Nashville Concert Calendar

I'm Lovin' It

The Chris Robinson Brotherhood @ Mercy Lounge
Sep 14 @ 7:00 PM – 11:30 PM

208949_352702868135716_1386914478_nIn 2011, after more than 20 years of intense gigging and recording, Chris Robinson set off to shape something new, a fresh rock mythology, a breathing kaleidoscopic thing stuffed with chooglin’ soul, bedrock boogie and shuffling wisdom birthed in intimate clubs and amongst the tall trees of the Golden State and eventually taken nationwide as the Chris Robinson Brotherhood evolved. What began as an experiment without expectations turned into a 118-show journey for Robinson (lead vocals, guitar), Neal Casal (guitar, vocals), Adam MacDougall (keys, vocals), George Sluppick (drums) and Mark Dutton (bass, vocals) that surprised these seasoned pros as music of unshakeable solidity and exuberant reach poured out of them, a New Cosmic California sound with tendrils reaching to the original Fillmore West, Topanga Canyon and outwards towards far horizons that finds its fruition on the CRB’s studio debut Big Moon Ritual (arriving in June), to be followed by companion album The Magic Door (September).

“People were surprised to see a van roll up and just the band and our tour manager roll out,” says Robinson. “I’m lugging around this hippy-fied custom Twin Reverb amp at gigs and loading out at the end of the night. Some people asked, “Why are you doing this?’ Because you build a temple brick by brick.”

Kongos w/ Young Rising Sons @ Marathon Music Works
Sep 15 @ 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

Leftover Salmon featuring John Bell, Taj Mahal, Bill Payne, Randy Scruggs, Jeff Hanna, Jeff Coffin, John Cowan and more @ Ryman Auditorium
Sep 15 @ 7:30 PM – 11:00 PM

Digging back into their catalog, Leftover Salmon is excited to celebrate fifteen years of one of their most memorable recordings experiences, The Nashville Sessions. On September 15th their performance at Ryman Auditorium will be a one-of-a-kind reunion and a great opportunity for the band to share that special recording experience with the fans in a live setting. Special Guests for the evening including John Bell, Sam Bush, Jeff Coffin, John Cowan, Jeff Hanna, Taj Mahal, Todd Park Mohr, Bill Payne, Randy Scruggs, Jo-el Sonnier, Sally Van Meter and Reese Wynans.
The Nashville Sessions recording represents a highlight in the bands long lived career. In talking with Vince Herman about this experience he shared some thoughts saying, “Recording the Nashville sessions was like a musical fantasy island for us. We’d have Earl Scruggs come in the morning, Taj Mahal in the afternoon and Waylon Jennings the next day. We were loving it. It’s still dreamlike thinking about it years later. I sure treasure having had the chance to play with such iconic figures, especially those who have passed on, including our brother Mark Vann. I’m going to savor the chance to make music with the great cast of characters assembled at the Ryman that night. Life is short. Art is long.”
Looking back over the past 25 years of rootsy, string-based music, the impact of Leftover Salmon is impossible to deny. Formed in Boulder at the end of 1989, The Colorado slamgrass pioneers took their form of aggressive bluegrass to rock and roll bars at a time when it wasn’t so common, helping Salmon become a pillar of the jam band scene and unwitting architects of the jam grass genre. Today, Leftover Salmon is: Vince Herman (vocals, acoustic and electric guitar, mandolin); Drew Emmitt (vocals, mandolin, acoustic and electric guitar, mandola, fiddle); Andy Thorn (vocals, acoustic and electric banjo, National guitar); Greg Garrison (vocals, acoustic and electric bass, acoustic guitar); Alwyn Robinson (drums, percussion).
Though the lineup would change through the years, the foundation of Leftover Salmon was built on the relationship between co-founders Drew Emmitt (vocals, guitar, fiddle, mandolin), Vince Herman (vocals, guitar, washboard) and Mark Vann (electric banjo). Following a decade of constant growth and constant touring, on March 4, 2002, Mark Vann lost his battle with cancer. Vann insisted that the band carry on and Leftover Salmon has done just that.
After several rotating banjo players including Matt Flinner, Scott Vestal, Tony Furtado, as well as taking a hiatus from touring at the end of 2004, the band was ready to hit the road again in the summer of 2007. Soon after, banjo phenom Andy Thorn was brought in to the group and a new album, Aquatic Hitchhiker, was recorded and released in 2012. NPR’s Mountain Stage heralded Colorado’s Leftover Salmon as “one of the most beloved acts on America’s summer-festival circuit”. This year Leftover Salmon released their 2004 self-titled album digitally for the first time; the album was produced by Bill Payne of Little Feat who has also been joining the band on the road for most of their shows in recent months.
For more information, tour dates, and other LoS news, please visit

THE AFGHAN WHIGS with Joseph Arthur @ The Cannery Ballroom
Sep 16 @ 8:00 PM – 11:00 PM
Americana Honors and Awards @ Ryman Auditorium
Sep 17 @ 7:00 PM – 10:30 PM


The marquis event of the Americana Music Festival and Conference , the Americana Honors & Awards Show returns to the historically cool Ryman Auditorium on September 17, 2014. It will once again be hosted by the iconic Jim Lauderdale, wtih the All Star Band led by the phenomenal Buddy Miller.

Each year the Americana Music Association honors distinguished members of the music community. Six member-voted awards and several Lifetime Achievement Awards are handed out while over 2000 artists, music-loving fans and entertainment industry executives look on.

The Honors & Awards have featured many amazing moments over the years. Johnny Cash and June Carter Cash’s last live performance was on the Americana stage.  Artists such as Bonnie Raitt, Robert Plant & His Band of Joy, Dr. John with Dan Auerbach, Rosanne Cash, Stephen Stills and Joan Baez have brought our audience’s to their feet.

America Masterworks featuring the world premiere of The Bass Whisperer, with Victor Wooten @ Schermerhorn Symphony Center
Sep 18 @ 7:00 PM – 10:00 PM


The Nashville Symphony launches its 2014/15 Aegis Sciences Classical Series with a groundbreaking commission written by Conni Ellisor and Nashville-based electric bassist Victor Wooten. A stunning showcase for Wooten’s distinctive style, “The Bass Whisperer: Concerto for Electric Bass and Orchestra” will receive its world premiere at Schermerhorn Symphony Center. This all-American evening of music will also showcase the full orchestra performing classics both old and new by Aaron Copland, John Adams and Howard Hanson.

America Masterworks featuring the world premiere of The Bass Whisperer, with Victor Wooten @ Schermerhorn Symphony Center
Sep 19 @ 8:00 PM – 11:00 PM


The Nashville Symphony launches its 2014/15 Aegis Sciences Classical Series with a groundbreaking commission written by Conni Ellisor and Nashville-based electric bassist Victor Wooten. A stunning showcase for Wooten’s distinctive style, “The Bass Whisperer: Concerto for Electric Bass and Orchestra” will receive its world premiere at Schermerhorn Symphony Center. This all-American evening of music will also showcase the full orchestra performing classics both old and new by Aaron Copland, John Adams and Howard Hanson.

Lightning 100 Presents The Avett Brothers w/ special guest The Lone Bellow, Shakey Graves, Angaleena Presley @ Riverfront Park
Sep 20 @ 5:00 PM – 10:00 PM

97-atmdIf you put your ear to the street, you can hear the rumble of the world in motion; people going to and from work, to school, to the grocery store. You may even hear the whisper of their living rooms, their conversation, their complaints, and if you’re lucky, their laughter. If you’re almost anywhere in America , you’ll hear something different, something special, something you recognize but haven’t heard in a long time. It is the sound of a real celebration.
All patrons 2 years of age and older are required to have a ticket.
The following items are PROHIBITED:
Audio & Video Recording Is Prohibited
Beach balls or inflatables
Glow Sticks
Incendiary devices
Laser Pointers
Outside Food or Beverage

America Masterworks featuring the world premiere of The Bass Whisperer, with Victor Wooten @ Schermerhorn Symphony Center
Sep 20 @ 8:00 PM – 11:00 PM


The Nashville Symphony launches its 2014/15 Aegis Sciences Classical Series with a groundbreaking commission written by Conni Ellisor and Nashville-based electric bassist Victor Wooten. A stunning showcase for Wooten’s distinctive style, “The Bass Whisperer: Concerto for Electric Bass and Orchestra” will receive its world premiere at Schermerhorn Symphony Center. This all-American evening of music will also showcase the full orchestra performing classics both old and new by Aaron Copland, John Adams and Howard Hanson.

Lorde @ Grand Ole Opry House
Sep 22 @ 8:00 PM – 10:00 PM

174999aIt’s Lorde!

Tom Petty & The Heartbreakers w/ special guest Steve Winwood @ Bridgestone Arena
Sep 23 @ 7:30 PM – 8:30 PM

550582_10151231669945905_42495565_nDrawing from the ranks of his high school friends, Petty founded his first band, the Sundowners. As often happens, the band metamorphosed into the Epics and, eventually, Mudcrutch. After pulling together a demo tape in the living room of past and future bandmate Benmont Tench, Petty took his show on the road, leading his bandmates to Los Angeles to pursue fame and fortune. By 1974, the band found a home on Shelter Records and released a single, Depot Street . Despite some critical attention, the band fizzled and soon disbanded. Never one to give up, Petty enlisted Mudcrutch members Tench (keyboards) and Mike Campbell (guitar), along with Gainesville musicians Ron Blair (bass) and Stan Lynch (drums) to form the now famous lineup that was dubbed Tom Petty and the Heartbreakers. They released their first album, Tom Petty and the Heartbreakers on November 1976. In 2006, the band celebrated the 30th anniversary of that release.

Has the band always been Tom Petty & The Heartbreakers?

Tom explains, Yes, it was always Tom Petty & The Heartbreakers, because Mudcrutch, the band that Mike and Benmont and I had just before that, got burned so badly. We made a record, and then we put a single out, and the band broke up. And I thought, If I’m going to start another group, I’m going to put my name into it, so at least I get something out of this. And I wanted to have a lot of say in what went down. In the other group, I felt I had to stand silently by and watch it self-destruct. So I really wanted to be the leader.

How does Tom go about writing songs?

I mostly write on the guitar, but I’ve written a few on the piano. I wrote ‘Breakdown’ and ‘Don’t Do Me Like that’ on the piano. All of The Last DJ was written on the piano. Sometimes if I’ve got something going on the piano, I might switch over to guitar and play it on guitar just to see if something else might happen. Sometimes it sets me off into a new direction. I also spend time writing things, writing lyrics, writing whatever interests me at the time, whatever feels right. And sometimes I’ll sit and write lyrics. I’ll just write in my notebook. I’ll jot down ideas or titles or something that seems interesting to me. And then there’s the other side of the coin where [words and music] both come at the same time. Those are the ones I really like, where I’m just playing and start to sing and a song starts to appear.

I pretty much like to write alone, although I wrote with Jeff Lynne quite a bit on Full Moon Fever and Into The Great White Open. We wrote in the same room, nose to nose. Mike [ Campbell ] and I have never written that way. It’s usually by tapes. He’ll do his bits, and send it to me.

What awards have Tom Petty & the Heartbreakers received?

Too many to list, but in addition to the many Grammys and Gold and Platinum albums, some include MTV’s Vanguard Award (1994) as well as many MTV Video Music Awards, numerous ASCAP awards for excellence in songwriting, a Clio Award (1995), UCLA’s George and Ira Gershwin Award/Lifetime Musical Achievement (1996), California Music Awards/Bill

Graham Lifetime Achievement Award (1998), Star on the Hollywood Walk of Fame (1999), Rock n’ Roll Hall of Fame induction (2002), R.I.A.A.’s Song of the Century for Free Fallin,’ Radio Music/Legend Award (2003), Billboard’s Century Award (2005), Rolling Stone’s Top 500 Songs of All Time/Free.

Tom has had 15 singles on the Billboard charts – does he feel pressured to write hit singles?

No, I don’t really think that way when I write. I just think, ‘I’ve got to come up with some more music,’ and then kind of hope and pray that one of the batch, or two or three or four of the batch, will be hits.

What about the Traveling Wilburys?

In the late 1980s and early 1990s, Petty joined legends Bob Dylan, Jeff Lynne, George Harrison, and Roy Orbison as one fifth of the Traveling Wilburys. They released two albums – Traveling Wilburys Vol. 1 (1988) and Traveling Wilburys Vol. 3 (1990). I think George always had the idea in his head of the Traveling Wilburys. Actually, we had all been hanging out for some time by then. We had all been hanging out socially. I think maybe we had already done part of Full Moon Fever by that point. Roy had just come on the scene, because Jeff was going to do a track with Roy . The first day I met Roy, Jeff and I and Roy wrote that song You Got It. Anything you want, you got it… We had written that song. So everybody knew each other. We had been hanging out. And George decided — cause he was just trying to do an extra track for single — so he thought, if we’re all here, let’s design something for each of us to sing on. And when he got the record on, he felt it wasn’t really a George Harrison record, it’s more of a group. So what do you say we have a group? So that’s how that ball got rolling. It was a great band. It was really fun being in that band.

If Tom weren’t a musician, what else would he like to do?

I feel like a lucky man. A lot of people really struggle to find out what they want to do in life, but I knew as soon as I saw Elvis Presley, when I was 11. From that point on, music became my religion, my nourishment. It was also a safe haven for me. My life was very turbulent as a child and a little scary, and music made everything seem right. It has also pulled me through some other dark times.

Being so independent, as Tom ever considered eliminating the record companies and releasing his records himself?

This is something he has considered quite a bit lately, and certainly thinks it could be done. Tom – with and without the Heartbreakers – writes and records a lot of songs so would like to release more records than he does he remembers when groups like the Beatles would release up to three albums a year. I like the idea of having an independent label, I like that idea much better because it reminds me of the early days of rock ‘n’ roll when there were a lot of independent labels, and they were actually driven by people who liked music. They were music people, not lawyers or accountants or whatever you have running the music business now.

What is Tom Petty’s Buried Treasure?

An hour-long weekly radio program that Tom hosts on XM Satellite Radio Network. The first season of twenty shows wrapped up on May 2, 2005, and Tom plans to do a second season in 2006. He personally chooses landmark songs, offbeat cuts and live-in-concert classics recorded by legendary artists from Jimi Hendrix to Carl Perkins, ELO to Little Richard, Elmore James to the Beatles, Bob Dylan to Jerry Lee Lewis, with Petty providing informed and passionate commentary.

What television acting has Tom done?

Tom has a recurring role on the animated program King of the Hill, playing Lucky, a character who earned his nickname when he won a $53,000 settlement – enough to retire .. slipping on urine in a Wal-Mart. He also had a special guest appearance on The Simpsons and parts in It’s Garry Shandling’s Show and The Larry Sanders Show.

How would Tom like to be remembered?

Like Roy Orbison once said, ‘I just hope I’m remembered.’

Experience Hendrix featuring Billy Cox, Buddy Guy, Jonny Lang, Kenny Wayne Shepherd, Eric Johnson, Rich Robinson @ Schermerhorn Symphony Center
Sep 26 @ 8:00 PM – 11:00 PM

ExperienceHendrix-188Celebrate the music and legacy of Jimi Hendrix with an all-star roster of musicians including original Hendrix Experience bassist Billy Cox, blues legend Buddy Guy, Jonny Lang, Kenny Wayne Shepherd, Eric Johnson, Rich Robinson of the Black Crowes and more special guests to be announced. It’s an unforgettable night of music and exciting stage performances, all in tribute to the world’s greatest guitarist — Jimi Hendrix.

Nashville Sunday Night Presents: Neulore plus Justin Kalk Orchestra @ 3rd and Lindsley
Sep 28 @ 8:00 PM – 10:00 PM

NeuloreAnimal Evolve, NEULORE’s Chop Shop/Island Records debut, is the soundtrack for an epic action movie that doesn’t exist.

“Cinema has always affected the way we think,” says Adam Agin, one half of the modern folk duo. “We have songs that sound like battlefield scenes. We have songs that sound like you’re running wild in an open field. We’re huge fans of movies, so it’s natural for us to dream up some sort of visual scene… and then figure out how that scene would sound.”

Don’t let the ‘folk’ tag fool you. Anchored by tribal drums and electric guitars, NEULORE’s songs are better suited for the arena than the campfire. The music swells and swoons, with tense verses that break into epic, open-armed choruses. It’s a sound that tells a story, much like classic folk music… but it does so with gang vocals, synthesizers and the anthemic sweep of rock & roll.

The band formed in 2009, when Agin crossed paths with guitarist William T. Cook in Nashville. Surrounded by the rootsy twang of country singers and Americana bands, the two began whipping up a different sound, one that relied heavily on mood, melody and motion pictures. They didn’t just write songs. They created complex backstories for each tune, digging deep into their collective imagination and conjuring up fictional characters, plot lines and landscapes. Those backstories helped inspire the band’s symbolic clothing and stage setup, too, transforming Neulore’s concerts from routine gigs into actual experiences.

When it came time to record a full-length album, Agin and Cook turned to Konrad Snyder, the Nashville-based producer behind albums by Kopecky Family Band and Feather & Belle. They wanted the record to revolve around a central theme: man’s struggle between human decency and animalistic savagery. It’s a classic struggle, often illustrated with an angel on one shoulder and a devil on the other. Agin and Cook visualized it as an all-out war, though, with both sides dueling to death.

“The whole record is a quest for humanity,” says Cook. “We’d take a song and say, ‘What scene is this song in? What are the visuals?’ Then we’d decide how aggressive the guitar needed to sound, or what the rhythm should be, just to get the emotion in that scene across. We would create these alternate realities, and then we’d make them real.”

With “Shadow of a Man,” the album’s lead single, receiving airplay on nationwide radio stations (as well as TV shows like Grey’s Anatomy, which premiered the song in 2013), NEULORE is getting ready to take the battlefield. The band’s name — a combination of the German prefix “neu,” meaning “new,” and the latter half of “folklore” — says it all. This is a new story, a new tradition… and Animal Evolve is the first chapter.

Lightning 100 Presents Broken Bells w/ Hamilton Leithauser @ Ryman Auditorium
Sep 29 @ 7:30 PM – 10:30 PM

brokenbells_lgBroken Bells, the musical partnership comprised of Brian Burton (Danger Mouse) and James Mercer, are set to play in concert at Nashville’s historic Ryman Auditorium September 29.
This announcement follows the release of the band’s prologue to their album-accompanying short film by the same name. The prologue, titled “Part One: Angel and The Fool,” can be viewed on YouTube.
“Part One: Angel and The Fool” lays out the blueprint for a mini epic chronicling the attainment of love. The prologue introduces viewers to Oliver, a 9-to-5 ordinary Joe, who finds a spacesuit-clad Helen, the literal girl of his dreams. Fans will find themselves entranced as the storyline unfolds across subsequent installments.
After the Disco follows up the 2010 self-titled debut which is on the brink of RIAA Gold certification after notching a release week. Billboard Top 10 slot. Burton and Mercer’s illustrious first effort was nominated for a Grammy award and ultimately helped solidify Burton’s most recent Producer of the Year win, one of his 17 nominations and five Grammy victories in seven years.
The year 2014 will hold special significance for Burton and the Danger Mouse moniker as he celebrates the 10th anniversary of his groundbreaking release, The Grey Album.
Since 2004 and The Grey Album, a bevy of modern day musical titans have sought out the Danger Mouse treatment. Burton’s production work as Danger Mouse can be heard on such notable releases as Gorillaz’s Demon Days, Beck’s Modern Guilt, The Black Keys’ explosive single “Tighten Up” and massive El Camino and more. Burton will continue his cavalcade of impressive collaborators as he handles production for U2′s forthcoming album.
Aside from his work as a producer, Burton has established himself as an artist, composer and songwriter. In 2006, Burton teamed up with Cee-Lo Green to form Gnarls Barkley. This partnership gave birth to two full-length albums and of course the single “Crazy,” which Rolling Stone dubbed Song of the Decade. Burton would eventually go on to showcase his talents as a composer in 2011 when he joined Daniele Luppi to craft the epic Rome which featured Jack White and Norah Jones and was inspired by spaghetti western soundtracks.
Meanwhile, James Mercer was singlehandedly transforming indie music from a literal descriptor of bands on indie labels to an actual globally accepted genre with The Shins’ pivotal debut, Oh, Inverted World. Featuring monumental tracks such as “Caring Is Creepy” and “New Slang,” Oh, Inverted World–written and self-produced by Mercer in his bedroom–essentially ushered in a new era with its heartfelt melodies and his unmistakable voice.
The Shins’ sophomore album Chutes Too Narrow celebrates its 10th anniversary this year, its classic tracks such as “So Says I” and “Mine’s Not A High Horse” sounding as fresh and prescient as they did 10 years ago. Other Shins milestones have included the band’s third album, the Grammy-nominated Wincing The Night Away, entering the U.S. album chart at #2–a career high for both the band and its label at the time, Sub Pop. Last year the band’s fourth album, Port Of Morrow,was its first to be released on Mercer’s Aural Apothecary label in cooperation with Columbia Records. The album debuted at #3 and was greeted by some of the best critical notices of an already rabidly acclaimed canon, including Entertainment Weekly hailing it as “the band’s best album in nearly a decade.”
Fate would strike when Burton, a long-time admirer of The Shins, met Mercer backstage when the two happened to be performing at the same music festival. From then on, there was no looking back. The creative cogs had already begun grinding away.
While Burton has had his pick of collaborators in musical forays, he has found his ultimate writing partner in James Mercer. Mercer has helped unlock a new musical world for both himself and Burton as Broken Bells. The result has been the creation of cosmic and forceful music from a duo with mutual respect and shared talents. It’s not The Shins. It’s not Danger Mouse. It’s Broken Bells.

Glen Phillips (from Toad the Wet Sprocket) @ City Winery Nashville
Oct 2 @ 8:00 PM – 11:00 PM

glenphillips_bannerGlen Philips

Glen Phillips started his first band, Toad The Wet Sprocket in Santa Barbara at age 15. It was that group’s third album — the jangling, orchestral Fear — that truly broke the group, garnering heavy radio play with the singles “All I Want” and “Walk on the Ocean.” After three years away from the recording studio, Toad returned to the mainstream with Dulcinea, which again found one of its singles, “Fall Down,” in heavy radio rotation. After six albums and a substantial string of hits, the group disbanded in 1998. Phillips began touring as a solo act after Toad the Wet Sprocket’s demise, and has released five solo records and two EPs, collaborated on two projects (Mutual Admiration Society and Works Progress Administration), released an EP with Plover (with Neilson Hubbard and Garrison Starr) and an album as RemoteTreeChildren (with Portland’s John Askew).

In 2006, while supporting the Mr. Lemons album, he also toured North America with a reunited Toad the Wet Sprocket. Toad has toured off and on since that time, and in 2011 played 70 shows and decided to begin writing for a new album, released late in 2012. Glen is currently at home except for a long weekend of shows each month, and is writing songs for Toad as well as future solo releases. He still lives in Santa Barbara with his wife and three daughters.

SIMILAR ARTISTS: Jackson Browne, Dire Straits, Crowded House

Chromeo w/ Wave Racer @ Marathon Music Works
Oct 3 @ 7:00 PM – 11:45 PM

79-atlgThe year may be halfway over but Chromeo’s ascent through 2014 continues at an exponential

pace as Tha Funk Lordz announce their Frequent Flyer Tour. This string of dates will touch

down throughout America and several cities in Canada during September and October, with

Australian producer Wave Racer joining the duo as special guest. With massive performances

at Coachella, Bonarroo and Electric Daisy Carnival already under their belts, Dave 1 and

P-Thugg are ready to leave an indelible impression on the summer, boasting main stages

showings at Lollapalooza, Outside Lands and Austin City Limits plus headlining shows at Red

Rocks and Central Park Summer Stage.

Chromeo’s 4th studio album White Women has been one of the most critically acclaimed releases of

2014, debuting at #1 on iTunes and reaching #11 on the Billboard 200. Their hit single ‘Jealous (I Ain’t

With It)’ has been called the Song of the Summer by Huffington Post and Top Track of 2014 by USA

Today and Time Magazine.

Of course, the Frequent Flyer tour is presented by Chromeo’s newly acquired airline Mallard Air.

“It’s easy to be seduced by their quietly fantastic fourth album White Women.” – PITCHFORK

“Chromeo’s fourth album has everything from smooth Chic guitar joints to flourishes of Euro hi-NRG and

modern dance pop so shiny it could have been produced by Dr. Luke.” – ROLLING STONE

“Perhaps this is why White Women is the most talked about record released by the band thus far: There

is a certain intrigue in the duality intrinsic to the band’s DNA.” – VOGUE

Watch “Jealous (I Ain’t With It)”:

Wave Racer
Twenty One year old Tom Purcell is WAVE RACER – a 64 bit freak speeding into the Sydney horizon.

Taking cues from cross-continental club sounds and gold-plated production standards, Purcell’s blend of pixelated future-funk is fast taking Australia by storm. From mind-bending Jersey Club anthems to a sun-drenched take on modern Hip Hop instrumentals, his sound is often (and best) described as driving down Mario Kart’s Rainbow Road to the club of your dreams.

Having just released his double-A side single ‘Stoopid/Rock U Tonite’ and a bootleg remix for Ghost Town DJs ‘My Boo’ Wave Racer is now amongst one of the most played artists for 2013 on popular Australian national broadcaster Triple J whilst frequently appearing on BBC Radio 1 and topping the indicative Hype Machine charts at #2.

With a slew of forthcoming remixes set to blow you out of the water, we strongly advise you to keep one eye on this turbo maniac at all times. Get ready to ride the .wav!

Nashville Sunday Night Presents: Allen Stone plus Bad Rabbits and The Shadowboxers @ 3rd & Lindsley
Oct 5 @ 7:00 PM – 9:00 PM
Paolo Nutini @ Marathon Music Works
Oct 6 @ 7:00 PM – 10:00 PM

99-atlgJust one listen to Paolo Nutini’s magnificent third long-player Caustic Love reveals exactly why it was worth the wait. It’s been five years since the towering success of its 2009 predecessor, Sunny Side Up, which like the 27-year-old Paisley-born singer’s 2006 debut These Days, sold a staggering 1.5 million copies in the UK alone. Described by Q magazine as “a truly excellent modern soul album”, it’s a record that acknowledges the classic music of the past while fixing its eyes firmly on the future. There may be echoes of some of soul music’s greats within the grooves of Caustic Love – Otis Redding, Curtis Mayfield, Bill Withers, among others – but taken as a whole it’s a masterful creation which proves Paolo to be very much his own man.

To reach this point, though, Nutini had to return to his roots. After a long period on the road and in the spotlight, the singer travelled home to Scotland to gather his thoughts and plot his next move, while enjoying a long-deserved period of downtime and rest. “I wanted to spend a bit of time at home,” he says. “Just to reconnect with my family and friends. It only takes going home for a little while to put things in perspective.”

It was time well spent. In Scotland, Nutini refreshed his head by indulging his passion for photography, while enjoying new extra- curricular pursuits including carpentry and outdoors survivalism. “I learned how to carve things out of wood and fix things,” he explains. “Learned some nature survival stuff. Then I spent a bit of time wandering and retracing some of my footsteps to places I’d been on tour. Except I had the time to enjoy them and explore a bit.”

Even in relaxation mode, though, Nutini’s thoughts were filled with music, as the songs for what would become Caustic Love began to float into his mind. “I’ve been writing songs the whole time,” he stresses. “It wasn’t as if there was a ‘stop’ button on making music. There was a hunger for me to expand my knowledge of the production of music. I wanted to practice and explore and enhance my skills. For me, it’s all about progressing.”

Preliminary sessions for Caustic Love took place in Glasgow, in a former police training facility in the city’s The Gorbals. “It’s a building that’s owned by my friend’s father,” Paolo explains. “There were old jail cells and shooting ranges underground. We just wandered around and set up and recorded.” Joining him on this adventure were his co- producers for the album, Dani Castelar (Snow Patrol, R.E.M.) and Leo Abrahams (Brian Eno, Bryan Ferry). “Leo’s a great guitarist,” says Nutini. “He was a big part of certain songs’ conception. Dani’s the glue. He made it happen.”

As recording progressed, Nutini and crew travelled further afield to work in a variety of different locations, including Dublin, Valencia and Los Angeles. Along the way, other key contributors added their colours to Caustic Love, namely Rollo Armstrong (Faithless), Barrie Cadogan (Primal Scream), Tchad Blake (Elvis Costello), revered bassist Pino Palladino (D’Angelo, The Who), legendary American drummer James Gadson (Bill Withers, Marvin Gaye) and Janelle Monáe, who added a stirring rap to the slinky funk of Fashion. In their own ways, each city and player leant something different to the resulting record. “That’s been the thing we tried to do,” says Paolo. “To fuse the experience of where you are with what you’re doing and who you’re with. You’ve got to catch things as they come.”

Caustic Love is an album of unforgettable songs and choice grooves, topped with Nutini’s gutsy voice, which just gets better and better with time and singles him out as arguably the best singer of his generation. This was proven by the live video (filmed at Abbey Road Studios) of the slow-burning, passionate politico-soul of ‘Iron Sky’, which scored almost two million plays on YouTube before the album’s release. After watching the clip, singer Adele took to Twitter to proclaim it “one of the best things I’ve ever seen in my life”.

“It’s one of the tracks that’s got a more social and political undertone,” says Paolo. “It’s a way to say how I feel about certain aspects of society.” One of the inspirations behind this facet of the album was Fritz Lang’s classic 1927 futuristic film, Metropolis. “It’s the idea that the machine is taking over,” says the singer. “You get it sometimes when you use the auto-checkout in shops. You go to give the guy the money behind the counter and they point you in the direction of the robot version. Then I’m nodding towards how I feel about the amount of money that gets ploughed into war. Sometimes it feels like we’re living in a faceless, oppressive society and you’re trying to find the way out and the way forward. The waters are so muddied in front of everybody’s eyes.”

Another classic film proved to be a massive inspiration, providing the moment in ‘Iron Sky’ that makes the pulse race, namely the speech (“You are not machines! You are not cattle!”) taken from Charlie Chaplin’s brave Hitler-lampooning The Great Dictator, made in 1940 during the Second World War. After hearing the track, the film legend’s estate cleared the sample for Nutini to use. “I got to put Charlie Chaplin’s name on the songwriting credits,” points out an elated Nutini. “Great stuff. It was just like, Wow.”

Elsewhere, the naggingly addictive worshipping love song ‘Scream (Funk My Life Up)’ is, says Paolo, “an homage to somebody that’s flipped it all upside down for you and caught you off guard.” Meanwhile, soaring breakup ballad ‘One Day’, says the singer, was birthed by the thought that “it’s not always a rejection to walk the other way”, and in the similarly-themed ‘Let Me Down Easy’, Nutini duets with US soul singer Bettye Lavette in a sample from her 1969 hit of the same name.

Piece by piece, Caustic Love amounts to an album that will surely be viewed as a modern classic, right down to its open-ended title, for which the singer says there are many meanings. “It can sum up all the different kinds of love,” he explains. “The unrequited love, the new love, the lost love. It’s about that intensity. The warm acid rain that can cleanse you of all your pretences. It strips you and then you’re vulnerable, but to the good stuff as well. The beauty and the passion and the comfort. Then if it takes the other turning it can corrode the comforts and leave you vulnerable to the jealousies.”

As the latest thrilling chapter in the story of Paolo Nutini, these thirteen tracks spotlight the singer’s stunning musical development. “It’s been very experimental and creative,” he concludes. “It’s not been confined. There’s certain pressures and expectations that go on, and really, you do what you do. You’ve got to have something that you want to say and you’ve got to do it with conviction. With music, you realise just how lucky you are to have this great thing in your life.”

Much, it has to be said, like Caustic Love itself.

SOLD OUT – Sam Smith @ Ryman Auditorium
Oct 7 @ 7:30 PM – 8:30 PM

samsmith_lgWhen he was 18 years old, Sam Smith wrote his first truthful song, a flashbulb moment for the brilliant blue-eyed soul singer. Three years later and the song has long since been discarded as a naive folly. Like all singer songwriters that are rich in emotion, knee-deep in their own small personal complications and dependent on their precociously youthful talent to engage with the world, Sam resolved never to write a song again that didn’t connect straight from the heart. The first set of results, delivered with breathtaking vocal depth and range, will be put to the litmus test of public opinion when his debut album drops in 2014.

Lightning 100 Presents Citizen Cope @ Marathon Music Works
Oct 7 @ 8:00 PM – 11:30 PM

07-atlg$1 per ticket sold will go to Turnaround Arts to purchase musical instruments for middle schoolers in Lame Deer, Montana—a community on the Northern Cheyenne Indian Reservation. Lame Deer is part of Turnaround Arts , a program of President Obama’s President’s Committee on the Arts and the Humanities that is using arts education to help students succeed.

Born Clarence Greenwood, his life journey is as singular as his art. He is the radically mashed-
up product of Greenville, Mississippi; Memphis, Tennessee; Vernon, Texas; Austin, Texas;

Washington, DC; and Brooklyn, New York. These locations are felt everywhere in his stories.

His sounds are southern rural, big sky lonely, concrete urban, and painfully romantic.

Cope’s musical education was catch-as-catch can. Folk tales—whether through William

Faulkner or Big Bill Broonzy—shaped his sensitivity. He took sound classes and found himself

fooling with a primitive four-track setup. Turntables intrigued him. He heard hip-hop as

inspired invention. He got lost in his self-designed lab, cooking up beats and motifs that only

later would be shaped into songs.

Vocalist Michel Ivey recruited him as a mad scientist who feverishly created samples for the

artsy-edgy group, Basehead, and while Cope played in local venues, the writer/producer found

his own voice.

Citizen Cope introduces us to a world of musical worry that doesn’t come fully into focus until

his second album, The Clarence Greenwood Recordings, which this year will celebrate it’s 10

year anniversary with a nationwide tour with the full band. That album with his following two

records, form a masterful trilogy.

Art requires defense. Without art, we can’t cope. But Cope’s art isn’t the high art of elitism;

it’s the art of funk. It’s the art that paints a penitentiary on fire; the art that gets you through

hurricane waters yet puts you between the bullet and the target. The voice of the singer—as

messy as it is precise, as eloquent as it is enigmatic—is wholly hypnotic.

In 2014 Greenwood began working with The President’s Committee on the Arts & Humanities

and First Lady Michelle Obama in her initiative Turnaround Arts, as an Ambassador with the

organization (along side other artists including Elton John, Sarah Jessica Parker, Trombone

Shorty, Chad Smith of the Red Hot Chili Peppers, Kerry Washington and Alfre Woodard) to help

narrow the achievement gap by increasing student engagement and improving the culture and

climate in the country’s highest poverty schools.

From day one, Citizen Cope/Clarence Greenwood has taken his case to the people. Touring

relentlessly, he has brought his stories—with a band or simply with his guitar—to every venue

that would have him. His motivation to make music directly in front of people, no matter the

size of the crowd, has won him a vast audience in America and abroad. As a troubadour, he

has prospered, tirelessly criss-crossing the land, his songs in his back pocket. Citizen Cope is a

self-realized musical/poetic/production entity. In that sense, his Americanism is profound. His

accountability is to his own heart, his own values and his own vision.

Gaslight Anthem w/ special guest Against Me @ Marathon Music Works
Oct 8 @ 7:00 PM – 11:00 PM

17-atlgThe late Nashville songwriter Harlan Howard famously defined the ingredients of a great song as “three chords and the truth”. Every songwriter knows three chords, but laying bare the truth? Now that can be an altogether trickier affair…

On January 18, 2012, The Gaslight Anthem piled into their old tour van and headed across the New Jersey state line for a 14 hour road trip to Nashville on their own quest for the truth. Their destination was 2806 Azalea Place, Nashville, Blackbird Studio, where the New Brunswick quartet had booked five weeks recording time with producer Brendan O’Brien (Bruce Springsteen, Pearl Jam, AC/DC). Their mission: to reconnect with rock ‘n’ roll in its most feral, pure, stripped-raw form.

Brian Fallon was thirteen years old when he discovered The Clash’s self-titled debut album in the racks of Sound Effects Records in Hackettstown, New Jersey: the owner of the store promised the young teenager that the record would change his life. He wasn’t wrong.

But there was a time, not so very long ago, when The Gaslight’s Anthem frontman had grown weary of the sound of electric guitars. After three albums of soulful, impassioned, hearts-on-fire punk rock – 2007′s Sink Or Swim, 2008′s The ’59 Sound and 2010′s American Slang – Fallon needed a change of pace, a change of scenery. And so, in January 2011, together with TGA guitar tech Ian Perkins, he formed The Horrible Crowes, a darkly melancholic side-project inspired by his love of The Afghan Whigs, Tom Waits and PJ Harvey. After the band’s acclaimed debut album Elsie dropped in September, Fallon joined fellow punk rock troubadours Chuck Ragan, Dan Andriano (Alkaline Trio) and Dave Hause (The Loved Ones) on the acoustic Revival Tour, airing stripped-down versions of Gaslight Anthem and Horrible Crowes songs to packed rooms across Europe. And then he returned home to New Jersey and Gaslight, re-energised, renewed and ready to make a full-tilt rock ‘n’ roll record again.

“After six weeks of that there’s nothing you want to hear more than a Marshall stack turned all the way up,” he says with a laugh.

The result is Handwritten, the most committed, affecting and compelling album of The Gaslight Anthem’s career to date. Introduced by muscular lead-off single 45, which received it’s world premiere on BBC Radio 1 as Zane Lowe’s Hottest Record In The World on April 30, it finds the Jersey boys in inspired form, decanting ’60′s soul, ’70′s stadium rock, ’80s hardcore and ’90′s grunge into eleven white-knuckle, blue-collar everyman anthems. Brian Fallon likens its incandescent electrical storms to “Tom Petty songs [being] played by Pearl Jam”. Put more simply, it’s a supercharged American rock ‘n’ roll classic.

“We’ve taken everything we do and gone to 10 with it,” says the singer. “This is definitely the Gaslight Anthem record I would want next, if I were a fan. American Slang was cool, but this sounds like a band who has plugged back into the electric socket again.”

“I think these songs are the closest thing to what we should have always sounded like,” adds guitarist Alex Rosamilia. “We just hadn’t figured out yet how to play it right.”

Fallon credits Brendan O’Brien for capturing the raw, live-off-the-floor feel of Handwritten. Fine-tuned in the living room of the small rental house the band shared in Nashville, its eleven tracks were recorded with the whole band eyeball-to-eyeball in one room at Blackbird, vibing off one another’s energy. The electricity in the recordings is tangible.

“Brendan taught us a ton about songwriting and recording as a band,” Fallon notes. “The whole experience was amazing. That’s the guy that recorded Pearl Jam, that’s the guy that recorded Bruce Springsteen, that’s the guy that did Rage Against The Machine; and that’s the guy you want to say ‘It’s good’, because when he says it’s good, that’s when it’s good.”

The purity of O’Brien’s stark, unadorned recording process served to inspire Fallon’s approach to the lyrical themes on Handwritten too. Where previous Gaslight Anthem albums evoked deathless images of Americana – all Cadillacs, jukeboxes, Ferris wheels and wistful, romanticised vignettes of star-struck lovers disappearing into the great wide open – Handwritten is rooted in Fallon’s own experiences, lending the record a more immediate, emotional edge. “Now I am no angel but I got nothing to hide,” the singer rasps on the brooding grunge-noir of Too Much Blood. “Can you say the same thing for yourself tonight?”

“It’s supposed to be a letter to whoever is listening,” says Fallon. “Like, this is what we got beat up by and maybe you did too. There’s so many things that I just never wrote about, real personal stuff that I just wasn’t ready to talk about yet. Now I think being an adult I have some reflection on it.”

“We wanted to look back on the music that we first found when we were in high school. The truth is, if you’re my age, you were listening to Peal Jam and Nirvana and Soundgarden. When that music came out these were guys that we could relate to. They weren’t the biggest bands in the world by accident.”

And it’s no accident either that with Handwritten, the Gaslight Anthem themselves sound built to take on the world. After years paying their dues in the punk rock underground, their major label debut is assuredly the work of a young band who know their time is now. And their laidback, charismatic frontman is ready…

“I’ve always been ready for arenas,” Brian Fallon smiles. “I’ve just been waiting for them to catch up to me. I want to play Giant Stadium, I always wanted to be a major label, major league band. If I can be the kid that’s on the cover of Time magazine, I’ll take it. And I’ll buy you a drink while I’m at it…”

Tune-Yards @ Marathon Music Works
Oct 9 @ 7:00 PM
Widespread Panic @ Von Braun Center Arena, Huntsville, AL
Oct 10 @ 5:01 PM – 11:00 PM

167521a Everybody loves surprises, that feeling of not knowing what might be around the next corner — and that’s exactly the vibe that Widespread Panic gives off every time they unleash a new album. Sometimes that means taking listeners on a nice, smooth ride, and sometimes it means making ‘em hold on tight, but either way, it means the trip is gonna be worth it.

Nashville Sunday Night Presents: The Wind and The Wave @ 3rd & Lindsley
Oct 12 @ 7:00 PM – 10:00 PM

59_EdpThe Wind and The Wave are Dwight Baker and Patricia Lynn, best friends who employ the mantra “if it feels forced, fuck it.”

After having retired as a touring musician in 2003, Baker came to find Lynn through the production of her previous project in Austin,Texas. Over the course of working together on other musical efforts, the two are now able to describe themselves as being “cut from the same thread,” and “rarely on different pages.” This made it not only easy, but essential that Baker and Lynn begin writing and producing music that satisfied their own ever-evolving creative spirits.

“All of our songs truly come from the heart,” Lynn says. Baker and Lynn can dive head-first into serious conversation topics and quickly burst into laughter. “We try not to take anything too seriously,” says Baker. “It’s definitely work, but it’s the best kind of work. There’s no sense in doing it unless you’re having fun.” It’s obvious this duo is doing something they love. Baker and Lynn are preparing to release their first album, From The Wreckage, in which they wrote together before they even intended to call it their own.

“We were just writing to write, then half way through it dawned on us that we had to perform these songs live, as a band; that it was the only way we could see these songs realized,” says Lynn.

Even the band name was a happy accident, but ‘the words sounded good together’ and meant something to them, much like the music they had created. Thus, The Wind and The Wave came into being in late 2012

War on Drugs w/ Peter Matthew Bauer (of The Walkmen) @ Marathon Music Works
Oct 13 @ 7:00 PM – 11:00 PM

63-atlgPhiladelphia’s The War on Drugs reside at the blurred edges of American music: overexposing studio limitations, piling tape upon tape to maximum density, and then — with each song — they pull off the scaffolding to reveal what sticks, keeping only what’s absolutely necessary and dig into what sounds like the best kind of fucked up. As on their 2008 debut, Wagonwheel Blues, central member Adam Granduciel takes small moments occurring over multiple tapes and multiple song versions, and puts every last drop of trust in his own keen instinct of momentum.

That’s not to overshadow the sharp, personal songwriting at play here. There are certainly cues taken from our very best American bards (Dylan, Petty, Springsteen). Yet, The War on Drugs are wise enough to also implode those cues or send themselves into outer space when the moment calls for it. The driving organ riff that pushes “Baby Missiles,” from the band’s 2010 epic EP Future Weather, may well be inspired by a fever dream of Springsteen rather than any particular song in his catalogue. And the endless layers of guitar melody and atmospherics of “Comin’ Through,” also from Future Weather, rather than add weight to the vessel, only work to fill its sails with warmer and warmer winds
Peter Matthew Bauer (of The Walkmen)
In the spring of 2014, Peter Matthew Bauer is releasing his first album Liberation! The record is a collection of mostly autobiographical songs on the topic of belief and its various incarnations and phenomena. It touches on such subjects as growing up in a Hindu Yoga cult, Scientology, the city of Philadelphia, the God Shiva, the city of Varanasi, Richard Dawkins and Jorge Luis Borges, and was heavily influenced by the work of Roberto Bolano & Elvis Presley. While a solo artist, the album makes the noise of a full on rock & roll band and his traveling act is a 7 piece barn burner often made up of dirtbag greasers from Fishtown Philadelphia and a group of singing hillbillies from Texas. He will play a 1956 Ivory Gretsch Corvette and the band will sound like a million dollars but don’t worry, they’re still getting paid in circus peanuts.

Peter Bauer is a writer and musician, having been a founding member of seminal New York city art-rock bands The Walkmen and The Recoys at the turn of the century. He now writes and records under his own name and lives in the Mt Airy section of Philadelphia where he consults with clients on Indian astrology and other mystic ephemera. As a child, Peter was raised in Swami Baba Muktananda’s Ashrams in Ganeshpuri, India and upstate New York, interacting with many other Gurus, teachers and healers through the meditation center in his boyhood home and while traveling. Peter studied comparative religion and writing at Boston University and at The New School for Social Research, Vedic astrology with Chakrapani Ullal in Los Angeles, and Gestalt psychotherapy and meditation with his own father Dr. Rudolph Bauer PhD at the Washington Center for Consciousness Studies. He has spent the last 13 years on the road and can’t seem to shake it from his blood.

Sir Paul McCartney @ Bridgestone Arena
Oct 16 @ 8:00 PM – 10:30 PM

10405408_10152542715693313_6033271926807039086_nl McCartneyIt’s Paul McCartney. No description needed.

The Del McCoury Band and Hot Rize @ War Memorial Auditorium
Oct 17 @ 8:00 PM – 11:00 PM

The Del McCoury Band:

The Del McCoury Band is a bluegrass band. Originally Del McCoury and the Dixie Pals with Del on guitar and his brother Jerry on bass, the band went through a number of changes until the 1980s when the band solidified its line-up, adding McCoury’s sons, Ronnie and Rob on mandolin and banjo, respectively. In 1988, the “Dixie Pals” name was dropped in favor of the current name. The band became a national touring act. In 2004 they were nominated for the Grammy Award for Best Bluegrass Album for It’s Just the Night, and in 2006 they won that category for The Company We Keep.

The band recorded with Steve Earle on his 1999 album The Mountain. The band has also often performed in recent years with The Lee Boys, with setlists mixing bluegrass, funk and gospel with extended jams on many songs.

Hot Rize:

Hot Rize has marked over 30 years in the bluegrass history book. Following the untimely passing of guitarist Charles Sawtelle in 1999, the band reorganized in 2002 with Bryan Sutton on guitar and has continued to play several shows each year, delivering its high-energy, soulful, and unique sound to fans old and new. Though many years from its full-time touring period of 1978-1990, Hot Rize has kept its legend growing by delivering first-class music and entertainment as only it can.

The traditional-yet-progressive Colorado band started its 12 years of full-time performing in January, 1978. The group named itself after the secret ingredient of Martha White “self-rising” flour, the product Flatt & Scruggs promoted in the 50s and 60s.

Lightning 100′s Marathon Village Blocktoberfest featuring Walk the Moon, Self, Boomforest, Vinyl Thief, Repeat Repeat, and Scars on 45 @ Marathon Music Works
Oct 18 @ 2:00 PM – 11:00 PM
This past June, Seattle news and culture blog posted a review of a show by Walk The Moon. It read like this: “Walk The Moon hit the stage with so much energy that the crowd immediately pushed forward and started dancing. It’s refreshing to see a band that’s having as much, or more, fun than the people there to see them. They took us back to the days of basement dance parties on hot summer nights, where everyone’s just happy to be alive and among friends.”That review pretty much sums up this young Cincinnati band’s mission statement: “We want our music to be the most fun thing you’ve ever listened to in your entire life,” says bassist Kevin Ray. “We want it to not just affect you emotionally, but also physically in that it makes you want to dance.”

Everything Walk The Moon does is infused with a playful spirit, from their radiant live shows, where the crowd often coalesces into one joyful, pogo-ing mass, to the songs the band are currently recording for their debut album. The music brims with sparkling synth-heavy pop hooks, chanted melodies, sunny harmonies, and agile polyrhythmic grooves — a sound influenced by the New Wave stylings of their favorite artists Talking Heads, David Bowie, and The Police. “We started describing it as an ‘indie-pop fiesta’ and that kind of stuck,” says singer, songwriter, and keyboardist Nicholas Petricca.

Launched in 2008 by Petricca, Walk The Moon has steadily made a name for itself as an unsigned band over the last few years, attracting a broad mix of fans who have happily submitted to a pre-show face-painting ritual conducted by band members to get everyone into the communal spirit of the event. “Sometimes it’s like, ‘Dude, what are you doing here? How have you heard of us?’” marvels guitarist Eli Maiman. “But they’re there, they’ve got face paint on, and they’re playing air guitar. It’s awesome. We just create the music we love and hope that other people love it, too.”

Walk the Moon’s appeal has also extended to such press outlets as, The New York Post,,, as well as, who called them “pure, unadulterated fun” and, who raved about their “bold, broadly beaming” sound. They were also handpicked to be featured during SXSW on Last Call With Carson Daly.

So who is Walk The Moon? Petricca, Ray, Maiman, and drummer Sean Waugaman are all Ohio natives in their early 20’s who became acquainted in various ways. Petricca and Ray knew each other as toddlers (their mothers were close friends), Ray and Waugaman had played in bands together, and Petricca met Maiman through the local scene in Cincinnati.

“Being a musician has always been a career dream for me,” says Petricca, a golden-throated crooner who began playing piano as a child and singing in high school. “So I needed to find people who wanted to do this as badly as I did, which these guys all did.” Their first gig together was at Cincinnati watering hole the Northside Tavern. “We thought, ‘If we could just get 50 people in, the room would look fine,” Ray recalls. “Then 350 people showed up.” Walk the Moon’s shows, including jubilant sets at this year’s SXSW, Bonnaroo and Lollapalooza festivals, boasted a similar vibe. “Bonnaroo was everything we could want from a Walk The Moon show,” Waugaman says. “Everybody was sweaty and muddy. There were people standing on tables and on each other.”

Walk The Moon are currently in the studio, and are looking forward to finishing up their album, which is being produced by Ben H. Allen (Gnarls Barkley, Animal Collective). The album will feature a host of new songs as well as new versions of songs from their independently released 2010 album I Want, I Want, including the viral sensation “Anna Sun.” The eye-catching video for “Anna Sun” sparked major buzz when it was posted on tastemaker blog “All Things Go” and tweeted about by indie label Neon Gold Records.

“We wanted the video to get people interested and then for the live show to kick their asses,” Petricca says. The clip for “Anna Sun” — a happy-sad sing-along affair that claims “this house is falling apart” before declaring “We’re gonna rattle this ghost town!” — features Petricca cavorting with colorfully dressed young Cincinnatians sporting leotards, headbands, and face paint. The video neatly captures the creative heart of Walk The Moon’s music.

“I like to write about this idea of feeling young throughout your life,” Petricca says. “’Anna Sun’ is about eternal youth, and it recalls a lot of my memories from college, but it also addresses the fear of losing that innocence and falling into a routine. I feel like the things we do to escape, like going out and partying, are to recapture the imagination you had a child, which is something that speaks to me personally as a songwriter. All of my favorite songs have always set my imagination running. In that sense, I love the idea that we could be a band that gets people into Neverland, and lets them make their own movie in their head while they’re listening.”



Chances are you’ve heard Matt Mahaffey – aka sElf – you just might not know it. Mahaffey is the wildly prolific and versatile producer, songwriter and multi-instrumentalist who wrote and performed the Expedia! (Dot Com) jingle and “Stay Home” – the first track on the 2.5 million-selling Shrek motion picture soundtrack. Mahaffey worked as Beck’s guitar player for several years which lead to him play organ on Beck’s most recent acclaimed album Morning Phase. Currently he’s scoring Disney’s popular cartoon Henry Hugglemonster as well as Nickelodeon’s acclaimed Sanjay And Craig. As a musician’s musician, Mahaffey’s diverse musical background has led him to Snoop Dogg, Har Mar Superstar, Lupe Fiasco, The Sounds, Butch Walker, Brendan Benson and more. His fans, however, know him best for a string of albums he’s released as sElf, beginning with 1995’s major-label cult classic Subliminal Plastic Motives where he unveiled his signature sound-a hook-laden, head-nodding blend of beats, samples, rock guitars and all-around pop mastery. He continued to refine his sound over three additional LP’s, ending with 2000’s fantastic Gizmodergy which was recorded only using toy instruments and featured the single “Trunk Fulla Amps.” Last month, Mahaffey released the Super Fake Nice EP – the first music he’s put out as sElf in 14 years. Lead single “Runaway” is exactly the type of bright-shining, earwarming pop gem that is bound to delight his old fans and
earn him plenty of new ones.
Boom Forest
Boom Forest is the spiritual wailings of John Paul Roney from automated woods of tomorrow.
Vinyl Thief

Vinyl Thief

“The four of us taught each other how to play music”, says lead vocalist Grayson Proctor. “We turned an old church sanctuary into our own base camp, and we would get together almost every day and learn how to play, perform, and write. There was a while where we were at the sanctuary more than we were our own homes. It was all we wanted to do.” Based in Nashville, the electro-rock band started building buzz with 2012′s Rebel Hill EP. Paste Magazine featured Vinyl Thief as a Band You Should Listen to Now. Killing the Cabinet described Rebel Hill as “sprinty choruses which are magnified by the effortless wide-range vocals shifting transitions fluidly into hip hop beats and lofty bridges.” The guys then took their live show on the road in 2013, opening for the likes of the Joy Formidable, Little Green Cars, Youngblood Hawke, and Wild Cub. They also performed at CMJ and SXSW. In February, Vinyl Thief released “Stop Motion.” A four-song preview to the band’s upcoming full-length, “Fathoms. The EP has fans and critics eager to hear more, with support pouring out from the likes of VICE’s Noisey, Paste Magazine,, and The Deli Magazine, who coined the new release “so completely, flawlessly realized…” 

The new songs are snapshots of a tumultuous year. They explore and realize the process required to get through and get on with life. It ends with redemption, of sorts: realizing that things will be different, but still, it will be all right. “If this song is any indication, their upcoming full-length is going to be a work of immense weight and power.” – New York Minute (on the single, Smooth).

The band is – Grayson Proctor (vocals, synth), Logan Purdom (guitar), Sam English (keys), & Andrew Broadway (drums).

*repeat repeat (from Nashville)

*repeat repeat (from Nashville)

making whimsical surf­pop may seem like a daunting task when you live states away from the nearest beach, but guitarist / vocalist jared corder was determined to make the music reminiscent of his california birthplace. the band was always intended to be a 3­piece: jared on guitar and vocals, andy herrin on drums, with female harmony vocals reminiscent of 1960s west coast beach pop.while working on new sounds with producer, gregory lattimer [albert hammond jr, kink ador, the gills, the grayces], it was suggested that corder’s wife, kristyn, sing in the band. corder immediately asked her to be the missing member. 

the trio once described by the nashville scene as (“dick dale’s snot­nosed grandkids”) tracked a single and two additional tracks with lattimer in a basement of their hometown of east nashville in late 2012. the band’s first single “12345678” was released in march 2013, two weeks early ­after getting out to local music writers and began receiving airplay on indie station, lightning 100.

the second single, “history”, was released in september 2013. the 3rd single, “chemical reaction” was released feb 1, 2014, and precedes the release of the band’s first full­length album, finished summer 2013, and released march 11, 2014.

Scars On 45

Scars On 45

Scars on 45, a quintet from Leeds, England, that combines the gentle melodic intensity of Snow Patrol or Keane with the added allure of co-ed vocals. Tension, often propelled by drummer Chris Durling’s insistent beat, builds throughout the songs as the emotional ante rises. Hearts are broken and seldom rendered whole again before new wounds pierce through.
Lightning 100 Presents Julian Casablancas + The Voidz @ Marathon Music Works
Oct 21 @ 7:00 PM – 11:00 PM

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

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

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

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

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

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

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

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

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

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

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

Oct 22 @ 7:30 PM – 10:00 PM

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

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

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

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

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

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

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

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

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

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

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

He is, of course, right.

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

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

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

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

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

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

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

He is, of course, right.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

“a worthy addition to a catalog of extraordinary work”


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

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

“One of rock’n’roll’s great singers.”

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

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

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

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

Phillip Phillips

Phillip Phillips

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

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

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

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

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

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.”

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


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.

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


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.

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.’”

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


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.”