Upcoming Shows

Creed Fisher, God's Outlaw

TodayMay 16, 20258:00pm $20.00

"The odds were against me all along, but I just wouldn't go away." All-American musician Creed Fisher is a storyteller, hard worker, and a rising Outlaw Country star. With around 100 million streams on Spotify and nearly 60 million views on YouTube, Fisher's raw, unfiltered, and unique sound blends traditional country with....

Take It Easy: A Tribute to the Eagles

TomorrowMay 17, 20258:00pm $20 advance / $25 door

In honor of one of the best country rock bands of all time, Take It Easy performs hit after chart topping hit from the vast catalog of music created by the Eagles. From their debut Witchy Woman to their climactic #1 Hotel California, Take It Easy covers the bases. Touching on the solo careers of each artist as well this....

Revis

ThursdayMay 22, 20258:00pm $25.00

Justin Holman (vocals), Robert Davis (guitar), Bob Thiemann (bass), and David Piribauer (drums) comprise the infectious post-grunge sounds of REVIS. Originally formed in southern Illinois, the group moved to Los Angeles and soon inked a deal with Epic Records. They went on to record the widely acclaimed full length....

Recently Added Shows

Sabbath Knights

WednesdayJune 11, 20258:00pm $25.00

Black Sabbath/Dio drummer Vinny Appice is now touring with his ultimate Black Sabbath /Dio show, called Sabbath Knights. They will be performing classic hits From Black Sabbath & Dio, along with some rare fan favorites. This is a MUST see concert! ! Vinny's super band is: Jim Crean (Appice/Buffalo Music Hall Of Famer)....

Sparrow Blue, 5pm to Nowhere

SaturdayJuly 26, 20258:00pm $10 advance / $15 door

Acoustic roots songwriting duo Sparrow Blue from Massachusetts released their first full length album Rabbit in the Moon in 2018, featuring fiddle, guitars, mandolin, banjo, harmonica and vocal harmony throughout. Rabbit in the Moon blends folk, country, bluegrass and old-time influences together with crafted songwriting....

Mood Medication

SaturdayAugust 30, 20257:00pm $5.00

Enter the vibrant realm of Mood Medication, a dynamic trio hailing from Milwaukee, WI, where we're all about crafting electrifying, relatable tunes. Our music is a fusion of raw emotion and contagious energy, designed to uplift and connect with listeners on a profound level. From the heart-pounding highs to the....

Damn Tall Buildings

SundaySeptember 14, 20258:00pm $15.00

Damn Tall Buildings is a celebrated folk-bluegrass band known for their soulful melodies and intricate instrumentals. Based in Brooklyn, this seasoned trio--Max Capistran, Sasha Dubyk, and Avery Ballotta--has spent over a decade honing their craft through dedicated touring and recording. With a distinctive sound that....

Richard Lloyd Group

WednesdayOctober 1, 20258:00pm $20.00

Richard Lloyd is a legendary electric guitarist, singer/songwriter, and founding member of Television, a band that rose to fame with their 1977 debut release, Marquee Moon, widely regarded as one of greatest albums in rock and roll history and perhaps the most defining and highly influential release of the 1970's New York....

Bob Mould Solo Electric: Here We Go Crazy

TuesdayOctober 7, 20258:00pm $40.00

Dead Letter Office (R.E.M. Tribute)

SaturdayOctober 18, 20258:00pm $20.00

Dead Letter Office has dedicated themselves to faithfully reproducing the music and energy of a live R.E.M. show. Since 2014, Dead Letter Office has been thrilling audiences throughout the U.S. & Canada, providing a show that's been sorely missed since R.E.M called it quits. Dead Letter Office not only performs R.E.M.'s....

That 1 Guy

TuesdayOctober 21, 20258:00pm $20.00

Jimmy the Arm

FridayOctober 24, 20258:00pm

"Jimmy the Arm" is a beloved Milwaukee-based band founded by brothers Michael, Jerome, and Kevin Linn. With Dwayne Williams on Bass, Charlie Collins and Rob Mangan on Guitar, and Jerry Barker on Keyboards, the band delivers energetic cover songs from the 70s through today.

Think Floyd USA

SaturdayOctober 25, 20258:00pm

Celebrating all the hit songs from across the extensive Pink Floyd catalog, Think Floyd USA (TFUSA), captures all the emotion, energy and musianship that one would expect to hear by performing the music of Pink Floyd. Think Floyd USA's performance is dedicated to recreating the sights and sounds of Pink Floyd that make it....

Will Varley

MondayNovember 17, 20258:00pm $15 advance / $20 door

Currently working on his seventh studio record, Will Varley has mastered the kind of songwriting that can transport you to another place entirely. In the case of his astonishing new album, he continues his decade long exploration of the human condition, while conjuring strange, beautiful landscapes where salt-crusted....

Miles Nielsen & The Rusted Hearts

SaturdayNovember 22, 20258:00pm $20.00

Led by free-wheeling front man Miles Nielsen, The Rusted Hearts have been wowing audiences for years with the diversity of their sound, the tightness of their four-part harmonies, and the quality of their songcraft. Equally comfortable in a compact three-minute pop song and an epic ten-minute jam, the band has toured....

Ryanhood

FridayDecember 19, 20258:00pm

Quick Calendar

Formed in Adelaide South Australia in 2014 the band first made waves across Australia and New Zealand being nominated in every category of the 2018 Australian Blues Music Awards on the back of their 2nd album Tales of A Rich Girl, and ultimately picked up 3 gongs. Tales was tracked in LA by 7 x Grammy winner Jim Scott and mixed in Nashville by 4 X Grammy winner Vance Powell. It received some incredible reviews and had a stellar run on the charts hitting no.1 on the Australian Blues Music Charts, and no.15 on the International Roots Review. Huff Post's Randy Radic called the album ".....a humdinger", and Peter Salzony from Blues Blast Mag wrote "You are left emotionally drained after this soulful experience has concluded.......expert musicianship and top notch production propel this effort into greatness. Hearing is believing!"

Between 2017 and 2019 in support of Tales of a Rich Girl the band toured extensively throughout Australia and New Zealand appearing at many of the major festivals in those 2 countries including Womadelaide, Wangaratta, Broadbeach, Mitchell Creek, Bay of Islands (NZ), Mordialloc, Bruthen, Blenheim, Eltham to name a few. However, the announcement that they had signed to Big Wing Records and were heading to the USA for their first full tour was the most exciting news. The US tour took in 7 states and 22 performances kicking off at Summerfest in Milwaukee and finishing at Mammoth Lakes Bluespalooza in California where they featured on the main stage with the likes of Buddy Guy, Trombone Shorty and Charlie Mustlewhite. Other dates included 210 Live, Rosemont and Rockford Illinois, Mishawaka and Gas City Indiana, Nashville, Memphis and Knoxville Tennessee, Little Rock Arkansas, Dallas Texas, and LA and Morro Bay California, with the highlight a live performance on WGN-TV in Chicago reaching a potential 60mil homes through the US! The summer tour rounded out with a return trip at the start of September where the band played a headline set at Grapefest in Dallas TX.

Most recent news, Kings and Associates are in the final stages of tracking their 3rd studio album titled 'Neighbour' with a planned release date set for 25th April 2020. While in the US the opportunity was taken to hook up with Jim Scott for a reunion of sort to record a bunch of new songs. Speaking to song writer and bassist Steve Portolesi this was by all reports and amazing session. "Firstly, getting to work with Jim again back in LA was always a priority and desire for us based on how much fun we had tracking Tales. Jim is both a rock music legend and an absolutely amazing man, we simply love the relationship we've built and thrive in the encouraging, creative atmosphere which oozes from his studio." Unlike Tales where all the songs were pre-arranged the new songs took a slightly different path Steve adds, "with the last album we had 12 tunes which we'd pretty much been playing for the previous 12 months, so it was just a case of going into the studio and recording them. This time round we were a little bit greener with the songs being pretty new, but we were fortunate to have our entire band in the studio tacking simultaneously including our US organist Louie Higuera and Paul White from Australia, so there was some serious spontaneity in the way we played....most of the stuff is live".

Lyricist and lead vocalist Angie explains from a lyrical perspective the new album retains themes of social observation, personal experience and enthusiasm for life, "I've always felt most at ease writing from my experiences and learnings as it helps me keep my themes fresh and current. It's also what impacts me the most so these become the topics most accessible in my creative process....I guess that's how creativity works". Thematically the album has been written specifically for vinyl, "music has obviously changed in the way people interact with artists, so we wanted to go back to something a bit more classic and move away from what's become the standard 12 or 13 track CD type release. Our drummer Kelv had the idea to have the songs create a bit of a theme and momentum on each side of the vinyl more in line with the way music was enjoyed back in the day. It's certainly not a new concept, but for us it seemed like a cool thing to do, and definitely represents where we're at currently". Neighbour from all reports is going to be another sidestep from traditional blues but certainly not a move away entirely from what their fans love. Word is it's eclectic and soulfully exploring new grounds, and the excitement from those who have heard it is compelling!

Black Joe Lewis is the realest motherfucker there is. When Covid sidelined his touring this past year, he started laying concrete to help support his baby mama and his kid. That's fuckin' real. When Joe and his band, the Honeybears, popped onto the national stage over a decade ago, many critics embraced him but still, there were some that maintained that they hadn't paid their dues. Joe's still here. Still going. Still cashing checks and snapping necks. The dues of hard work; the delirious heights of the industry as well as the disappointments and low hanging fruit. Through this all, Joe's only honed his mastery over gut bucket blues guitar and his true voice. It's a vital and distinctly American voice that never anticipated the attention he wound up receiving, never went looking for it either. It just started happening. The garage, the blues, the propulsive and synergistic live performances that inhabit the spaces of James Brown, Lightnin' Hopkins, and the MC5...those things happened naturally from the very beginning and could only be accurately communicated in the live experience, not a press release or a slick brand campaign. Sharon Jones, Charles Bradley, Cedric Burnside and Lightnin Malcolm, The Dirtbombs, Detroit Cobras, the Strange Boys; these are some of the artists that Black Joe Lewis and the Honeybears shared countless bills with; almost a roll call of the most influential soul and garage bands of the last twenty five years. Has the soul blues garage explosion from that era been commodified or worked into the overall template of pop rock? Sure. But the ground floor was a vital space for people that like guitars and grease and at this point Black Joe Lewis is one of the last standing that was there. Last of a dying breed. Or maybe a missing link. Does this make him a throwback? A throwback to a throwback? It'd be tempting and easy for Joe to go along with that but nah, we don't think so. We know that Joe Lewis is genuinely doing his thing and that he'd do it regardless of what's coming down the pipe. A stone cold original and a veteran at that. If you like whistling in your music and some floppy hat, quaky kneed dudes cloyingly singing at you, then you might not "get it" but whatever...there are enough intrepid, degenerate weirdos that do. Those are the folks Joe cares about. Not the glad handing set. Not the fair-weather friend set getting down with the flavor of the month. Like the title of his last album says, "the difference between me and you" is Joe defining for himself that there's the belabored wannabes and then there's dudes that actually "HAVE the blues"...whatever the hell THAT is! Joe's concrete pouring boss is gonna miss him.

Eric Johanson is not your typical rock or blues artist. His music strikes a compelling balance between gritty rock intensity and deep blues emotion, delivering a sound that feels both raw and refreshingly original. Johanson's skillful guitar playing and distinctive voice form a captivating blend that is drawing increasing attention from audiences and critics alike.

His newest album, The Deep And The Dirty (2023), continues to make waves, debuting at #1 on the Billboard Blues Chart. Since its release, Johanson has been on a whirlwind tour, hitting stages across the US and Europe in over ten countries. The buzz around him is real--he was named one of Guitar Player magazine's 25 best new blues guitarists and earned a spot in Total Guitar magazine's Top 50 blues guitarists of all time. Industry veterans have also taken notice, with Bob Lefsetz remarking, "It's like he digested all the music of the sixties - just like those musicians listened to the progenitors - and kept the flame a-burnin'. This guy has a place in the firmament."

Born and raised in Louisiana, Johanson's roots run deep in the blues and rock traditions. His early years were spent performing at local venues and leading underground rock bands. After experimenting with his style, and a stint living overseas, Johanson returned to New Orleans and quickly became a sought after guitarist, blending his southern roots with a forward-thinking approach.

It wasn't long before his unique style caught the eye of blues luminary Tab Benoit. Benoit signed Johanson to his new Whiskey Bayou record label, producing Johanson's debut solo record, Burn It Down (2017). The album established Johanson as a skilled guitarist with a deep connection to blues traditions, yet also someone unafraid to push boundaries. The two embarked on a two-year tour, with Benoit himself playing drums in Johanson's band during his opening sets.

Johanson's sound soon gained the attention of Luther Dickinson (North Mississippi Allstars), who produced Johanson's sophomore album, Below Sea Level (2020). The album marked a creative leap for Johanson, combining raw, emotional songwriting with heavier guitar tones and darker, more introspective themes.

For his most recent album, The Deep And The Dirty, Johanson teamed up with producer Jesse Dayton, crafting what many critics are calling his strongest work yet. The album's raw, powerful sound and masterful guitar playing are further illuminated by meaningful and catchy songwriting. As American Songwriter put it, "Johanson pens solid material that, like Hendrix, displays his guitar prowess but within the borders of melodies and lyrics that push the boundaries of blues/rock."

Over the past few years, Johanson has toured extensively, both as a headliner and support act for prominent artists such as Samantha Fish, North Mississippi Allstars, Christone "Kingfish" Ingram, The Record Company, Walter Trout, and more. His live performances are known for their high energy, powerful vocals, and dynamic guitar solos. There's a sense that Eric is always pushing himself--redefining what it means to be a blues artist in the 21st century.

Portland's Jerry Joseph is a prolific and fearless artist whose songwriting, commanding voice, and electrifying performances have made him a respected figure in the global music scene. Over a four-decade career, Jerry has toured the world as a solo artist and with renowned bands like The Jackmormons, supergroup Stockholm Syndrome, and cult-favorite Little Women. His music has reached audiences in far-flung locales such as Lebanon, Israel, Kurdish Iraq, India, and Cambodia, embodying his commitment to using music as a force for connection and change. An Oregon Music Hall of Fame inductee, Jerry's extensive catalog and relentless touring have cemented his reputation as a true original.

In 2020, Jerry released The Beautiful Madness, produced by Patterson Hood and featuring Drive-By Truckers as his backing band. The critically acclaimed album was hailed as "an album for the times" (Uncut Magazine) and named among the year's best by Paste and Glide. Patterson Hood described Jerry as "one of the greatest live performers I have ever seen and long one of my favorite songwriters."

Amid the pandemic, Jerry launched Happy Book, a 64-week livestream series that blended intimate performances with storytelling, captivating thousands of fans weekly. This innovation evolved into OIL, a livestream series that launched in 2024. With OIL, Jerry strives to create an unparalleled space for raw, intimate performances, in-depth conversations, and collaborations with special guests. This ongoing series not only brings his music to fans worldwide but also offers an unfiltered look into his artistry and humanity, further deepening his connection with his audience.

In 2023, Jerry released Baby, You're The Man Who Would Be King, an album recorded in New York City and produced by Eric "Roscoe" Ambel. It fulfilled Jerry's dream of creating a quintessential New York record and was praised for its dynamic songwriting and evocative energy. The following year, Jerry & The Jackmormons celebrated the remastered reissue of their iconic live album Mouthful of Copper with a tour that reignited the electrifying spirit of the original performances.

Jerry's first-ever UK Residency Tour in 2024, a series of intimate and sold-out shows, further solidified his reputation as an international force in live music. The year culminated in a triumphant five-night New Year's Eve run in Portland, featuring an impressive lineup of collaborators and reaffirming Jerry's ability to create unforgettable musical experiences.

As he looks ahead to 2025, Jerry continues to build on his legacy with relentless touring across the US, UK, and beyond. Whether performing solo, with The Jackmormons, or through the evolving OIL platform, Jerry Joseph remains a singular voice in music, delivering powerful, heartfelt songs that resonate deeply with audiences worldwide.

30 years into a prolific career as a genre and gender-defying songwriter, Melissa Ferrick continues to disrupt normative categorization. Indie, Alternative, Folk, Punk....Melissa Ferrick won't be labeled. With disarming wit and raw vulnerability, every lyric in Ferrick's immense catalog is an invitation to confession or catharsis.

In 2023, Ferrick signed with Kill Rock Stars, a label that has long been emblematic of authentic storytelling and home to indie acts including Sleater-Kinney, Bikini Kill, The Decemberists and Elliott Smith.

"Being on this label is an alignment of who I am musically. KRS serves all of the different approaches to music that exist in me."

To commemorate its 25th anniversary, Ferrick has re-recorded her critically acclaimed album Everything I Need, set to be released October 11th, 2024. "Just me and the guitar using live takes and no overdubs," Ferrick captures the emotional intensity that has become a signature of her live performances. "The power songs have on marking time dumbfounds me. I remember writing each of them, I remember recording them, I remember the first time I heard Everything I Need on the radio, and I remember the first time an audience sang along. This album marked a time in my life when I was freed of so many boundaries - some imparted and some I hadn't been willing to let go." In June, Ferrick released the new single, "Black Dress" and a cover of Tegan and Sara's "Where Does the Good Go," both of which will be included as bonus tracks on the album.

Ferrick's impact reaches far beyond her music. As one of the few openly queer artists in the 1990s, she navigated and challenged the sexism, homophobia, and rigid gender expectations of the music industry. Her trailblazing journey not only paved the way for future generations of artists but also created a space where they could express their identities and be celebrated on their own terms. Most recently, Melissa launched Drive Music Agency (DMA), a booking agency and consulting company designed to help launch new acts in the indie scene. She is also a Professor of Practice at Northeastern University, teaching courses in music business, songwriting, creative entrepreneurship, demo recording and production, and the psychology of creativity. Melissa was an Associate Professor at Berklee College of Music from 2013 to 2019 and holds an Ed.M. from Harvard University.

Growing up in Ipswich Massachusetts, Ferrick's passion for music began at an early age. Classically trained in violin and piano, Ferrick's education is also rooted in jazz, playing both trumpet and bass. As a self-taught guitarist, Ferrick began her career playing local venues in Cambridge like The Middle East and T.T. The Bear's, which paved the way for legendary acts like The Indigo Girls, The Pixies, and The Flaming Lips. Ferrick's major breakthrough came in 1991 when she stepped in for Morrissey's opening act just an hour before showtime. Her impressive performance earned her an invitation to tour with Morrissey in the U.S. and UK, leading to a major label deal with Atlantic Records. Her debut album, Massive Blur (1993), introduced her blend of introspective songwriting and genre-crossing sound.

Between 1996 and 1999, Ferrick released three albums with the Colorado-based indie label W.A.R. Records. In 2000, she launched the nationally distributed independent record label Right On Records. Ferrick published two critically acclaimed albums with NY-based label MPress Records between 2011 and 2013. She's released eighteen albums throughout her 30 year career and has won numerous awards for songwriting, production, and performance.

Ferrick has shared the stage with countless acts, some of which include Bob Dylan, Joan Armatrading, Weezer, Tegan and Sara, Mark Cohen, Paul Westerberg, John Hiatt, Ani DiFranco, k.d. Lang, Suzanne Vega, and Shawn Colvin.

As she continues to challenge conventions, Melissa Ferrick continues to reinforce her genre-defying legacy with each new project.

The origin for this tour began at the Zappanale festival in 2023, where Paul Green was making his return after a 6 year break (his 7th appearance overall) with the students of PGRA, headlining Friday (playing Zappa) and Saturday night(with Jon Anderson). The Sunday (and overall) headliners were Banned from Utopia and Paul and his students stood in stunned silence watching a band that was like watching one of the best Zappa bands from the 80s. A friendship was struck up between the groups and plans were soon in motion to tour the US in the summer of 2024.That tour was so successful, and such a good time, that we decided to go out again in 2025, this time with just the alumni so that the students can have their turn playing these amazing songs with them.

We are calling the tour the "We Love Zappa II Tour" because it is all about our shared love of this amazing music, teaching it to a new generation, and bringing it to his fans, who are the best.

The Paul Green Rock Academy(PGRA) is the latest music school from School of Rock founder, and noted Zappa fanatic, Paul Green. An audition only music school for ambitious students aged 12-18, PGRA has spent the last 5 years touring, alternately, as the backing band for Jon Anderson of Yes and Gibby Haynes of the Butthole Surfers. They have also shared the stage with such amazing musicians as Bill Bruford, Steve Hackett, and Phil Manzanera. Paul's former students have gone on to play in/with: The Who, Phony Ppl, The Bobby Lees, Dr Dog, Adrian Belew, Lauren Hill, and Willow Smith, to name a few.

Robert "Bobby" Martinis a highly accomplished American singer, songwriter, and multi-instrumentalist, known for his work with Frank Zappa and his career as a session musician, composer, and musical director, as well as directing his own music production company.He is a sought-after keyboardist, horn player, and vocalist, having worked with numerous artists, including Bette Midler, Paul McCartney, and Etta James, and has composed music for film, television, and advertising.

Scott Thunes is best known for his long tenure inFrank Zappa's band during the 1980s, playing bass, singing background vocals, and serving as the official "Clonemeister," running rehearsals for the Zappa band. He also recorded and toured with Zappa's sons Dweezil and Ahmet, and his music career has included work with the Waterboys, The Mother Hips, and Fear, among others.

Ray Shirley White Sr.,a soul and rock guitarist best known for his vocals and rhythm guitar in Frank Zappa's touring bands from 1976 to 1984, also formed a vocal harmony partnership with Ike Willison later tours. He is featured on numerous Zappa albums and videos, including "Zappa In New York," "You Are What You Is," "Ship Arriving Too Late To Save A Drowning Witch," and "The Torture Never Stops".

Abe Partridge is a heralded musician, singer/songwriter, visual artist, storyteller and documentarian based in Mobile, Alabama. Since the release of his debut album Cotton Fields and Blood for Days in 2018, Partridge has toured relentlessly, including several tours throughout Europe. He is a regular at several great music festivals such as the 30a Songwriters Fest, and the Laurel Cove Music Fest as well as listening rooms across the country including the legendary Bluebird Cafe in Nashville, Eddies Attic in Atlanta, and Duke's in Indianapolis. Recently, he toured extensively with Matthew Sweet, Drivin' N Cryin', and Dar Williams in support of his latest release Love in the Dark. He has performed on several syndicated NPR radio programs including, Mountain Stage and Woodsongs Old Time Radio Hour.

Partridge along with co-producer Ferrill Gibbs created the Alabama Astronaut podcast, where Abe attempts to properly record songs previously undocumented at holiness, serpent-handling churches in Appalachia. It was in the Top Ten documentary podcasts on Apple Podcasts within days of its release and now has over 100k downloads and a 4.9-star rating.

When Partridge is not writing or touring, he is also a highly acclaimed visual artist. His paintings, primarily acrylic on tarred board and watercolors, now hang in art galleries around the southeast and in the private collections of Tyler Childers, Mike Wolfe (American Pickers), Rick Hirsch (Wet Willie), Tommy Stinson (The Replacements) and Tommy Prine. Abe's art is featured yearly at Howard Finster's Paradise Gardens. His artwork was featured in Stephen King's 2019 sequel to The Shining - Dr. Sleep. He painted the cover art for Charlie Parr's, Last Of The Better Days Ahead (Smithsonian Folkways). He also created art for Tyler Childers' 2022 release, Can I Take My Hounds To Heaven? (RCA), as well as promotional posters for the Red Clay Strays' 2024 release Made by These Moments (RCA). Partridge's first major art exhibition With Signs Following was on display at the Alabama Contemporary Art Center in Mobile, AL in 2023. His book "With Signs Following - Portraits + Stories from the Serpent-Handling Faith" released following the exhibit to wide acclaim.

Three members of the Red Clay Strays occasionally join Abe for a punk side-project they share together, The Psych Peas. They have one album, Lackluster, that has only been released on physical formats. The band has created a reputation for giving high-energy, chaotic live performances, and has garnered a cult-like following. John P. Strohm of The Lemonheads compared them to "Scratch Acid and Butthole Surfers in their prime".

Abe also works with the legendary North Carolina songwriter, David Childers and his band The Serpents. Together, they are The Satan, You're a Liars, with an album, Let's Build This House Together, due to release in early 2025.

American Songwriter Magazine said, "Abe Partridge has established himself as one of the most respected songwriters and visual folk artists in the southeast."

In November of 2022, Partridge released the EP Alabama Skies on Baldwin Co. Public Records label which includes "Abe Partridge's 403d Freakout". Partridge told Songfacts the story behind the song: " 'Abe Partridge's 403d Freakout' was a song I wrote in about 20 minutes. It took me two weeks to make it rhyme, and then it took me about six months to learn it. I just sat and wrote a couple of pages of thoughts as they came to me. It was my attempt at describing my thoughts chronologically as they sometimes occur in my head before I filter them. It is those thoughts that I often have if I allow myself to mentally wander."

Partridge's exhibit With Signs Following was on exhibition at the Alabama Contemporary Art Center in Mobile, AL from January 13 - May 20 of 2023 and is expected to travel to other city contemporary art centers in the next few years. His full-length studio album, Love In The Dark, on BCPR label, was released on May 12, 2023.

American Songwriter wrote "Jack Barksdale has insights and awareness far beyond people twice his age, and he's able to put them into songs that touch listeners." NPR.org said "Jack Barksdale is special." and Twangville added, "It's hard to escape the impressive maturity of his musicianship and songwriting."

Jack Barksdale is a 17 year old folk/Americana singer/songwriter from Texas. Inspired by folk, rock, and blues legends, Jack started performing original music at the age of nine and has already shared the stage with Wynonna Judd, Ray Wylie Hubbard, Junior Brown, John Fullbright, and Hayes Carll.

Recently Jack signed a record deal with Truly Handmade Records, formed by the estate of Guy Clark. Jack will release a full length album under Truly Handmade Records in June of 2025 featuring many notable guest artists. In September 2024 Jack released his 2nd EP "Out of Order and in October 2023 Jack launched a 7 song instrumental EP entitled Phantom Trails."

His previous single "Gone" has garnered well over 2.8 million streams on Spotify and was featured on Apple Music's 'Southern Craft' playlist.

In 2020 Jack launched a podcast focused on songwriters and songwriting called Jack Barksdale's Roots Revival Podcast.

Jack tours nationally and wows audiences with lyrics wise beyond his years. Jack plays guitar, slide guitar, harmonica, mandolin, piano, and ukulele, but identifies first and foremost as a songwriter.

His musical influences include Lead Belly, Howlin' Wolf, Townes Van Zandt, Guy Clark, Tom Waits, Leonard Cohen, Johnny Cash, The Carter Family, and Willie Nelson.

Matt Lorenz's vision, manifest in The Suitcase Junket, developed in the tension between the grand and the solitary. Grand in its imagery, sound, and staging. Solitary in its thrift and self-reliance. What instruments he requires, Lorenz builds from scratch and salvage. What parts five players would perform, he performs alone. The spectacle of his one-man set bears constant comparison to legends of showmanship, brilliance, madness, and invention.

While audiences are captivated by his solitary form and the show itself, Lorenz, who homesteads in rural Western Massachusetts, is most serious about the songs. He has been building a catalog, writing a world into existence. Solitary on stage and on the road, his mind is crowded with characters, narratives, voices, imagery, sounds as wide and varied as mountain throat singers and roadhouse juke boxes, plus newsreels of the planet's destruction and salvage. With this 2020 release, The End is New, Lorenz's grand vision for the song overrides the how of it.

"The things I value are under attack," Lorenz writes. "And writing songs and making art are the methods I have for responding. I have tried to use my observations and reflections of the world bent through my fun-house-mirror mind to show what I see; a planet stressed. ... We can do better."

The End is New was produced by trusted friend, producer Steve Berlin of Los Lobos, who produced The Suitcase Junket's acclaimed 2018 release, Mean Dog Trampoline.

"Most of the time making records for a living is both fun and edifying," says Berlin "But every once and a while I get rewarded with a simply superlative experience, and making The End Is New was certainly one of those." He adds, "We had a blast building these ideas into songs, and Matt's endless inventiveness made each workday a genuine pleasure. His talent is a unique gift."

"I told Steve I wanted to make a doom-folk record," says Lorenz. "That's what I'd started calling my music when people asked. He was game. Neither of us knew quite what that meant at the time, but I think we found out with The End is New. There's a heavy mix of hope and desperation in the sound and lyrically I was trying to be a mirror to society using truth, myth, confessions and stories."

In the strangest of ironies, the production of this album, an artist moving from solitude to collaboration, went forward in a time when Lorenz, Berlin, all their studio musicians, and the entire world were in isolation for the lockdown of pandemic.

"We had done some tracking in February and felt that we had a good start," says Lorenz, "but things had gotten a bit strange. Steve Berlin, producer extraordinaire, was stuck at home on the West Coast under a newly imposed lockdown and here in Massachusetts the virus was starting to heat up. The bicoastal, remotely produced recording process was bizarre and frustrating but fruitful. We plugged along, track by track, occasionally commenting on how crazy everything was feeling. Justin, the sound engineer and co-owner of Sonelab, and I had spent time together in the same studio so we figured if one of us had The Virus we probably both did so why not finish the record as safely as we could? So we watched as the world drastically changed around our little musical haven, unsure of what lay ahead. We polished off the record bit by bit in the following months, recording overdubs from home with no more studio time to be had. J Mascis made a ripping appearance on 'Light a Candle' and Steve Berlin slipped off his producer shoes and laid down some horn parts. I'm so very excited to share these new songs. I think the writing on this album is some of the best I've ever done and the production has them sounding huge and cinematic."

The End is New is an artist expanding his possibilities, collaborating, matching his lyrical power over eleven tracks with the epic sounds and narratives of his imagination. "Black Holes and Overdoses" riffs off the unrelenting news cycle, the numbness that wants for oblivion. "And Then There Was Fire" finds Lorenz reflecting on current events, inspired by the destructive wildfire in Australia, which seems like three years ago at this point, but took place right at the end of last year and beginning of this year. "Light a Candle" is the simmering doom of lost love. "Can't Look Away" protests the overuse of a planet. "Jesus! King of the Dinosaurs" is a romp poking fun at extremists and biblical timelines.

Growing up in Cavendish, Vermont, Matt Lorenz began playing piano at age five, and later took up violin, saxophone, and guitar. During his years at Hampshire College in Amherst, Massachusetts, he studied music and adaptive instrument design, a pursuit that included building a prototype for a drummer who couldn't use their legs, where they'd be able to play the bass drum and hi-hat through a system of pulleys. After college, he headed to Europe on a $150 plane ticket, ran out of money in Barcelona, and spent a year playing music in the streets. "That's where I learned how to sing loud, which got me figuring out what my voice could do," Lorenz notes. Once he'd returned to Amherst, he formed the band Rusty Belle with his sister Kate and, several years later, started The Suitcase Junket with the aid of a guitar he'd found in a dumpster. 'The Suitcase Junket' is a nod to Lorenz's longtime love of collecting old suitcases, including an antique that he's refurbished into a bass drum, and to a secondary definition of junket, i.e. "a pleasure excursion."

The End is New is Lorenz's sixth full-length album as The Suitcase Junket, his first for Renew Records/BMG. The sound has become more refined and deeper with each release. Lorenz tours extensively and plans to be back on the road for a waylaid release tour for The End is New in 2021. Lorenz is also a visual artist. In the early years he designed all The Suitcase Junket album art and merchandise and made the music videos generated with his songs. He continues to create the visuals for merchandise, and to produce some of his videos, now with collaborators. He gets very excited about coffee, gardening, bees, dogs, birds, mushrooms, tinctures, making his own wine and maple sugaring season.

Dan Navarro's long and eclectic resume includes "songwriter," "recording artist," "singer", "voice actor", "producer", "road warrior" and "arts advocate" in its extensive range of credits.

His former acoustic duo, Lowen & Navarro, released 13 albums from 1990-2008, enjoyed widespread Triple A radio airplay and performed 1500 shows before Eric Lowen's retirement in 2008 and passing from ALS in 2012. Dan set out solo in 2006.

In March 2024, he debuted as a co-producer of Jesse Lynn Madera's acclaimed album, "Speed of Sound", including the touching co-written duet "Last Call", now making waves at Americana, Folk and Triple A radio.

Dan's 2022 album, "Horizon Line", reunited Dan with Grammy® winning producer Jim Scott, who helmed six L&N albums. The album features performances from Chris Stills, Steve Postell (David Crosby, The Immediate Family), Doug Pettibone (Lucinda Williams), Brian Whelan (Dwight Yoakam), Jimmy Paxson (Lindsay Buckingham), Mai Leisz (David Crosby, Jackson Browne), Sebastian Steinberg (Soul Coughing), Taras Prodaniuk & Michael Jerome (The Richard Thompson Trio), Phil Parlapiano (John Prine), Peter Adams, Aubrey Richmond (Shooter Jennings), Carlos Murguia, Leyla Hoyle and Derek Nakamoto. The album twice charted Top Ten at NACC Folk, and reviews have been the finest of Dan's career.

In July 2021, he released a duo album with James Lee Stanley, "All Wood and Led", with acoustic "Laurel Canyon" re-imaginations of Led Zeppelin tunes which saw extensive radio action at Americana stations nationwide.

As a songwriter, Dan has written or co-written heartfelt songs for Pat Benatar (the Grammy® nominated "We Belong"), The Bangles, Japanese girl group Wink (the #1 hit "One Night in Heaven"), Dutch superstar Marco Borsato (the Top Ten "Je Hoeft Niet Naar Huis Vannacht"), Dave Edmunds, The Temptations, Dionne Warwick, and Austin outlaw country legend Rusty Weir.

His songs have appeared in the films Deadpool 2, Pitch Perfect 2 and Talladega Nights, TV series This Is Us, Mare of Easttown, Halt and Catch Fire, American Idol, The Voice, American Dad and The Office and national commercials for Corona Beer, Sargento Cheese, Pepsi, Sheraton Hotels, Chase Bank and the United Way.

As a bilingual singer and voice actor, he sang in Oscar® winners Encanto (including the #1 hit "We Don't Talk About Bruno"), Coco and Happy Feet, the 2022 hit Puss In Boots: The Last Wish, the new Latin-themed Father of the Bride, plus Sing 2, The Addams Family, Dora and the City of Lost Gold, The Lorax, and two Ice Age films; TV series The Simpsons, Prison Break, Close Enough and American Dad; voiced characters in the films Pirates of the Caribbean 5, The Book Of Life, The Playmobil Movie, and TV series Invincible, The Boys: Diabolical, Pantheon, Ultra City Smiths, We Bare Bears, and nearly 500 episodes of Family Guy and American Dad; dubbed English voices on foreign TV series Team Chocolate, Love Is Blind: Brazil, La Ultima, 4Ever and Machos Alfa; sung on albums by Luis Miguel, Andrea Bocelli, Jose Feliciano and Neil Young; voiced video games Red Dead Redemption II, Fallout 4 and Uncharted 4, and performed vocals and voice-overs in literally hundreds of commercials for Toyota, Coca-Cola, McDonald's, Honda and more.

During the 2020 Covid pandemic lockdown, Dan launched his "Songs From the CoronaZone" live stream series, running almost daily for much of the run of over 250 2-hour+ live streams in 13 months, on Facebook Live, YouTube Live, Twitch and the now-defunct Periscope. He then taught live stream techniques in workshops for SAG-AFTRA and Folk Alliance's "FAR-West" region (earning FAR-West's 2021 Humanitarian Award in the process), as well as online songwriting classes dubbed "Songwriting and the Creative Muse".

In his "spare" time, Dan serves on the Board of SAG-AFTRA, the AFL-CIO actor-performer-broadcaster's union; is a Trustee on the AFM & SAG-AFTRA Intellectual Property Rights Fund; serves on the Unclaimed Royalties committee of the Mechanical Licensing Collective and is a past president of Folk Alliance International. He has been a vocal activist in Washington DC for intellectual property rights for over 20 years, having testified in 2023 before the House Judiciary Subcommittee on IP and the US Patent and Trademark Office on AI and copyright, as well as the US Senate Judiciary Committee and the Copyright Royalty Board.

Dan Navarro's music probes life at its most resonant. In his rich baritone, he sings songs of heart and insight, steeped in experience, soulful tales from a long road well-traveled.

He's the proud father of a 27-year old filmmaker son, thinks art is food, music is love, and sleep is for babies.

A season of drastic change is what brought SUSTO frontman Justin Osborne to the band's fifth full-length LP, My Entire Life [New West Records]. There was a divorce, difficulties re-building his band after the pandemic, and the pain and helplessness of witnessing family members struggle with addiction and mental illness. Despite these challenges, Justin ultimately found himself in a new landscape, with new love and a deeper perspective, all of which is masterfully projected into My Entire Life.

While navigating some major life changes, Justin understandably experienced a surge of creative energy. He channeled this into writing and recording with the people closest to him, even as the tides of his personal life continued to shift. Primary collaborators included longtime producer Wolfgang "Wolfy" Zimmerman, SUSTO Co-founders, Johnny Delaware and Marshall Hudson, and his fiancé/co-writer Caroline Foyle.

Much of the album was recorded at The Space, in Charleston, SC, but major sessions also took place at Echo Mountain Recording in Asheville, NC, and Chase Park Transduction in Athens, GA.

Johnny had moved to Mexico shortly after work on the album began, so some tracking was done at his home studio in Mexico City.

The band also took a "recording pilgrimage" to the Mexican town of Tepotzlán (mythical birthplace of mesoamerican deity Quetzalcoatl), where they turned an airbnb into a remote recording studio, with help from members of Mexican Institute of Sound.

The combined result of these efforts is a compelling blend of rock, folk and psychedelia, with vivid country-esque storytelling. It's as raw and real as anything the band has done so far and everything you'd hope for from a modern rock 'n' roll record.

The album's namesake and lead single, "My Entire Life" is melodically tearful, with an urgency "to keep living."

As a whole, the album documents Justin's personal journey through highs and lows in his life, with many of the details on full display. He narrates the demise and aftermath of an almost decade long relationship, while celebrating the joy of falling in love and the hopefulness of starting over. There is a playfulness at times, but always a clear desire to distill wisdom from experience.

"SUSTO's narrative has always been confessional, and songwriting is my way of trying to make sense of the chaos--good and bad--around me," observes Justin. "These songs cover the spectrum of everything that's happened in my life the last few years. There's been a lot of change, which can be painful, but there's also been a lot of joy and hope, along with everything in between. I figure that's what life is." He continues "...it's a mosaic of all the good, bad, and mundane things we face as we make our way from birth to death. Along the way we ride the waves, but if you stay true to yourself and push through, I believe you can get to where you really want to be, and you can shape that mosaic into something that fulfills you. There is a lot of hope in that for me. This record is my story of navigating a bunch of chaos, but finding ways to carry on and manifest my own happiness...the last few years were a challenge, but I look back and see that I made it through, a better, truer, and more realized version of myself."

It's been quite the ride for SUSTO. In addition to achieving widespread critical acclaim in recent years, the group has built a diehard fan base through captivating live performances and compelling songs.

For as much as My Entire Life is the ultimate vision of what the band can be, it's also a classic story of one person rising from the ashes, wiser and fiery than ever...

"Writing and performing has long been central in my life, and this season of change has only heightened my desire to connect with other people through songs. I've crossed a mountain, so I'm ready to charge forward, and share that story. Everybody goes through difficulty one way or another, we all get worn down, we all chase dreams; songs are there to remind us we aren't alone in that. In my case. I'm thankful for lessons learned, and excited for the future. The privilege of sharing these songs with our audience is something I'm incredibly grateful for."

How to honor the legacy of a band deemed sacred? To tread on holy ground is perilous, and must be done with the intent and spirit of a disciple--Pay attention to the intricacies of the magic, explore the far ends of the innovation, strive for ever-growing ability, and let the purity of the love for the music drive it all.

Drummer Clementine is the founding member of ZEPPARELLA. From the beginning of her musical career, her goal has been to be onstage every night. The pursuit of that goal has led Clementine to constantly tour the US and Europe in projects as diverse as Bottom, AC/DShe, The House Of More, The Solid, Francis Bakin, Stars Turn Me On and Beaux Cheveux. She tackles the best rock drumming ever written with her own emotionally powerful style, bringing the Motown influence of the Bonham groove to the forefront. The profound musical connection established with Gretchen Menn (guitar), Holly West (bass), and Anna Kristina (vocals) creates the bond required to do this great music justice.

It was under the tutelage of classical guitarist Phillip DeFremery, a student of Andrés Segovia, that guitarist Gretchen Menn began her path on the instrument. Playing with tireless passion and constantly seeking out new challenges, her projects are often unconventional, genre-bending expressions combining elements of classical, rock, progressive, jazz, and metal. On influences, Gretchen has never tired of her initial inspirations--Eric Johnson, Steve Morse, Frank Zappa, and Jeff Beck. But she has loved Jimmy Page's guitar playing longer than she has played the guitar. It was through the music of Led Zeppelin that she found a gateway into music that resonated deeply with her, creating a love for guitar-oriented music, and, ultimately, the guitar.

Bassist Holly West began her musical journey full-steam ahead, and more recently than her stellar playing belies. Her unstoppable will and drive have truly propelled her to this moment and her place in the powerhouse Zepparella. A self-taught bass player, she is also a blossoming vocalist with rich rock pipes. Her time on stage has been well spent, developing an impressive attack, impeccable feel, and a technique which seems to have come completely naturally to her, not to mention her dazzling stage presence and joyful performance style. Her influences span the rock gauntlet, from Clutch and the Rival Sons to Slash, ZZ Top, and of course, the mighty Zeppelin.

Singer Anna Kristina is a soulful, fiery, and rocking vocal powerhouse who has stepped into Zepparella's Plant spot for a second time. Anna was with the band for 5 years, became known for her performance in the band's 15 million-view "When The Levee Breaks" video, took a 6-year hiatus, and now returns in 2018 to front the band. Her career has spanned acoustic, jazz, soul, rock, and her charisma and power delivers captivating performances every night. About her brilliant harp playing she says: "getting a chance to blow on the harmonica is an added bonus! Plant isn't just a singer he's a musician. He brings his blues background and natural percussive feel to his harmonica playing as well and I love getting lost in that. Playing the harp allows me to express on a whole different level and it's so freeing."

Now more than ever, Zepparella explores their own improvised magic within the framework of Zeppelin's mighty songs!

The universe of guitar knows no boundaries for The California Guitar Trio. Since 1991, the group has enthralled listeners with a singular sound that fearlessly crisscrosses genres. The trio's questing spirit drives it to explore the intersections between rock, jazz, classical, and world music. It even throws in the occasional surf or spaghetti Western tune for good measure.

Comprised of Bert Lams, Tom Griesgraber and Paul Richards, the group has established a unique, personal connection with audiences. In addition to dazzling musicianship and interplay, The California Guitar Trio's (CGT) shows are full of captivating stories and humor that enable concertgoers to feel like they're part of the music, not just spectators. In fact, the group's CGT's 21 albums, streamed over 115 million times on Pandora, Spotify, Apple Music and Amazon Music, offer diverse snapshots of the group's mercurial muse.

The trio's latest album "Live In Scottsdale -- On Tour With King Crimson" is a recording of the final opening set from the 2021 tour with the legendary King Crimson and features the new CGT 2.0 line up with Tom Griesgraber on Chapman Stick. CGT's most recent studio release Elegy showcases its acoustic side, with beautiful lush originals and innovative cover arrangements of Beatles, Radiohead and more.

The trio's output has made a major global impact, having served as the soundtrack for Olympics coverage, and programs on CNN, CBS, NBC, and ESPN. They have fans in high places too: NASA used their music to wake the crew aboard the Space Shuttle Endeavor.

CGT's lineup is truly the sum of its distinct parts: A Utah native now residing in Los Angeles, Paul Richards immersed himself in rock, blues, and jazz during his early days and while attending The University of Utah's jazz guitar program. While on and off the road, Paul enjoys doing landscape photography.

Bert Lams, originally from Belgium, graduated from the prestigious Royal Conservatory of Music in Brussels, winning awards in classical guitar performance. Bert Lams currently lives with his family in Jupiter Florida.

Tom Griesgraber, the only California native in the group, is from Encinitas. Tom is a virtuoso player of the Chapman Stick, a guitar/bass hybrid tapping instrument invented in California by Emmett Chapman. Tom is a graduate of the Berklee School of Music on Boston.

Tokyo-born Hideyo Moriya began his guitar journey with surf music and British rock, before relocating to Boston to study at Berklee. Hideyo is currently on hiatus from touring and lives in Chiba Japan.

Lams, Richards and Moriya felt the call to push themselves to the limit by enrolling in Robert Fripp's challenging Guitar Craft courses, where they first met in 1987. They went on to tour together as part of Fripp's League of Crafty Guitarists, before forming the California Guitar Trio in Los Angeles four years later.

Recently, the trio expanded its collaborative possibilities by working within a six-guitar format with the Montreal Guitar Trio. During these groundbreaking, highly-entertaining shows, the acts perform inventive arrangements of each other's repertoire, and new music for guitar sextet. In 2019, this powerful "phenomensemble" released In A Landscape featuring innovative arrangements for six guitars.

31 years and 2000+ gigs later, the CGT remains intensely committed to explore, evolve and communicate a wide-ranging musical worldview. -- Anil Prasad

When he calls, Bob Mould is finishing work on his 15 th solo album, Here We Go Crazy. A distillation of the unfailing melodic skill, the emotional lucidity and dynamic fluency he's developed over more than four decades, it's also a typically bold realignment of his sonic paradigm. Its turbulent vignettes are scored by Mould's familiar bruised tunefulness, but the sound is pared back to its fundaments, 11 songs blistering past in just over 30 minutes. "I've stripped things back to what excited me as a young guitarist," he explains. "The energy, the electricity."

Part of the inspiration for this more primal aesthetic is the heavy itinerary of touring he's lately undertaken, several years spent circling the globe, either in the company of bandmates Jon Wurster (drums) and Jason Narducy (bass) or just by himself. "I was really throwing myself in the songbook and feeling where the audience is at," he says. "And they were really responding to this very simple, just-me-and-a-guitar setup. And I thought, maybe I shouldn't be overcomplicating things, 'word'-ing or 'craft'-ing it up. Just grab for the simple bits of life we still have control over: our emotions, our relationships."

After shows, Mould would hang out signing merch and talking to fans. "Sometimes people bring a lot of their lifetime emotional content to me," he says, "like they've compressed all this coal into a tiny little diamond. Sometimes I'm surprised at the weight of it, the heaviness. I'm like, 'I'm here for you. I'm listening.' I'm shocked and grateful they share so readily with me. I don't know what I did to earn that trust."

Mould has earned that trust with every record he's made, channelling his own "lifetime emotional content" for songs of wisdom, honesty and volcanic intensity. His first band, Hüsker Dü, bared his angst over furious noise and turbulent melody, an indelible influence on generations that followed. But by the time Nirvana infiltrated the mainstream, Bob Mould had already moved on, having sequestered himself in a farmhouse to lick his wounds and learn new ways to sing his songs. His solo debut, 1989's folk-rock masterpiece Workbook, was a record of depth and sophistication. Then he pulled another sharp turn, his power-trio Sugar alloying his most melodic songs with his fiercest noise, yielding his most commercially successful work yet.

Over the solo career that followed Sugar's own mid-90s flameout, he's displayed a maturing gift for songwriting, transcending the 'alternative' tag and recognised alongside key influences like Pete Townshend and Pete Shelley. He's adrenalized classic forms, alchemised angst into something addictive and powerful. "I'm just trying to figure myself out," he says. "After 64 years of life -- 55 spent writing songs -- it's what I do." The concepts that shaped the songs of subsequent albums reflect those years. The ruminative Beauty & Ruin (2014) and Patch The Sky (2016) were written in the wake of losing his parents and other loved ones. 2019's Sunshine Rock was a homage to the early Capitol singles of the Beatles and the Beach Boys, constant companions through his turbulent childhood. The terse, political Blue Hearts (2020) was written and recorded amid the dying days of the first Trump administration.

Here We Go Crazy, meanwhile, arrives at another moment of uncertainty, a time of disruption and fear. Mould sees the songs unfolding like the three acts of a play, each act exploring distinct but related themes. The first handful of songs concern "control versus chaos", Mould explains. The opening title track contrasts images of nature -- deserts, mountains, fault-lines -- with the tumult of human life. Inspired by a riff that Mould says "sounded like a fistfight", 'Neanderthal' is "a snapshot from inside my head as a young kid: growing up in a violent household, everything being unsettled, feeling that fight-or-flight response at all times," while 'Breathing Room' is "about feeling isolated, cramped-up, and literally needing that breathing space".

The furious, dynamic 'Fur Mink Augurs' signals the second act, where the darkness descends. The song channels claustrophobia, and "the cold, crazy, late-winter feeling I grew up with in the Adirondacks and in Minnesota. When the cabin fever really sets in deep -- when the permafrost is set and it never gets warm -- you become frayed, and things can really unravel, quickly." 'Lost Or Stolen' chronicles lives undone by "people losing themselves in their phones," Mould explains. From this focus, he pulls back and digs into "ideas about depression, addiction, self-medication and collapse... The words just fell out of me." This anguished middle-passage of the album concludes with the cathartic 'Sharp Little Pieces', exploring "the end of innocence, the idea of a young child's trust being violated. For those of us who lost trust as children, it disappears in a flash, and we spend years struggling to regain that innocence. And maybe it never comes back."

The song ends bluntly (Mould says the album's "lack of sophisticated ornamentation is key -- I was trying to stay out of the way of the songs, to strip away all the things I used to think were important, all those extra colours and complexities. I didn't want to get deep into decorating the tree. I wanted to keep it simple, to use the simplest words"), raising the curtain on the closing act. The theme here is lifting oneself out of the darkness; 'You Need To Shine' is a song about "looking for the bright sides, the good parts of life, despite everything that's happened", Mould says, a sentiment borne out by the song's spirited holler that "all that madness doesn't matter anymore". 'Thread So Thin' is "about trying to protect the one you love, and trying to feel protected", Mould explains, while the closing 'Your Side' is a powerful love song from the edge of the darkness, Mould howling "If the world is going down in flames, I want to be by your side". "We're heading into a great unknown here," Mould says, of the wider geopolitical and climate anxieties that inspired these songs. The message here is, simply, focus on that which can save you and deliver you from this moment. "This album talks a lot about uncertainty, helplessness, being on edge," Mould adds. "How much can we control? How much chaos can we handle? In the end, the answer, the remedy, is placing your trust in unconditional love."

Mould knows Here We Go Crazy is an album freighted with darkness; "There's soothing melodies, and there's lyrical discomfort," he deadpans. "It's manic, frantic, complex." But no one ever came to Bob Mould for good news, for the easy answers. Pop music runs through his veins, as surely as the electricity that drives his chiming hooks into the realms of distortion, but he's here to give you the truth, his truth. To give you songs that ring true when howled against a tornado of guitar, that compress all that "lifetime emotional content" into some kind of sonic diamond. There's eleven of those precious gems here, sculpted to make the heaviness easier to bear, somehow. Treasure them.

David Barbe is an Athens musician sometimes referred to as having the widest involvement of any single figure in the Athens, GA music scene. David Barbe has appeared on over 400 albums as producer, engineer, or musician, frequently working at his Athens studio, Chase Park Transduction. At various times he has made music either live or in the studio with hundreds of artists including Sugar, Deerhunter, Drive-By Truckers, Kevn Kinney, The Glands, Son Volt, Cracker, Ill Ease, Bloodkin, Stef Chura, Bettye LaVette, Booker T. Jones, Lee Bains, Olivia Tremor Control, Mercyland, Bar-B-Q Killers, and Harvey Milk to name a few. Barbe's most recent release '10th of Seas' (Orange Twin) was released to high critical praise. He has most recently finished recording projects with Stef Chura, Shehehe, and Drive-By Truckers.

Mike Silverman (a.k.a. That 1 Guy) is a classically trained bassist. From the age of 15, this gifted musician seemed destined for a musical career his parents could be proud of: playing bass in promising ensembles, winning a Dave Brubeck Jazz Scholarship competition, studying classical upright at the San Francisco Conservatory of Music and jazz bass at Los Medanos College. But at some point on the path to respectable mainstream success, something went fantastically wrong.

In 2003, Silverman wrote, recorded, produced and mastered the debut album from his demented alter ego That 1 Guy -- a magnificently insane one-man show that has been making waves across America since the late '90s. He made the record with an unwieldy homemade instrument called The Magic Pipe, wrote songs called "It's Raining Meat" and "Weasel Potpie," and titled the disc�Songs In The Key Of Beotch. Whatever drove the mild-mannered Silverman to do this is debatable, but one thing is for sure: fans of the musically bizarre will be forever grateful.

That 1 Guy began quickly and unexpectedly, after Silverman finished a gig with his beloved Bay Area group The Fabulous Hedgehogs. After the club owner paid the 5-piece band a meager $50, Silverman joked that the next time around he'd play the show alone. The owner took him up on the offer, and right then and there, That 1 Guy was born. In a fit of experimentation, Silverman removed all his bass strings except for one and picked up a drum machine as accompaniment. That 1 Guy's first show, at Dr. Bombay's in San Francisco's Mission District, was a learning experience. The club had no stage, so Silverman performed standing on the bar, his head touching the ceiling, his microphone plugged into the jukebox. "It was the worst gig ever, yet somehow my greatest musical accomplishment up to that point," Silverman reminisces.

Since that fateful night, Silverman has worked hard on perfecting his one-man show and building the beautiful monstrosity that is The Magic Pipe. Seven feet of galvanized steel and hardware store trinkets, the metallic, one-stringed instrument is brought to life by an array of electronic gadgets. Silverman claims the pipe, "not only has a limitless harmonic and sonic range, but limitless rhythmic possibilities as well."

When That 1 Guy performs live, his imagination is what truly seems limitless. On top of his infectious, innovative style, the artist throws more avant-garde treats into the mix, like impassioned Whodini covers and electrified cowboy boots. His indisputably original show has attracted the attention of a wide range of artists, and as a result, Silverman has shared the stage with the likes of Ani DiFranco, Soul Coughing, Saul Williams, Bob Weir and Ratdog, Yo La Tengo, Fabolous, Drums & Tuba, Naughty By Nature and countless others.

An evening of songs and storytelling, heartstrings and laughter, A Winter's Evening with Ryanhood is a live holiday touring show based on the duo's record, On Christmas, that showcases the high-energy, big-harmony, dueling acoustic guitar approach that Ryanhood fans across the country have come to expect.

Featuring a blend of original holiday compositions, wintry covers, and reworked classics woven together with holiday stories and memories, Ryan David Green and Cameron Hood invite audiences to experience the joy, depth, intimacy, and excitement of the holiday season by sharing A Winter's Evening with Ryanhood.

Named 'Best Group/Duo' in the International Acoustic Music Awards, acoustic-duo Ryanhood got their first break more than a decade ago as street-performers at Boston's Quincy Market. It was there that they were spotted by a college booking agent and thrust into the college touring scene, where Campus Activities Magazine would name them "one of the most requested acts by college buyers all across the country." They've since gone on to perform more than a thousand shows in 46 U.S. states over the past decade, and have shared stages with Jason Mraz, Matt Nathanson, Train, and many more.

And, their star is still on the rise. Ryanhood was recently named the "Discovery of the Year" by John Platt at WFUV in New York City, and was a featured act at Australia's National Folk Festival in 2018.

Their latest album Under the Leaves, sees the pair's lead guitarist Ryan David Green stepping into the role of sole producer, weaving a tapestry of lush strings and rich harmonies. The album, like their shows, is driven by strong acoustic guitar performances and is at turns energetic, hopeful, and quietly moving--a musical invitation to breathe, and to soak in a river of melodies and harmonic hooks.

Cameron Hood, the band's primary lyricist, has waded into those musical rivers with dream-like verses about seeds and forests, breath and wind, and the cycles and seasons that frame our lives. Throughout the album's songs, a question is asked: How do we create meaningful and lasting change in a world filled with division and turmoil? The offer on Under the Leaves is to slow down and face the one thing we have the power to change -- ourselves -- as the duo sings on the album's second track, "the only revolution is the one within."

Green and Hood currently reside in their hometown of Tucson, Arizona, where they have won more than a dozen Tucson Music Awards including "Best Folk Band" and "Best Rock Band" (you can decide for yourself which is most accurate).

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