October 2019

Named among Yahoo Music's "Top 10 Bands to Watch in 2017," The Accidentals' adventure began in their hometown of Traverse City, MI, when Larson, a sophomore cellist, and Buist, a junior violinist, were paired for a high school orchestra event. The gifted young musicians became fast friends and before long, bandmates. Having both grown up in musical families with professional pianists for fathers and vocalists for mothers, their shared influences bounced between classical, jazz, bluegrass, country, alt-rock, and the obscure.

Dubbing themselves after the musical notes that fall outside of a key signature, The Accidentals recorded and released a pair of independent albums in 2012 and 2013, the latter funded by a hugely successful Kickstarter. Their original songs revealed a band with wide-ranging influences but always true to their orchestral roots. National applause and attention followed, as did acclaimed collaborations with some fellow local artists and independent filmmakers. Other career highlights included scoring arrangements for a 75-piece orchestra to accompany them on their original songs as well as arranging pieces for an opera/dance production with Jennifer and Ryan Lott (Son Lux).

The past five years have seen The Accidentals perform over a thousand live shows, including headline dates, festival sets, and shared stages along such diverse acts as Keller Williams, Martin Sexton, Brandi Carlile, Andrew Bird, The Wailers, Joan Baez, and others. 2015 saw the band embark on their first full-scale national tour. Their SXSW debut saw them hailed by Billboard Magazine for "displaying a genre-hopping range of influences and some smart songwriting skills to go with their abundant musical chops."

Now, at long last, The Accidentals unveil their most compelling and finely honed work to date. Co-produced by Buist, Larson, and Dause with engineer Jason Lehning (Mat Kearney, Guster, George Jones, Alison Krauss) at Asheville, NC's Echo Mountain Recording, ODYSSEY sees the band joined by such friends and fans as acoustic guitar maestro Kaki King, bassist -- and fellow Michigander -- Dominic John Davis (Jack White, Beck), Carbon Leaf guitarist Carter Gravatt, Keller Williams and The Decemberists' Jenny Conlee, who spent three days in the studio alongside the band, lending her distinctive organ to a number of the album's key tracks.

"It was a really collaborative process," says Larson. "A lot of these songs had been hashed out at our live shows over the past few years, so we had a very strong idea of what we wanted in the arrangements.

The Accidentals' inviting spirit of shared creativity is perhaps best represented by the album's audacious first single, "KW," showcasing the inimitable guitar work of Keller Williams, whose own virtuosic genre-agnostic approach towards music making inspired the song in the first place.

From the orchestrated rock of "Memorial Day" to the album-closing "Ballad Tendered Gun" -- surprisingly, The Accidentals' first instrumental to be included on an LP -- ODYSSEY is a strikingly dynamic work, both layered and unhurried, bittersweet yet life-affirming. Rich with literary references, whispers of nostalgia, and an unstoppable sense of forward motion, its songs were written independently by Buist and Larson and then arranged and refined by the group, creating a perfect yin/yang between individual introspection and dynamic cooperation, each artist bringing her own unique perspective to the process.

"We rely on each other to create a balance," Buist says. "I think that's the key to this band. Our styles of songwriting and arrangement are very different, so when they come together, they create this variation that couldn't happen any other way."

The goal as ever is to experiment and experience, exploring new ideas and approaches while always staying true to their roots. With ODYSSEY, The Accidentals have conjured a truly one of its kind sound and vision, booming with free-thinking musicality, wisdom, and an understanding that growth is a process, not something that happens overnight. The Accidentals are already moving forward on their amazing journey, rolling down the windows on an open road towards someplace that's both true and transcendent.

"I don't think there are really any limits in terms of genre or instrumentation," Larson says. "We just really enjoy making music that connects."

"For us, it's about the experience and collaboration and trying to learn as much as we can," Buist says. Every day is an opportunity."

It is a true, and nowadays rare, musician who writes lyrics so vulnerable and authentic that an audience is irrevocably captured by the powerful experience of sharing the journey. An album that is essentially an autobiographical account of personal mistakes, change, and growth, offers listeners a chance to reflect on their own experiences and connect with another's story.

With Griffin House's upcoming album, So On And So Forth, it is clear the artist digs deep and offers up his narrative after much reflection. House is now a young family man and artist who is choosing sobriety and celebrating the path to his success, through songs which share his perspective on how people remember the past with rose-colored glasses, how we grow up and realize what we deeply need, and how we must find happiness in ourselves in the present.

"The record has a lot to do with recognizing the ego in one's self and letting it die. It can feel like your whole identity is being wiped away, and you don't even know who you are anymore. For the person singing these songs, holding on to one's own individuality in order to remain special or important in the world has started to became far less important than being content with being a good, decent, and loving person. But old habits die hard," adds House.

The project was tracked last summer at Lakehouse Recording Studios, in Asbury Park, New Jersey. House's ties to Asbury Park go all the back to 2004, when he was invited to tour with Patti Scialfa. His first show in the boardwalk town was opening a show for Scialfa at the Paramount Theatre. It was there that Griffin met her husband, Bruce Springsteen, and all the wonderful characters in their crew and band. Those memories and experiences made returning to Asbury Park over a decade later to record So On And So Forth feel like a full circle moment in his career.

House recorded the essentially live project with no click track and very little overdubbing. Lakehouse owner, Jon Leidersdorff, helped assemble the band. Prior to walking into the studio, House had never met the musicians and had no idea how the songs would turn out. He adds, "The experience ended up being one of the most fun and positive of my career. The process was stress-free and freeing." The resulting album reflects this journey -- a leap of faith with triumphant results.

Recording and performing for over a decade, House has toured with Ron Sexsmith, Patti Scialfa, Josh Ritter, John Mellencamp, Mat Kearney, and The Cranberries. He received early critical acclaim on the CBS Sunday Morning, and his songs have since been featured in countless films and television shows such as One Tree Hill, Army Wives, and Brothers and Sisters. He has also appeared on Late Night with Craig Ferguson. Most recently, CNN Newsroom invited House to perform "Paris Calling," from So On and So Forth, live on the air, and the song has been picked up by radio prior to being serviced. House has released ten albums and continues to headline his own national tours. He lives in Nashville, Tennessee with his wife Jane and their two daughters.

Doug Stone, a contemporary country star, found his mark in music as a lonesome baritone balladeer, although he was very adept at hard-up-tempo country. Doug began at age five learning guitar from his mother an avid singer and guitarist. At age seven he was given the opportunity, by his mother, to open for Loretta Lynn. Life presented Doug a drastic change with the divorce of his mother and father. Doug, as result, moved in with his dad. As his youthful years past, Doug played at skating rinks, local bars or any money making project to help his father make ends meet. In the daytime Doug worked as a mechanic, something else that came to him naturally.

Doug had already past the age of 30 when a Nashville manager paired him up with Epic, his first record label. He debuted in 1990 with the single, "I'd Be Better Off (In a Pine Box)," the first release from his 1990 self-titled debuted album "Doug Stone" for Epic records. This album produced a handful of chart-topping singles. Following these songs was his first number one, "In a Different Light". In addition, the single was nominated for a Grammy Award for Best Country Song. Both this album and its successor, 1991's I Thought It Was You, earned a platinum certification from The Recording Industry Association of America for U.S. shipments of one million copies. Two more albums for Epic, 1992's From The Heart and 1994's More Love, were each certified gold. Stone has charted --twenty-two singles on Hot Country Songs, with his greatest chart success coming between 1990 and 1995. In this time span, he charted eight Number Ones including: "In a Different Light", "A Jukebox and a Country Song", "Too Busy Being in Love", "Addicted to a Dollar, and "Why Didn't I think of That" to name a few, plus fifteen more Top Five singles.

In early 1992, Stone found that one of the arteries in his heart was almost entirely blocked. He underwent quadruple bypass surgery and took time off to recover, just as his third album, "From the Heart," was released. With a gold certification for shipments of 500,000 copies, "From the Heart" included two Number Ones among its four singles: "Too Busy Being in Love" and "Why Didn't I Think of That." The other two singles were "Warning Labels" and "Made for Lovin' You," at No. 4 and No.6 respectively. One month later Stone released an album titled "The First Christmas."

In June 1994 Stone discovered that he was having breathing problems, which were affecting his singing. Doctors at Vanderbilt University's medical center failed to find any problems in his throat. A second consultation revealed a lump in his nostril but amazingly it was not cancerous. While Stone was undergoing treatment, his Greatest Hits, Vol.1 compilation was released in late 1994.This album included the new song "Little Houses, "which debuted on the charts in October 1994 and peaked at No. 7 in early 1995.

Stone made his acting debut in the 1995 film "Gordy." "Gordy," a heartwarming story featured Doug as Luke McAllister, a struggling musician. Gordy paved the way for stone's acting career and as well featured several of his songs. In 2011 Doug moved on to another movie role, "When the Storm God Rides," a Thomas E. Kelly film.

Always the adventurer, in 2000 Doug suffered a broken ankle and a cracked rib after crashing his ultra light plane in Robertson County, TN. An experience that would put him back in the studio recording the self-inspired single "Caught Dead Living", based off of Doug's "larger than life personality", and love for living life to it's fullest.

In April 2012 Doug Stone and Dr. Gerald Murray of Muscle Shoals, Alabama signed a management contract. Murray is the former manager of George Jones and the late Vern Gosdin. In 2014 Doug released the album "Doug Stone 'The Demo's': 20 Years of Life".

Now- 28 years, 8 #1 singles, 15 Top 5 singles, and millions and millions of album sales later- the singer of timeless country hits like "A Jukebox with a Country Song" and "In a different Light" is still running the roads hard performing to dedicated fans all across the nation. With a new record slated for release in the Fall of 2018, Doug Stone continues to produce pure country gold.

For 16 years, Altered Five Blues Band has been winning audiences with a swaggering stomp of bruising, barrelhouse grit. According to Downbeat magazine, frontman Jeff Taylor "sings powerfully" and "Jeff Schroedl's live-wire guitar reaches the high bar of mixed invention and fluidity." Blues Bytes magazine declares the group features "the funkiest rhythm section outside of Memphis."

For its fourth album, Charmed & Dangerous, the Milwaukee-based quintet joined forces with Blind Pig Records, one of the world's premiere blues labels. Produced by multi-Grammy-winner Tom Hambridge, the 13 tracks of original, contemporary blues prove worthy of the recent groundswell of acclaim. American Blues Scene proclaimed the album, "will be making huge waves... one of the year's best!" The title track hit #1 on the Roots Music Report Blues Chart, is in regular rotation on SiriusXM's Bluesville, and won "Song of the Year" at the 2018 Wisconsin Music Awards. The band was nominated for a prestigious Blues Music Award in the category of "Best Emerging Artist Album," and recently won its second WAMI for Blues Artist of the Year.

For a long time, singer, songwriter, and guitarist, Matt Gilmour didn't take life very seriously. He didn't have to. He was in love, young and healthy, and music was in his genes. However, a series of painful and transformative events found him heartbroken, fighting for his life, and facing some serious realizations.

"After I was diagnosed with cancer, something in me changed," Matt shares. "I was fed up with who I was, and I knew I needed to start many things in my life from scratch."

Today, through brave introspection and hard work, Matt has emerged triumphant with his life reclaimed. The English-born, Austin, Texas-based artist is now making music on his own terms with his band of brothers in The Matt Gilmour Band. He's forging his own legacy with a distinct cinematic psych-rock aesthetic and a ground-breaking live performance streaming series.

The Matt Gilmour Band is an interstellar vehicle that plays psychedelic rock with touches of prog, blues, indie, folk, and funk. The band is a collaborative effort under the banner of The Matt Gilmour Band. "There is no way I could do this without the guys. They're amazing musicians and amazing friends," Matt says. In addition to Matt, the band features AJ Vincent on keys, and Danny Coco on drums. The Matt Gilmour Band gigs regionally and nationally, often performing with dazzling light show accompaniment.

Matt was born and raised in England where he grew up watching his father--Pink Floyd guitarist David Gilmour--from the side of the stage as he captivated arena crowds. Eventually, Matt began to solidify his musical chops and forge his own path discovering his identity through traversing a myriad of musical influences. As a signature sound coalesced, and Matt's talents shined through, he began to write compelling compositions. One track he posted online caught the ear of legendary producer/engineer and Steppenwolf guitarist Danny Johnson who invited Matt to Austin to record a solo album. That album, The Grey, snapshots Matt in an intimate bluesy folk setting.

His early time in Austin was humbling for Matt. He found himself a small fish in a big pond. Totally out on his own, he struggled to make a living. And the various bands he put together kept imploding.

Another trying time for Matt occurred when he was diagnosed with cancer at just 26, and he had to move back to England for chemo treatment. In a way, the whole experience galvanized Matt. Upon his full recovery, he returned to the US with a renewed sense of purpose. His clarity of mind showed in his lyrics which became less coded, his band lineups became steadier, and his personal musical vision became more unique.

The Matt Gilmour Band represents a culmination of these profound times of personal and artistic growth. Standouts in the band's current body of work are "Dear" and "Push." The track "Dear" patiently unfolds from an airy piano-driven ballad to a majestic rocker with soaring melodies, cathartic hooks, and a fleet-fingered bluesy guitar solo. The grandly ethereal "Push" boasts an imaginative arrangement that feels like a spiritual journey offering a rousing uplifting message. "That song is about those times when we think can't go any further, and we want to stop or give up. During those times of doubt, I think about my past, and how far I've come, and I feel a second wind. I just push through" Matt says.

These tracks, and others, are produced and recorded in collective collaboration with producer, and close friend, Chris "Frenchie" Smith from Bubble Studios. Chris lives with Matt and some of the guys, and, together, they revel in an intuitive creative consciousness. The recordings are live-band-to-recording-device--with no Pro Tools editing--and favor groove and humanness over sterile quantized perfection.

Up next, The Matt Gilmour Band are concentrating on its innovative series of streaming performances, the band's recorded output, and performing live regionally and nationally. At the moment, Matt says, the band is enjoying a wellspring of creativity. "It feels really like everything is taking off now. There is this wonderful unspoken energy and excitement that's unqualifiable. I am looking so forward to the future," he says.

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Brian and Mike Kasprzak have been playing music together their whole lives. After a long, successful run in the original rock band Mississippi Cactus, the brothers started a side project featuring originals and covers of some of their favorite classic rock and country tunes.

Davina Sowers and the Vagabonds have created a stir on the national blues scene with their high-energy live shows, sharp-dressed professionalism, and Sowers' commanding stage presence. With influences ranging from Fats Domino and the Preservation Hall Jazz Band to Aretha Franklin and Tom Waits, the band is converting audiences one show at a time, from Vancouver to Miami and across Europe. The band's latest recording, 2011's Black Cloud, was named one of the 10 best releases of the year by the Minneapolis Star & Tribune. In 2012 the band performed in 21 states and 6 countries in Europe, and the band is hard at work on a new record (due for release Fall 2013), spending time in the studio between tours.

So much more than just a blues act, DATV's shows are filled with New Orleans charm, Memphis soul swagger, dark theatrical moments that evoke Kurt Weill, and tender gospel passages. Davina's voice and stage presence defy category in a different way. Davina has been compared to Etta James, Amy Winehouse, Janis Joplin, Billie Holiday and Betty Boop, but comparisons don't suffice: Sowers is a true original.

Something unique to this "blues" project is the instrumentation. This rollicking quintet is held together by Sowers' keyboard playing, with acoustic bass, drums, and a spicy trumpet and trombone horn section. The group's focused, clean sound and emphasis on acoustic instruments is novel to both blues and jazz worlds, and sets the show closer to New Orleans than to Chicago. This has set the Vagabonds apart at blues festivals in Thunder Bay, Ontario, Sighisoara, Romania, Sierre, Switzerland, Kemi, Finland, and 2012's New Orleans Jazz and Heritage Festival. Davina and band made their debut at the Monterey Jazz Festival this September. Catch this one-of-a-kind live show while they are in town!

That one. The guy from Trip Shakespeare. The one in The Twilight Hours. John Munson's friend. Jacques Wait's protege.

My musical quest has been continuous. Crazy when I think about how I've been chasing after songs without a break ever since I was a boy. Non-stop. Never ceasing. I've been probing and exploring in my mind, on a guitar, looking for connections, pathways from emotion to sound and back again. I search for ways to crack into the ice box that guards our heart to release poison, release the joy that's in there. And I'll grasp at any little trick, any combination of words and sound that can bring us to happiness, all together at once.

And as corny as it sounds, I want to find the truth. Otherwise what business do I have saying anything into a microphone. I'm like you. I want to understand the universe, where we stand within it. I want to believe that love and kindness are somehow at the base of everything. But all we can ever do is look around corners, watch for light, seek for signs, and try to find some little pieces that feel right and real.

From the first note he sings, George Shingleton doesn't just ask for your attention, he commands it. You sit up and lean in. Then you're blown away by his power.

His body is an amplifier ushering rich, stirring tones from deep within his soul sending them straight to yours.

Shingleton's energy creates a capsule-like environment where he gets lost in the music and takes you with him. It's the kind of experience musicians have tried to hotwire for centuries, the very secret of which Shingleton embodies - that it can't actually be engineered, that it is the product of one's own passion and destiny.

A son of rural West Virginia, Shingleton was raised on traditional gospel music in small country churches. Choir directors encouraged him from a young age to find his voice and let it fill the space between altars and spires, people and pews. That voice, it turns out, would also fill the hollers of the mountains.

He spent more time outside than in, providing the soundtrack to crackling campfires and electrified stages, each performance pushing him closer and closer to realizing his sound. What emerged was a unique blend of gospel, country and Southern rock illustrating the happiness and hardship of hardworking people. Of the believers who thrive on little and don't want for much.

Not one to shy away from a microphone, even though he probably doesn't need it, Shingleton takes you on a modern journey through classic sounds by evoking the dulcet tones of The Allman Brothers, Waylon Jennings and Hank Williams, Jr. His Appalachian twang is wrapped in sonic masteries of choirs, orchestras and bands, all giving life to what he feels.

The integrity of his stories and sound has earned him the respect of other artists, including Darryl Worley, John Michael Montgomery, Bucky Covington, Montgomery Gentry, Charlie Daniels, Bo Bice and Keith Anderson, all of whom have invited him to share their stage.

Shingleton's musical adventure now calls for you to hold his moonshine and watch as the crescendos for which he's most known begin to match his career arc - a not-so-slow burn lighting the path to those who need his anthemic music the most.

Ian Noe draws on the day-to-day life of Eastern Kentucky on his debut album, Between the Country. Recorded in Nashville with unhurried production by Dave Cobb, these 10 original songs introduce a number of complicated characters, diverse in their own downfalls but bound together by Noe’s singular voice.

“I’ve always thought that Eastern Kentucky had a certain kind of sound, and I can’t really explain it any better than that,” he says. “What I was trying to do was write songs that sounded like where I was living.”

The lead track, “Irene (Ravin’ Bomb),” sets the tone for the album, telling the story of an alcoholic woman who fails to conceal her addiction from her family. Throughout the remaining tracks, family relationships are tested, bad decisions are inevitable, and more than a few people meet an untimely end. Titles like “Junk Town,” “Dead on the River (Rolling Down)” and “Meth Head” capture the dramatic situations faced by people in the region.

However, Between the Country is not necessarily an autobiographical album. Instead, Noe absorbed these harrowing experiences through people he’s met or stories he’s heard. Not yet 30, Noe was raised as the oldest of three children in Beattyville, Kentucky, where his parents still live in the house he grew up in. His father is a longtime youth social worker, while his mother has been employed by the same local factory for more than 20 years.

Noe learned to play guitar from his father and grandfather. As a young boy, he adored Chuck Berry’s “Johnny B. Goode” and spent years trying to emulate Berry’s way of playing guitar. Before long, Noe could pick country standards like “I Saw the Light” and “Wildwood Flower.” By his teen years, he gravitated to Bob Dylan and John Prine after discovering them through his family’s music collection. Neil Young soon became another favorite, along with Dwight Yoakam and Tom T. Hall, who hail from the same part of the state.

Noe says, “There’s a silence about Eastern Kentucky. It’s quiet, at least where I was raised. There are a lot of places you can go and write and listen to music and not be bothered.”

All through his childhood, his great aunt often asked Noe if he’d written any songs yet. By 15 or 16, he decided to try. A family friend, who was also a manager at the Dairy Queen where Noe worked in high school, offered to help him book a few shows and get some songs recorded. Although Noe considers them just bedroom recordings now, the discs gave him something to sell when he started playing coffee shops and other small stages around Winchester and Lexington, Kentucky, and a little bit in Ohio.

“For me it was a turning point just getting a few songs that I was happy with. I didn’t understand anything about making a record, or what that meant, when I was 15 or 16,” Noe admits. “It was the farthest thing from my mind, but once I got a couple of songs that I was satisfied with, I just kept going.”

After high school, Noe took an office job close to home instead of enrolling in college. In his early 20s, he relocated to Louisville, hoping to get a band together and write music, but he had to constantly work odd jobs as a subcontractor to make rent. After a year, he briefly returned to the office job back home before finding work on an Eastern Kentucky oil rig – which he considers the best job he’s ever had, outside of music.

Soaked with oil after his 12-hour shifts, Noe never once considered what a career in music would look like. Yet through a mutual acquaintance, his original songs attracted the attention of an artist manager. Impressed with his raw talent, she sent him an email of encouragement, which ultimately led to a working relationship. Since that time, Noe has opened multiple dates for kindred spirit Colter Wall, tapping into an audience that appreciates the sincerity and austerity in Noe’s original songs, too.

Noe received another stamp of approval in February 2019 after singing at a John Prine tribute concert at the Troubadour in Los Angeles – with Prine himself in the crowd. Staged the night before the Grammys, Noe’s performance led to an offer to open three shows for his musical hero. As Noe puts it, “I’ve sat around my whole life thinking about what that would be like.”

Although touring is imminent, Between the Country serves as a potent snapshot of home. The black-and-white cover photo alludes to a lyric in the title track but Noe believes it also illustrates the album as a whole. It’s the same approach that Lucinda Williams employed on her landmark 1998 album, Car Wheels on a Gravel Road, which Noe cites as one of his all-time favorites. “If you have a collection of songs where the subject matter is pretty much the same, and it’s coming from the same place, I think it’s important to have some kind of picture that reflects that. I’ve always felt that way,” he says.

Noe now lives in Bowling Green, Kentucky, about an hour north of Nashville, where his bandmates are based. After years of writing songs alone and playing solo acoustic sets, he now prefers touring with a band, making it possible to carry the overall mood of Between the Country out on the road as well. After all, he and Cobb recorded the album live on the floor, completing the sessions in two days. Amid these uncluttered arrangements and a relaxed vibe, Noe’s evocative voice truly stands out.

“I wanted a warm sound – that analog sound,” Noe says. “When we were getting the rough mixes going, that’s how it sounded, and that’s the direction it went in. You want people to be able to hear what you’re saying and what you’re singing about, and I think analog makes a good song stand the test of time.”

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Trashcan Sinatras were formed in 1987 in the coastal town of Irvine, Scotland, by John Douglas, Paul Livingston, David Hughes, Stephen Douglas and Francis Reader. Quickly signed to esteemed British indie label Go!Discs, the group used its label advance to set up their own recording studio, Shabby Road, in nearby Kilmarnock, where they settled in to create three critically- acclaimed albums.

The first of these, Cake, was released in the summer of 1990 and featured debut single "Obscurity Knocks" and its follow-up "Only Tongue Can Tell", both of which became alternative radio hits in the USA, and introduced the group to what has become a loving and loyal fan base around the world. Their beloved second album, I've Seen Everything, came along in 1993, preceded by the lauded single "Hayfever." The group's next album, 1996's self-produced A Happy Pocket, featured four singles, including the band's much-loved cover of "To Sir, With Love".

After leaving Go! Discs in 1998, the group kept a low profile until the release of their fourth album, Weightlifting, in the autumn of 2004. Extensive touring in support of that album followed, with shows in the UK, Europe, USA, Japan and Australia. In winter 2007/2008, they record a fifth studio album, In the Music, at Stratosphere Sound in Manhattan and on Martha's Vineyard. The group celebrated the album's release in 2009 with concerts and promotional appearances over the next two years in the United States, Japan and the United Kingdom. It was during the In the Music tours that the band began playing "house parties" for fans, which have since become a staple of their touring schedule.

In early 2015, the group set up camp with producer Mike Mogis (Bright Eyes, Justin Townes Earle, First Aid Kit, Rilo Kiley) at his ARC Studios in Omaha, Nebraska to record their sixth LP. Released in April 2016, the album, Wild Pendulum, received a warm welcome from music critics and fans. The A.V. Club said "Wild Pendulum is lovingly crafted, with layers in all the right places," while Allmusic exclaimed the album is "quite likely the best sophisticated guitar pop album anyone is likely to hear in 2016." The band returned to the road for the first time in five years, supporting the release with concerts in the United States, Scotland, England, Ireland and Japan.

Paul, John and Francis hit the road as a three-piece unit in September 2017 for a six week acoustic tour of North America, playing nearly all of the 100+ songs they had written together over the last 30 years. The tour included sold-out shows in New York City and Los Angeles, amongst others, and was capped off with a second sell-out in Los Angeles, where the group filmed the show for a live CD/DVD, All Night In America (released in October 2018).

Trashcan Sinatras toured again in 2018, in both their acoustic and full-band configurations. A 30 date North American acoustic "One Night, Two Albums" tour, where they played Cake and I've Seen Everything in their entirety, was followed by a full-band supporting slot in the UK with Del Amitri, as well as their own headline shows in the UK and elsewhere.

In 2019, the band is beginning the creative process for a new album, while its acoustic lineup reprises the "One Night, Two Albums" tour concept. Spanning North America for six weeks in the Fall, the band will play both A Happy Pocket and Weightlifting (celebrating its 15 year anniversary) in their entirety.

Everything in Jon McLaughlin's life makes its way into his music, whether he's conscious of it or not. The artist, raised in Indiana and based in Nashville, brings all of his experiences and beliefs into each song he creates, something that is especially true now that he's the father of two young girls.

Jon released his debut album, Indiana, in 2007 on Island Def Jam, attracting fans with his heartfelt, hook-laden songwriting and impassioned delivery. He's released five full-lengths in the twelve years since and revealed a true evolution in both his piano playing and singing. He's played shows with Billy Joel, Kelly Clarkson and Adele, collaborated with longtime friend Sara Bareilles, co-written with Demi Lovato and even performed at the Academy Awards in 2008.

Jon's album, Like Us, dropped in October of 2015 via Razor & Tie, and he spent the past few years touring extensively before heading back into his Nashville studio to work on new music. In November of 2018 Jon released his album Angst & Grace which features "Still My Girl" written for his youngest daughter.

Another project started in 2018 is his Dueling Pianos video series. Every episode features a new guest artist and they perform mashups of never been heard arrangements

As with everything he does, Jon's goal is to create connections. He wants to translate his experiences and ideas into music that reaches fans everywhere. His passion for music and playing is evident in each note he plays.

Robert Berry, riding high with his latest release, "3.2-The Rules Have Changed", co-written with keyboardist Keith Emerson has just revealed the members in his stellar four-piece touring band. They're set to begin performing soon. Those who appreciate the artistry of YES, ELP, Keith Emerson, Genesis, Jethro Tull, and the like are in for a real treat. Berry is renowned for his bass and vocal work, as a multi-instrumentalist, and for writing and touring with Emerson, Carl Palmer, Steve Howe (Yes), GTR, and Ambrosia, to name but a few. Rounding out the new touring group are drummer Jimmy Keegan (Spock's Beard), guitarist Paul Keller (Emerson/Palmer), and keyboardist Andrew Colyer (Circuline, Cell15). In addition to the instrumental heavy lifting, all four band members sing -- a rarity in the world of Prog.

Berry, Keegan, Keller and Colyer began live rehearsals in November 2018, and are looking forward to not only performing Keith Emerson great final work, but will also be pulling from Berry's 30-year catalogue of Progressive Rock. Additionally, the sets will draw from Berry's work with Steve Howe, Ambrosia, his solo efforts, and his critically acclaimed songs from various Magna Carta tribute albums which feature the music of YES, ELP, Genesis, and Jethro Tull.

Robert Berry is an American musician, songwriter, and producer. He's co-written with Steve Howe for the band GTR, and is a former Ambrosia band member. He earned international acclaim for his powerful version of the Yes' "Roundabout" for Magna Carta, drawing some to anoint him as a "crafty American version of Trevor Rabin". An honor Berry seems too humble to talk about. Berry and Keith Emerson formed "3" in the 1980's along with Carl Palmer, and had the #9 Billboard hit "Talkin' Bout". Their debut album "To The Power of 3" on Geffen -- a label known at the time for their stable of notable artists such as Peter Gabriel, charted respectably.

In 2015, a Boston radio station unearthed tapes from the 1988 "3" tour, and released them as a live album. After hearing that impressive live performance, Emerson was inspired to reunite with Berry, and the pair resumed work on the unfinished "3" follow up album. Then, with Emerson's tragic passing in 2016, it appeared the new album might be lost but Berry persevered. In the spring of 2018, with the blessing of the Emerson Estate, Berry and Frontiers Music released the long awaited new record. The first official pre-release single, "Somebody's Watching", unleased in May, sparked impressive pre-orders on Amazon. That initial excitement generated 7,000 YouTube views in the first 36 hours, surged to over 12,000 views in the first week and continues to grow. A musical phoenix had indeed risen. The album was released on August 10, 2018, and hit #1 on Amazon, selling out on the first day, and placed in the top tier on two Billboard charts. A pair of videos from the album have over 64,000 cumulative views on YouTube. The new album has met with unanimous positive acclaim internationally, from over 100 magazine articles, blog and website reviews, and FM and internet radio stations interviews.

What if Robert Berry was in YES today, and they were just now writing Roundabout? How would that sound? We got the answer when Berry re-envisioned and re-arranged the song for the Tales From Yesterday album, and it was wickedly fantastic! His series of classic Prog re-workings for Magna Carta Records not only won him international acclaim, but earned him praise from the creators of those songs. Jethro Tull's Ian Anderson reached out with a gracious personal letter expressing how much he enjoyed Berry's re-working of "Minstrel in the Gallery". Berry's friend Steve Howe, wrote that he quite liked the new recording of Yes' "Roundabout", saying that the new bass line "kicks the original all about". Howe even played acoustic guitar on Berry's new version. "Watcher of The Skies" (Genesis) is about as quintessential Prog as anything. To many it's the Holy Grail of the genre, so it's hard to imagine anyone even daring to alter it -- yet the new Berry version is heavier and deeper in many ways. For Emerson, Lake & Palmer's "Karn Evil #9" he pays tribute to his mates Keith Emerson and Carl Palmer, by calling on Dream Theater's Jordan Rudess for Keyboards, along with Drummer Simon Phillips, and Violinist Mark Wood. And let's not forget Berry was a former member of Ambrosia, and he gives us a heavier and punchier version of their classic "Life Beyond L.A." His unmistakable Vocals, Bass and Guitar form a clear sonic trademark on all five of these re-envisioned songs -- they really are astounding -- and they will all be performed in the band's new live show as well.

3.2 featuring Robert Berry Live is More Than Just a Concert -- It's An Event: With his 30 year history of playing side-by- side with many of Prog and Rock music's elite, Berry has a deep well of enlightening tales to share and his warm personality, spontaneity and approach allow him to appeal to fans of many musical genres. More than just a concert, these shows will have the songs and the road stories and recollections behind those storied songs.

Roots of A Rebellion are a jam band from Nashville, TN playing heavy Reggae-Rock-Dub music for the soul. The band is known for their dynamic live performances showing their progressive sound and energy. Having shared the stage with The Wailers, Rebelution, 311, Slightly Stoopid, moe., North Mississippi Allstars, SOJA, Nahko and Medicine for the People, and more, Roots of A Rebellion proudly represents another side of Music City.

Their current album, "Shapes of a Soul," released in May 2019 and debuted at #1 on the Billboard Reggae Albums chart. It followed the singles, "Shapes of a Soul," "One Thing," and "I Live in Light." It is their third studio album after their 2016 release, "A Brother's Instinct," which debuted at #4 on the Billboard Reggae Charts.

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The Tritonics write, arrange and perform original music written in the Jamaican roots styles of rock steady, ska and reggae. They also cover crucial standards of those genres by artists like Alton Ellis, Delroy Wilson, Toots and the Maytalls, Junior Murvin, Justin Hinds, Lee Scratch Perry, The Jamaicans and many others. In addition, the band reinterpret and revitalize (Ital-ize!) a wide variety of classic rock standards, anointing them in the name of Jah with stripped down, Jamaican roots-style arrangements, one drop-centered rhythm and harmony-heavy vocals.

Pioneers in the use of cello as the sole instrument within a rock band, Rasputina has been inspiring young string players to commit a number of musical sins since 1996. The group's concept was written as a manifesto, and manifested accordingly by directress Melora Creager as a wily subterfuge for a plot to open audiences to adventure. The funny, the sad, the heavy, the tender-- it can all exist together. Employing elaborate costuming spanning a number of historical periods, Rasputina brings marginalized historical female figures and stories to light in the pop form, using archetypal characters such as Indian princesses, Hawaiian handmaidens and Medieval queens. Melora last performed in Europe with Nirvana, on their final tour in 1994. Over the years, Rasputina has performed/recorded with Marilyn Manson, Porno For Pyros, Cheap Trick, Goo Goo Dolls and many others. Hardened road-dogs, and with more than 7 albums under their belt, Rasputina continues to amaze and amuse.

About 'UNKNOWN'- the new Rasputina album:
Melora says, "Unknown' is 14 new songs recorded alone in a dank basement studio. I quite liked it though, that dank basement studio. I didn't feel at all alone. Using only one microphone, the whole album poured out of me in just 3 weeks- writing, recording, the whole thing. "Unknown is a CD only release- non-digital. Why? At one level, this album is about trauma, Melora's trauma at being hacked- silently and anonymously observed through the Cloud. Conceptually, this album doesn't exist on the Internet. It's a real and physical thing. Anyone who purchases it is known to her.

MELORA CREAGER - voice, cello, banjo
Kansas born & raised, she moved to NYC in the 1980s. Melora received classical music training as a child, but her performance career began with rock bands and East Village drag/performance artists. She founded the alternative/ historical cello ensemble Rasputina in 1991 as a way to meet like-minded girls- girls that wanted to rock out on the cello and wear fine costumery. The sound and visual concepts that began in Creager's Rasputina manifestos presaged and influenced movements and trends such as Modern Victorians, Steampunk, freak-folk, corsetry, and crafting. In 19 recordings, and countless public performances, Creager has led a 20 year exploration in cello amplification, recording, and performance.

LUIS MOJICA- piano, beat-boxing
Luis uses the piano to cast, wild narrative spells. His eyes are that of an androgynous monk with rainbow tentacles. Luis loops words, chants, and sounds through a loop pedal AKA beatboxing, 'Beat-Boxing Baroque'. Luis brings his musical madness to Rasputina today.

CARPELLA PARVO- cello, voice
Cello-fingers in flight and with the voice of a bird, Carpella is from another country, but keeps it a secret which one. She played on Rasputina's debut album, Thanks for the Ether (1996), then succumbed to the very condition from which she takes her name- carpal tunnel syndrome. Having healed over 20 years, Carpella jubilantly returns to Rasputina in the 21st century.

Chicago's premiere Soundgarden, Audioslave, & Temple Of The Dog tribute, with spot-in vocals honoring the late, great Chris Cornell.

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The ultimate Stone Temple Pilots experience, built to perform the most captivating, accurate live show since the classic era with Scott Weiland.

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Reliving the classic 90s era of Pearl Jam, with pristine attention to detail to deliver the songs the way you know and love them.