Nashville Concert Calendar

WRLT_Mix&Match_700X200

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

 

Mahler’s Ninth @ Schermerhorn Symphony Center
Feb 28 @ 8:00 PM – 10:00 PM

ABOUT THIS CONCERT

Giancarlo Guerrero and the Nashville Symphony continue their quest to perform all of Mahler’s symphonies with the Austrian composer’s Ninth, his last completed symphony. Rich with emotion and humanity, this work of profound beauty is the perfect opportunity to experience the Nashville Symphony at their very finest.

NOTE: There will be no seating for late-arriving patrons – please make plans to arrive on time to this concert. Run time is 90 minutes, with no intermission.


Nine Things to Know About Mahler’s Ninth 


SPECIALS

Join us on Friday, February 27, for Happy Hour at the ’Horn, a uniquely Nashville Symphony experience with:

  • Live music from local favorites
  • Craft beer from Yazoo Brewing Company
  • Specialty cocktails featuring Belle Meade Bourbon and Corsair Gin
  • Local food from Actual Food Nashville
  • Art from Zeitgeist Gallery
6-7:40 pm in the East Lobby, before the concert.
Admission is FREE with ticket purchase!
You must have a concert ticket to attend Happy Hour.
Cash bar and food available for purchase.
  • Two Seats on the Main Floor
  • Two Glasses of Wine
  • Two Truffles from Nashville Chocolate & Nut Company
$98 or $144 per orchestra level package; $300 per box level package. Price includes all fees. To order, use promo code LOVE online, or contact the Date Night Package Hotline: 615.687.6400.
$100 or $176 per orchestra level package; $240 per box level package. Price includes all fees. To order, use promo code ME+3 online, or contact the ME+3 Hotline: 615.687.6400.

Performances of Mahler’s Symphony No. 9 underwritten in part by Lillian Bradford, in memory of James C. Bradford Jr.

This weekend’s performances are dedicated to the memory of Dorothy Margaret Wendzel.

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
6
Fri
Lightning 100 Presents The Lone Bellow with Odessa @ Exit/In
Mar 6 @ 8:00 PM – 11:30 PM
Odessa | 9:00 PM
Odessa Rose was born and raised by the ocean, in Santa Rosa California.
She takes you with her inside her song, into a world all her own, and paints a picture you have never seen before. These days she lives in the city of Los Angeles. more >>>
The Lone Bellow | 10:00 PM
Then Came the Morning, the second album by the Southern-born, Brooklyn-based indie-folk trio the Lone Bellow, opens with a crest of churchly piano, a patter of drums, and a fanfare of voices harmonizing like a sunrise. It’s a powerful introduction, enormous and overwhelming, as Zach Williams, Brian Elmquist, and Kanene Pipkin testify mightily to life’s great struggles and joys, heralding the morning that dispels the dark night: “Then came the morning! It was bright, like the light that you kept from your smile!” Working with producer Aaron Dessner of the National, the Lone Bellow has created a sound that mixes folk sincerity, gospel fervor, even heavy metal thunder, but the heart of the band is harmony: three voices united in a lone bellow.”The feeling I get singing with Zach and Brian is completely natural and wholly electrifying,” says Kanene. “Our voices feel like they were made to sing together.”

Long before they combined their voices, the three members of the Lone Bellow were singing on their own. Brian had been writing and recording as a solo artist for more than a decade, with three albums under his own name. Kanene and her husband Jason were living in Beijing, China, hosting open mic nights, playing at local clubs and teaching music lessons. Zach began writing songs in the wake of a family tragedy: After his wife was thrown from a horse, he spent days in the hospital at her bedside, bracing for the worst news. The journal he kept during this period would eventually become his first batch of songs as a solo artist. Happily, his wife made a full recovery.

When Kanene’s brother asked her and Zach to sing “O Happy Day” together at his wedding, they discovered their voices fit together beautifully, but starting a band together seemed impossible when they lived on opposite sides of the world. Brian soon relocated to New York and Kanene moved there to attend culinary school a couple years later. The three got together in their new hometown to work on a few songs of Zach’s, he’d been chipping away at the scene as a solo artist for awhile by then. After hitting those first harmonies did they decide to abandon all other pursuits. Soon the trio was playing all over the city, although they considered Rockwood Music Hall on the Lower East Side to be their home. They opened for the Civil Wars, Dwight Yokam, Brandi Carlile and the Avett Brothers, and their self-titled debut, produced by Nashville’s Charlie Peacock (the Civil Wars, Holly Williams) and released in January 2013, established them as one of the boldest new acts in the Americana movement.

After two hard years of constant touring, the band was exhausted but excited. By 2014, they had written nearly 40 songs on the road and were eager to get them down on tape. After putting together a list of dream producers, they reached out to their first choice, the National guitarist Aaron Dessner, who has helmed albums by the L.A. indie-rock group Local Natives and New York singer-songwriter Sharon Van Etten.

“It occurred to me that it would be fun to get together and make music with them,” says Aaron. “My main interest in producing records is community and friendship more than making money. I already do a lot of traveling and working with the National, so when I have to time to work with other artists, it should be fun and meaningful.”

“Aaron is just so kind,” Zach says. “And he has surrounded himself with all these incredibly talented people, like Jonathan Low, the engineer. His brother Bryce [Dessner, also a guitarist for the National] wrote these amazing brass and string arrangements, and he got some of his friends to play with us.”

Dessner and the Lone Bellow spent two weeks recording at Dreamland in upstate New York, a nineteenth-century church that had been converted into a homey studio. The singers found the space to inspire the emotional gravity necessary for the material and the acoustics they were looking for. (For Kanene, Dreamland had one other bonus: “I’m a big Muppets fan, and it looks exactly like the church where Dr. Teeth and the Electric Mayhem lived.”)

Aaron set them up in a circle in what had once been the sanctuary, with microphones hanging in the rafters to capture the sound of their voices bleeding together. Most of the vocals were recorded in single takes, a tactic that adds urgency to songs like “Heaven Don’t Call Me Home” and “If You Don’t Love Me.” “There were a couple of times when somebody sang the wrong word or hit a bad note, and we just had to keep going,” says Zach, who says that recording “Marietta” in particular was daunting—especially the moment near the end when he hits an anguished high note, bends it even higher, and holds it for an impossibly long time. It’s a startling display of vocal range, but it’s also almost unbearably raw in its emotional honesty.

“‘Marietta’ is probably the darkest song on the whole record,” Zach explains, “and it’s based on something that happened between my wife and me. The band was getting ready to record that song when all of a sudden my wife showed up with our youngest baby. It was a great surprise, a beautiful moment. So I was able to go out and sing that song, knowing she was there to help me carry the moment.”

“These are true stories,” says Brian. “These aren’t things we made up. We tried to write some songs that had nothing to do with our personal stories, but we just didn’t respond to them. But we’re best buds, so we know each others’ personal stuff and trust each other to figure out what needs to be said and how to say it.” Case in point: Brian wrote “Call to War” about his own struggles during his twenties, but gave the song to Kanene to sing. “The content is painful and brutal,” she says, “but the imagery, the vocals, they build something delicate and ethereal. That kind of contrast illuminates the true beauty and power of a song.”

Says Brian, “We do this one thing together, and we carry each other. Hopefully that makes the listener want to be a part of it. It becomes a communal thing, which means that there’s never a sad song to sing. It’s more a celebration of the light and the dark.” more >>>

Mar
7
Sat
An Evening With Moe. @ Marathon Music Works
Mar 7 @ 7:00 PM – 11:00 PM
An Evening With Moe.

An Evening With Moe.

moe. is the preeminent progressive rock band on the music scene today—a quintet of world class musicians, whose creative output equals that of their longevity. In a remarkable career that has touched three decades and produced a discography of 24 albums, the Sugar Hill Records recording artist of Al Schnier and Chuck Garvey on guitars and vocals, Rob Derhak on bass and vocals, Jim Loughlin on percussion and vibes, and Vinnie Amico on drums, continue to push the standard for performance art higher and further.

Whether touring around the globe, headlining music festivals, or sharing the stage with such diverse acts as the Allman Brothers, Dave Matthews Band, The Who, Robert Plant, Government Mule, or Blues Traveler, among many others, what keeps moe. at the forefront of the music scene is not only the energy and vitality of their music and songwriting, but the showmanship in which it is delivered. Their music is clever, melodic, refined, filled with “ferocious guitar riffs” and “intricate rhythms” (Relix); their performances are entertaining, mesmerizing, and epic.

From their humble, inconspicuous beginnings as a local bar band in Buffalo, NY, to headlining Radio City Music Hall on New Year’s Eve, moe.’s journey has been one of hard work, perseverance, and dedication. Critical acclaim and a solid national and international fan base has resulted in a dedicated following that grows each year. Rolling Stone magazine named Chuck and Al among the top twenty new “guitar gods,” The pair have been featured in Guitar World and Modern Guitar, Jim and Vinnie in Drum!, and Rob in Bass Player. The renowned guitar play between Al and Chuck has become the stuff of legend. The exceptional vibe and percussion work by Jim is brilliant. The understated bass play by Rob is masterful. The seamless, efficiency of Vinnie’s drumming is extraordinary. Together, the five create a musical synergy greater than the sum of their parts.

The news about moe. keeps getting better, too, in the studio and on tour. A new album, their second on Sugar Hill Records, is set for a 2014 release. It follows the critically acclaimed 2012 release, What Happened To The LA LAs, and the 2010 Smash Hits, Volume One—a rerecording of some of moe.’s most endearing classics. The band’s tour schedule is extensive, playing in venues, intimate and grand, from NYC to LA, San Fran to Atlanta, Chi Town to Bean Town, from Tokyo to Toronto, and across the Atlantic to Paris, Amsterdam, London, Hamburg, and Milano. Long a featured act at music festivals, they’ve performed and headlined at the likes of Bonnaroo, All Good, and High Sierra, in the US, and Fuji Rock Festival in Japan, and Burg Herzberg in Germany, to name a few; yet made time to promote and perform at their own festivals—Summer Camp, Snoe.down, and moe.down.

By all accounts, for this “legendary jam band,” as Rolling Stone described them, moe. represents rock and roll at its best. Welcome news for the moe. faithful and the band’s ever-expanding fan base. Even better news for the world of rock and roll, for moe. is just hitting their creative stride.

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
13
Fri
Matthew Perryman Jones with Joseph Lemay and Molly Parden @ City Winery Nashville
Mar 13 @ 6:00 PM – 10:00 PM

Matthew Perryman Jones

About:

Matthew Perryman Jones has a voice that calls out with intensity, truth and emotion. Jones began his career in 1997 in Decatur, GA, and then, after moving to Nashville to pursue music full-time, he issued his first solo release, Nowhere Else But Here, in 2000. As American Songwriter describes, “Matthew’s voice ensnares listeners with a rare authenticity and gritty strength.” Written shortly after his father’s death, Jones’ latest CD, Land Of The Living, is a courageous personal Odyssey through life’s most troubled waters of love and loss.

One of the most sought-after songwriters in Nashville, Jones builds on his accomplishments with his 2013 single, “Anymore of This.” The duet, written and recorded with Mindy Smith, was featured on ABC Family’s “Switched at Birth” in January.

Jones’ songs have also been featured in television shows including Grey’s Anatomy, Private Practice, Bones, Pretty Little Liars, NY Med, Flash Point, One Tree Hill, The Hills, and Eli Stone as well as in the 2012 movie release What To Expect When You Are Expecting.

In addition to Jones’ own headline tours, he has shared the bill with Katie Herzig, Matthew Mayfield, and Joshua James and has opened for such artists as Ingrid Michaelson, Shawn Colvin, Patty Griffin and Paula Cole. Jones is also an original member of the nationally acclaimed Nashville collaborative artist group “Ten Out of Tenn”.

Similar artists: Trent Dabbs, Coldplay, Ten out of Tenn

About Joseph LeMay:

Before patching up the old trailer in West Tennessee, grass grew through cracks on the floor and copperheads mingled between decades of stacked boxes on a grandfather’s hand-me-down farm. It was in this abandoned singlewide that songwriter Joseph LeMay cleared a space for his new life as a married man and Seventeen Acres, his first full-length release.

LeMay began performing at an age when most kids are focused on learning the alphabet. Just barely a teen, the young musician could add Showtime at the Apollo, an opening gig for Brian Wilson and a countless line of county fairs across the southeast to his list of growing accomplishments. This passion for music continued to manifest during high school as LeMay took to writing and moved to New York in search of work as a performer.

During his time in Manhattan, LeMay’s musical future bent when he met music veteran Charlie Peacock, producer of The Civil Wars and The Lone Bellow. LeMay moved to Nashville and spent hours as a silent observer of Peacock as artists passed through his studio. Witnessing the life of a working musician changed LeMay, inspiring him to find his voice.

But it wasn’t long before LeMay found himself in an age-old Nashville ritual working a part-time job to pay the bills and creating on the side. “After making sandwiches for 60 hours a week, it’s hard to find the energy and time to do the work you want,” says LeMay. To escape the inevitable pace their life was heading, LeMay and his new wife made a drastic change of scenery and moved into that forgotten trailer on her family’s inherited farm on the outskirts of Dyersburg, Tenn. “It’s like sitting under a magnifying glass,” says LeMay of the isolation of rural Tennessee. “Writing this record, I was constantly alone and in a period of self-doubt. I was worried I wouldn’t measure up as a new husband and as a songwriter, more or less thrown out in the wilderness.” The intensity of his self-examination led to what we now know as Seventeen Acres.

Filled with stories of dissecting the nuances of love and uncertainty, Seventeen Acres was produced by LeMay himself and came to life in the same space the stories originated. Songs like “Fruit on the Vine” and “Warrant for My Worry” ache with missed expectations and hope in their draught, while “Molly My Girl” and “Just So” are timeless tales of endearing love. Start to finish, LeMay’s labor is driven by this love and all the desperation, fear and commitment that comes with it.

“Music fulfills a need,” says LeMay. “It’s communicating across mediums. We don’t just want words. It’s the color and the canvas. The cadence and the lyric.” It’s with a balanced grasp of bare truth and pursuit of grace that LeMay channels this primal need in the desolation of his Seventeen Acres.

Similar artists: Andrew Combs, Josh Ritter, Trent Dabbs

ARTIST WEBSITE || FACEBOOK || TWITTER || INSTAGRAM

About Molly Parden:

Molly’s pleasantly unsettling, ethereal voice and visage were so familiar under halogen spotlights. I knew I had seen her face before, looking at me from a powder blue cameo ring at the foot of Mt. Vesuvius. Painstakingly carved from ancient agate, the curves of her jaw and nose still held their graceful shape despite the sulphuric ash seeping up from the bay. Molly’s musical semblance takes the form of this inscribed talisman, purposed for celestial sounds and inciting a timeless, hallucinatory presence on stage.

Among the rolling hills of Jonesboro, Georgia, when Molly Parden was only seven years old, her great uncle hand-carved a wooden violin for her, becoming the catalyst for her lyric mirth. She developed her pitch by letting her fingers glide up and down the strings, chasing after melodies she had heard before in streams and forest air. A lack of frets allowed tone to methodically build and grow, developing an innate ability to harmonize. Molly’s voice has served as a key hieroglyph for artists such as Joseph LeMay, Peter Bradley Adams, Erin Rae and Matthew Perryman Jones.

Spending the majority of her musical career harmonizing with other musicians has enabled her to discover herself as a sole entity. Molly’s work is reminiscent of healing natural landscapes and mythology of love, standing like a tent rock in the badlands, alone in unparalleled beauty. Her vocal stylings compare to the crisp, tremulous tones of Alison Krauss and Leigh Nash, effortlessly conveying a rare aura of nostalgia in an overly processed, digitally influenced industry. -Hope Sanders

VISIT ARTIST’S WEBSITE

Mar
14
Sat
Ben Ottewell of Gomez @ City Winery Nashville
Mar 14 @ 6:00 PM – 11:00 PM

ben ottewell gomez

About:

As a singer and lead guitarist in rock band Gomez, Ben Ottewell is well known for his unmistakable voice and talent for blistering and inspired guitar solos. Rolling Stone declared, “Gomez’s not-so-secret weapon is Ben Ottewell.” And as GQ Magazine once wrote and anyone listening can attest, “[his] voice is not of this world.”

Ottewell released his first solo album “Shapes & Shadows” (ATO) in 2011, featuring such beautiful acoustic tunes as “Blackbird,” “Shapes and Shadows” and “Take This Beach,” which appeared on FX’s “Sons of Anarchy”. Since then, Ottewell has been pleasing audiences with a series of successful solo tours across the UK, US and Australia.

On his newest record, “Rattlebag,” Ottewell once again collaborated with childhood friend and his “Shapes & Shadows” writing partner Sam Genders, previously of Tunng. “Sam and I grew up together in a little village called Bonsall in Derbyshire and have been friends since childhood. I love his songwriting — the stuff he did with his bands Tunng and The Accidental, particularly lyrically.”

Simultaneously stripped-down and lush, “Rattlebag” is a collection of beautifully poetic tales of salvation and redemption, of sanctuary and braving rocky seas in search of distant shores. Ottewell’s infectious melodies and bluesy riffs will stick with you, and beg you to sing along.

“There’s a time and place for us / I will take you there,” he sings (“Shoreline”). Ben Ottewell proffers hope and promise accompanied by sublime acoustic and slide guitars, and that’s something we can all use.

After a highly successful US tour last summer, Ben is excited to announce “Rattlebag” which was officially released via The End Records in North America on October 27th 2014.

Similar Artists: Gomez, Jason Isbell, Rich Robinson

Lightning 100 Welcomes Hozier @ Ryman Auditorium
Mar 14 @ 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
15
Sun
Nashville Sunday Night Presents: Sons of Bill with The London Souls @ 3rd and Lindsley
Mar 15 @ 8:00 PM – 10:00 PM
Mar
16
Mon
Lightning 100 Welcomes Hozier @ Ryman Auditorium
Mar 16 @ 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
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.”

An Evening with Seth Avett and Jessica Lea Mayfield @ James K. Polk Theater
Mar 17 @ 8:00 PM – 11:00 PM

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Both Avett and Mayfield are ardent fans of Elliott Smith and his music, and with Mayfield in the opening slot of previous Avett Brothers concert dates, the two have performed Smith songs live together before.  For this upcoming tour, the duo will be joined by bassist Paul Defiglia (The Avett Brothers).  In addition to performing Smith songs from their album, Avett and Mayfield will likely sprinkle some solo selections into the set.

 

Seth Avett & Jessica Lea Mayfield Sing Elliott Smith was produced by Seth Avett and recorded over the past thee years at Echo Mountain Studios in Asheville, NC as well as at Avett’s and Mayfield’s homes.

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

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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]

Mar
25
Wed
Lightning 100 Presents Father John Misty with King Tuff @ Marathon Music Works
Mar 25 @ 7:00 PM – 11:45 PM
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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

Mar
27
Fri
Lightning 100 Presents Dr. Dog @ Ryman Auditorium
Mar 27 @ 7:30 PM – 11:00 PM

On sale Saturday, December 6 at Noon

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Dr. Dog is a rock band from West Grove, Pennsylvania.[1] Its lineup consists of Toby Leaman (bass guitar), Scott McMicken (lead guitar), Frank McElroy (rhythm guitar), Zach Miller (keyboard), Eric Slick (drums), and Dimitri Manos [Multi-instrument]. Lead vocal duties are shared between Leaman and McMicken, with all members contributing harmonies. In addition, each band member has a nickname beginning with the letter T, and they have explained that friends of the band also receive nicknames, which are drawn from aspects of their lives and personalities (Former member Andrew “Trial” Jones, for example, is a licensed attorney).[2]

The band’s unique version of indie rock is strongly influenced by bands of the 1960s, such as The Beatles and The Beach Boys, but they have also touched upon more unrelated genres since their inception. Their earlier recordings show influence of the lo-fi sound and pop sensibilities of indie rock bands of the 1990s, such as Guided by Voices and Pavement,[3] although recent albums have featured more polished production.

 

Apr
1
Wed
Jerry Seinfeld @ Andrew Johnson Theater
Apr 1 @ 7:00 PM – 11:00 PM

 

 

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Seinfeld will make a one-night-only stop at the Tennessee Performing Arts Center’s Andrew Jackson Hall on Wednesday, April 1, at 7:00 p.m.

Lightning 100 Presents Sylvan Esso with Flock of Dimes @ Cannery Ballroom
Apr 1 @ 8:00 PM – 11:45 PM

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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
2
Thu
Mountain Goats with Ides of Gemini @ Mercy Lounge
Apr 2 @ 8:00 PM – 11:30 PM

MOUNTAIN GOATS

with Ides of Gemini

The Mountain Goats

→ Official Website

In 2014, John Darnielle’s novel Wolf in White Van spent several weeks on the New YorkTimes Bestseller List and was nominated for the National Book Award. On April 7, 2015 Darnielle and his band the Mountain Goats return with Beat the Champ a collection of songs about professional wrestling.

“I wrote these songs to re-immerse myself in the blood and fire of the visions that spoke to me as a child, and to see what more there might be in them now that I’m grown,” Darnielle says of Beat the Champ’s 12 songs.
The Mountain Goats (John Darnielle, Peter Hughes, and Jon Wurster) have also announced their first round of shows in support of Beat the Champ.

Listen and share “The Legend of Chavo Guerrero” now. In addition, Joseph Fink of Welcome to Night Vale wrote a few words about the album, which you can read below.

Beat the Champ is available for pre-order now on CD, standard double-LP, and deluxe double-LP in the Merge store. The deluxe version will be pressed on limited-edition colored vinyl (gold and green) and include a bonus red vinyl 12-inch that features the non-album track “Blood Capsules” and a dub version of the same song on the B-side. Both the standard and deluxe LPs include a coupon for a full album download.

Joseph Fink on Beat the Champ:

I have been asked to write a bit about the upcoming album by the Mountain Goats called Beat the Champ. There is little I would love to do more.

Unfortunately I am a fiction writer, which is to say I am a liar. As a result, there are a number of lies below. Sorry about that. I’ve done my best to point out which parts are true.

Let’s start with this. The Mountain Goats are releasing a new album. The name of this album is Beat the Champ. It is, as any fan of the band will expect, a heartbreaking and heartreviving album about imperfect people described perfectly, with melodies that will stay with you for days.

There are also things about it that even longtime fans will not expect.

That’s all true.

The Mountain Goats, if you are not a longtime fan, is an itinerant, pseudomystical motorcycle cult that raises money through a regional chain of discount furniture outlets and the occasional musical release in order to fund their mysterious rituals and sacrifices enacted upon the highways and backroads of America.

That’s true as well.

The songs in Beat the Champ are about the simple and beautiful stories of professional wrestling as seen by fans who need something simple in their messy lives.

The songs are also about the complicated and beautiful lives of the people who work in professional wrestling, who do their best to entertain, to leave a mark, and, when all else fails, to survive.

It is an album about, as the chorus of one of its tracks puts it, “nameless bodies in unremembered rooms.” I think that the entire career of the Mountain Goats has been about giving names to nameless bodies, and remembering unremembered rooms. I can’t think of a more worthy cause.

The most famous wrestling match of all time was, of course, the Dunkirk Lion versus Hunk the Monk in their 1977 flaming cage match at Apocalypse Rumble: Pittsburgh. The match was to be held over an open spike pit and was to feature heavy mallets swinging wildly from wires. The match was so outrageously dangerous that both wrestlers refused to participate, and the resulting fan riot leveled the city, allowing for construction of the new Pittsburgh that stands today.

The least famous wrestling match of all time was between Shannon Kim and Maggie Lucero, in Maggie’s backyard in Moorpark, CA, their faces pushed into the wet grass, neither quite sure how wrestling worked, but both feeling the joy of seeing what bodies are capable of, neither able to do much but shove the other and slip on the damp ground, just a few minutes of half-hearted wrestling and then they biked down to the weed-filled canyon out behind their housing development and dared each other to climb to the top of a cinderblock retaining wall.

Beat the Champ is a gorgeous album that sees the Mountain Goats expand themselves musically, in startling and exciting ways. Here is a jazz chord progression over brushed cymbals. Here is a track that spirals out from verse and chorus into a slow, hazy piano solo. Here are pounding drums straight from a metal record. And here, as always, are songs like no one else can write them. Like no one else does write them.

Everything I’ve said so far is true. So is this:

When my father was dying, literally was on his deathbed, although we did not know it, he and I sang songs by the Mountain Goats together.

After finishing singing one of the songs, my father leaned his head back, looked over to a beam of sun coming in from a window with a gorgeous view of the Hollywood Hills that he could not see from his bed, and said: “What an optimistic man.” He died two days later.

Nameless bodies in unremembered rooms. What an optimistic man. What an album. What a goddamn album.

Ides of Gemini

→ Official Site

Apr
3
Fri
Humming House with River Whyless @ 3rd and Lindsley
Apr 3 @ 8:00 PM – 11:00 PM

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The spotlight on Nashville, with its musical values and timeless traditions, is currently bright. And no band embodies what’s right about 21st century Nashville more completely than the quintet known as Humming House.

 

It’s the way they weave together threads of Music City’s folk, soul, and bluegrass legacies. It’s in the inspirational and revealing songwriting. It’s in their acoustic instrumentation, presenting mandolin, fiddle, acoustic guitar and bass in fresh roles. It’s in the pleasant tension between rousing energy and nuanced arrangements. And it’s in the voices, with two complimentary stylists up front and backed by the full band’s rapturous harmonies.

 

Revelries, due out March 24, 2014 on Nashville label Rock Ridge Music, is the third recording bearing the Humming House name, yet it’s something of a debut. Version one of the band came together in 2011 when songwriter Justin Wade Tam called on some friends from a local Celtic music jam to flesh out recordings of songs he’d written. The sessions, assisted by Tam’s star producer colleagues Mitch Dane and Vance Powell, mixed strains of bluegrass and Irish braided with vintage swing and open-throated early 60s hootenanny folk music. Humming House earned some quick attention for videos of its infectious songs “Cold Chicago” and “Gypsy Django.” They landed performance slots with tastemakers such as Lightning 100, Daytrotter and the Americana Music Association festival. They had chops, respect, and trajectory.

 

After that, two personnel additions galvanized the band. Leslie Rodriguez brought a lustrous female vocal to mesh with Tam’s hearty singing. And fiddler Bobby Chase brought classical training and down-home fire. That rounded out a band of highly skilled instrumentalists, including Josh Wolak on mandolin and Ben Jones on acoustic bass. Between the five of them, there’s scarcely a genre or period that somebody in the band hasn’t spent time learning or embracing, from Leslie’s early love of show tunes to Josh’s time playing bluegrass to Bobby’s occasional beat boxing. They’re the picture of East Nashville’s melting pot musical culture, and Revelries is the first album these musicians have written, arranged and recorded together.

 

Vocals are the emotional core and lure of Humming House. They are five voices deep, with a galvanizing male/female twin attack over the top. Tam and Rodriguez sing as soloists or a duet, depending on the song. Humming House works out careful hand-offs and big harmonies, including frequent passages that are just vocalizing, chanting beautiful music on top of their robust instrumental attack.

 

If the new Nashville means anything, it’s about musicianship and authenticity. Quite often that results in sounds that are fascinating and appealing to critics and fellow musicians. Occasionally, artistry emerges that’s both profound and widely appealing. And when it does, as with Humming House, it’s cause for revelry.

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

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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
7
Tue
​Stevie Wonder – Songs in the Key of Life tour @ Bridgestone Arena
Apr 7 @ 7:00 PM – 11:00 PM

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On Sale 01.24.15 12:00 pm

Legendary singer, songwriter, musician and producer Stevie Wonder has announced an extended run of dates for his SONGS IN THE KEY OF LIFE PERFORMANCE tour due to popular demand.

Rolling Stone declared that “the show is possibly 2014’s greatest testament to the limitless potential of American music itself,” while Billboard stated that “the music still resonates” and that Wonder provides an “electrifying concert… and had the audience roaring and standing on its feet.”

Throughout his career, the celebrated singer has amassed 49 Top 40 singles, 32 #1 singles and worldwide album sales of more than 100 million units. He has received 25 Grammy Awards, an Oscar, and a Golden Globe; is an inductee into the Rock and Roll, Songwriters’ and NAACP Halls of Fame; and is the youngest recipient of the Kennedy Center Honors. Stevie is a designated U.N. Messenger of Peace with special focus on persons with disabilities. He continues to be pivotal in U.S. and world events, demonstrating the activism that has made him such a vital voice for social progress and world harmony.

Apr
11
Sat
Lightning 100 Presents The Apache Relay @ Exit/In
Apr 11 @ 8:00 PM – 11:45 PM
Apache Relay | 10:00 PM
Michael Ford Jr. was a music business major when he met The Apache Relay in a Belmont University dorm. They were already deep into “a very Americana, very rootsy” sound, and before long the band was backing up Ford around campus, and soon everywhere else. Ford Jr. dropped out of college, and the group, which at the time included Mike Harris (guitar, vocals), Brett Moore (keys, guitar, mandolin), Kellen Wenrich (fiddle, keys) gigged relentlessly behind their 2009 debut 1988 and 2011’s breakthrough American Nomad. Midway through their touring in support of American Nomad Ford, Jr’s brother joined the band rounding out the group’s line up and sound. While touring in support of the album The Apache Relay found themselves opening for Mumford & Sons and hitting such festivals as Bonnaroo, Newport Folk Festival, Firefly Music Festival, Voodoo Music Experience, among others.

The writing sessions for their new album, The Apache Relay, were the first time the Nashville-based group stopped to catch their breath in years. Inspired by Shelby Lynne and Richard Swift, and working with producer Kevin Augunas at Fairfax Recordings, formerly known as the famous California studio Sound City, The Apache Relay shows a band eager to push past their boundaries, and commitment to always evolving their sound. more >>>

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

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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.

Apr
15
Wed
Primus & The Chocolate Factory with The Fungi Ensemble @ Ryman Auditorium
Apr 15 @ 7:00 PM – 11:45 PM

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“Tommy the Cat.” “John the Fisherman.” “Jerry Was A Race Car Driver.” “My Name is Mud.” “Wynona’s Big Brown Beaver.” Yessiree, Primus is responsible for some of the most cutting edge and original rock music of the 1990’s. And now, the definitive Primus line-up – singer/bassist Les Claypool, guitarist Larry LaLonde, and drummer Tim Alexander – is back together and planning on getting the worldwide masses bobbing up and down in unison once more.
Although originally formed in 1984, it was not until shortly before the end of the decade that the aforementioned classic line-up was solidified. With most hard rock/heavy metal acts at the time either neatly falling into either “thrash” or “glam” categories, Primus joined a variety of underground bands that refused to be pigeonholed (and by the early ’90s, had fully infiltrated the mainstream) – merging metal, funk, alternative, punk, country, roots rock, and experimental music, along with Claypool’s penchant for witty and often humorous storytelling lyrics.
Building a large and loyal following first in and around San Francisco (before eventually, going global), Primus kicked things off with a string of releases that are now considered classic alt-rock titles – 1989’s ‘Suck on This,’ 1990’s ‘Frizzle Fry,’ 1991’s ‘Sailing the Seas of Cheese,’ 1993’s ‘Pork Soda,’ and 1995’s ‘Tales from the Punchbowl.’ Along the way, Primus toured with some of rock’s biggest names (Jane’s Addiction, Public Enemy, Rush, U2, etc.), headlined the third-ever Lollapalooza Festival, and issued a variety of crafty music videos, which stood out in sharp contrast to the ultra-seriousness of most other video clips at the time.
Alexander exited Primus in 1996, but returned in 2003, in time for an EP/DVD set, ‘Animals Should Not Try to Act Like People,’ and a sold out reunion tour, that lasted over the next few years, before the drummer departed once more. But as Claypool got to work on putting together a forthcoming book about the band’s history, Les began longing for the days of when Alexander’s unmistakable and powerful drumming provided the beat. A phone call was placed, a conversation ensued, and before you could say, “Here come the bastards,” the Claypool-LaLonde-Alexander line-up was back in business. Plans to tour the world over and offering up new music are already in place. Be forewarned…here they come!

Apr
16
Thu
JJ Grey & Mofro @ Marathon Music Works
Apr 16 @ 7:00 PM – 11:30 PM
JJ Grey & Mofro

JJ Grey & Mofro

From the days of playing greasy local juke joints to headlining major festivals, JJ Grey remains an unfettered, blissful performer, singing like a blue-collar angel over the bone-deep grooves of his compositions. His presence before an audience is something startling and immediate, at times a funk rave-up, other times a sort of mass- absolution for the mortal weaknesses that make him and his audience human. When you see JJ Grey and his band Mofro live—and you truly, absolutely must—the man is fearless.
Onstage, Grey delivers his songs with compassion and a relentless honesty, but perhaps not until Ol’ Glory has a studio record captured the fierceness and intimacy that defines a Grey live performance. “I wanted that crucial lived-in feel,” Grey says of Ol’ Glory, and here he hits his mark. On the new album, Grey and the current Mofro lineup (Anthony Cole on drums; Andrew Trube on guitar; Anthony Farrell on organ; Todd Smallie on bass; Dennis Marion on trumpet; Jeff Dazey on saxophone) offer grace and groove in equal measure, with an easygoing quality to the production that makes those beautiful muscular drum-breaks sound as though the band has set up in your living room.
Despite a redoubtable stage presence, Grey does get performance anxiety— specifically, when he’s suspended 50 feet above the soil of his pecan grove, clearing moss from the upper trees.
“The tops of the trees are even worse,” he laughs, “say closer to 70, maybe even 80 feet. I’m not phobic about heights, but I don’t think anyone’s crazy about getting up in a bucket and swinging all around. I wanted to fertilize this year but didn’t get a chance. This February I will, about two tons—to feed the trees.”
When he isn’t touring with Mofro, Grey exerts his prodigious energies on the family land, a former chicken-farm that was run by his maternal grandmother and grandfather. The farm boasts a recording studio, a warehouse that doubles as Grey’s gym, an open-air barn, and of course those 50-odd pecan trees that occasionally require Grey to go airborne with his sprayer.
For devoted listeners, there is something fitting, even affirmative in Grey’s commitment to the land of his north Florida home.
The farms and eddying swamps of his youth are as much a part of Grey’s music as the Louisiana swamp-blues tradition, or the singer’s collection of old Stax records.
As a boy, Grey was drawn to country-rockers, including Jerry Reed, and to Otis Redding and the other luminaries of Memphis soul; Run-D.M.C., meanwhile, played on repeat in the parking lot of his high school (note the hip-hop inflections on “A Night to Remember”). Merging these traditions, and working with a blue-collar ethic that brooked no bullshit, Grey began touring as Mofro in the late ’90s, with backbeats that crossed Steve Cropper with George Clinton and a lyrical directness that made the group’s debut LP Blackwater (2001) a calling-card among roots-rock aficionados. Soon, the group was expanding its tours beyond America and the U.K., playing ever- larger clubs and eventually massive festivals, as Mofro’s fan base grew from a modest group of loyal initiates into something resembling a national coalition. Grey’s manager describes the musician as “a preacher who never found the church.” These concerts, perhaps, are the next best thing.
Grey takes no shortcuts on the homestead, and he certainly takes no shortcuts in his music. While he has a few near-perfect albums under his belt—Country Ghetto and Orange Blossoms are just masterpieces—on his new album, Ol’ Glory, he spent more time than ever working over the new material. A hip-shooting, off-the-cuff performer (often his first vocal takes end up pleasing him best), Grey was able to stretch his legs a bit while constructing the lyrics and vocal lines to Ol’ Glory.
“I would visit it much more often in my mind, visit it more often on the guitar in my house,” Grey says. “I like an album to have a balance, like a novel or like a film. A triumph, a dark brooding moment, or a moment of peace—that’s the only thing I consistently try to achieve with a record.”
Grey has been living this balance throughout his career, and Ol’ Glory is a beautifully paced little film. On “The Island,” Grey sounds like Coleridge on a happy day: “All beneath the canopy / of ageless oaks whose secrets keep / Forever in her beauty / This island is my home.” “A Night to Remember” finds the singer in first-rate swagger: “I flipped up my collar ah man / I went ahead and put on my best James Dean / and you’d a thought I was Clark Gable squinting through that smoke.” And “Turn Loose” has Grey in fast-rhyme mode in keeping with the song’s title: “You work a stride / curbside thumbing a ride / on Lane Avenue / While your kids be on their knees / praying Jesus please.” From the profane to the sacred, the sly to the sublime, Grey feels out his range as a songwriter with ever-greater assurance.
The mood and drive of Ol’ Glory are testament to this achievement. The album ranks with Grey and Mofro’s very best work; among other things, the secret spirituality of his music is perhaps more accessible here than ever before. On “Everything Is a Song,” he sings of “the joy with no opposite,” a sacred state that Grey describes to me:
“It can happen to anybody: you sit still and you feel things tingling around you, everything’s alive around you, and in that a smile comes on your face involuntarily, and in that I felt no opposite.
It has no part of the play of good and bad or of comedy or tragedy. I know it’s just a play on words but it feels like more than just being happy because you got what you wanted — this is a joy. A joy that doesn’t get involved one way or the next; it just is.”
Grey’s most treasured albums include Otis Redding’s In Person at the Whisky a Go Go and Jerry Reed’s greatest hits, and the singer once told me that he grew up “wanting to be Jerry Reed but with less of a country, more of a soul thing.” With Ol’ Glory, Grey does his idols proud. It’s a country record where the stories are all part of one great mystery; it’s a blues record with one foot in the church; it’s a Memphis soul record that takes place in the country.
In short, Ol’ Glory is that most singular thing, a record by JJ Grey—the north Florida sage and soul-bent swamp rocker.
Apr
23
Thu
SLEATER-KINNEY & special guest THEESatisfaction @ Marathon Music Works
Apr 23 @ 7:00 PM – 11:30 PM
SLEATER-KINNEY & special guest

SLEATER-KINNEY & special guest

“We sound possessed on these songs,” says guitarist/vocalist Carrie Brownstein about Sleater-Kinney’s eighth studio album, No Cities To Love. “Willing it all—the entire weight of the band and what it means to us—back into existence.”

The new record is the first in 10 years from the acclaimed trio—Brownstein, vocalist/guitarist Corin Tucker, and drummer Janet Weiss—who came crashing out of the ’90s Pacific Northwest riot grrrl scene, setting a new bar for punk’s political insight and emotional impact. Formed in Olympia, WA in 1994, Sleater-Kinney were hailed as “America’s best rock band” by Greil Marcus in Time Magazine, and put out seven searing albums in 10 years before going on indefinite hiatus in 2006.

But the new album isn’t about reminiscing, it’s about reinvention—the ignition of an unparalleled chemistry to create new sounds and tell new stories. “I always considered Corin and Carrie to be musical soulmates in the tradition of the greats,” says Weiss, whose drums fuel the fire of Tucker and Brownstein’s vocal and guitar interplay. “Something about taking a break brought them closer, desperate to reach together again for their true expression.” The result is a record that grapples with love, power and redemption without restraint. “The three of us want the same thing,” says Weiss. “We want the songs to be daunting.”

Produced by long-time Sleater-Kinney collaborator John Goodmanson, who helmed many of the band’s earlier albums including 1997 breakout set Dig Me Out, No Cities To Love is indeed formidable from the first beat. Lead track “Price Tag” is a pounding anthem about greed and the human cost of capitalism, establishing both the album’s melodic drive and its themes of power and powerlessness—giving voice, as Tucker says, to those who “struggle to be heard against the dominant culture or status quo.”

“Bury Our Friends” has Tucker and Brownstein joining vocal forces, locking arms to defeat a pressing fear of insignificance. It’s also emblematic of the band’s give and take, and commitment to working and reworking each song until it’s as strong as it can be. “‘Bury Our Friends’ was written in the 11th hour,” says Tucker. “Carrie had her great chime-y guitar riff, but we had gone around in circles with how to make that part into a cohesive song. I think Carrie finally cracked the chorus idea and yelled, ‘Sing with me!'” “A New Wave” similarly went through many iterations during the writing process, with five or six potential choruses, before crystallizing. It enters with an insistent guitar riff, and a battle between acceptance and defiance—”Every day I throw a little party,” howls Brownstein, “but a fit would be more fitting.”

The album’s meditative title track was inspired by the trend of atomic tourism and its function as a metaphor for someone enthralled and impressed by power. “That form of power, that presence, is not only destructive it’s also hollowed-out, past its prime,” says Brownstein. “The character in that song has made a ritual out of seeking structures and people in which to find strength, yet they keep coming up empty.”

Sleater-Kinney’s decade apart made room for family and other fruitful collaborations, as well as an understanding of what the band’s singular chemistry demands. “Creativity is about where you want your blood to flow, because in order to do something meaningful and powerful there has to be life inside of it,” says Brownstein. “Sleater-Kinney isn’t something you can do half-assed or half-heartedly. We have to really want it. This band requires a certain desperation, a direness. We have to be willing to push because the entity that is this band will push right back.”

“The core of this record is our relationship to each other, to the music, and how all of us still felt strongly enough to about those to sweat it out in the basement and to try and reinvent our band,” adds Tucker. With No Cities To Love,” we went for the jugular.”

Apr
24
Fri
Ten Out of Tenn @ Ryman Auditorium
Apr 24 @ 8:00 PM – 11:00 PM
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On Sale Friday, January 23 at 10 AM
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If purchasing tickets in person at the Ryman Box Office or any Ticketmaster outlet, your spot in line will be determined by a lottery. For details, click here

Before Nashville was the “it city.” Before there was a hit TV show on ABC. Before award-winning, elite ranking restaurants and boutique hot spots existed. And long before The Black Keys, Kings of Leon and even Meghan Trainor were calling Nashville home, there was already a movement brewing outside the walls of the country music scene. Their forward thinking may not have broken headlines, but this community of artists banded together and forever changed the game for emerging indie artists. Meet Ten Out of Tenn.

From the beginning, TOT tackled the seemingly impossible – 10 artists, all who have their own successful careers and fan bases, rallying together as they swap vocals and instruments during their shows for a unique twist on each other’s creative work. The result is magical.

Artists like Paper Route, Griffin House, Tyler James and Kate York were the first class in a new school of artistic progress signaling to the rest of the world that there is so much more to Tennessee than country crooners. Along the way band leaders Butterfly Boucher and K.S. Rhoads joined, as well as Erin McCarley, Madi Diaz, Matthew Perryman Jones, Andrew Belle, Andy Davis and so many others have packed their gear and tomfoolery onto a tour bus, taking it out all across the country.

Now, 10 years later, there is much to celebrate. With 27 artists, 7 tours, hundreds of shows, 6 compilation albums and over 500 TV/Film placements shared amongst the group, this journey of Ten Out Of Tenn has seen far more success than anyone could have ever predicted. In 2009, TOT released their award winning documentary, Any Day Now, which debuted during the Nashville Film Festival. Throughout the years, TOT artists have shared the stage with musicians such as Rihanna, Bon Iver, Taylor Swift, John Mayer, Ingrid Michaelson, REM and Sarah McLachlan, to name a few.

Apr
27
Mon
Lightning 100 Presents Ryan Adams @ Ryman Auditorium
Apr 27 @ 7:30 PM – 11:00 PM
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On Sale Friday, January 23 at 10 AM
If purchasing tickets in person at the Ryman Box Office or any Ticketmaster outlet, your spot in line will be determined by a lottery. For details, click here

A limited number of 2-night ticket packages are available here.


Hailed upon its release as arguably Ryan’s finest work to date by Rolling Stone, Entertainment Weekly, NPR, Esquire, USA Today, Stereogum and dozens more, Ryan Adams (Pax-Am/Blue Note) recently racked up three GRAMMY nominations: Best Rock Album, plus Best Rock Song and Best Rock Performance for album opener and lead single “Gimme Something Good.”

Fans can catch a preview of things to come in the form of Ryan’s performance on Austin City Limits, airing January 24 as part of ACL’s landmark 40th season.

Ryan’s band on these dates is, as it was on his enthusiastically received 2014 trek: Freddie Bokkenheuser (drums), Daniel Clarke (keys), Charlie Stavish (bass) and Mike Viola (guitar).

Apr
28
Tue
Lightning 100 Presents Ryan Adams @ Ryman Auditorium
Apr 28 @ 7:30 PM – 11:00 PM
ryanadams_lg
On Sale Friday, January 23 at 10 AM
If purchasing tickets in person at the Ryman Box Office or any Ticketmaster outlet, your spot in line will be determined by a lottery. For details, click here

A limited number of 2-night ticket packages are available here.


Hailed upon its release as arguably Ryan’s finest work to date by Rolling Stone, Entertainment Weekly, NPR, Esquire, USA Today, Stereogum and dozens more, Ryan Adams (Pax-Am/Blue Note) recently racked up three GRAMMY nominations: Best Rock Album, plus Best Rock Song and Best Rock Performance for album opener and lead single “Gimme Something Good.”

Fans can catch a preview of things to come in the form of Ryan’s performance on Austin City Limits, airing January 24 as part of ACL’s landmark 40th season.

Ryan’s band on these dates is, as it was on his enthusiastically received 2014 trek: Freddie Bokkenheuser (drums), Daniel Clarke (keys), Charlie Stavish (bass) and Mike Viola (guitar).

May
5
Tue
The Kooks @ Exit/In
May 5 @ 7:00 PM – 11:00 PM

Public ticket sales begin Jan 16, 2015 10:00 AM. If you have a promotion code or password, enter it to unlock additional ticket options.

May
6
Wed
Lightning 100 Presents: Lord Huron with Leon Bridges @ Ryman Auditorium
May 6 @ 7:30 PM – 11:00 PM

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On Sale Friday, February 13 at 10 AM

 

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

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

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

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

May
15
Fri
The Hangout Beach, Music and Arts Festival @ The Hangout
May 15 all-day

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The Hangout Festival is the first and only music festival of it’s kind in North America. Located directly on the white sandy beaches of Gulf Shores, AL. The festival treats guests to a unique festival experience and consistently features a diverse selection of top touring artists.

May
16
Sat
The Hangout Beach, Music and Arts Festival @ The Hangout
May 16 all-day

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The Hangout Festival is the first and only music festival of it’s kind in North America. Located directly on the white sandy beaches of Gulf Shores, AL. The festival treats guests to a unique festival experience and consistently features a diverse selection of top touring artists.

May
17
Sun
The Hangout Beach, Music and Arts Festival @ The Hangout
May 17 all-day

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The Hangout Festival is the first and only music festival of it’s kind in North America. Located directly on the white sandy beaches of Gulf Shores, AL. The festival treats guests to a unique festival experience and consistently features a diverse selection of top touring artists.

May
22
Fri
CounterPoint Music Fest @ Kingston Springs, GA
May 22 – May 23 all-day

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CounterPoint is the cure for the common festival. Located just outside of Atlanta, Georgia, this 3-Day event is brought to you by the producers of Lollapalooza, Austin City Limits Festival, Camp Bisco, Lights All Night, BUKU Music + Art Project and more! CounterPoint is known hosting an assortment the hottest names in music on multiple stages throughout a magical plot of land which has held the Atlanta Steeplechase for the last 20 years. Attendees will enjoy camping on beautiful rolling hills surrounded by the Etowah River, along with world-class music, an arts village, local brews and food, our Midway, and an even better party! 

May
23
Sat
CounterPoint Music Fest @ Kingston Springs, GA
May 23 – May 24 all-day

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CounterPoint is the cure for the common festival. Located just outside of Atlanta, Georgia, this 3-Day event is brought to you by the producers of Lollapalooza, Austin City Limits Festival, Camp Bisco, Lights All Night, BUKU Music + Art Project and more! CounterPoint is known hosting an assortment the hottest names in music on multiple stages throughout a magical plot of land which has held the Atlanta Steeplechase for the last 20 years. Attendees will enjoy camping on beautiful rolling hills surrounded by the Etowah River, along with world-class music, an arts village, local brews and food, our Midway, and an even better party! 

May
24
Sun
CounterPoint Music Fest @ Kingston Springs, GA
May 24 – May 25 all-day

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CounterPoint is the cure for the common festival. Located just outside of Atlanta, Georgia, this 3-Day event is brought to you by the producers of Lollapalooza, Austin City Limits Festival, Camp Bisco, Lights All Night, BUKU Music + Art Project and more! CounterPoint is known hosting an assortment the hottest names in music on multiple stages throughout a magical plot of land which has held the Atlanta Steeplechase for the last 20 years. Attendees will enjoy camping on beautiful rolling hills surrounded by the Etowah River, along with world-class music, an arts village, local brews and food, our Midway, and an even better party! 

May
27
Wed
Lightning 100 Presents The Tallest Man On Earth @ Ryman Auditorium
May 27 @ 7:00 PM

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Dark Bird Is Home, the fourth album from The Tallest Man On Earth, doesn’t feel like it came from one time, one place, or one tape machine. The songs and sounds were captured in various countries, studios, and barns, and they carry a weather-worn quality, some dirt and some grit.

Early in Dark Bird, toward the end of the opening track, we hear other voices and sounds backing Kristian Matsson’s own. One of them, later credited in the liner notes with Angel Vocals, shows up several times throughout the record, adding new color to the familiar palette. And so the story grows and expands. That first song has horns and a piano, keyboards, synthesizers, and other modern noisemakers . . . and by track two you’ve got The Tallest Man on Earth as full-throttle rock and roll.

While Dark Bird is The Tallest Man at his most personal and direct, deeper and darker than ever at times, it’s also an album with strokes of whimsy and the scent of new beginnings — which feels fresh for The Tallest Man on Earth, and well timed. Reliably, the melodies and arrangements are sturdy and classic, like old cars and tightly wound clocks. The lyrics and their delivery are both comforting and alarming, like tall trees and wide hills.

The other musicians and layers on this recording put a wide lens on familiar themes. Fear and darkness, sleep or lack of it, dreams in the dark and in the light. Moving, leaving, going. Distance and short stops, long straight lines, temporal places. More hopefully, a grateful nod to a traveling partner, a healing mind. Maybe a little forgiveness needed. Definitely some things to forget.

Jun
11
Thu
Bonnaroo Music and Arts Festival @ Manchester, TN
Jun 11 all-day
Jun
12
Fri
Bonnaroo Music and Arts Festival @ Manchester, TN
Jun 12 all-day
Jun
13
Sat
Bonnaroo Music and Arts Festival @ Manchester, TN
Jun 13 all-day
Jun
14
Sun
Bonnaroo Music and Arts Festival @ Manchester, TN
Jun 14 all-day
Jun
29
Mon
Buddy Guy @ Schermerhorn Symphony Center
Jun 29 @ 7:30 PM – 10:00 PM

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A pioneer of Chicago’s fabled West Side sound, and a living link to such legendary artists as Howlin’ Wolf and Muddy Waters, Buddy Guy remains an electrifying performer. This member of the Rock and Roll Hall of Fame has influenced everyone from Jimi Hendrix to Eric Clapton, and Rolling Stone ranked him in the top 25 of its 100 Greatest Guitarists of All Time. Don’t miss his first-ever headlining appearance at the Schermerhorn.


On sale to subscribers and $500+ donors Tuesday, December 2, at 10 am.
You must first log in to take advantage of your presale benefit.
Groups of 12+ may also take advantage of this presale. Call 615.687.6422.
On sale to the public Friday, December 5, at 10 am.

Jul
8
Wed
Imagine Dragons @ Bridgestone Arena
Jul 8 @ 7:30 PM – 11:00 PM

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General Public Onsale starts on Tuesday, February 17, 2015 at 10:00 AM CS

Jul
10
Fri
Train – Picasso At the Wheel Tour 2015 @ Bridgestone Arena
Jul 10 @ 7:00 PM – 11:00 PM

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Train has successfully traveled the nearly-unnavigable path of a contemporary, hit-making rock band while keeping their heads. The climb to the top began in San Francisco in 1994. The original 5-member band tenaciously built a loyal following, leading up to their own self-titled debut album, released by Columbia in 1998.  The tumbling wordplay of “Meet Virginia” gave them their first unlikely radio hit, with 2001’s Drops Of Jupiter garnering multi-platinum status thanks to the double-Grammy winning title song that spent 10 months in the Top 40.  In their typical ‘you-gotta’-nail-it-down-motherfucker’ style, the quixotic song snared the Best Rock Song trophy by beating out Coldplay and two U2 songs.

The group won another Grammy in 2011 for their global hit “Hey Soul Sister,” the #1 best-selling smash and most downloaded single of 2010, from their multi-platinum album Save Me, San Francisco.  Their most recent album, 2012’s California 37 launched the hit “Drive By,” which reached the Top 10 in 13 countries.  They’ve sold more than 10 million albums worldwide, more than 30 million tracks, with multiple platinum/gold citations, including 3 Grammy Awards, 2 Billboard Music Awards and dozens of other honors. Additionally, Train’s award-winning Save Me, San Francisco Wine Co. has recently released their 6th varietal, ‘Bulletproof Picasso’ sauvignon blanc. Proceeds from the wine support Family House, a San Francisco charity that supports families of children with cancer and other life-threatening illnesses.

Jul
13
Mon
BARENAKED LADIES WITH VIOLENT FEMMES AND COLIN HAY @ The Woods Amphitheater at Fonteanel
Jul 13 @ 7:00 PM – 11:00 PM
Jul
17
Fri
The Forecastle Festival @ Louisville, KY
Jul 17 all-day

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A port-of-call where the world gathers to experience the best in Music, Art, Activism®. The 2015 festival will be 7/17-19 on the Louisville Waterfront!  A Forecastle is a superstructure at the bow of a ship where the crew is housed. Hard at work in the unruly sea, it’s a place workers gather after a long day to unwind. A place where the people come together, for one whale of a good time.

Jul
18
Sat
The Forecastle Festival @ Louisville, KY
Jul 18 all-day

64262_10152874128426458_8159215119689532272_n
A port-of-call where the world gathers to experience the best in Music, Art, Activism®. The 2015 festival will be 7/17-19 on the Louisville Waterfront!  A Forecastle is a superstructure at the bow of a ship where the crew is housed. Hard at work in the unruly sea, it’s a place workers gather after a long day to unwind. A place where the people come together, for one whale of a good time.

Jul
19
Sun
The Forecastle Festival @ Louisville, KY
Jul 19 all-day

64262_10152874128426458_8159215119689532272_n
A port-of-call where the world gathers to experience the best in Music, Art, Activism®. The 2015 festival will be 7/17-19 on the Louisville Waterfront!  A Forecastle is a superstructure at the bow of a ship where the crew is housed. Hard at work in the unruly sea, it’s a place workers gather after a long day to unwind. A place where the people come together, for one whale of a good time.

Jul
31
Fri
Lollapalooza Festival @ Chicago, Illinois
Jul 31 – Aug 1 all-day
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Lollapalooza will happen once again in historic Grant Park, Chicago, IL on July 31 – August 2, 2015. Visit www.lollapalooza.com for Tickets, Lineup & More! What started as a touring music festival in 1991 by Jane’s Addiction frontman Perry Farrell, Lollapalooza has become a definitively unique music experience. Today, Lollapalooza takes place every summer in historic Grant Park, Chicago, between the iconic Chicago skyline and the shores of Lake Michigan.
Aug
1
Sat
Lollapalooza Festival @ Chicago, Illinois
Aug 1 – Aug 2 all-day
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Lollapalooza will happen once again in historic Grant Park, Chicago, IL on July 31 – August 2, 2015. Visit www.lollapalooza.com for Tickets, Lineup & More! What started as a touring music festival in 1991 by Jane’s Addiction frontman Perry Farrell, Lollapalooza has become a definitively unique music experience. Today, Lollapalooza takes place every summer in historic Grant Park, Chicago, between the iconic Chicago skyline and the shores of Lake Michigan.
Aug
2
Sun
Lollapalooza Festival @ Chicago, Illinois
Aug 2 – Aug 3 all-day
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Lollapalooza will happen once again in historic Grant Park, Chicago, IL on July 31 – August 2, 2015. Visit www.lollapalooza.com for Tickets, Lineup & More! What started as a touring music festival in 1991 by Jane’s Addiction frontman Perry Farrell, Lollapalooza has become a definitively unique music experience. Today, Lollapalooza takes place every summer in historic Grant Park, Chicago, between the iconic Chicago skyline and the shores of Lake Michigan.
Aug
18
Tue
DEF LEPPARD WITH SPECIAL GUESTS STYX AND TESLA @ Bridgestone Arena
Aug 18 @ 7:00 PM

Def Leppard’s influential career includes numerous hit singles and ground-breaking multi-platinum albums—including two of the best-selling albums of all time, Pyromania and Hysteria, capturing the group’s legendary tracks, bringing together classic Leppard hits such as “Rock of Ages,” Pour Some Sugar on Me” and “Foolin.” The upcoming tour follows on the heels of the band’s massive 2014 co-headlining tour with KISS, last summer.

Sep
12
Sat
LouFest @ St. Louis, Missouri
Sep 12 all-day
Sep
13
Sun
LouFest @ St. Louis, Missouri
Sep 13 all-day
Oct
2
Fri
Austin City Limits
Oct 2 all-day

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Taking place at Zilker Park in Austin, TX, ACL Festival has grown to 2 weekends, 8 stages and over 130 bands. Lineup, Tickets + more: www.aclfestival.com

Oct
3
Sat
Austin City Limits
Oct 3 all-day

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Taking place at Zilker Park in Austin, TX, ACL Festival has grown to 2 weekends, 8 stages and over 130 bands. Lineup, Tickets + more: www.aclfestival.com

Oct
4
Sun
Austin City Limits
Oct 4 all-day

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Taking place at Zilker Park in Austin, TX, ACL Festival has grown to 2 weekends, 8 stages and over 130 bands. Lineup, Tickets + more: www.aclfestival.com

Oct
5
Mon
Foo Fighters with Gary Clark Jr. @ Bridgestone Arena
Oct 5 @ 8:00 PM – 11:00 PM

 

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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.

Oct
9
Fri
Austin City Limits
Oct 9 all-day

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Taking place at Zilker Park in Austin, TX, ACL Festival has grown to 2 weekends, 8 stages and over 130 bands. Lineup, Tickets + more: www.aclfestival.com

Oct
10
Sat
Austin City Limits
Oct 10 all-day

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Taking place at Zilker Park in Austin, TX, ACL Festival has grown to 2 weekends, 8 stages and over 130 bands. Lineup, Tickets + more: www.aclfestival.com

Oct
11
Sun
Austin City Limits
Oct 11 all-day

941478_10151428348818030_846021407_n
Taking place at Zilker Park in Austin, TX, ACL Festival has grown to 2 weekends, 8 stages and over 130 bands. Lineup, Tickets + more: www.aclfestival.com

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