says. “John’s style is very instinctive, and that felt really good for me. I’d have an idea, and he’d just say ‘let’s do it.’ For us, the whole process felt right.”

The EP opens with the lilting ‘Emmylou,’ a lullaby with a subtle streak of darkness. “The keyboard and harmonium give the song tension; a sense of pensiveness,” Vance Joy says. “The best lullabies are gentle and tender but also hint at the real world outside.” The striking element in this song is the delicate guitar, which Vance Joy wanted to sound like “rolling, pulsing momentum. Like a Bruce Springsteen song.” ‘Riptide,’ the EP’s second track gives the record a rhythmic texture, highlighting his raw, stripped-back song writing. After Vance Joy made the track available for download on triple j unearthed he quickly developed a fan base.

“I was house-sitting this awesome mansion in Camberwell which had a piano,” he says, referring to ‘Play With Fire.’ “I wrote this song on that piano. It’s really just the same chords over, and over. It’s not a complicated song at all, and that’s why I like it.” The song, similar to Tom Petty’s simple yet powerfully expressive song structures, was written with as much delicacy as ease for Vance Joy. “That song just wrote itself.”

‘Snaggletooth,’ the EP’s second-last track plucks at the heartstrings with every strum of Vance Joy’s ukulele. His lyrics are beautifully put, with lines including “when she sings, the heavens part.” He explains that the song is about embracing the imperfections in the people you love. Just as you thought Vance Joy couldn’t take hold of your emotional core any further, ‘From Afar’ wallops you in the chest. ‘From Afar,’ the latest single off the EP, tells the story of romance, friendship or life-long camaraderie gone awry.

Music City Breakthrough: Fast Astronaut, Mersi Stone, The Vegabonds @ 12th and Porter
Oct 21 @ 9:00 PM – 11:30 PM

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Tuesdays September 9 through October 21
Come out to 12th and Porter and show support for your favorite Local Nashville Acts! Every Tuesday we will be showcasing three of our top 21 Finalists in the Music City Breakthrough contest sponsored by Blackbird Studios, MTV, CMT, & Lightning 100. Come in every Tuesday for FREE live music from awesome up-and-coming acts and vote for your favorites. Head over to 12andporter.com to print out your free ticket for a FREE Appetizer with every Large Pizza Order from Music City Pizza.

http://12andporter.com/music-city-breakthrough/

Oct
22
Wed
Bruce Hornsby @ SCHERMERHORN SYMPHONY CENTER
Oct 22 @ 7:30 PM – 10:00 PM

Bruce Hornsby’s work displays a creative iconoclasm that’s been a constant in the artist’s two-and-a-half decade recording career. His commercial stock soared early on, when “The Way It Is” – the title track of his 1986 debut album – became one of the most popular songs on American radio. Despite his early mainstream successes, Hornsby has pursued a more personal, idiosyncratic musical path, focusing on projects that sparked his creative interest, including collaborations with the Grateful Dead, Spike Lee, Ricky Skaggs, Don Henley, Ornette Coleman, Bob Dylan, Bela Fleck, Bonnie Raitt, Pat Metheny and Robbie Robertson. Hornsby’s performance at the Schermerhorn will offer a glimpse of a restless spirit who continues to push forward into exciting new musical terrain.

Each concert ticket includes a copy of the brand-new 21-track double-live album Bruce Hornsby Solo Concerts.BruceHornsby-188x188

Wilco @ Ryman Auditorium
Oct 22 @ 7:30 PM – 11:00 PM
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Click here to enter to win a limited edition Hatch Show Print.

A limited number of two-night ticket packages are available here.

Oct
24
Fri
Friday Afternoon Live: Boom Forest @ 12th and Porter
Oct 24 @ 5:00 PM – 7:30 PM

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Lightning 100 invites you to the weekend kickoff party at 12th and Porter and Music City Pizza. Join Wells Adams for Happy Hour from 5:00 – 7:00 pm for drink specials on Blue Moon and some awesome ticket giveaways! Click here to see the artist of the week that will play a free set at Pour House at 6:30pm!  Friday Afternoon Live is sponsored by Sugarlands Distillery CompanyBlue Moon Brewery, and Ditto Music.

SOLD OUT – Jason Isbell w/ Amanda Shires @ Ryman Auditorium
Oct 24 @ 8:00 PM – 9:00 PM

jasonisbell_lgSoutheastern is not a record Jason has made before, and not simply because the glorious storm and drama of his band, the 400 Unit, is absent. They will tour together; it’s not a break-up record, not an album of dissolving, but, rather, songs of discovery. And not at all afraid, not even amid the tears. Which is to say that he has grown up.
That it has been a dozen years since he showed up at a party and left in the Drive-By Truckers’ van with two travel days to learn their songs. And then taught them some of his songs in the bargain.
Jason Isbell’s solo career has seemed equally effortless, from Sirens of the Ditch (2007) to Jason Isbell & The 400 Unit (2009), through Here We Rest (2011) and last year’s Live From Alabama. Loud records, unrepentantly southern, resplendent with careful songwriting. Songs which inspire and intimidate other musicians, and critics.
“A heart on the run / keeps a hand on the gun / can’t trust anyone,” Jason sings just now, his words brushing gently atop an acoustic guitar figure “Cover Me Up,” the song with which he has chosen to open Southeastern. Such tenderness. An act of contrition, an affirmation of need, his voice straining not to break: “Girl leave your boots by the bed / We ain’t leaving this room / Till someone needs medical help / Or the magnolias bloom.”

He sighs into the phone, considering what he’s done, and why. “I’m really purposefully ignorant of any sort of sales consideration, or radio considerations, or anything like that,” Jason says. “Before I’d felt like, this song needs to be this length, or this song needs to be mastered in this way, or this song needs to have drums on it, or this song needs a bigger hook. I just completely did away with all those considerations for this record. And made it as if I were really just making it for me, and for people like me who listen to entire albums.”

Raw, open, and reflective. Sobriety can be like that. Jason’s made it past his first year, which is rather more than a promise and will always be far from a guarantee. Treatment programs teach that one should let go, easier said than done. Perhaps that’s why Isbell was willing to trust his songs to David Cobb. Cobb has produced Shooter Jennings and Jamey Johnson and the Secret Sisters, but it was a Squidbillies’ session with George Jones which finally brought his work to Jason’s attention. “The song that he did with George Jones was a minute and a half, two minutes long,” Jason says, “but the production of it was perfect because he nailed every single era of George’s career, and that really impressed me. A lot.”

It is Amanda’s voice and violin joining with Jason on “Traveling Alone,” as evocative a song of loneliness as anyone’s written since “Running On Empty.” A promise. The songs are invested with Jason’s particular, personal truths, but they’re not about him. Or, rather, the emotional truths are probably about the songwriter, but not the stories he’s telling. “Live Oak” opens with an a cappella verse: “There’s a man who walks beside me / He is who I used to be / I wonder if she sees him / And confuses him with me?” It is the kind of question a man asks as he readies to marry a woman who met him and knew him and loved him before sobriety stuck (and a question a singer might well ask his audience under the same circumstances), though the story is about a roving criminal in either the 18th or 20th centuries.

It is not, to be clear, an acoustic album. “Flying Over Water” and “Super 8” have more than the requisite amount of guitar squawl to propel them. But it is the quite, contemplative songs that lure you in out of the rain, and those songs especially that draw one into the arc of the entire album. To the elegance of “Songs That She Sings in the Shower”: “With a stake / Held to my eye / I had to summon the confidence needed/To hear her good-bye.”

“I’ve done my part,” Jason says, his dry chuckle trailing off. “I make things and other people try to sell those things. I try not to mix the two together. I think that’s just a better way to make more quality things.”

He is, of course, right.

Oct
25
Sat
SOLD OUT – Jason Isbell w/ St. Paul & the Broken Bones @ Ryman Auditorium
Oct 25 @ 8:00 PM – 9:00 PM

jasonisbell_lgSoutheastern is not a record Jason has made before, and not simply because the glorious storm and drama of his band, the 400 Unit, is absent. They will tour together; it’s not a break-up record, not an album of dissolving, but, rather, songs of discovery. And not at all afraid, not even amid the tears. Which is to say that he has grown up.
That it has been a dozen years since he showed up at a party and left in the Drive-By Truckers’ van with two travel days to learn their songs. And then taught them some of his songs in the bargain.
Jason Isbell’s solo career has seemed equally effortless, from Sirens of the Ditch (2007) to Jason Isbell & The 400 Unit (2009), through Here We Rest (2011) and last year’s Live From Alabama. Loud records, unrepentantly southern, resplendent with careful songwriting. Songs which inspire and intimidate other musicians, and critics.
“A heart on the run / keeps a hand on the gun / can’t trust anyone,” Jason sings just now, his words brushing gently atop an acoustic guitar figure “Cover Me Up,” the song with which he has chosen to open Southeastern. Such tenderness. An act of contrition, an affirmation of need, his voice straining not to break: “Girl leave your boots by the bed / We ain’t leaving this room / Till someone needs medical help / Or the magnolias bloom.”

He sighs into the phone, considering what he’s done, and why. “I’m really purposefully ignorant of any sort of sales consideration, or radio considerations, or anything like that,” Jason says. “Before I’d felt like, this song needs to be this length, or this song needs to be mastered in this way, or this song needs to have drums on it, or this song needs a bigger hook. I just completely did away with all those considerations for this record. And made it as if I were really just making it for me, and for people like me who listen to entire albums.”

Raw, open, and reflective. Sobriety can be like that. Jason’s made it past his first year, which is rather more than a promise and will always be far from a guarantee. Treatment programs teach that one should let go, easier said than done. Perhaps that’s why Isbell was willing to trust his songs to David Cobb. Cobb has produced Shooter Jennings and Jamey Johnson and the Secret Sisters, but it was a Squidbillies’ session with George Jones which finally brought his work to Jason’s attention. “The song that he did with George Jones was a minute and a half, two minutes long,” Jason says, “but the production of it was perfect because he nailed every single era of George’s career, and that really impressed me. A lot.”

It is Amanda’s voice and violin joining with Jason on “Traveling Alone,” as evocative a song of loneliness as anyone’s written since “Running On Empty.” A promise. The songs are invested with Jason’s particular, personal truths, but they’re not about him. Or, rather, the emotional truths are probably about the songwriter, but not the stories he’s telling. “Live Oak” opens with an a cappella verse: “There’s a man who walks beside me / He is who I used to be / I wonder if she sees him / And confuses him with me?” It is the kind of question a man asks as he readies to marry a woman who met him and knew him and loved him before sobriety stuck (and a question a singer might well ask his audience under the same circumstances), though the story is about a roving criminal in either the 18th or 20th centuries.

It is not, to be clear, an acoustic album. “Flying Over Water” and “Super 8” have more than the requisite amount of guitar squawl to propel them. But it is the quite, contemplative songs that lure you in out of the rain, and those songs especially that draw one into the arc of the entire album. To the elegance of “Songs That She Sings in the Shower”: “With a stake / Held to my eye / I had to summon the confidence needed/To hear her good-bye.”

“I’ve done my part,” Jason says, his dry chuckle trailing off. “I make things and other people try to sell those things. I try not to mix the two together. I think that’s just a better way to make more quality things.”

He is, of course, right.

Oct
26
Sun
Nashville Sunday Night Presents: The Last Bison with Bombadil @ 3rd and Lindsley
Oct 26 @ 8:00 PM – 10:00 PM

last bison

To capture the new sounds on The Last Bison’s upcoming album titled VA (pronounced Virginia,) the band spent many days and nights in an old A-frame cabin. The cabin, called “the Wigwam” sits on a summer camp on the edge of the Great Dismal Swamp near the band’s home in Chesapeake, Virginia. The pine-lined walls and high-lofted beams became home to a temporary studio where front man Ben Hardesty says, “We had freedom to explore and create without the time constraints we lived under on previous projects.” Out of this rustic cabin emerged a collection of music with booming organic drums and energy beyond anything on their previous work.

Having drawn comparisons in the past to indie superstars the likes of Mumford & Sons, The Decemberists, and Fleet Foxes, their most recent project harvests a more dynamic, and anthemic sound from the soil of their folk roots. The addition of electric bass and keyboards to their extensive collection of acoustic instruments has been compared to Bob Dylan going electric at Newport in 1965. After a performance at Norfolk, Virginia’s Harborfest, the The Daily Press commented on the new musical direction saying, “The result is a more rocking sound, though the band still remains true to its folkie roots.”

Ben Hardesty, who is the primary songwriter and vocalist, recorded the drum tracks on the new album. Andrew Benfante, who has played a 1930s reed organ on previous works, adds piano to the layers, and Amos Housworth has expanded from cello to offering all the bass tracks on the project. Dan Hardesty alternates from banjo to mandolin to guitar, while he and Annah Housworth, who plays bells, provide the lush backing vocals. Teresa Totheroh’s violin is the thread that sows the myriad parts together.

The 11 songs on VA reveal a band relishing in the struggle for and the discovering of freedom. When Hardesty sings, Take me with you, I can’t stay here, from “She Always Waves At The Gate,” and, Into the den of the shadows I’ve come / Far beyond what is shallow I’ve swum, from the dark and atmospheric “Sleep,” he reveals the emotional tension of desperately desiring something beyond, while treading in new territory both thrilling and threatening. In the mysterious piano driven song “By No Means, “ Hardesty proclaims, I’m lost in caves that have no end / Astray in caverns that begin / Yet when explored, disorient / And I have waited patiently / To see such grace and mastery / Personified to this extent, declaring he has found something that satisfies his longing, and finds rest as he rejoices with the words, “All who are weary, come lay your burdens down” in the song “Burdens”.

Following their first independent release, Quill, in 2011, The Last Bison was signed to Universal Republic Records and created the Inheritance album in 2013. The most recent project finds The Last Bison returning to their independent roots, having self-produced the project in collaboration with Media House Music. The Last Bison album, VA, is due for release September 30, 2014 with a tour to follow.

Oct
27
Mon
The Milk Carton Kids and Sarah Jarosz @ Country Music Hall of Fame
Oct 27 @ 7:30 PM – 11:00 PM

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Grammy-nominated folk artists The Milk Carton Kids & Sarah Jarosz, along with Alex Hargreaves, Samson Grisman, and Nathaniel Smith will offer a very special evening of collaborative performance in front of one microphone at some of the country’s finest acoustic music venues.

Following their meeting at the renowned Telluride Bluegrass Festival in 2013, Sarah Jarosz and The Milk Carton Kids have pursued a collaboration with a depth and identity all its own. Their initial performances (on Austin City Limits and at Lincoln Center’s American Songbook Series) have been widely heralded for the seamless harmony of the three singers, the unassailable virtuosity of the players, and the obvious if uncommon chemistry the young artists have found with one another. This Fall, they are presenting it, fully realized for the first time, in a limited tour of some of the country’s finest performing arts centers and symphony halls.

Following their meeting at the renowned Telluride Bluegrass Festival in 2013, Sarah Jarosz and The Milk Carton Kids have pursued a collaboration with a depth and identity all its own. Their initial performances (on Austin City Limits and at Lincoln Center’s American Songbook Series) have been widely heralded for the seamless harmony of the three singers, the unassailable virtuosity of the players, and the obvious if uncommon chemistry the young artists have found with one another. This Fall, they are presenting it, fully realized for the first time, in a limited tour of some of the country’s finest symphony halls and performing arts theaters.

 


 

SARAH JAROSZ: Sarah Jarosz is a multi-Grammy-nominated singer, songwriter, and multi-instrumentalist who hails from just outside of Austin, TX and makes her home in New York City.  Now 23-years-old, she graduated in 2013 from New England Conservatory with a degree in contemporary improvisation in the same month her third album, Build Me Up From Bones, was released. Jarosz, who fits comfortably where contemporary folk, Americana, and roots music intersect, has long been embraced for the depth and maturity of her songwriting, her pure and nuanced vocals, and her instrumental mastery—switching between octave mandolin, banjo, guitar, and mandolin as the songs dictate. Build Me Up From Bones received two Grammy nominations and appeared on NPR’s Top Ten Folk and Americana albums for 2013.  She has appeared on Conan, Austin City Limits twice, A Prairie Home Companion, and the BBC Series The Transatlantic Sessions.

 

THE MILK CARTON KIDS: Grammy-nominated flat-picking harmony duo The Milk Carton Kids have emerged in the last three years as a powerful voice defining the continuing folk tradition. An understated virtuosity defines The Milk Carton Kids to the delight of traditionalists and newcomers to the folk movement alike. Garrison Keillor has called them “absolute geniuses in close-harmony.” The Los Angeles Times lauds their latest Anti- Records release, The Ash & Clay, as displaying “absolute mastery of their craft” while Paste emphasizes the “intellectual sophistication of their songs, making The Milk Carton Kids an option for purists unsatisfied with some of the pop tendencies seeping in to the genre.” The band has appeared on Conan, A Prairie Home Companion, Austin City Limits, and the Coen Brothers’ & T Bone Burnett’s “Another Day/Another Time” concert film.

 

ALEX HARGREAVES: Violinist Alex Hargreaves of Corvallis, Oregon, has been mentored by some of the greats in acoustic roots music and jazz. He has toured with Jerry Douglas, David Grisman, Bela Fleck, Danilo Perez, Darol Anger, Bruce Molsky, Noam Pikelny and has shared the stage with many others including Chris Thile, Mumford & Sons, Tim O’Brien and Sam Bush. Hargreaves performs regularly with Sarah Jarosz, appearing on her three acclaimed albums, as well as being featured on her Grammy-nominated instrumental, Mansinneedof. In February 2010, Hargreaves’ debut album, Prelude, was released featuring master acoustic musicians Mike Marshall, Grant Gordy and Paul Kowert, and special guests Bela Fleck and Noam Pikelny.

NATHANIEL SMITH: Cellist Nathaniel Smith, a native of Brandon, Mississippi, now residing in Nashville, began studying the cello at the age of five. Mr. Smith has an impressive list of artists he has toured and/or collaborated with, most recently Sarah Jarosz, renowned Cape Breton fiddler Natalie MacMaster, and Jeremy Kittel. Sought after as a teacher, he has taught at Christian Howes’s Creative Strings Workshop in Columbus, Ohio; Leahy Music Camp in Ontario, Canada; and Mark O’Connor’s String Camp at Berklee College of Music in Boston.

SAMSON GRISMAN: Bassist Samson Grisman from Mill Valley, California made his recording debut at age eight with John Hartford, Mike Seeger and his dad, David Grisman on their Grammy-nominated Retrograss album. Since then he has played and/or recorded with Darol Anger, Luke Bulla, Noam Pikelny, Tim O’Brien, Bryan Sutton, Martin Taylor and Frank Vignola among others. He’s a member of David Grisman’s Bluegrass Experience and FolkJazz Trio, and has appeared on the Grand Old Opry with Jesse McReynolds and Ricky Skaggs. Sam currently resides in Nashville and plays in The Brotet with Alex Hargreaves, Nathaniel Smith and Dominick Leslie. Growing up in a music-rich environment exposed Sam to many players and styles, making him one of the “go to” bassists of his generation.

Oct
29
Wed
Lightning 100 Presents First Aid Kit @ Ryman Auditorium
Oct 29 @ 7:30 PM – 10:00 PM

firstaidkit_lgfirstaidkit_lgSisters Johanna and Klara Söderberg are from Enskede, a suburb of Stockholm. Johanna was born on October 31, 1990 and Klara on January 8, 1993.[2] They both attended the English school of Enskede. Their father is a former member of Swedish rock pop band Lolita Pop and had a home studio; Klara started to write songs when she was 13.[3] However, things started to roll after a friend of Klara’s introduced her to the band Bright Eyes. This led her to country music stars such as the Carter family. It took a while to persuade Johanna, who was fond of German Techno, but soon they were both singing country-folk together.

Their younger brother was in the same kindergarten as the daughter of Karin Dreijer Andersson, half of Swedish electronic duo The Knife. Their mother asked Dreijer in 2007 to check out her daughters’ songs on the social networking site MySpace, and the duo was soon signed to Rabid Records, a label co-owned by The Knife. They also started to perform live but as Klara, who was then 14, was still at school, they could play only during weekends. April 2008 saw the release of the debut EP Drunken Trees in Sweden. The album was a re-recorded collection of songs from their MySpace site called originally “Cross Oceans”. Their first appearance in Swedish TV was also that month.

The duo was already quite well known in Sweden when they, in August 2008, uploaded a cover version of the “Tiger Mountain Peasant Song” by Fleet Foxes to YouTube. Robin Pecknold, front man and lead guitarist for the Fleet Foxes had noticed it and posted a link on their webpage causing an avalanche like popularity of the video. This made First Aid Kit internationally known and led to the re-release of the Drunken Trees EP by Wichita Records in February 2009. On November 21, 2008 at Crossing Border Festival, that was their first show outside Scandinavia, they also performed the song with Fleet Foxes.

Due to international touring, Johanna quit high school and Klara never started it.[4] Their father, who had been a teacher of history and religion, took leave and accompanied them on tours, also helping with soundchecks.

The duo released their debut album, The Big Black & The Blue, in 2010; the release was followed by an extensive tour (around 100 shows) in the USA, Canada, Australia, New Zealand and parts of Europe, including Primavera Sound Festival in Barcelona.

In November 19, 2009 they managed to get backstage when Monsters of Folk was performing in Stockholm and give a copy of their first record to Conor Oberst.[5] Nothing was heard of it until after playing a concert in Nashville on October 11, 2010, the duo was approached by Jack White, who requested they record a single for his Third Man Records series. In February 2011 the duo collaborated with Bright Eyes during their performance of “Lua”.

In January 2012, the band released their second album, The Lion’s Roar, produced by Mike Mogis. The album was critically acclaimed upon release and went straight to No. 1 in Sweden on the week of release and No. 35 in the UK.

In April 2012 the band performed the song “Emmylou” on Conan.

In August 2012 the band performed at the Lollapalooza festival. They also performed at Bestival and the Berlin Festival in September before returning to the United States to play Austin City Limits Music Festival in October 2012.

First Aid Kit have performed twice at the Polar Music Prize. In 2011, they performed the song “Dancing Barefoot” for winner Patti Smith, and in 2012 they performed “America” for winner Paul Simon. Their song “The Lion’s Roar” was featured in episode 2 of series 4 of Misfits. In the Hearts of Men it was featured in episode 21 of season 8 of Bones.

The song “Emmylou” was chosen by Rolling Stone magazine as the #10 “Single of the Year” in 2012.[6]

In January 2013 the band toured in Europe with Conor Oberst. The duo was singing backing vocals during the set of Oberst and he was singing with the girls in some songs of their set. In February 2013 they were awarded the Nordic Music Prize for “Best Nordic 2012 Album”.[7][8] They were also awarded four Swedish Grammis awards for 2012 “Artist of the Year”, “Songwriter of the Year”, “Best Pop of the Year” and “Album of the Year”.[9][10]

In June 2013 they performed at Glastonbury festival in the Pyramid stage. In October the band performed “Emmylou” on The Late Show with David Letterman.[11] This was their second appearance on the show, as they had backed Lykke Li there in November 2011. The same month, the sisters opened for Rodriguez at Radio City Music Hall in New York.[12]

Altogether in 2013 they performed about 30 concerts and appeared at 10 different festivals.

Conor Oberst said in a 2014 interview that he is finishing work on a solo record, with First Aid Kit singing harmonies throughout the LP.[13] The album, titled Upside Down Mountain, was released on 20 May 2014.[14] The duo sings on six tracks of the record.

First Aid Kit’s eighth US and Canada tour, of which some of the concerts were already sold out in the beginning of March, started in May 2014.[15] Also several other concert and festival dates for the summer have already been fixed in Europe, Japan and Australia. In autumn they have a tour in Europe performing for example in the Royal Albert Hall in London, UK on September 24. They will tour again in the USA in October and November, 2014.

Following the announcement of their third studio album Stay Gold, that was released on 10 June 2014 through Columbia Records,[16] the band released their first new single “My Silver Lining” on 31 March.[17] On May 6 another song, “Cedar Lane”, was released. Both were released only as digital files accompanied with videos in YouTube.

On June 12 they performed again on The Late Show with David Letterman, this time singing “My Silver Lining”.[18]

Oct
30
Thu
Music of Queen @ Schermerhorn Symphony Center
Oct 30 @ 7:00 PM – 10:00 PM

MusicOfQueen-188

All your favorite Queen hits: “Bohemian Rhapsody,” “We Will Rock You,” “Fat Bottom Girls,” “Another One Bites the Dust,” “Crazy Little Thing Called Love” and more. A night of high-energy fun and incredible music! The talented vocalist and performer Brody Dolyniuk will blow you away with his spot-on Freddie Mercury sound and theatrics. You may have heard Brody’s vocal talents on the mega-hit video game Guitar Hero III: Legends of Rock.

Don’t miss our special Halloween night of festivities. Learn more below!

Drive By Truckers w/ Houndmouth @ Ryman Auditorium
Oct 30 @ 8:00 PM – 10:30 PM

drivebytruckers_lgEnglish Oceans, the 12th release by Athens, Georgia’s Drive-By Truckers, is an elegantly balanced and deeply engaged new effort that finds the group refreshed and firing on all cylinders.

All but one of the collection’s 13 new songs, written by singer-guitarists and co-founding members Patterson Hood and Mike Cooley, were recorded during 13 days of sessions in August 2013 with longtime producer David Barbe.

Six of the songs were the result of a burst of writing activity by Cooley.

“I had time to write,” Cooley says. “After we came off the road last time, we decided we were going to let it rest for a while. So I had time to really focus. I kind of had to re-learn how to write, because I didn’t write as many songs as I’d wanted on the last couple of records. I was happy with these songs, and thrilled to go in and record so many that I felt real strongly about.”

Hood notes, “I don’t think we’ve ever had a record where Cooley was as deeply involved in every aspect of the making of it as he was this time. With Cooley’s writing, there’s almost no precedent for it in our catalog. He came in with this stunning bunch of songs, full of this beautiful imagery.”

Writing independently, Cooley and Hood penned songs that dovetailed brilliantly with each other. Hood says, “Every song on this record connects with another song. I noticed Cooley’s got a line in ‘Primer Coat’ about ‘apron strings,’ and I have the exact same image in one of my songs, ‘Hanging On.’ It goes on and on and on like that on this record, and that’s a pretty good sign for things, particularly given how different our temperaments are and our styles of writing are.”

Cooley and Hood’s brace of character-based songs depict a neatly interlocking gallery of relationships, often in dissolution and discord. The last song written and recorded for the album, Hood’s rave-up “Pauline Hawkins,” was based on a new novel by Willy Vlautin and penned after another of his compositions was scrapped.

Hood says, “There was such a balance between Cooley’s songs and my songs that taking a song off the record would upset the balance a little bit. I liked the back-and-forth flow, like our shows tend to do. I got an advance copy of Willy’s latest book, The Free. I’ve been a fan of his writing for a while. I read it in about three days. I finished it on Saturday, I wrote the song on Sunday, and then we cut it on Thursday and mastered the record on the following Monday. It sure makes it a better record.”

DBT’s ever-keen political edge can be seen in two songs on the release. Cooley’s “Made Up English Oceans” derives from his interest in the career of Lee Atwater, the Republican operative who was active in the Reagan and Bush campaigns of the ’80s. “He was the guy that Karl Rove and all of the modern dirty tricksters looked to – he was one of the granddaddies of it all. That song is from his point of view, fictionally of course. It’s him making his pitch, telling what he understands about young, Southern men.”

Hood says “The Part of Him” was inspired by the procession of scandals that plague the political world year after year. “It’s about political assholery — there’s someone new playing that role every few months,” he says. “As soon as we get rid of one of them, someone comes up and starts playing that part again.”

Reflecting the renewed high level of collaboration between the band’s two principals, English Oceans marks an unprecedented event: the recording of a Hood song, “Til He’s Dead or Rises,” with Cooley assuming the lead vocal.

Cooley says, “I remember Patterson was getting frustrated trying to sing it. He was doing fine, but it seemed like there was something he wanted to do that wasn’t coming. I was in the control room thinking, ‘I could probably sing this’ — though it wasn’t like I was saying, ‘Oh, I can sing this a lot better than that.’ I was thinking, ‘This sounds like something I could sing.’ Right after that, he walks into the control room and says, ‘You want to trying singing this? It sounds more like you than me.’ I said, ‘Yeah, I was just thinking that.'”

“Grand Canyon,” the final song on the album, is an emotionally overwhelming elegy for Craig Lieske, a longtime member of DBT’s touring family. The former manager of Athens’ 40 Watt Club and a key player in the city’s experimental music scene, Lieske died suddenly of a heart attack in January 2013 following the first night of the band’s three-night homecoming stand in Athens. English Oceans is dedicated to him.

“I probably wrote it in 15 minutes,” Hood says. “It wasn’t any kind of a conscious thing. It’s the most important song of mine on the record. I wrote new songs to go with it. It recalibrated something. It became a totally different record for me than the record I thought we were going to make.”

The album was recorded with a compact, retooled lineup. Jay Gonzalez, who joined the band in 2008 as keyboardist, stepped into an expanded role by adding guitar to his duties, while bassist Matt Patton was drafted from the Tuscaloosa group The Dexateens. The unit was road-tested during dates in 2013.

Cooley says, “This lineup is so direct. It can go from this chainsaw rock ‘n’ roll to very delicate, pretty-sounding stuff. We wrote a lot of those kinds of songs, and this lineup got all of that well.”

Hood agrees: “We recorded with a stripped-down lineup that gave things a more primal and immediate feel. It’s a more turn-on-a-dime kind of thing, which suits these songs, and us as a band. It’s a very tasteful group, and when it needs to be it can be a very big, powerful, over-the-top band, too, and it can go from one to the other seamlessly.”

Looking at the accomplishments of English Oceans from the perspective of DBT’s nearly three-decade history, both Cooley and Hood decline to hedge their bets on the quality of their latest work.

“You’re always hesitant to say, ‘Oh, this is the best record we’ve ever made,'” Cooley says, “because you always want to. And sometimes you say it, and sometimes you’re right, and sometimes you think, ‘Well, maybe I jumped the gun on that a little bit, I got excited.’ But I think this just might be the best record we’ve ever made.”

Hood concurs enthusiastically: “It’s my favorite thing that we’ve ever done. I’m proud of our catalog – we always try to make as good a record as we can make. Sometimes things just work. This time, we made kind of a magical record. I’ve always felt that Decoration Day was our best record, and this is the first one that I think is a better record than that was. Every piece of the puzzle fit.”

Oct
31
Fri
Music of Queen @ Schermerhorn Symphony Center
Oct 31 @ 8:00 PM – 11:00 PM

MusicOfQueen-188

All your favorite Queen hits: “Bohemian Rhapsody,” “We Will Rock You,” “Fat Bottom Girls,” “Another One Bites the Dust,” “Crazy Little Thing Called Love” and more. A night of high-energy fun and incredible music! The talented vocalist and performer Brody Dolyniuk will blow you away with his spot-on Freddie Mercury sound and theatrics. You may have heard Brody’s vocal talents on the mega-hit video game Guitar Hero III: Legends of Rock.

Don’t miss our special Halloween night of festivities. Learn more below!

Nov
1
Sat
Music of Queen @ Schermerhorn Symphony Center
Nov 1 @ 8:00 PM – 11:00 PM

MusicOfQueen-188

All your favorite Queen hits: “Bohemian Rhapsody,” “We Will Rock You,” “Fat Bottom Girls,” “Another One Bites the Dust,” “Crazy Little Thing Called Love” and more. A night of high-energy fun and incredible music! The talented vocalist and performer Brody Dolyniuk will blow you away with his spot-on Freddie Mercury sound and theatrics. You may have heard Brody’s vocal talents on the mega-hit video game Guitar Hero III: Legends of Rock.

Don’t miss our special Halloween night of festivities. Learn more below!

Nov
2
Sun
Nashville Sunday Night Presents: Roadkill Ghost Choir w/ Desert Noises @ 3rd & Lindsley
Nov 2 @ 8:00 PM – 10:00 PM

79_EdpEmerging fully-formed from the desolate heart of Central Florida, Roadkill Ghost Choir make unsettling, powerful American rock, Tom Petty by way of Radiohead and Cormac McCarthy. Set against Kiffy Meyer’s ghostly steel pedal, singer and main songwriter Andrew Shepard triumphantly conjures an allegorical American landscape of drifters, specters and violent saints. Andrew’s brothers Maxx (drums) and Zach (bass) Shepard round out the rhythm section, and Stephen Garza handles lead guitar.

The band released their debut EP ‘Quiet Light’ in 2013 in the midst of a touring run that saw them opening for Band of Horses and 2013 festival slots at New York’s Governor’s Ball, Austin City Limits and Shaky Knees in Atlanta, GA. In January 2014 the band was invited to perform on the David Letterman Show, where they performed standout track “Beggar’s Guild.” Their debut full-length, “In Tongues,” recorded in Athens, Georgia and in their home studio in Deland, Florida with producer Doug Boehm, will be out August 19. The band will be touring supporting the new album, including stops at Bonnaroo and Lollapalooza.

Nov
4
Tue
The New Pornographers with special guests The Pains of Being Pure at Heart @ Cannery Ballroom
Nov 4 @ 8:00 PM – 11:00 PM

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The New Pornographers are A.C. Newman, Blaine Thurier, Dan Bejar, John Collins, Kathryn Calder, Kurt Dahle, Neko Case and Todd Fancey.

Since their debut in 2000, The New Pornographers have released five studio albums including their most recent, Together (2010), of which, NPR Music praised, “Unimpeachable pop gems…these are the songs of summer” while ELLE magazine asserted, “The New Pornographers have done what all great bands do: Evolve…unpretentious and unbelievably infectious” and the Associated Press heralded, “…Together finds them at their peak. The melding of Newman’s voice with Neko Case and Kathryn Calder is endlessly inventive, weaving in and out of the nervous-sounding rhythm that is the band’s calling card. The first four songs are what the Electric Light Orchestra meant to achieve but never quite did.”

Brill Bruisers (available on August 26, 2014) is the first new release in four years from the acclaimed supergroup, who have been called, “virtually peerless in the world of power-pop and indie-rock” by NPR Music. Additionally, the New Yorker describes the band’s music as, “…magnificent and clever…,” while Stereogum proclaims, “In recent history, no group has featured so much formidable established talent, collaborating on a regular basis.”

Of the new album, lead-singer and main songwriter AC Newman comments, “This is a celebration record. After periods of difficulty, I am at a place where nothing in my life is dragging me down and the music reflects that. We wanted Xanadu and we wanted Sigue Sigue Sputnik, which translated into sparklier and fast

Nov
7
Fri
Friday Afternoon Live: Isaac Hayden @ 12th and Porter
Nov 7 @ 5:00 PM – 7:30 PM

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Lightning 100 invites you to the weekend kickoff party at 12th and Porter and Music City Pizza. Join Wells Adams for Happy Hour from 5:00 – 7:00 pm for drink specials on Blue Moon and some awesome ticket giveaways! Click here to see the artist of the week that will play a free set at Pour House at 6:30pm!  Friday Afternoon Live is sponsored by Sugarlands Distillery CompanyBlue Moon Brewery, and Ditto Music.

Nov
10
Mon
Chrissie Hynde @ Ryman Auditorium
Nov 10 @ 7:30 PM – 11:00 PM

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Chrissie Hynde has confirmed a 25-date North American tour in support of her critically and commercially hailedStockholm, which debuted in the U.S. Top 40 upon its June release here on Will Travel/Caroline Records.

The first ever album to be released under her own name,Stockholm was heralded by Chrissie’s debut appearances on The Tonight Show Starring Jimmy Fallon and The Colbert Report performing “Dark Sunglasses,” the album’s “cutting, springy first single” (Rolling Stone) that charted in the AAA Top 20. Reaction to Stockholm has been uniformly excellent, with accolades including:

“a worthy addition to a catalog of extraordinary work”
—WALL STREET JOURNAL

“Excellent”
—THE NEW YORKER

“Delicate and sexy… but Hynde can still flash her blade”
—ROLLING STONE

“She’s still the toughest punk rock chick on the planet”
—BUST

“One of rock’n’roll’s great singers.”
—MAGNET

The upcoming tour dates will feature the first live performances of Stockholm material alongside classics spanning Chrissie’s legendary and storied career with the Pretenders.

Nov
11
Tue
Interpol w/ Ray Pila @ Marathon Music Works
Nov 11 @ 8:00 PM – 9:00 PM

33-atlgWith their expansive sound, dark wit, and a flair for the dramatic, Interpol have gone from being one of the New York City’s most talked about new bands to becoming one of America’s most exciting and acclaimed.

Nov
15
Sat
Lightning 100 presents Jenny Lewis @ Marathon Music Works
Nov 15 @ 7:00 PM – 11:00 PM

61-atlg Jenny Lewis is one of the most celebrated and well-respected performers of her generation. Beginning her career in 1998 as the frontwoman of Rilo Kiley, the band rose from the burgeoning independent music community in Los Angeles to become one of the most dynamic and influential bands of the early 2000’s.
In between recording and touring with Rilo Kiley, Jenny contributed vocals to The Postal Service’s debut album “Give Up” (2003) and toured as a multi-instrumentalist with the band.

By 2006, Lewis began her solo career with the album “Rabbit Fur Coat” and soon followed it up with 2008’s “Acid Tongue”, establishing herself as a songwriter moving beyond the confines of indie-rock into more timeless territory once occupied by artists like Laura Nyro and Emmylou Harris. Joe Levy, editor of Rolling Stone remarked that “Jenny Lewis is the best songwriter working today.”
She has collaborated with many other artists and bands, most notably with Elvis Costello, Ryan Adams, T. Bone Burnett and M. Ward. In the summer of 2010, Lewis formed the duo Jenny and Johnny with songwriter Johnathan Rice and released the album “I’m Having Fun Now.”

Jenny recently made her debut as a film composer and music supervisor for the new drama “Very Good Girls” starring Dakota Fanning and Elizabeth Olsen. She and Johnathan Rice have also been confirmed as the songwriting team for the upcoming musical/drama, “Song One”, which will star Academy Award winner, Anne Hathaway.

Nov
16
Sun
Nashville Sunday Night Presents: Bear’s Den with Dan Mangan + Blacksmith @ 3rd and Lindsley
Nov 16 @ 8:00 PM – 10:00 PM
Nov
19
Wed
Phillip Phillips @ Ryman Auditorium
Nov 19 @ 7:30 PM – 11:00 PM

Phillip Phillips

Phillip Phillips

Phillips’ national tour will include a stop in Nashville, TN at the historic Ryman Auditorium on November 19. Tickets go on sale Friday, August 29 at 10 AM. Visit phillipphillips.com/tour for more information.

The comprehensive tour comes after Phillips’ “Behind the Light” (19 Entertainment/Interscope) was released to critical acclaim. His new single, “Unpack Your Heart,” is the second track released from the album, following the hit song “Raging Fire.”

“Behind The Light” is the follow-up to Phillips’ hugely successful debut album, “The World from the Side of the Moon,” which spawned the single “Home” — one of the biggest tracks of 2012 with more than 5 million copies sold. “The World from the Side of the Moon” sold more than 1 million copies and debuted at #4 on the Billboard Top 200 Album chart and #1 on the Billboard Rock Album chart; successful tours both as a headliner and with Matchbox 20 and John Mayer followed. “The World from the Side of the Moon” also featured the platinum single “Gone, Gone, Gone.” Since winning season 11 of “American Idol,” Phillips has sold more than 2 million albums and more than 9 million singles.
Phillips recently co-headlined a 25-city summer tour with O.A.R.

Nov
20
Thu
Lightning 100 Presents Justin Townes Earle with Cory Branan @ Ryman Auditorium
Nov 20 @ 7:30 PM – 11:00 PM

Once compared to a man who wears many suits, in thirty-two short years Justin Townes Earle has experienced more than most, both personally and professionally. Between releasing four full-length-critically-acclaimed albums, constant touring, multiple stints in rehab, a new found sobriety, being born Steve Earle’s son, amicable and not-so-amicable break-ups with record labels, and facing the trials and tribulations of everyday life, it’s safe to say JTE has quite the story to tell. His fifth album (and first ever on Vagrant Records) serves as the perfect platform for such narrations.
Entitled Single Mothers, the album is comprised of ten tracks that showcase exactly why Justin Townes Earle is considered a forefather of Contemporary Americana. As a recently married, sober man JTE writes from a point of maturity and content we’ve not seen before on past records. “One day I just realized it’s not cool to die young, and it’s even less cool to die after 30,” Justin states as he reflects on a life past and his newly found clarity. What he’s created is an album that’s raw, honest and personal in a way he hasn’t touched upon since his debut EP, Yuma.
Co-produced alongside longtime engineer Adam Bednarik, Single Mothers shines in a world of pop-culture driven Americana records. “I don’t really know what Americana means anymore,” Justin laughs. “That’s not a slant on Americana, it’s just become a very unclassifiable genre. It’s gone seemingly pop. There are good parts to that, but it’s getting to a point where it won’t be able to redeem itself if it doesn’t slow down. Just like everything that gets popular.” With his heart and soul still rooted in Nashville, Single Mothers shows Justin’s continued combination of catchy songs and authenticity.
Creating a nostalgic feeling with the return to his signature sound, JTE takes listeners on a journey through some of his most personal stories yet on what can only be described as an authentic country record.
Single Mothers is due out September 9, 2014 on Vagrant Records.

Nov
23
Sun
Nashville Sunday Night Presents: Elenowen with Joseph Lemay @ 3rd and Lindsley
Nov 23 @ 8:00 PM – 10:00 PM

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It’s called ‘chemistry’, an elusive quality that can be part history, part mystery and all intangible until the moment that you feel it. It’s a meant-to-be melding of the emotional and creative that can happen between songwriters, performers, best friends or life partners. For Josh and Nicole Johnson – the duo Elenowen – that connection is all of the above and much more. And on their self-titled EP, the chemistry they share is as rare – and real – as it gets.

 

Though emerging from the same Nashville-based Americana-folk scene as The Civil Wars, Elenowen deliver a sonic glow all their own. Amidst haunting harmonies and elegiac lyrics, their songs flow with an undercurrent of yearning, surrender and unexpectedly sharp edges. “We strive to maintain a certain vulnerability in our music,” Josh says. “We write a lot about our own lives as well as the truths about relationships that we relate to. We think it creates an intimacy that’s totally connected to the music.” The sound itself is roots-driven, with accents of cello and pedal steel cutting a deeply evocative facet. Even the name Elenowen is an authentic nod to heritage, with Ellen being Josh’s mom’s middle name and Owen being the middle name of Nicole’s dad. “They’re the sides of the family we each got our music from,” explains Josh. “What’s in our hearts will always come out in what we do.”

 

But what about that thing called chemistry? For Elenowen, it’s a one-of-a-kind formula that is about to become bigger than the both of them. “I think our chemistry is what keeps us going,” says Nicole. “We fight for it in our marriage, in our friendship and our music. These songs are so much a part of us and the emotion is so real, that every time we sing them its almost as if we’re feeling them for the first time. What Josh and I ultimately want is for people to get inspired and connected by what we do.” And for Elenowen, it’s a promise you can take to heart.

Nov
30
Sun
Nashville Sunday Night Presents: All Them Witches @ 3rd and Lindsley
Nov 30 @ 8:00 PM – 10:00 PM

ATWUnexplained phenomena of all kinds can be attributed to magic. Music is among those marvels. When a group of unrelated individuals of different backgrounds gets together and locks into a sonic unity, there must be some sort of mysticism at work. That’s the only way to properly explain it. The members of Nashville’s All Them Witches would agree too. That energy even courses through their moniker, which unsurprisingly comes from Roman Polanski’s 1968 masterpiece Rosemary’s Baby.

“The name can be interpreted in many different ways,” explains singer and bassist Michael Parks, Jr. “It could be a person’s view on what the forces of good and evil are or even how we interact with each other as human beings. There’s a little bit of witchcraft in everybody’s life. Just waking up is pretty magical—you’re alive another day. In terms of the music, we’re so loose, and that’s where the magic comes from. There’s no controlling factor. We do exactly what comes naturally. We go in a room without any idea about what will happen, get in the groove, and it works. That’s supernatural.”

All Them Witches began conjuring up music together in 2012. Foregoing theater school to focus on songwriting, Parks traded New Mexico for Nashville at 19-years-old. The Shreveport, Louisiana native met drummer Robby Staebler while the two shared a shift at a “corporate hippie store”. Robby showed Parks some music he and guitarist Ben McLeod had written, and it inspired the singer to jam—which he adds, “I usually never do. It made sense though”.

Adding Robby’s longtime friend Allan Van Cleave to the fold on Fender Rhodes, All Them Witches cut their debut Our Mother Electricity. Almost immediately after, they began working on its follow-up 2013’s Lightning At The Door. Recorded live in a matter of days with producer and engineer Andy Putnam, the boys tapped into a distinct energy, mustering bluesy soul, Southern swagger, and thunderous hard rock all at once.

The first single “When God Comes Back” swings from a Delta-dipped groove into a striking riff juxtaposed with Parks’ transfixing delivery. It’s as hypnotic as it is heavy.

“Sometimes, I get visions, for lack of a better word, that lead to songs,” the frontman admits. “I’ll be doing a mundane task at work, walking somewhere in the woods, or driving, and I’ll get these narrative flashes in my head. Personal experiences play into those narratives. This song is about our egos coming to break us down and destroy everything. We try to govern each other and turn the only landscape we have to live in into a parking lot. There’s no room for anybody. So, when God comes back, he’s going to be really mad.”

Ultimately, everything comes back to that certain magic for All Them Witches. “Not to sound too much like hippie, but I hope everybody can ride our vibe,” Parks leaves off. “We’re very simple people doing something we really love. We have such a short amount of time on this earth. Everybody should be doing what they love. If there’s a message here, it’s that.”

Dec
8
Mon
The Black Keys w/ special Guest St. Vincent @ Bridgestone Arena
Dec 8 @ 8:00 PM – 11:00 PM

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The Black Keys will embark on an extensive North American tour this fall. The tour supports the duo’s highly anticipated new album, Turn Blue, which will be released May 13 on Nonesuch Records and is now streaming exclusively on iTunes. In celebration of the release, the band will return to Saturday Night Live for their third musical guest appearance this Saturday, May 10.

This is the eighth full-length album from the duo and follows 2011’s critically and commercially acclaimed El Camino, which is now certified RIAA Platinum. Internationally, El Camino is Gold in Belgium, Spain, Italy and Holland; Platinum in Ireland, France and the U.K.; and double Platinum in Australia, Canada and New Zealand. The record also resulted in three awards at the 55th annual Grammy Awards—Best Rock Performance, Best Rock Song, and Best Rock Album. The band now has a total of six Grammy Awards including three in 2010 for their breakout, RIAA Platinum album, Brothers.

Dec
14
Sun
The Head and the Heart @ Ryman Auditorium
Dec 14 @ 7:30 PM – 10:30 PM

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The Head and the Heart’s 2011 self-titled debut album on Sub Pop remains one of the label’s best-selling debut releases. In a few short months, The Head and The Heart went from playing open mic nights to selling out San Francisco’s Fillmore, Seattle’s Paramount Theatre, New York’s Terminal 5 and more, building a loyal fan base across the country and becoming known for providing raucous and energetic live shows. To date, their debut album has sold over 315,000 copies. Since it’s release of Let’s Be Still in the fall of 2013, the band has headlined sold-out tours with stops at Red Rocks, the Hollywood Bowl and appearances at Bonnaroo, Coachella, Lollapalooza and major appearance on late night TV. Let’s Be Still has sold more than 150,000 and is still climbing.

Dec
30
Tue
Old Crow Medicine Show @ Ryman Auditorium
Dec 30 @ 7:30 PM – 11:00 PM

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On September 17, 2013 Old Crow Medicine Show received the great honor of being inducted as the newest members of the historic Grand Ole Opry. Other highlights from the year included winning the Grammy Award for “Best Long Form Music Video” for the film Big Easy Express, and having their classic single, “Wagon Wheel”, receive the RIAA’s Platinum certification for selling over 1,000,000 copies.

The band got its start busking on street corners in New York state and up through Canada, winning audiences along the way with their boundless energy and spirit. They eventually found themselves in Boone, North Carolina where they caught the attention of folk icon Doc Watson while playing in front of a pharmacy. He immediately invited the band to play at his MerleFest, helping to launch their career. Shortly thereafter the band relocated to Nashville for a residency at the Grand Ole Opry, where they entertained the crowd between shows.

It’s been nearly fifteen years since these humble beginnings, and the band has gone on to tour the world, sell over 800,000 albums, become frequent guests on A Prairie Home Companion, and play renowned festivals like Bonnaroo, Coachella, and the Newport Folk Festival.

In 2011 Old Crow found themselves embarking on the historic Railroad Revival Tour with Mumford and Sons, and Edward Sharpe and the Magnetic Zeros. This tour had the bands riding a vintage train from California to New Orleans, playing shows along the way. The magic of this musical excursion across America’s vast landscape is captured in the Emmet Malloy directed documentary, Big Easy Express.

Old Crow Medicine Show now have five studio albums to their name, three of which were released by Nettwerk Records – O.C.M.S. and Big Iron World produced by David Rawlings, and Tennessee Pusher produced by Don Was. In 2012 Old Crow released Carry Me Back, on which they continued to craft classic American roots music while pushing themselves in new directions. The band’s newest album, Remedy, released by ATO Records and produced by Ted Hutt represents a new stretch of road in the timeless journey of a rambling string band.

Dec
31
Wed
Lightning 100 Presents St. Paul & the Broken Bones @ Marathon Music Works
Dec 31 @ 8:00 PM – 11:45 PM

13-atlgGrit, elemental rhythm, tight-as-a-drumhead playing, and a profound depth of feeling:
these are the promises of a great soul band. And St. Paul & The Broken Bones deliver
on those promises.

Half The City is the compelling full-length Single Lock/Thirty Tigers debut of the
Birmingham, Alabama-based sextet, who have already created a maelstrom of interest
with their roof-raising live shows and self-released four-song 2012 EP. Produced by Ben
Tanner of Alabama Shakes, and recorded and mixed in the storied R&B mecca of
Muscle Shoals, Alabama, the album harkens back to the region’s classic soul roots while
extending the form with electrifying potency.

Front man Paul Janeway’s handle “St. Paul” is a wry allusion to the vocalist’s grounding
in the church. Like many a legendary soul singer, Janeway, a native of the small town of
Chelsea, Alabama, was raised on the gospel side, in a non-denominational, Pentecostalleaning
local church. Virtually no non-religious music could be heard in his devout
household. Janeway says, “The only secular music that I heard at all was a ’70s group
called the Stylistics, and Sam Cooke. That was about it. The rest of it was all gospel
music. When I was about 10 years old, I was groomed to be a minister. My goal in life
until I was about 18 years old was to be a preacher.”

He adds, “My pastor was the reason that I learned to play guitar. They would let me play
guitar and sing in church. What was weird was that he would never let me sing lead – I’d
sing background vocals. I always thought, ‘Well, maybe I’m just a good background
vocalist.’ So I never thought I could really, really sing, at all. I never thought it would be a
living, ever.”

Though his time in the church exposed Janeway to key influences in gospel music – the
Mighty Clouds of Joy, Alex Bradford, Clay Evans – he began moving away from his
youthful path in his late teens. He began attending open mic nights in Birmingham’s
clubs and diversified his listening, excited by some decidedly left-of-center talents. “Tom
Waits and Nick Cave were the really big attractions,” he says. “They have that passion.
They’ve built this aura. They’re showmen to the teeth. And that’s what got me – it’s like
going to church, in a weird way. At about the same time, I began listening to the great
soul singers like Otis Redding, James Carr, and O.V. Wright. I was trying to find
something that made my earbuds tingle.”

Seeking his musical comfort zone, Janeway had an incongruous stint in a band that
played Led Zeppelin covers, but, he confesses today, “That’s not what I do.” However,
his early work in the rock vein brought him together with bassist Jesse Phillips. The pair
became close friends and were soon writing together; “Sugar Dyed,” “Broken Bones and
Pocket Change,” and “That Glow,” all heard on Half The City, were among the first fruits
of their collaboration.

The other members of the Broken Bones are all drawn from Alabama’s deep talent pool.
Guitarist Browan Lollar, from the Muscle Shoals area about 100 miles north of
Birmingham, previously played with Jason Isbell’s 400 Unit. “We never thought Browan
would ever be interested in this band – he was too big-time for us,” says Janeway.

“Jesse had met him while he was on tour with another band out of Birmingham. He
asked Browan to come to the studio, and he showed up. I think we caught him at the
right time. He wasn’t busy, and he said, ‘Man, I really want to be a part of this.'”
Jasper, Alabama, native Andrew Lee signed on via his acquaintance with Phillips. “We
just picked him up on the way to the studio,” Janeway recalls. “Jesse said, ‘I know this
guy, why don’t I just call him.’ And 30 minutes later, he’s sitting there playing drums on
‘Sugar Dyed.’ Andrew’s just a hell of a drummer.” Brass players Allen Branstetter and
Ben Griner are both graduates of the music program at Birmingham’s Samford
University. Janeway says his vision of the band always called for a two-man horn
section, a la the celebrated Memphis Horns, and he approached Griner, although the
latter’s main instrument was tuba. “I told Ben, ‘Man, I’ve got to have horns. Do you think
you can play trombone?’ He said, ‘I’ll give it a shot.’ And he brought Allen with him.”
All six members share writing credit on 10 of the songs on Half The City, with Janeway
contributing lyrics. “We firmly believe in a shared, communal writing process,” the singer
says. “These guys are extremely talented. The drummer wrote horn parts. Browan threw
something in. It’s very collective. We just get in a room. Sometimes we’ll have the scales
for a song, or sometimes we’ll have this little riff. That’s how we do it.”

In Tanner — who logged time at Muscle Shoals’ aptly named FAME Studios, where
scores of memorable soul records were cut — St. Paul and the Broken Bones found a
like-minded producer and label boss. Half The City is among the first releases on Single
Lock Records, the imprint co-founded by Tanner, John Paul White of the Civil Wars, and
Will Trapp.

“When we started getting cranked up and nobody really knew who the hell we were, we
got Ben to mix our original four-song EP,” says Janeway. “We just hit it off. He said,
‘Hey, guys, I’m in the process of starting this label. Obviously you can say no, but we’d
love for you to be a part of it.’ And we said, ‘Hell, yeah.'”

Reaching back nearly 50 years to methods employed the great epoch of deep Southern
soul, Tanner and the group eschewed studio trickery for an in-the-moment approach
during sessions at the Nutthouse in Muscle Shoals, AL. Fittingly, the album was mixed at
FAME. Janeway explains, “We said, ‘We’re doing this as old-school as we can.’ We did
it to tape. We did it live. What you hear is taken from about three takes, and we took the
best take. I love it. It’s raw. You hear all the scrapes.” Special guests include Al Gamble
on piano, organ and wurlitzer, Daniel Stoddard on pedal steel, Jamie Harper on baritone
sax and Tanner on piano, organ and background vocals.

Half The City – vital, direct, emotionally affecting – presents the same engaged, highvoltage,
in-the-pocket sound that St. Paul & The Broken Bones produce at their live
dates, where Janeway’s extroverted performing style enraptures his audiences.

“I’m going to be dancing, getting in the aisles, climbing on tables,” he says. “That’s just
the way we do it. It really takes me back to church. There’s not a lot of difference. When
I get on stage, it’s, ‘All right, it’s time to pour it on.'”

Moon Taxi with The Lonely Biscuits @ War Memorial Auditorium
Dec 31 @ 8:00 PM – 11:45 PM

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Moon Taxi: For the members of Moon Taxi, their third album, Mountains Beaches Cities, represents the idea of exploration – searching both the world and themselves for new experiences. The Nashville rock group, who had honed in on a notably compelling aesthetic with their previous album Cabaret, focused on extending the sonic landscape they’d created in earlier recordings, but this time around they amp up the speed and turn up the volume – creating an overall bigger sound.

The album was self-produced by Moon Taxi’s own guitarist Spencer Thomson with the help of keyboardist Wes Bailey and was mixed by Vance Powell (Jack White, The Dead Weather) and mastered by Greg Calbi (Talking Heads, Paul Simon, Fleet Foxes).

“One thing we didn’t want to do was stray too far from what we did before,” Wes says. “We really knew that things for the band had shifted in a good direction and we were growing because of our last record. We wanted to continue the energy we created from that record.”

“Like Cabaret, this project started with rough demos that slowly evolved into a statement from not just the initial songwriter, but evolved into a representation of what each of us individually have experienced in this band and how we’ve grown over the years as players,” Tyler adds. The band, which was founded in 2006, toured extensively in support of Cabaret, appearing at Bonnaroo, Forecastle, and Lollapalooza. Additionally, they have opened for such artists as Matisyahu, Dr. John, and Dirty Heads, and ended 2012 selling out multiple theaters on their own. While on the road, the musicians began to stockpile song ideas and demos, inspired by the trials and tribulations of traveling around the country to play shows. In early 2013, the band went into the studio to begin recording Mountains Beaches Cities with these touring experiences in mind. Much of the recording was done in Spencer’s apartment with only a few days of drum and bass riffs laid down in Nashville’s Sony Tree studio. Although Mountains Beaches Cities feels like an extension of Cabaret’s aesthetic, the new album is explorative, and its lyrics recount a new narrative for the musicians.

Each song on the album, and even the album title, generates its own story and imagery, but all come back to that idea of exploration and searching. “Beaches,” a surging, borderline experimental track Spencer calls “risky and ambitious” transports the listener with its haunting, emotive melody while jangling acoustic song “Young Journey” encapsulates the eye-opening experience of travel. “Morocco,” a propulsive, hooky track about a place none of the musicians have ever been, seeks adventure in the idea of going abroad. The album as a whole is grandiose and invigorating, each track revealing a new chapter in the LP’s overall story. This record, in particular, is important for Moon Taxi, who has been known in the past for its boisterous live appearances, but with Mountains Beaches Cities, it highlights the nearly perfected balance between the recorded material and how it translates to a live stage.

“We made a conscious effort with the last record to write meaningful songs and produce them in an exciting way,” Trevor says. “That is still the ultimate goal. We strive to produce something that will outlast us as a band. I can see this record reaching an even broader range of people because the song themes are universal. ”

The sound of Moon Taxi pulls from the many different facets and interests of its members. Trevor, who got his start in music playing trumpet in school, is driven by his love for reading, cooking and yoga; while Tyler, who spent his younger years jamming on a drum kit with friends, is driven by an immense appreciation and knowledge of pop culture. Spencer, who used to record himself in his parents garage, has transformed his knowledge of film into producing videos for Moon Taxi’s music. Wes, meanwhile, developed his musical process from classical composers like Mozart and spends his time on tour searching for golf courses while Tommy spends his free time going to concerts and carefully following Nashville’s local music scene. “I think the exploration aspect of the album came from trying to understand and explore ourselves,” Tommy says. “Personally and musically. As we get older we tend to know ourselves better, but there is always more to understand. You try new things, but continue some of the good habits you’ve learned. As we explored our music, we learned more about ourselves and matured as a band. I think it’s a concept that won’t stop at this record, but will carry on to our live shows and other records down the road.”

Old Crow Medicine Show @ Ryman Auditorium
Dec 31 @ 9:00 PM – 11:59 PM

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On September 17, 2013 Old Crow Medicine Show received the great honor of being inducted as the newest members of the historic Grand Ole Opry. Other highlights from the year included winning the Grammy Award for “Best Long Form Music Video” for the film Big Easy Express, and having their classic single, “Wagon Wheel”, receive the RIAA’s Platinum certification for selling over 1,000,000 copies.

The band got its start busking on street corners in New York state and up through Canada, winning audiences along the way with their boundless energy and spirit. They eventually found themselves in Boone, North Carolina where they caught the attention of folk icon Doc Watson while playing in front of a pharmacy. He immediately invited the band to play at his MerleFest, helping to launch their career. Shortly thereafter the band relocated to Nashville for a residency at the Grand Ole Opry, where they entertained the crowd between shows.

It’s been nearly fifteen years since these humble beginnings, and the band has gone on to tour the world, sell over 800,000 albums, become frequent guests on A Prairie Home Companion, and play renowned festivals like Bonnaroo, Coachella, and the Newport Folk Festival.

In 2011 Old Crow found themselves embarking on the historic Railroad Revival Tour with Mumford and Sons, and Edward Sharpe and the Magnetic Zeros. This tour had the bands riding a vintage train from California to New Orleans, playing shows along the way. The magic of this musical excursion across America’s vast landscape is captured in the Emmet Malloy directed documentary, Big Easy Express.

Old Crow Medicine Show now have five studio albums to their name, three of which were released by Nettwerk Records – O.C.M.S. and Big Iron World produced by David Rawlings, and Tennessee Pusher produced by Don Was. In 2012 Old Crow released Carry Me Back, on which they continued to craft classic American roots music while pushing themselves in new directions. The band’s newest album, Remedy, released by ATO Records and produced by Ted Hutt represents a new stretch of road in the timeless journey of a rambling string band.

Jan
4
Sun
Nashville Sunday Night Presents: Steelism with Los Colognes @ 3rd and Lindsley
Jan 4 @ 8:00 PM – 10:00 PM

Steelism Los Colognes

Steelism:
It’s a short drive from Nashville, TN, to Muscle Shoals, AL: 125 miles, or about two hours if your foot’s on the leaden side, and you’ve left one musical Mecca for another. Thanks to Nashville instrumental duo Steelism, though, that gap is bridged in the time it takes to listen to a track. Comprised of guitarist Jeremy Fetzer, pedal steel player Spencer Cullum and backed by some of Nashville’s finest young musicians, Steelism blends an eclectic array of vintage and modern influences to create instrumental music that truly sounds like nothing else.

Though Steelism is new to the music scene, Cullum and Fetzer are not, having backed artists like Wanda Jackson, Johnny Fritz, Rayland Baxter and Andrew Combs. The two met while touring the U.K. with Nashville songstress Caitlin Rose, quickly bonding over their shared love for classic movie soundtrack composers like Ennio Morricone and ‘60s instrumental acts like Booker T. and the M.G.s, The Ventures and Pete Drake. Writing together between sound checks, the duo realized it was time for the sidemen to become frontmen, and Steelism was born.

The duo’s full-length debut 615 to FAME releases via Single Lock Records (founded by Ben Tanner of the Alabama Shakes, John Paul White of The Civil Wars and Will Trapp), with marketing and distribution from Thirty Tigers, on September 16, 2014. Half recorded at Muscle Shoals’ historic FAME Studios, where Wilson Pickett, Aretha Franklin and Otis Redding all tracked hits, 615 to FAME was produced by Fetzer and Cullum with co-production from Ben Tanner, and contributions from longtime Nashville-based collaborators Jon Radford (drums) and Michael Rinne (bass). Featuring 10 original instrumentals and one cover, 615 to FAME announces Steelism as one of Nashville’s most exciting new acts.


Los Colognes:

Aaron Mortenson and Jay Rutherford set out to make their debut Los Colognes album in the mold of the great JJ Cale records of the ‘70s. Working Together is parched desert country blues at its best—full of relationships gone south, one-liners that make you think twice, and slow-burning boogie woogie. After a name change and three years tightening their sound and soaking up the remaining strains of classic country music in Nashville, Los Colognes’ Working Together reflects the simple but straight-on lyricism of John Prine, the unhurried grooves of Cale, with a touch Mark Knopfler’s mid-‘80s Dire Straits polish. “Just stay on the train until you feel like you got enough,” explains Mort on the band’s recording studio philosophy. The duo would bring in different players on each session, then take the tapes home to work on them some more, blending in a “soupy, random quality,” says Jay. Though Working Together deals with the unraveling of one particular relationship, Los Colognes have distilled things here to their universal core. After a decades-long musical partnership—writing 500 shitty songs together, Mort jokes, and fully finding their sound—this is the good stuff.

Jan
28
Wed
Jack White @ Bridgestone Arena
Jan 28 @ 7:30 PM – 11:00 PM

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Jack White performs his first hometown show of 2015 at Bridgestone Arena.  Lightning 100 has your hookup with an exclusive presale this Thursday at 10am.  Password is “lazaretto”.  Limited supply of tickets available.  General on sale starts on Friday at noon.

Jan
29
Thu
Roger Waters Presents Ça Ira @ Schermerhorn Symphony Center
Jan 29 @ 7:30 PM – 10:00 PM

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U.S. Premiere—Narrated Live by Roger Waters, and featuring the Nashville Symphony.

Rogers Waters, the creative force of Pink Floyd, presents Ça Ira, his classical opera set during the French Revolution. Ça Ira evokes the passion, faith and madness of a time that forever changed the world.  Featuring Waters’ spoken narration, this epic piece of music is scored for full orchestra, four solo voices, chorus and children’s chorus.

Jan
30
Fri
Roger Waters Presents Ça Ira @ Schermerhorn Symphony Center
Jan 30 @ 7:30 PM – 10:00 PM

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U.S. Premiere—Narrated Live by Roger Waters, and featuring the Nashville Symphony.

Rogers Waters, the creative force of Pink Floyd, presents Ça Ira, his classical opera set during the French Revolution. Ça Ira evokes the passion, faith and madness of a time that forever changed the world.  Featuring Waters’ spoken narration, this epic piece of music is scored for full orchestra, four solo voices, chorus and children’s chorus.

Feb
7
Sat
Trampled by Turtles @ Ryman Auditorium
Feb 7 @ 8:00 PM – 11:00 PM

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Trampled By Turtles formed in 2003 in Duluth, Minnesota. From their beginnings on the Midwestern festival circuit, they have reached new heights with each album.  The release of 2012’s Stars And Satellites saw the band play to more fans than ever, sell close to 100,000 albums, make their first national television appearance on The Late Show With David Letterman, and have their first concert feature, Live at First Avenue, broadcast on Palladia. This year will see the band headline Red Rocks Ampitheatre for the first time and the kickoff of their own festival, Festival Palomino, which will take place September 20, 2014 outside Minneapolis.  

Lead songwriter Dave Simonett has been especially affected by change over the last few years.  He relocated from Duluth to the city of Minneapolis.  “When I lived in Duluth, I think I took connection with uncivilized nature for granted. There, I had to drive 20 minutes and I was in the middle of nowhere, and I did this almost daily,” says Simonett.  “This was a very important ritual for me. Solitary time in a nearly untouched landscape is my version of church, so I think there is a bit of loss of religion in a lot of my work these days. I’ve always been a little obsessed with our struggle to stay connected to our simple animal side, the part of our nature that lived off the earth, hunted live game, worshipped trees and mountains. I believe a lot of sadness is caused by feeling disconnected with the rest of nature.  A lot of what is instinctual for us is beaten down and frowned upon in modern society.  It has to be confusing for the subconscious.”

Feb
27
Fri
Kongos w/ Young Rising Sons @ Marathon Music Works
Feb 27 @ 7:00 PM – 11:00 PM

KONGOS is a rock band of four brothers – Johnny, Jesse, Dylan and Danny Kongos. Sons of British singer-songwriter John Kongos, they grew up in London and South Africa, and are now based in Phoenix, AZ.49-atmd

Feb
28
Sat
Drew Holcomb and The Neighbors @ Ryman Auditorium
Feb 28 @ 8:00 PM – 11:00 PM

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On Sale Friday, October 17 at 11 AM

 

May
11
Mon
The Who @ Bridgestone Arena
May 11 @ 7:30 PM – 11:30 PM

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THE WHO, one of rock’s most legendary and defining bands, will celebrate their 50-year legacy when they bring their “THE WHO HITS 50!” tour to North America in 2015.

Set lists on these shows will take  their audience on an “Amazing Journey” through THE WHO’s entire career, from the band’s early days to classic albums including WHO’S NEXT, TOMMY, QUADROPHENIA, MY GENERATION and LIVE AT LEEDS, through the present day.

THE WHO have sold over 100 million records since forming in 1964; they brought together four different personalities and in effect produced a musical hurricane.  Each of them was a pioneer. Wildman drummer Keith Moon beat his kit with a chaotic elegance; stoic bassist John Entwistle held down the center with the melodic virtuosity of a solo guitarist; raging intellectual Pete Townshend punctuated the epic universality of his songs with the windmill slamming of his fingers across his guitar strings; and Roger Daltrey roared above it all with an impossibly virile macho swagger. They exploded conventional rhythm and blues structures, challenged pop music conventions, and redefined what was possible on stage, in the recording studio, and on vinyl. As they enter their 50th year, the band is still going strong, winning rave reviews for their performances of QUADROPHENIA in 2013.

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