Nashville Concert Calendar

MTC_McRib_700x200

Nov
23
Sun
Lightning 100 Presents Rhett Miller @ City Winery Nashville
Nov 23 @ 6:00 PM – 10:30 PM

rhett-miller_banner_6

Rhett Miller is the front man and main songwriter of the hard-charging rock ‘n’ roll quartet the Old 97’s, as well as an accomplished solo artist. In addition to his nine studio albums with the 97’s (most recently The Grand Theatre Volume One and The Grand Theatre Vol. 2 in 2011), he has released four solo albums; 1989’s Mythologies, 2002’s The Instigator, 2006’s The Believer, and 2009’s Rhett Miller. Miller is set to release his first live covers album, The Interpreter Live at Largo, on November 22, 2011 on his own recently established label Maximum Sunshine Records.

In addition to his music being featured in countless films and television shows, Rhett has appeared in an episode of the NBC hit series 30 Rock and the Old 97’s were prominently featured in the Vince Vaughn/Jennifer Aniston romantic comedy, The Break Up. Primarily known for his songwriting and awe-inspiring live performances, Rhett is also a critically-acclaimed author whose work has appeared in several books and such well-known periodicals as Rolling Stone, McSweeney’s, and The Atlantic.

Similar Artists: Patterson Hood, Ryan Adams, Roger Clyne

Nashville Fringe Festival Presents The Megaphones EP Release Show @ 5 Spot
Nov 23 @ 6:00 PM – 10:00 PM

Nashville-Fringe-Festival-Logo

In celebration of the release of a new EP from THE Megaphones; Sunday, November 23; doors at 6:00 pm, show at 7:00 pm;  5 Spot (1006 Forrest Ave., Nashville, TN 37206); part of the 5 Spot’s “Sunday Night Soul Series;” $10.00 (admission includes EP).

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

elenowen

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
28
Fri
Lightning 100 Presents Trombone Shorty & Orleans Avenue @ Marathon Music Works
Nov 28 @ 8:00 PM – 11:45 PM

19-atlg

New Orleans native Trombone Shorty began his career as a bandleader at the young age of six, toured internationally at age 12, and spent his teens playing with various brass bands throughout New Orleans and touring worldwide with Lenny Kravitz. He fronts Trombone Shorty & Orleans Avenue, a funk/rock/jazz/hip-hop band. Together they have toured across the U.S., Europe, Australia, Russia, Japan and Brazil. In 2010, Trombone Shorty released his debut album, the Grammy®-nominated “Backatown,” followed by “For True” in 2011, which topped Billboard magazine’s Contemporary Jazz Chart for 12 weeks. His newest album, “Say That to This,” was released in 2013 and features funk/jazz elements of New Orleans. Trombone Shorty appeared in several episodes of HBO’s “Treme,” and has recently appeared on “The Tonight Show with Jay Leno, Jimmy Kimmel Live,” “Late Night with Jimmy Fallon” and “Conan.” In 2012, he performed at the White House in honor of Black History Month with music royalty such as B.B. King, Mick Jagger, Jeff Beck and Booker T. Jones. At this year’s Grammy Awards, he performed alongside Madonna, Macklemore & Ryan Lewis, and Mary Lambert. In 2012, he received the President’s Medal from Tulane University in recognition of his charitable work with the Trombone Shorty Foundation, which donates quality instruments to schools across New Orleans.

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
5
Fri
Friday Afternoon Live: Forlorn Strangers @ 12th and Porter
Dec 5 @ 5:00 PM – 7:30 PM
Photo Credit Rachel Vaudreuil

Photo Credit Rachel Vaudreuil

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 Company and Blue Moon Brewery.

Dec
6
Sat
Lightning 100’s Festivus feat. The Weeks, Mikky Ekko, The Whistles and the Bells, and Haerts @ Marathon Music Works
Dec 6 @ 7:00 PM – 11:30 PM
festivus-square-photo-2014
Sponsored by Regions, Tito’s Vodka, MyTV30, and Jägermeister
Seinfeld at 11p and 1130p on Mytv30
Benefiting Salvation Army Forgotten Angels”With over 17,000 “angels” in need of assistance this year, not all of the “angels” will be adopted.  To ensure that each special angel receives Christmas assistance, we have developed a forgotten angels shop were we store generic toys, clothing and items.  When a parent comes to pick up their gifts and one of their children were not adopted, we send our volunteers to shop in our Forgotten Angel Shop.”
The Weeks

The Weeks

“If my Southern heart’s still pumping blood/I’ll bury my money in the mighty Mississippi mud,” sings The Weeks’ Cyle Barnes on Dear Bo Jackson’s “Brother In The Night.” “If my Southern lungs won’t let me breathe/I’ll wait for the cicadas and I’ll let ‘em push it out for me.”
With that powerful verse, The Weeks staked a claim as heirs to the timeless tradition of Southern rock. In 2013, the band released their label debut album, Dear Bo Jackson, on Serpents and Snakes Records, spent the year on their “Thick As Thieves Tour” and were included in Rolling Stone magazine’s “Hottest Live Photos of 2013” feature after a raucous set at NYC’s Mercury Lounge. (www.rollingstone.com/music/pictures/the-hottest-live-photos-of-2013-20121212/the-weeks-0322913). During the summer, the band hopped over the pond for a UK/European Arena tour with Kings of Leon and then they came home to play at the Voodoo and Austin City Limits festivals.
Since then, the band headlined the Communion Tour, which was handpicked by Mumford & Sons’ Ben Lovett, played direct support to Jake Bugg at The Ryman, sold out the Mercy Lounge in Nashville twice, and have barely left the road with no plans to do so soon. Headed now into the festival circuit, they have already played in 2014: Bonnaroo, Shaky Knees, Mountain Jam, Wakarusa, Firefly, Spring Jam ,Middle of the Map, Common Grounds, Summerfest, Bastille, and Forecastle.
The Weeks will release a 4-Song “Buttons” EP to celebrate the 7th anniversary of the band (formed when they were 15) which will include 2 revisited songs from their original release along with 2 brand new compositions. The highlight of this EP will be a re-recording of the first song they ever wrote, “Buttons.” To this day, it is a fan favorite and their most-requested song. It was never properly captured on tape until now. The full length follow up to Dear Bo Jackson will be recorded in August and September for a early Spring 2015 release.
Born and raised in Jackson, Mississippi, The Weeks (Cyle Barnes – vocals; Sam Williams – guitar; Damien Bone – bass; Cain Barnes – drums; Alex Admiral Collier – keyboards) came together in 2006 and instantly came to define the sound of Southern Rock in the 21st Century – their grunge-powered, high-octane anthems rich with a bottomless Delta soul far deeper than the boys’ teenage years would suggest. Like any great rock ‘n’ roll outfit worth its salt, The Weeks played as often as humanly possible, with countless club dates across the Southeast and tours alongside such like-minded acts as Deer Tick, Local H, North Mississippi Allstars, and the one and only Meat Puppets. Their extraordinary energy and outsized performances – not to mention a series of well-received independently issued releases – earned them a fervent fan following and ultimately, a deal with the like-minded Serpents and Snakes Records, who reissued the band’s second EP, Gutter Gaunt Gangster.
By summer 2010, it had become clear that sleepy Jackson could no longer contain the mighty Weeks. The band left their old Mississippi home for the bright lights of Nashville, and, as Williams says, “it’s been non-stop ever since.”
Where GGG – like all The Weeks’ previous recordings – was recorded fast and on the cheap, the band opted to take a more leisurely tack in making Dear Bo Jackson. They spent six months at pre-production, resulting the most fully articulated demos of their career. When time came to record the album proper, their search for a producer led them to Paul Moak, a Grammy Award-nominated producer/engineer/mixer and perhaps most importantly, a fellow Jacksonian.
The Weeks set to work at Moak’s Music City studio, The Smoakstack, determined to push themselves further than ever before. Drawing inspiration from such iconic works of Americana as The Band’s Music From Big Pink, the band’s first goal was to incorporate new musical elements into their own inimitable take on Americana.
Much of Dear Bo Jackson’s all-inclusive sound can be credited to The Weeks’ very own Garth Hudson, Collier, whose compositional background and proficiency on an array of instruments enabled the band to build their inventive arrangements from within. Adding color to such standouts as “King Sized Death Bed” and “Gobi Blues” are legendary pedal steel guitarist Bucky Baxter – “the most unbelievable musician I’ve ever seen in person,” says Williams – as well as their buddy Carl Gatti on trombone and faux French Horn. What’s more, friends from throughout the new Nashville rock scene – including Jonny “Corndawg” Fritz – dropped into The Smoakstack to lend backing vocals and a collective stamp to the proceedings.
With Dear Bo Jackson, The Weeks enriched their already well-seasoned sonic stew with the classic flavors of soul, R&B, funk, and heavy boogie to fashion a forward-facing sound all their own. Big brass, lush strings, and twangy pedal steel fused into their distinctive sludge pop, with Williams’ greasy guitars and the highly charged engine room of Bone and Cain as well as the ever-distinctive Collier. Throughout the album, Cyle rends his throat raw as he testifies dramatic and truthful tales of modern Southern lives, always full of hope despite often punishing circumstances.
The press on the record was filled with deserving accolades. Rolling Stone said, “The Weeks’ nervy, careening jangle and scraggily, Southern-stoner look immediately bring to mind Youth and Young Manhood-era Kings of Leon comparisons,” while the Associated Press hailed, “Here’s more proof Nashville, TN, is saving rock ‘n’ roll one band at a time.” Relix claimed, “The Weeks’ breakout album, Dear Bo Jackson, is a big-hearted rock stew – a delicious blend of Southern rock riffs, soulful horns and punk attitude,” and American Songwriter said, “The Weeks groove and grunt their way through this tribute to Mississippi, the band’s home state.” Blurt exclaimed, “Dear Bo Jackson is a remarkable collection of blazing southern rock, soul, funk, alt country and just about anything else that is still good about music today,” while Paste said, “The band’s sound blends classic Southern rock influences with a grungy yet soulful twist to give the band a sound all their own.”
As The Weeks barrel into the future without a net or a rulebook, they are not looking backwards for a second as they continue to explore their Mississippi roots and current place in the world, with all the profound joy and unfathomable sadness that entails.
Mikky Ekko
One night last November, Mikky Ekko was sitting on the riverbank near the London home of one of his songwriting collaborators, Fraser T. Smith. The two were drinking tequila and playing around with some chords when the lyrics to a special song began pouring out: “Time,” which is now the title track to Ekko’s upcoming debut album. “There’s an honesty and a simplicity to it that I’m really proud of,” Ekko says of the ballad, which features just acoustic guitar, strings, and Ekko’s soaring vocal. “I was trying to find a way to say, ‘No matter what happens I’ll be there for you, even if you only want me for tonight.'”The song is especially significant to Ekko, coming as it does after the multi-platinum success of “Stay,” a stark piano ballad he had co-written during a particularly vulnerable time in his life. Of course “Stay” was recorded by Rihanna (featuring and co-produced by Ekko) and went on to become one of the biggest hits of 2013. It sold over ten million tracks worldwide, peaked at No. 3 on the Billboard Hot 100 and No. 1 on the Pop Songs chart, and earned Ekko a Grammy Award nomination for Best Pop Duo/Collaboration. He also delivered a memorable live performance of the song with Rihanna at the 2013 Grammy Awards.At the time of the Grammys, the Nashville-based Ekko had one independently released EP and a handful of left-of-center singles under his belt, including “Pull Me Down,” written and produced with elusive sonic collagist and hip-hop producer Clams Casino (A$AP Rocky, The Weeknd), which earned him attention from tastemaker media like Spin, Pitchfork, and the U.K.’s Dazed and Confused. Prior to that, in 2011, Ekko was a virtual unknown whose obvious songwriting talent and otherworldly voice had earned him opportunities to spend time in London and Los Angeles working with several A-list songwriters and producers, including his “Stay” co-writer Justin Parker (Lana Del Rey, Sia), Fraser T. Smith (Adele, Sam Smith), Dave Sitek (TV On The Radio, Yeah Yeah Yeahs), and Jim Eliot (Ellie Goulding). Once “Stay” became a worldwide hit, things kicked into overdrive. Since then, Ekko has had his songs “Place For Us” and “We Remain” (which he wrote with Ryan Tedder for Christina Aguilera) appear on “The Hunger Games” soundtrack. He co-wrote and is featured on Chris Malinchak’s current single, the disco stormer “Stranger.” In August, Ekko was nominated for a 2014 MTV Video Music Award with David Guetta for “Best Video with a Social Message” for the song “One Voice,” which the two recorded for the United Nations’ “The World Needs More” campaign. He is also highly in-demand as a collaborator and has been in the studio writing with and for Lil Wayne, Gwen Stefani, Zedd, Jessie Ware, Giorgio Moroder, Rudimental, Major Lazer, and Lupe Fiasco.
Haerts
There is something decidedly mystical about HAERTS’ story and it’s reflected in their sound, a kind of elegiac but warm electro-pop, which is showcased on their debut EP, “Hemiplegia.” Fittingly, you can almost narrate the band’s entire trajectory via the personal astrology charts of its members — an international constellation composed of Nini Fabi, Ben Gebert, Garrett Ienner and Derek McWilliams.
Dec
7
Sun
Nashville Sunday Night Presents: Sugar and The Hi-Lows with Sam Palladio @ 3rd and Lindsley
Dec 7 @ 8:00 PM – 10:00 PM

Sugar Hi Lows

Sugar & The Hi Lows know that popular music isn’t a mirror, that melodies and lyrics aren’t tethered to the cultural landscapes of their day. Breathing a new sound into music with an old soul, this rootsy, vintage duo reminds us why we dance, especially in the midst of hard times.

Music has always had the power to buoy spirits and wash communal hardships into the background. When Judy Garland clicked her sparkling heels together and sang of a place “Over the Rainbow,” for example, the rest of the nation was still reeling from the Great Depression. And though decades have come and gone, music has never lost that power.

Ringing in their new sound, Sugar & The Hi Lows are bringing back the era of feel good music, the days when one take was enough and an auto-tune was a thing you did to your ’55 Chevy. Brought to life by experienced songwriter/performers Trent Dabbs and Amy Stroup, Sugar & The Hi Lows is a bit of a nostalgic love offering.

Growing up in Mississippi under the sway of Memphis blues, Dabbs was raised to the soundtrack of Motown, Otis Redding, Marvin Gaye and The Temptations. “My father used to make blanket statements like, ‘It’s not good if you can’t dance to it,’” he remembers. And though he wasn’t into his father’s sonic selection at the time, he says that style of music has come to evoke a feeling he can’t get anywhere else.

“The older I got, I realized how that was kind of seeping into what I loved musically, and it just brings this joy, it brings this happiness,” Dabbs says. “With the climate of everything right now – with the economy – you could write the most depressing songs ever, but I really feel like the world needs light; the world needs lighthearted.”

Dabbs and Stroup are certainly no strangers to pop culture. Both mainstays in Nashville’s singer-songwriter scene, the two have heard dozens of their songs spinning behind hit shows like Grey’s Anatomy, Parenthood, Private Practice, So You Think You Can Dance, Pretty Little Liars and more. Dabbs’ music has been touted by Taylor Swift, and Stroup was named one of the Top 20 Songwriters Under 30 by A Prairie Home Companion. Though fully at home in their niche, the two still chose to step away from their self-described “heavy mellow” sound to pursue something with a bit more swing in its step. The happy-go-lucky numbers that evolved into Sugar & The Hi Lows first began to take shape when Dabbs purchased a vintage box amp and sat down in his basement for a regular co-write with Stroup. “We got to talking about his dad and throwback music from the ‘50s and ‘60s and just like, ‘Why isn’t there that type of music now?’” Stroup recalls. That day, their song “This Can’t Be the Last Time” came in less than two hours. A newfound creative freedom had been tapped, and the next seven tracks for the project fell quickly into place. “We weren’t really trying to treat it like a band,” Stroup explains. “We just wrote this series of songs, but they didn’t feel like an Amy Stroup song or an Amy and Trent duet.”

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

TBK_Spot2

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
12
Fri
Friday Afternoon Live: Laura Reed @ 12th and Porter
Dec 12 @ 5:00 PM – 7:30 PM

1959422_699493906756789_5194807324141600602_n

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 Company and Blue Moon Brewery.

Lightning 100 presents Marathon Music Works 3rd Anniversary Celebration feat. The Delta Saints The Deep Fried Five, The Wans @ Marathon Music Works
Dec 12 @ 8:00 PM – 11:00 PM
MarathonDec12_fb
The Delta Saints

The Delta Saints

Often leaning on the simple descriptor, “Bourbon-fueled, Bayou rock”, The Delta Saints are a Nashville-based quintet composed of Ben Ringel (vocals/resonator guitar), Dylan Fitch (lead guitar), David Supica (bass), Ben Azzi (drums), and Nate Kremer (organ). They have spent the past six years carving out their very own space in the musical gray-area occupied by other blues-inspired artists like Gary Clark Jr., Tedeschi Trucks Band, and North Mississippi Allstars.

The band’s founding members met in the fall of 2007 as a group of college transfer students looking for drinking buddies. Friday night hangs quickly turned into Friday night jam sessions, and before they knew it, a friendship had formed. The discovery of their shared passion for creating and performing music eventually brought about the need for a name. Ringel’s upbringing in south-central Louisiana seemed an obvious connection, but he will be the first to tell you, “It just sounded right.” He continues, “One day we’ll make up a great story about how we got our name. It will involve prison and bourbon and voodoo, but until then, the truth will have to suffice.”

However it happened, once they found their footing, The Delta Saints never looked back.

In 2010, they recorded and released two separate EP’s, Pray On and A Bird Called Angola, respectively. Over the next two years they toured relentlessly throughout the United States and Europe. In 2012, having amassed a troop of diehard supporters, they completed a successful Kickstarter campaign to crowdfund the creation of their first full-length record, Death Letter Jubilee.

Officially released in early 2013, Death Letter Jubilee marked the beginning of what proved to be a very productive year for the band. Highlighted by major support slots with Michael Franti & Spearhead, Goo Goo Dolls, Robert Randolph & the Family Band; festival plays at Wakarusa (US), Belgium Rhythm & Blues Festival (Belgium), Moulin Blues Festival (Netherlands); and a summer tour that touted 20 sold out shows in 13 different countries.

Rest assured the momentum building behind The Delta Saints has not gone unnoticed. They kicked off 2014 with an extensive 50-city international tour opening for Zac Brown’s southern rock brethren, Blackberry Smoke. To commemorate the occasion, the band released a new 3-song EP called Drink it Slow, featuring two new studio recordings and one live recording. The EP is available as a free download from the band’s website.

Summer 2014 has seen the release of their first live album, Live at Exit/In. The album captures an electric sold out 2-night weekend in their hometown of Nashville. In support of Live at Exit/In, The Delta Saints will hit the road on another international tour highlighted by a handful of major summer festival appearances at Summerfest (US), Summer Camp Festival (US), The Ride Festival (US), Grolsch Blues Festival (Germany) & Leffingeleuren Festival (Belgium).

At the end of the day, The Delta Saints know that their continued success as a band depends on their hard work and willingness to continue soaking up every opportunity they are given.

“We want to grow, but we understand that it’s all in due time,” says Ringel. “We want to fully realize the weight of our experiences, and be able to savor them too. We pay our bills, we fill the gas tank in our van, and we pay for our own albums to be pressed, all because of the people who believe in our music,” Ringel reflects.

The Delta Saints have set out to build a name for themselves the old-fashioned way, winning over one fan at a time. They have already amassed an international following of friends, fans and supporters, and rest assured…they will make a believer out of you too.

The Deep Fried Five

The Deep Fried Five

Out of their hometown of Nashville, TN- Deep Fried 5 has been making funky, soulful music exploding with groove and attitude since 2008 & haven’t looked back since. With original tracks, reminiscent of 60s and 70s funk and soul, the music takes you back to when it was pure… “These dudes have moved to the top of the chart in our heart with a sound that finds the more commercial aspects of late-’70s soul — you know, when it was bumping uglies with the beast that was about to become disco.” -Sean Maloney of the Nashville Scene. The group continues to grow and expand, pushing the envelope of a new progressive funk sound that has undertones of jazz, rock, soul, r&b, and blues; winning the affection of all different genres of music fans. In late 2009, they began working on their first album: a 14-track, self-produced record at the Groove Compound Recording Studios in Spring Hill, TN. After releasing the album “Saturday Night Funk, Sunday Morning Soul”, the band began rapidly building up a funky fan base from the Southeast to the Midwest, spreading the “Deep Fried’ sound. The band has been support for bands such as; Ivan Neville’s Dumpstaphunk, Orgone, The New Mastersounds and many more. And has been a part of major festivals like Dexfest 2010 and 2011, Riverbend Music Festival in 2011, Alexander City Jazz Festival in 2011, Bele Chere in 2011, River and Spires Music Festival in 2012 and Family Fall Roots Festival 2011 and 2012. As of late, the band has been working up their next album entitled “Right Around the Corner” which is being recorded at G.E.D Soul Recording Studios in East Nashville. The 10-track album will be ready to release in the summer of 2013 followed by a strong tour in hopes to gain new fans in newer markets.
The Wans

The Wans

Since they formed two years ago, The Wans have been unleashing shotgun blasts of rock & roll that have resounded from their hometown of Nashville (American Songwriter) all the way to London (NME). They’ve already opened for artists such as Pearl Jam, Beck and the Black Lips, and their music has been featured on ABC’s Nashville, A&E’s Longmire and USA’s Necessary Roughness.

Their new album He Said, She Said (out Sept. 9) was produced by Dave Cobb (Rival Sons, Jason Isbell) & mixed by Vance Powell (Jack White, Arctic Monkeys). The band wrote over 40 songs for the new record before whittling them down—with the aid of producer Cobb—to the 10 best. “We tracked all the songs in one week at Dave’s studio, which is completely analog,” says lead singer/guitarist Simon Kerr. “He has this old mixing board that some of our favorite albums were recorded on—The Rolling Stones, Led Zeppelin. The sound of that board really guided us on He Said, She Said. We cut it completely live—even the vocals.”

“And we were at Dave’s the whole time—basically slept on his floor the week we made the record,” says drummer Mark Petaccia. “We’d sleep for an hour or two a night then wake up, drink some whiskey and get back to recording. It was intense, but it was fun.”

On He Said, She Said, The Wans channel both the classic riff rock of Led Zeppelin & Cream and the grunge of ’90s bands like Nirvana & Soundgarden, but with a modern twist. “We’re all massive fans of ’60s rock and most certainly the early-’90s grunge movement,” says bassist Thomas Bragg, “but we didn’t really go into this planning to make a ’90s-sounding record. Once the album was finished, though, it had certainly gone in that direction, and we all looked at each other and knew we had something special.” The songs on He Said, She Said possess the same swagger as on the band’s 2012 self-titled debut EP, but they’re more focused than ever. And they’re all pretty much about drunken one night stands & break ups. (“Not that I endorse any of those things,” Kerr laughs.)

The Wans picked up their name from transplant Kerr’s hometown back in Ireland. “It’s everyday slang in Derry,” he says. “Pretty much, it means ‘The Ones,’ but the way it’s spelled is the way it’s pronounced in an Irish accent. So now everyone has to pronounce it that way!”

With the release of He Said, She Said, a new music video on the way, a fall tour in the works as well as some prime festival appearances at the Hangout, Forecastle and Austin City Limits, 2014 is set to be a breakout year for The Wans.

Dec
13
Sat
KOPECKY FAMILY BAND @ Mercy Lounge
Dec 13 @ 9:00 PM – 11:30 PM

91_Artist

“Family” is a word that encompasses a variety of definitions. With that in mind, let this introduction to Kopecky Family Band be taken with an open mind and with a grain of salt. This family is connected not by blood or by heritage, but by circumstance. No, this is a family bound by the miles on their odometer and by the songs they have crafted over the years. These six young musicians have created a family through their commitment to each other and to their craft. Crack open your dictionary, if you need to.

the Kopecky Family Band – a non-traditional family, at that – is dynamic, and they wield an equally dynamic slew of instruments. Their thoughtful songwriting is supported by a diverse backdrop of sound. And the musical canvas is covered with broad brushstrokes – ranging from clanging tambourines and guitars, booming percussion, intelligent string arrangements, and triumphant horns. These six bandmates – siblings, if you will – swap their musical tools without a second thought, creating an emotive, adventurous, and energetic environment onstage.

In late 2007, founding members Kelsey Kopecky and Gabriel Simon became united with four friends who shared a mutual vision. They planted seeds that have been nurtured for the past five years through persistent touring and recording – and those seeds are rapidly reaching maturity. With thousands of miles traveled, and surely thousands to come, the Kopecky Family Band is only just beginning their adventure – and they want to bring you along for the ride.

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

headandheart_lg

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
21
Sun
Nashville Sunday Night Presents: Andy Davis and Friends @ 3rd and Lindsley
Dec 21 @ 8:00 PM – 10:00 PM

Andy Davis

Andy Davis’s smart and seductive blue-eyed soul music weds indelible hooks to sly, incisive lyrics, creating songs that sound like newly minted pop-soul classics. A Louisiana native, Davis released his first album, “Thinks of Her,” in 2004. “Thinks of Her” struck a chord on college campuses, selling out its initial print run. The original pressing of the CD — with Davis’s hand-written lyrics and stenciled cover art — became a collector’s item within months of its release.

In 2005, the remastered rerelease of “Thinks of Her” gained Davis national exposure and brought him to the attention of legendary music producer Mitchell Froom (Paul McCartney, Sheryl Crow, Elvis Costello). The result of their collaboration was “Let the Woman,” a sophisticated, sonically adventurous album that ignited a bidding war. Barnes and Noble won the exclusive rights to distribute “Let the Woman” online and and in their stores all over the world. The album’s single, “Brown Eyes,” became a staple on AAA radio stations nationwide, and “Let the Woman” became a #4 bestseller.

Davis toured extensively in support of “Let the Woman”, both headlining and opening for Colbie Caliat, Jakob Dylan, Mat Kearney, Will Hoge, Howie Day, and NEEDTOBREATHE.

The following year, Davis became a prominent member of Ten Out of Tenn, a critically acclaimed collective of Nashville singer/songwriters who joined forces for a collaborative tour that was documented in the award-winning documentary film, “Any Day Now.”  In 2009, Davis returned to Nashville to record his latest EP, “New History,” which was featured in — and inspired — a recent episode of ABC’s “Grey’s Anatomy.”

In March of 2011 Davis broke back onto the scene launching a Kickstarter campaign, asking fans to help fund his next album. He ended up raising over $41,000 in 30 days, and went to LA to make another album with Mitchell Froom and David Boucher. Bringing in acclaimed studio musicians Matt Chamberlain and David LaBruyere, Davis captured an album’s worth of songs in an oldschool style, abandoning the click track and focusing on real, live musical moments between he and the musicians. The result was a new full-length album, called Heartbreak Yellow.

Heartbreak Yellow was released on iTunes Jan 3, 2012, and was immediately in the top rankings of the Singer/Songwriter genre.  A thoroughly contemporary artist raised on old-school rock and soul, Andy Davis’s infallible ear for hooks — for a well-turned phrase — and for the often irregular heartbeat of human relationships continues to engage longtime fans and win him new ones.

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

ocms14_lg

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

unnamed
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

ocms14_lg

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
10
Sat
Sam Smith @ Grand Ole Opry House
Jan 10 @ 8:00 PM – 11:00 PM

188659a

Sam Smith (born 19 May 1992)[2] is an English singer-songwriter. He rose to fame in October 2012 when he was featured on Disclosure’s breakthrough single “Latch”, which peaked at number 11 on the UK Singles Chart. His subsequent feature—on Naughty Boy’s “La La La”—earned him his first number 1 single in May 2013.

In December 2013, he was nominated for the 2014 BRIT Critics’ Choice Award and the BBC’s Sound of 2014 poll,[3][4] both of which he won.[5][6] He released his debut studio album, In the Lonely Hour, in May 2014 on Capitol Records.[7] The lead single, “Lay Me Down”, was released prior to “La La La”. The second single was “Money on My Mind”.[8] The album’s third single “Stay with Me” was an international success, peaking atop both the UK Singles chart and the U.S. Billboard Pop Songs chart (along with the Adult Contemporary, Adult Pop Songs and Radio Songs charts); it also reached number 2 on the Billboard Hot 100 chart.

Jan
13
Tue
Gregg Allman with special guest SIMO @ Ryman Auditorium
Jan 13 @ 7:00 PM – 11:00 PM

greggallman_lg

Lightning 100 presale alert! Get your tickets before everyone else starting at 10am for Gregg Allman at Ryman Auditorium on January 13th and 14th! Presale password is BLUES

Jan
14
Wed
Gregg Allman with special guest Amanda Shires @ Ryman Auditorium
Jan 14 @ 7:00 PM – 11:00 PM

greggallman_lg

Lightning 100 presale alert! Get your tickets before everyone else starting at 10am for Gregg Allman at Ryman Auditorium on January 13th and 14th! Presale password is BLUES

Jan
18
Sun
Nashville Sunday Night Presents: Strand of Oaks plus Fly Golden Eagle @ 3rd and Lindsley
Jan 18 @ 8:00 PM – 10:00 PM

strand of oaks

From the first bars of HEAL, the exhilarating melodic stomp of “Goshen ’97” puts you right into Tim Showalter’s fervent teenage mindset. We find him in his family’s basement den in Goshen, Indiana, feeling alienated but even at 15 years old, believing in the alchemy and power of music to heal your troubles. “The record is called HEAL, but it’s not a soft, gentle healing, it’s like scream therapy, a command, because I ripped out my subconscious, looked through it, and saw the worst parts. And that’s how I got better.” HEAL embodies that feeling of catharsis and rebirth, desperation and euphoria, confusion and clarity. It is deeply personal and unwittingly anthemic.

Showalter was on tour, walking back to his hotel on a mild autumn night in Malmo, Sweden, when he first felt the weight of the personal crisis that would ignite him to write HEAL. “It was a culmination of pressure,” Showalter recalls. “My marriage was suffering, I’d released a record I was disappointed in, I didn’t like how I looked or acted…so I’d gone on tour, I was gone about two years! I didn’t take time to think about failure, but I knew I was going deeper and deeper…I was thinking, I have this life, but it’s not my life, I haven’t done it right…”

HEAL was scheduled for mixing on December 26, 2013. Driving on the freeway on Christmas Day, Showalter and his wife hit a patch of black ice and crashed their car head on into a semi-truck, and were very fortunate to walk away with their lives. Showalter suffered a, “pretty severe,” head trauma, “which affected me much more than I realized at the time.” Fearing delays, Showalter didn’t let Congelton know about it, so the mixing session went ahead. “Being on the verge of death, and my thoughts being so closely tied to that, changed the album’s direction,” Showalter claims. “Together, we pushed it toward a much more cathartic sound that forces the listener to where I was at that exact moment, somewhere between almost dying and being absolutely fearless.”

HEAL is not just a saviour for its creator, but for anyone who needs reminding of music’s ability to heal, or just thrill. Showalter is taking out a full band to play, and finally, the kid who wanted to be a rock star at 21 might get his chance. Finally, he and Strand Of Oaks have much to celebrate.

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

170555a

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

CaIra-188x188

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

CaIra-188x188

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
6
Fri
Lightning 100 Presents Cold War Kids with Elliot Moss @ Marathon Music Works
Feb 6 @ 8:00 PM – 11:30 PM
Cold War Kids

Cold War Kids

Los Angeles four-piece Cold War Kids elevate their passionate take on indie rock with their emotionally-raw fourth album Dear Miss Lonelyhearts.Formed in 2004, the band’s breakthrough debut Robbers & Cowards was released to considerable acclaim in 2006. The darker Loyalty To Loyalty followed two years later, and 2011’s Mine Is Yours introduced deeper anthemic qualities to the eclectic group’s catalog.

Dear Miss Lonelyhearts, which features the rollicking, energetic single “Miracle Mile,” is Cold War Kids’ first release with former Modest Mouse and Murder City Devils guitarist Dann Gallucci, who also handled its production alongside Lars Stalfors.

“We were shaken up, ready to let certain songs go further than before by trying new styles and arrangements, while keeping others sparse and caring more about the finished product and less about how we got there,” explains frontman Nathan Willet about the ten-track album, which was recorded at the band’s private studio in San Pedro, CA.

Elliot Moss
Elliot Moss is a 20-year-old multi-instrumentalist songwriter, producer, and visual artist from New York. The third generation in a family of musicians and artists, Elliot released his debut album ‘Highspeeds’ – all played, recorded, and mixed himself with the exception of a few friends.
Umphrey’s McGee @ Ryman Auditorium
Feb 6 @ 8:00 PM – 11:00 PM

umphreysmcgee_lg

After 16 years of performing over 100 concerts annually, releasing seven studio albums and selling more than 3.3 million tracks online, Umphrey’s McGee might be forgiven if they chose to rest on their laurels and attend to their lives as husbands and fathers. But you’d be wrong. With their eighth studio album, Similar Skin, and first for their own indie label, Nothing Too Fancy (N2F) Music (distributed by RED), the group – which formed on the Notre Dame campus outside of South Bend, Indiana in 1997 – has something to prove. And that’s not just to their ever-loyal fan base, but to those who have never heard a note, or worse – dismiss them as “too sophisticated, too complex” or think they know what Umphrey’s McGee is all about.

More than an “improg” group, as some have dubbed them, Umphrey’s McGee have devoted their craft to making their devoted followers feel as if they are part of something larger, through fan-curated sets, which include the “Stew Art Series”.   Named after the Jimmy Stewart Ballroom, where they first recorded some of their improvisations, they offer fans a chance to text them during an exclusive private performance with not only song selections, but spontaneous ideas of how to perform them. The band has also developed the immersive home audio offering, “Headphones & Snowcones,” where the pristine sound of the live soundboard mix is piped wirelessly through high-end personal monitor systems and headphones, leading the Chicago Tribute to note: “I heard rock ‘n’ roll’s future, and its name is ‘Headphones & Snowcones.’” Umphrey’s McGee also makes all their live shows from 2006 available via their live music portal UMLive.net. And, every spring since 2010, the band has performed a special UMBowl show, announced on the day of the Super Bowl, which this year will take place outside Chicago for the first time this May at the Capitol Theatre in Port Chester, NY, in May. The idea is to divide the concert into four quarters, stringing together “All-Request,” “Stew Art,” “Choose Your Own Adventure” and “Raw Stewage” sets in rotating order each year. The UMBowl has a pilgrimage-worthy annual event for fans, and the press has taken notice. Wired said, “[UMBowl] gives Umphrey’s McGee a chance to show off its improvisatory skills…it brings the type of large-scale, smartphone powered interactive experience usually deployed in massive stadiums down to the club level.”

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

trampledbyturtles_lg

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
17
Tue
Dr. John & The Nite Trippers – A Very Special Mardi Gras Show @ War Memorial Auditorium
Feb 17 @ 7:00 PM – 11:00 PM

200x200-DrJohn

The legendary Dr. John is a six-time GRAMMY®Award-winning musician and Rock & Roll Hall of Fame inductee. Known throughout the world as the embodiment of New Orleans musical legacy, Dr. John is a true icon in American culture. His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art& Neville, Joe Tex and Frankie Ford.

Dr. John headed west in the 1960s, where he continued to be in demand as a session musician, playing on records by Sonny and Cher, Van Morrison, Aretha Franklin and The Rolling Stones’ Exile On Main St. During that time he launched his solo career, developing the charismatic persona of Dr. John the Night Tripper. A legend was born with his breakthrough 1968 album Gris-Gris, which introduced to the world his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots. Several of his many career highlights include the masterful album Sun, Moon and Herbs in 1971 which included cameos from Eric Clapton and Mick Jagger and 1973’s In the Right Place, which contained the chart hits “Right Place Wrong Time” and “Such A Night.”

In addition to his six GRAMMY® wins (1989, 1992, 1996, 2000, 2008 and 2013), he has received six other GRAMMY® nominations over the years. In 2006, he was nominated for Sippiana Hericane, his Hurricane Katrina benefit disc. After Hurricane Katrina, Dr. John immediately stepped up to the plate with generous relief fund-raising concerts and recordings. In 2007, he was also inducted into the Louisiana Music Hall of Fame and the Blues Hall of Fame. In 2008, he released City That Care Forgot, winning a GRAMMY® for Best Contemporary Blues Album. His 2012 release Locked Down, with Dan Auerbach of The Black Keys also won a GRAMMY® for Best Contemporary Blues Album.

In 2013, Dr. John was awarded an honorary doctorate from Tulane University alongside His Holiness the Dalai Lama.

On August 19, 2014, Dr. John released Ske-Dat-De-Dat…The Spirit Of Satch on Concord Records, an album in tribute to another larger-than-life New Orleans legend: Louis “Satchmo” Armstrong. He honors Armstrong’s musical genius as well as his effervescent personality with 13 classic numbers drawn from various phases of the seminal trumpeter and vocalist’s five-decade career, with Dr. John joined by a stellar supporting cast, including Bonnie Raitt, Ledisi, the McCrary Sisters, Anthony Hamilton, Shemekia Copeland, the Blind Boys of Alabama, the Dirty Dozen Brass Band and trumpeters Nicholas Payton, Terence Blanchard, Arturo Sandoval, Wendell Brunious and James Andrews.

After a half century of creating music for others and himself, Dr. John continues to write, arrange, produce and interpret with a passion that has yet to wane.


Dr. John & The Nite Trippers will perform a very special Mardi Gras show on Fat Tuesday.

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

Lightning 100 Presents Punch Brothers @ Ryman Auditorium
Feb 27 @ 8:00 PM – 11:00 PM

punchbrothers_lg

 

On Sale Friday, November 21 at 10 AM

 

Punch Brothers is a band consisting of Chris Thile (mandolin), Gabe Witcher (fiddle/violin), Noam Pikelny (banjo), Chris Eldridge (guitar), and Paul Kowert (bass). Their style has been described as “bluegrass instrumentation and spontaneity in the structures of modern classical”[1] as well as “American country-classical chamber music.”[2]

Feb
28
Sat
Lightning 100 Presents Drew Holcomb and The Neighbors @ Ryman Auditorium
Feb 28 @ 8:00 PM – 11:00 PM

drewholcomb_lg

On Sale Friday, October 17 at 11 AM

 

Mar
1
Sun
Nashville Sunday Night Presents: Sturgill Simpson – SOLD OUT @ 3rd and Lindsley
Mar 1 @ 8:00 PM – 10:00 PM

sturgill

This show sold out in no time! You can still hear the show, FREE at Lightning 100, 100.1fm or stream the live show at lightning100.com.

Sturgill Simpson isn’t one to rest on his laurels, which is why, less than a year after the release of his critically acclaimed debut, High Top Mountain, the singer-songwriter is coming out with his captivating and wholly unique sophomore album, Metamodern Sounds in Country Music, on May 13, 2014, through his own label, High Top Mountain Records.

The album title – an allusion to Ray Charles’ groundbreaking 1962 record, Modern Sounds in Country and Western Music — hints at the psychedelic sounds found within, a departure from Simpson’s first album, which drew comparisons to the music of Waylon Jennings and Merle Haggard. “I think that there is a lot of room in country music for progression and sonic oscillation, which is what I wanted to explore.”

Where some artists find inspiration from other music, Simpson found his in books, devouring religious texts both ancient and modern, recent studies about discoveries in quantum physics and string theory, and publications by Carl Sagan and Terence McKenna. He also drew upon French filmmaker Gaspar Noe’s experimental drama Enter the Void as he created murky, multi-textured soundscapes that incorporate elements of classic country, bluegrass, rock, and even a bit of electronica, a genre that Simpson admits he has a “slight fetish” for.

Simpson reunited with High Top Mountain producer Dave Cobb (Jason Isbell, Lindi Ortega, Jamey Johnson) for Metamodern Sounds in Country Music; the pair has formed a strong friendship in addition to a solid in-studio partnership built on complete trust and the willingness to engage in creative musical experimentation. Working with a budget of only $4,000, Simpson and his road band – bassist Kevin Black, guitarist Laur Joamets, and drummer Miles Miller — cut the entire record live to tape in four rare consecutive days off in the middle of a relentless tour schedule; nearly all of the songs were completed in two takes or fewer during these spur of the moment sessions. The result is an album that crackles with the raw energy of a concert.

Even with its numerous musical and literary influences, Metamodern Sounds in Country Music is, in its soul, a love record. As Simpson states, “Myriad worldly offerings – religion, drugs, and more — all claim to be the omnipotent universal truth, but in my experience, love is the only certainty. That’s what this record is about.” With a new album and a child on the way, the 35-year old singer-songwriter, who describes himself as anxious to embrace change, is about to experience a lot of it. Critics may have dubbed Sturgill Simpson the savior of traditional country music, but that’s not a title he’s willing to embrace. Shrugging, he says, “I’m just trying to save myself.”

Mar
8
Sun
Nashville Sunday Night Presents: Houndmouth @ 3rd and Lindsley
Mar 8 @ 8:00 PM – 10:00 PM

houndmouth

That first November 2011 night, when it all fell together at the Green House, was nothing more complicated than four friends playing music, armed with something to drink and a curiosity about what might happen. They were the generation who has come of age in the new economy, already adept at shuffling jobs and get-bys, firmly acclimated to the diminished expectations that come with growing up somewhere the rest of the world assumes is nowhere. Which, in this case, is New Albany, Indiana.

Houndmouth, then, knew each other from…around. Matt Myers and Zak Appleby had played in cover bands together for years, schooled in blues and classic rock and Motown, toughened by indifferent audiences and the clatter of empty bottles. Matt and Katie Toupin had worked as an acoustic duo for three years, when she wasn’t on the road tending to a straight job. Katie and Shane Cody had gone to high school together, before Shane disappeared off to Chicago and New York to study audio engineering. In the beginning it was Shane and Matt who’d started knocking around at first, just drums and guitar, once Shane got home and free of a brief bluegrass flirtation.

The rest happened in a tumble, Zak and Katie switching from guitars to bass and keyboards, respectively. Four months later, their homemade EP in hand, Houndmouth made the pilgrimage to South By Southwest. Their booking agent convinced Rough Trade’s Geoff Travis to come have a listen. Of such things are dreams made. Months of conversation and a proper studio later, their debut album, From the Hills Below the City, will be released by Rough Trade.

“We lucked out,” Matt says. “We knew we were making good music. We knew we had something. But we didn’t know it would escalate so quickly. Always the element of luck.”

Before and after that bit of luck, Houndmouth have been on the road, building their audience. Working. Opening for the Drive-By Truckers, the Lumineers, the Alabama Shakes, Lucero, and Grace Potter and the Nocturnals. Headlining on their own. Turning heads.

“You know good art when you see it,” says Newport Folk Festival booker Jay Sweet, an early adopter, “and you know good food when you taste it. Well, you also know good music when you hear it, and when I first heard Houndmouth it was like freshest tasting art I had heard in many moons. A true musical omnivore’s delight.”

“I’m going down where nobody knows me,” they sing during the jaunty chorus of “On the Road.” The opening track to From the Hills Below the City, which is more or less the relationship New Albany has to Louisville, across the river: “I had a job had to leave behind me…I had to move to another city.” A two and a half minute slightly bent pop confection, conscious of all kinds of music which went before. Self-conscious about nothing, not even the neo-rap cutting contest that snaps across one break. A blues for now, then.

Mar
17
Tue
Lightning 100 Welcomes Hozier @ Ryman Auditorium
Mar 17 @ 7:30 PM – 10:00 PM

hozier_lgOn sale Friday, November 21 at Noon

It’s been a whirlwind year for the soulful Hozier since posting his heartrending video for “Take Me To Church” on YouTube, which has amassed over ten million views. The rousing song is among the most reactive at Top 40 radio and Adult Top 40 radio, rocketing to #1 at the Triple A radio format, and currently approaching Top 5 at Alternative Radio. Early (and continued) support for the single was garnered across multiple SIRIUSXM channels. “Take Me To Church” has scored a combined total of more than 500,000 tracks sold – all before the self-titled album’s official release on October 7th. Hozier recently nailed a string of electrifying performances on The Late Show With David Letterman and The Ellen DeGeneres Show – and being awarded a coveted performance slot as the musical guest on Saturday Night Live on October 11th. Hozier is the first debut artist of 2014 to be booked on the show’s new season.
“Take Me To Church” has also become one of the most incredible Spotify success stories since the streaming service began six years ago. “The most viral artists Spotify has ever seen,” raved the Spotify News, with the song surpassing 20 million streams and Hozier landing six songs in the US Spotify Viral 50.
Calling his upcoming album a “mixed bag,” Hozier acknowledges influences of blues, folk, and soul – shredding this all-encompassing blend into a deftly woven signature sound that can be heard on his first two EPs, Take Me To Church and From Eden. Hozier co- produced the new album with Rob Kirwan (PJ Harvey and Depeche Mode), and fans who pre-order the self-titled debut receive a sizeable preview with five instant grat downloads made available: “Take Me To Church,” “From Eden,” “Work Song,” Cherry Wine” and “Jackie and Wilson.”

Mar
18
Wed
Fleetwood Mac: On With the Show @ Bridgestone Arena
Mar 18 @ 8:00 PM – 11:00 PM

169747a

Fleetwood Mac are a British-American rock band formed in 1967 in London. Due to numerous line-up changes, the only original member present in the band is its namesake, drummer Mick Fleetwood. Although band founder Peter Green named the group by combining the surnames of two of his former bandmates (Fleetwood, McVie) from John Mayall’s Bluesbreakers, bassist John McVie played neither on their first single nor at their first concerts, as he initially decided to stay with Mayall. The keyboardist, Christine McVie, who joined the band in 1970 while married to John McVie, appeared on all but the debut album, either as a member or as a session musician. She also supplied the artwork for the album Kiln House.

The two most successful periods for the band were during the late 1960s British blues boom, when they were led by guitarist Peter Green and achieved a UK number one with “Albatross”; and from 1975 to 1987, as a more pop-oriented act, featuring Christine McVie, Lindsey Buckingham and Stevie Nicks. Fleetwood Mac’s second album after the incorporation of Buckingham and Nicks, 1977’s Rumours, produced four U.S. Top 10 singles (including Nicks’ song “Dreams”), and remained at No.1 on the American albums chart for 31 weeks, as well as reaching the top spot in various countries around the world. To date the album has sold over 45 million copies worldwide, making it the sixth-highest-selling album of all time.

The band achieved more modest success in the intervening period between 1971 and 1974, when the line-up included Bob Welch, during the 1990s in between the departure and return of Nicks and Buckingham, and during the 2000s in between the departure and return of Christine McVie. In 1998, selected members of Fleetwood Mac were inducted into the Rock and Roll Hall of Fame, and received the Brit Award for Outstanding Contribution to Music. The band has sold more than 100 million albums worldwide, making them one of the best-selling bands of all time.[1] In 2014, Christine McVie rejoined the band.[2]

Apr
1
Wed
Sylvan Esso @ Cannery Ballroom
Apr 1 @ 8:00 PM – 11:45 PM

59_Edp.jpg

Sylvan Esso was not meant to be a band. Rather, Amelia Meath had written a song called “Play It Right” and sung it with her trio Mountain Man. She’d met Nick Sanborn, an electronic producer working under the name Made of Oak, in passing on a shared bill in a small club somewhere. She asked him to scramble it, to render her work his way. He did the obligatory remix, but he sensed that there was something more important here than a one-time handoff: Of all the songs Sanborn had ever recast, this was the first time he felt he’d added to the raw material without subtracting from it, as though, across the unseen wires of online file exchange, he’d found his new collaborator without even looking.
Meath felt it, too. Schedules aligned. Moves were made. And as 2012 slipped into 2013, Sanborn and Meath reconvened in the unlikely artistic hub of Durham, N.C., a former manufacturing town with cheap rent and good food. Sylvan Esso became a band. A year later, their self-titled debut—a collection of vivid addictions concerning suffering and love, darkness and deliverance—arrives as a necessary pop balm, an album stuffed with songs that don’t suffer the longstanding complications of that term.

Apr
6
Mon
Lightning 100 Welcomes Alt-J @ Grand Ole Opry House
Apr 6 @ 8:00 PM – 11:00 PM

altj__creditnoahkalina

Tickets on Sales November 21 at 10(CST)

alt-J (also known as ) is an English indie rock band formed in 2007 in LeedsEngland, by Gwil Sainsbury (guitar/bass), Joe Newman (guitar/lead vocals), Gus Unger-Hamilton (keyboards/vocals) and Thom Green (drums).

The band’s debut album An Awesome Wave was released in May 2012 in Europe[2] and September 2012 in the United States, and won the 2012 British Mercury Prize. Gwil Sainsbury amicably departed the band in early 2014. Their second album, This Is All Yours, was released on 22 September 2014 and went straight to UK number 1. As a replacement for Sainsbury, Cameron Knight will be a support member for alt-J’s live shows, playing guitar, bass and sampler.

Apr
13
Mon
The Decemberists with Alvvays @ Ryman Auditorium
Apr 13 @ 7:30 PM – 10:00 PM

The decembertist nashville rymanDecembert

The Decemberists are an indie folk rock band from Portland, Oregon, United States, fronted by singer/songwriter/guitarist Colin Meloy. The other members of the band are Chris Funk (guitar, multi-instrumentalist), Jenny Conlee (Hammond organ, accordion, melodica, piano, keyboards, harmonica), Nate Query (bass guitar, string bass), and John Moen (drums, backing vocals, melodica, guitar).

The band’s debut EP, 5 Songs, was self-released in 2001. Their sixth full-length album, The King Is Dead, was released on 14 January 2011, by Capitol Records. It was the band’s third record with the label.

In addition to their lyrics, which often focus on historical incidents and/or folklore, The Decemberists are also well known for their eclectic live shows. Audience participation is often a part of each performance, typically during encores. The band stages whimsical reenactments of sea battles and other centuries-old events, typically of regional interest, or acts out songs with members of the crowd.

In 2011, the track “Down By the Water” from the album The King is Dead was nominated for Best Rock Song at the 54th Grammy Awards.

May
10
Sun
Lightning 100 Presents Father John Misty with Jessica Pratt @ Marathon Music Works
May 10 @ 7:00 PM – 8:00 PM
13-elg
Father John Misty

Father John Misty

When discussing ‘Father John Misty’, Tillman paraphrases Philip Roth: ‘It’s all of me and none of me, if you can’t see that, you won’t get it’. What I call it is totally arbitrary, but I like the name. You’ve got to have a name. I never got to choose mine.”He goes on, “‘People who make records are afforded this assumption by the culture that their music is coming from an exclusively personal place, but more often than not what you hear are actually the affectations of an ‘alter-ego’ or a cartoon of an emotionally heightened persona,” says Josh Tillman, who has been recording/releasing solo albums since 2003 and who recently left Seattle’s Fleet Foxes after playing drums from 2008-2011. “That kind of emotional quotient isn’t sustainable if your concern is portraying a human-being made up of more than just chest-beating pathos. I see a lot of rampant, sexless, male-fantasy everywhere in the music around me. I didn’t want any alter-egos, any vagaries, fantasy, escapism, any over-wrought sentimentality. I like humor and sex and mischief. So when you think about it, it’s kind of mischievous to write about yourself in a plain-spoken, kind of explicitly obvious way and call it something like ‘Misty’. I mean, I may as well have called it ‘Steve'”.Musically, Fear Fun consists of such disparate elements as Waylon Jennings, Harry Nilsson, Arthur Russell, “All Things Must Pass,” and “Physical Graffiti,” often within the same song. Tillman’s voice has never been better and often sounds like Roy Orbison, “The Caruso of Rock”, at his most joyous, while the music maintains a dark, mysterious and yet conversely playful, almost Dionysian quality. Lyrically, his absurdist fever dreams of pain and pleasure elicit, in equal measures, the blunt descriptive power of Bukowski or Brautigan, the hedonist-philosophy of Oscar Wilde and the dried-out wit of Loudon Wainwright III.

The album began gestating during what Tillman describes as an “immobilizing period of depression”, in his former Seattle home. “Songwriting for me had always only been interesting and necessary because I saw it as this vehicle for truth, but I had this realization that all I had really done with it was lick my wounds for years and years, and become more and more isolated from people and experiences. I don’t even like wound-licking music, I want to listen to someone rip their arm off and beat themselves with it. I don’t believe that until now I’ve ever put anything at risk in my music. I was hell-bent on putting my preciousness at stake in order to find something worth singing about.”

He continues, “I lost all interest in writing music, or identifying as a ‘songwriter’. I got into my van with enough mushrooms to choke a horse and started driving down the coast with nowhere to go. After a few weeks, I was writing a novel, which is where I finally found my narrative voice. The voice that is actually useful.

“It was a while before that voice started manifesting in a musical way, but once I settled in the Laurel Canyon spider-shack where I’m living now, I spent months demoing all these weird-ass songs about weird-ass experiences almost in real-time, and kind of had this musical ‘Oh-there-I-am’ moment, identical to how I felt when I was writing the book. It was unbelievably liberating. I knew there was never any going back to the place I was writing from before, which was a huge relief. The monkey got banished off my back.”

Tillman brought the demos to LA producer/songwriter/pal Jonathan Wilson, and in February 2011 began recording at his home-studio in Echo Park. “Initially, the idea was to just kind of recreate the demos with me playing everything, since they were pretty fleshed out and sounded cool, but a place like LA affords you a different wealth of talent, potential, etc than just about anywhere else. I realized what was possible between Jonathan’s abilities, and the caliber of musicians that are just hanging around LA, pretty quickly. People were coming in and out of the studio all day sometimes, and other days, it would just be Jonathan and I holed up, getting stoned, and doing everything.

“I was honest with myself about what music actually excites my joy-glands when I was considering the arrangements and instrumentation,” says Tillman. “As opposed to what’s been enjoyable to me in the past – namely, alienating people or making choices based on what I think people won’t like or understand. Pretty narcissistic stuff.”

When asked about Laurel Canyon, where he eventually ended up living in the aforementioned tree-house with a family of spiders, Tillman says, “My attitude about it all is pretty explicit in the record. Given my fairly adversarial personal attitude about the music and aesthetic that comes from that place, it’s kind of a huge joke that I live in a former hippie-fantasy land. I have a really morbid sense of humor.”

Phil Ek (who everyone knows has worked with Built To Spill, Modest Mouse, Band of Horses, Fleet Foxes) heard the rough versions of the album in May 2011 and offered his services to mix. “Phil and I have known each other for a while by virtue of Fleet Foxes, so he was familiar with my music, but we had never discussed working together. I think he immediately recognized the shift in my writing and singing from a producer and friend’s standpoint. His excitement is really evident in mixes, I think.”

Fear Fun is available May 1, 2012 from Sub Pop and Bella Union, in the US and UK/EU respectively.

Interviews by Richard Metzger and Casey Wescott
Written by Paula Zabrey, Jan. 2012

Jessica Pratt
“To say that Jessica Pratt is an old soul would be a vast understatement,” says Jenn Pelly of Pitchfork. “The young San Francisco singer/songwriter’s deeply intimate folk sounds so sincerely cast in from the 1960s that it’s hard to believe she didn’t release a proper LP during that period of time.” Pratt’s spooky and seductive self-titled debut is the inaugural release on Tim (White Fence) Presley’s new imprint, Birth Records. “I never wanted to start a label,” Presley says, “but there issomething about her voice I couldn’t let go of.”Pratt’s debut release includes recordings from over the last five years, and steady advances in sophistication of recording and melody are evident throughout. To the artist, the record is a time-lapse document of discovery, both musical and personal. But in strangers’ hands, Pratt’s debut is another kind of discovery altogether. A fully-formed emerald artifact dug up cobwebby and cold but no less green for its time spent buried. Sun-bleached and sounding a thousand years old, Pratt’s debut is arrestingly brand dazzling new, and watch how the lights in your living room go soft and yellow when you put it on.”
May
11
Mon
The Who @ Bridgestone Arena
May 11 @ 7:30 PM – 11:30 PM

The-Who_spot

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.

Oct
5
Mon
Foo Fighters @ Bridgestone Arena
Oct 5 @ 8:00 PM – 11:00 PM

 

foo fighters nashville bridgestone

DATE

Oct 5 , 2015

TICKET PRICES

$75.00, $55.00, $35.00

AVAILABILITY

On Sale 12.05.14 10:00 am

 

In the wake of Sonic Highways’ climb into the top 3 of charts worldwide and the announcement of the band’s first ever U.S. stadium dates, Foo Fighters have now unveiled a full North American stadium/arena/amphitheater assault for summer/fall 2015. This most massive North American on the road undertaking in FF history will see Dave Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett and Pat Smear headline multiple historic U.S. venues for the first time.

Beat the Bots: Box Office Only Presale this Saturday, November 22nd at 10am.

Tickets for the Foo Fighters will first go on sale via the BEAT THE BOTS: BOX OFFICE ONLY PRE-SALE beginning this Saturday, November 22nd at 10am at the Bridgestone Arena box office and will end at 3pm (while supplies last).  Line up begins at 9am that morning on the Bridgestone Arena plaza at the corner of 5th Ave and Broadway.  Ticket limit for this presale: (2) Floor Tickets or (4) Seated Tickets per person.

0 Comments