all good news

 
The Wood Brothers
Steve Poltz | @9:30 club | view more info »
Jan
26

The Wood Brothers

Steve Poltz


Wednesday Jan 26|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


The Wood Brothers

official band site »

Proof of vaccination required for entry to all shows at 9:30 Club.


The Wood Brothers didn’t know they were making a record. Looking back, they’re grateful for that.

“If we had known, we probably would have been too self-conscious to play what we played,” reflects bassist/vocalist Chris Wood. “At the time, we just thought we were jamming to break in our new studio, so we felt free to explore all these different ways of performing together without worrying about form or structure. It was liberating.”

Recorded live to tape, those freewheeling, improvised sessions became a vast pool of source material from which The Wood Brothers would go on to draw ‘Kingdom In My Mind,’ their seventh studio release and most spontaneous and experimental collection yet. While on past records, the band—Chris, guitarist/vocalist Oliver Wood, and drummer/keyboardist Jano Rix—would write a large batch of songs and then record them all at once, ‘Kingdom’ found them retroactively carving tunes out of sprawling instrumental jam sessions like sculptors chipping away at blocks of marble. A testament to the limitless creativity of the unharnessed mind, the record explores the power of our external surroundings to shape our internal worlds (and vice versa), reckoning with time, mortality, and human nature. The songs here find strength in accepting what lies beyond our control, thoughtfully honing in on the bittersweet beauty that underlies doubt and pain and sadness with vivid character studies and unflinching self-examination. Deep as the lyrics dig, the arrangements always manage to remain buoyant and light, though, drawing from across a broad sonic spectrum to create a transportive, effervescent blend that reflects the trio’s unique place in the modern musical landscape.

“My brother came to this band from the blues and gospel world, and my history was all over the map with jazz and R&B,” says Chris, who first rose to fame with the pioneering trio Medeski Martin & Wood. “The idea for this group has always been to marry our backgrounds, to imagine what might happen if Robert Johnson and Charles Mingus had started a band together.”

‘Kingdom In My Mind’ follows The Wood Brothers’ most recent studio release, 2018’s ‘One Drop Of Truth,’ which hit #1 on the Billboard Heatseekers Chart and garnered the band their first GRAMMY nomination for Best Americana Album. NPR praised the record’s “unexpected changes and kaleidoscopic array of influences,” while Uncut hailed its “virtuosic performances and subtly evocative lyrics,” and Blurt proclaimed it “a career-defining album.” Tracks from the record racked up roughly 8 million streams on Spotify alone, and the band took the album on the road for extensive tour dates in the US and Europe, including their first-ever headline performance at Red Rocks, two nights at San Francisco’s legendary Fillmore (captured on their 2019 release, ‘Live At The Fillmore’), and festival appearances everywhere from Bonnaroo to XPoNential.


Steve Poltz

official band site »

In 20 years since his full-length solo debut, One Left Shoe, Steve Poltz blessed the world’s ears with thirteen solo records, spanning the acclaimed 2010 Dreamhouse and most recently, Shine On in 2019. NPR summed it up best, “Critics and fans alike now regard Poltz as a talented and prolific songwriter.”

Evoking themes of “hope, love, contemplation, celebration of Wednesday, pharmacists, and the fact that windows are not inanimate objects and they sometimes have conversations with each other,” Shine On represents Steve at his most inspired and insightful. The opener and title track pairs a delicate vocal with lithely plucked acoustic strings as he urges everyone to, “Shine on, shine on.”

 
Greensky Bluegrass
The Infamous Stringdusters | @The Anthem | view more info »
Feb
4

Greensky Bluegrass

The Infamous Stringdusters


Friday Feb 4|doors 5:30 pm|all ages
The Anthem|get directions »
901 WHARF ST SW, WASHINGTON, DC 20024|p: (202) 265-0930


Greensky Bluegrass

official band site »

Click Here for 2-Day Tickets

Proof of vaccination required for entry to all shows at The Anthem.


Since their 2000 formation in Kalamazoo, MI, the quintet—Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [mandolin]—have unassumingly progressed into a phenomenon on their own terms with the undying support of a devout audience. Rolling back and forth across North America on successive tours, they recently sold out 3 nights at Red Rocks, a feat unheard of in their genre. During 2019, All For Money marked their second #1 debut on the Billboard Top Bluegrass Albums Chart and third straight Top 3 entry. They’ve also earned critical acclaim from Billboard, Parade, NPR, and Rolling Stone who hailed them as “representing the genre for a whole new generation.”

As always, the band embrace tradition, while ushering bluegrass forward on their eighth full-length offering, Stress Dreams.

“Greensky is and always has been very unique in our world,” observes Paul. “We put our love, energy, and focus into what we appreciate about our music. We come together as a band in a way that’s organic. We take a lot of pride in how we grow and challenge each other too. We’re maturing together. I think we get more Greensky all of the time.”

They took advantage of the time to become “more Greensky” in 2020. After touring ceased in the face of the Global Pandemic, the band hunkered down and compiled demos individually at first, sharing emails and voice notes. In July 2020, they got together for the first time in four months, dedicating rehearsals to the development of the new material. Once circumstances safely permitted, they recorded what would become Stress Dreams during a session in Gilford, VT and two sessions in Asheville, NC. The band co-produced with frequent collaborator “and old friend” Dominic John Davis (Jack White’s touring and studio bassist) and “wizard engineer” and grammy winning producer Glenn Brown. They preserved the hallmarks of their sound, while widening its expanse. “It didn’t feel like we were squeezing this project into the schedule,” says Mike. “The lack of gigs gave us the freedom to get together solely to work on this. It was a relaxed environment. There wasn’t the pressure of time; the songs got space to breathe.”

“For all of our records, we always take more time to explore and experiment,” Paul elaborates. “We finished ideas and kept going, thinking everything all the way through. We really put energy into each specific song and made it the best it could be.”

The single “Grow Together” blossoms into a patchwork of nimble banjo, acoustic guitar, and mandolin as the dobro (routed through a Marshall amplifier) teems with fuzzy heart. Meanwhile, Paul delivers an intimate live vocal performance capped off by the hook—“That we can grow old together, if we can find the time”— and an evocative electric guitar solo.

“It was the first tune I had written in a really long time,” states Paul. “My daughter was just born. When she was five-weeks-old, I sat down on the floor with her and spit this one out. It was an appreciation for my wife and what it meant to become a father. I had never been so moved in the studio as I was when we recorded it. A lot of my songs have come from an open place of serious personal emotions, but this one was different. Instead of fighting against weakness and pain, it’s romantic, happy, heartfelt, and uplifting.” The opener “Absence of Reason” borders on mystical with its psychedelically-wrung whale moans on the dobro and JJ Cale-inspired fleet-fingered chicken-pickin’, making for what the guys agree is a “positive creative experiment.” Meanwhile, “guitarmonies” uphold the towering refrain of “Monument”—co-written by Anders and Chris Gelbuda.

“‘Monument’ meant more once quarantine happened,” recalls Anders. “It’s about how our lives changed so much when we were locked up at home. We were trying to harness the feeling of everything being taken away in an instant. At the same 6me, the energy reflects the feeling of getting back on stage and playing in front of 10,000 people post-COVID.”

Penned by Mike, the eight-minute tittle track “Stress Dreams” leans into a fascinating 6/8 time signature underscored by piano and an ethereal mandolin-led crescendo.

“It was quite literally about having weird dreams,” says Mike. “There’s a circular pattern to being stressed and repeating your thought process. In our job, we operate with some level of predictability. Our schedule is booked out a year in advance. Once the Pandemic hit, we didn’t know when we would see each other and play again. Now we are playing again, but we don’t know if it’s going to be taken away in a moment’s notice. It gives added value to the present moment. To make music with my friends for five weeks was such a gift. A lot of the album speaks to this.”

The closer “Reasons To Stay” ends the album on a lighthearted and funky note with its surprisingly sexy climax as Paul assures, “You’re just made of reasons to stay.”

“It’s about the physical attributes of the person you’re spending the night with,” Mike goes on. “Paul sings it way sexier than I ever could. If my wife asks, it’s a love song,” he laughs.

In the end, the story of Greensky Bluegrass just keeps getting better as well. “There’s a duality to this band,” Anders leaves off. “On one hand, we improvise and go outside the box on stage. The studio brings out our artistic side. We grow every time we make a record. I hope you hear and see the evolution.” “We just can’t wait to play shows, hug our friends, and play music with other musicians we love and respect,” Paul concludes. “Besides, we’ve got 13 new songs to add to the set list!”


The Infamous Stringdusters

official band site »

The Infamous Stringdusters dig deep into their bluegrass roots for their eleventh full-length record A Tribute to Bill Monroe, made available on Americana Vibes. For this album - which pays homage to the Father of Bluegrass includes songs that shaped them individually, and as a band, and recorded them each remotely from their home studios.

“Bill Monroe was, as far as I can remember, the first bluegrass music I owned,” shared Andy Hall. I asked my uncle for a Bill Monroe CD box set and got it as a birthday present when I turned 18. The sound coming out of my speakers blew my mind, almost like ancient acoustic heavy metal. But then a song like ‘A Voice From On High’ would come on, and even though it was slow, it had this captivating power. The ancient tones.”

The GRAMMY® Award-winning quintet—Andy Falco [guitar], Chris Pandolfi [banjo], Andy Hall [dobro], Jeremy Garrett [fiddle], and Travis Book [double bass]—have musical influences that truly run the gamut, but their common denominator is certainly bluegrass -- the sound that has in essence defined the course of their career.

This particular body of work, the first in a series of bluegrass tribute albums, was an obvious choice in that Bill Monroe truly laid the foundation for bluegrass as we know it today. This particular style of music is still played, and honored, 75 years later and remains a total creative force, something that albeit separated by the devastating impact of Covid-19 on the live music industry, the ‘Dusters (as they’re known to their fans) came together in their truest, most authentic form to create.

The Infamous Stringdusters stand out as the rare group who can team up with contemporary artists on late night television one night and headline the legendary Red Rocks Amphitheatre or perform alongside The Grateful Dead’s Phil Lesh the next, and have recently emerged as proprietors behind their newly found independent record label, Americana Vibes.

Manifesting an actual flock of impassioned fandom, much like those who paved the road before them, the band have attracted a faithful international audience that continues to grow. Moreover, their powerful music and performances paved the way for a GRAMMY® Award win in the category of “Best Bluegrass Album” for 2017’s Laws of Gravity, and a number of International Bluegrass Music Awards in a variety of categories.

Sometimes going back to the roots is where we are most likely to find opportunities for growth and evolution, so A Tribute to Bill Monroe was the catalyst for returning home.

“Once we realized that we were going to be grounded for a good while, we found the best way for us to stay connected musically, as a band spread out around the country, would be to record remotely, each guy from his own home studio,” shared Andy Falco. “The silver lining of it was recording albums [such as Dust the Halls: An Acoustic Christmas Holiday and A Tribute to Bill Monroe) like we always talked about but didn’t have the time to actually do because of our busy touring schedule. The most important thing is for the art to continue, and we are very happy to have been able to create despite our different geographical locations.”

Bill Monroe was most widely known for his mandolin playing, however interestingly enough, the mandolin does not appear once in the Dusters’ interpretation. So, while the nature of Bill Monroe’s bluegrass resides within the spirit of innovation, the Dusters took that same leap of faith in excluding Monroe’s instrument in that they “followed their own path to be innovators in the music they create together,” shared Jeremy Garrett, “along with exploiting the musical foundation they all share.”

This album, like both December 2020’s holiday album and their last pre-pandemic effort, Rise Sun, was self-produced offering the band an opportunity to stay connected musically, together/apart, for which they are grateful.

A Tribute to Bill Monroe is the Infamous Stringdusters telling listeners that they are slowly and continually evolving, by honoring the roots of the music that has shaped them as a band and individually. The songs are meaningful, and the musical parts have become more essential. The Dusters are a brotherhood, but that family extends beyond the band even. And with most of the past year apart (and off), the guys can’t wait to hear what the future has in store for them musically speaking, and the hope is to bring that very musical joy back into people’s lives.

 
Greensky Bluegrass
The Infamous Stringdusters | @The Anthem | view more info »
Feb
5

Greensky Bluegrass

The Infamous Stringdusters


Saturday Feb 5|doors 5:30 pm|all ages
The Anthem|get directions »
901 WHARF ST SW, WASHINGTON, DC 20024|p: (202) 265-0930


Greensky Bluegrass

official band site »

Click Here for 2-Day Tickets

Proof of vaccination required for entry to all shows at The Anthem.


Since their 2000 formation in Kalamazoo, MI, the quintet—Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [mandolin]—have unassumingly progressed into a phenomenon on their own terms with the undying support of a devout audience. Rolling back and forth across North America on successive tours, they recently sold out 3 nights at Red Rocks, a feat unheard of in their genre. During 2019, All For Money marked their second #1 debut on the Billboard Top Bluegrass Albums Chart and third straight Top 3 entry. They’ve also earned critical acclaim from Billboard, Parade, NPR, and Rolling Stone who hailed them as “representing the genre for a whole new generation.”

As always, the band embrace tradition, while ushering bluegrass forward on their eighth full-length offering, Stress Dreams.

“Greensky is and always has been very unique in our world,” observes Paul. “We put our love, energy, and focus into what we appreciate about our music. We come together as a band in a way that’s organic. We take a lot of pride in how we grow and challenge each other too. We’re maturing together. I think we get more Greensky all of the time.”

They took advantage of the time to become “more Greensky” in 2020. After touring ceased in the face of the Global Pandemic, the band hunkered down and compiled demos individually at first, sharing emails and voice notes. In July 2020, they got together for the first time in four months, dedicating rehearsals to the development of the new material. Once circumstances safely permitted, they recorded what would become Stress Dreams during a session in Gilford, VT and two sessions in Asheville, NC. The band co-produced with frequent collaborator “and old friend” Dominic John Davis (Jack White’s touring and studio bassist) and “wizard engineer” and grammy winning producer Glenn Brown. They preserved the hallmarks of their sound, while widening its expanse. “It didn’t feel like we were squeezing this project into the schedule,” says Mike. “The lack of gigs gave us the freedom to get together solely to work on this. It was a relaxed environment. There wasn’t the pressure of time; the songs got space to breathe.”

“For all of our records, we always take more time to explore and experiment,” Paul elaborates. “We finished ideas and kept going, thinking everything all the way through. We really put energy into each specific song and made it the best it could be.”

The single “Grow Together” blossoms into a patchwork of nimble banjo, acoustic guitar, and mandolin as the dobro (routed through a Marshall amplifier) teems with fuzzy heart. Meanwhile, Paul delivers an intimate live vocal performance capped off by the hook—“That we can grow old together, if we can find the time”— and an evocative electric guitar solo.

“It was the first tune I had written in a really long time,” states Paul. “My daughter was just born. When she was five-weeks-old, I sat down on the floor with her and spit this one out. It was an appreciation for my wife and what it meant to become a father. I had never been so moved in the studio as I was when we recorded it. A lot of my songs have come from an open place of serious personal emotions, but this one was different. Instead of fighting against weakness and pain, it’s romantic, happy, heartfelt, and uplifting.” The opener “Absence of Reason” borders on mystical with its psychedelically-wrung whale moans on the dobro and JJ Cale-inspired fleet-fingered chicken-pickin’, making for what the guys agree is a “positive creative experiment.” Meanwhile, “guitarmonies” uphold the towering refrain of “Monument”—co-written by Anders and Chris Gelbuda.

“‘Monument’ meant more once quarantine happened,” recalls Anders. “It’s about how our lives changed so much when we were locked up at home. We were trying to harness the feeling of everything being taken away in an instant. At the same 6me, the energy reflects the feeling of getting back on stage and playing in front of 10,000 people post-COVID.”

Penned by Mike, the eight-minute tittle track “Stress Dreams” leans into a fascinating 6/8 time signature underscored by piano and an ethereal mandolin-led crescendo.

“It was quite literally about having weird dreams,” says Mike. “There’s a circular pattern to being stressed and repeating your thought process. In our job, we operate with some level of predictability. Our schedule is booked out a year in advance. Once the Pandemic hit, we didn’t know when we would see each other and play again. Now we are playing again, but we don’t know if it’s going to be taken away in a moment’s notice. It gives added value to the present moment. To make music with my friends for five weeks was such a gift. A lot of the album speaks to this.”

The closer “Reasons To Stay” ends the album on a lighthearted and funky note with its surprisingly sexy climax as Paul assures, “You’re just made of reasons to stay.”

“It’s about the physical attributes of the person you’re spending the night with,” Mike goes on. “Paul sings it way sexier than I ever could. If my wife asks, it’s a love song,” he laughs.

In the end, the story of Greensky Bluegrass just keeps getting better as well. “There’s a duality to this band,” Anders leaves off. “On one hand, we improvise and go outside the box on stage. The studio brings out our artistic side. We grow every time we make a record. I hope you hear and see the evolution.” “We just can’t wait to play shows, hug our friends, and play music with other musicians we love and respect,” Paul concludes. “Besides, we’ve got 13 new songs to add to the set list!”


The Infamous Stringdusters

official band site »

The Infamous Stringdusters dig deep into their bluegrass roots for their eleventh full-length record A Tribute to Bill Monroe, made available on Americana Vibes. For this album - which pays homage to the Father of Bluegrass includes songs that shaped them individually, and as a band, and recorded them each remotely from their home studios.

“Bill Monroe was, as far as I can remember, the first bluegrass music I owned,” shared Andy Hall. I asked my uncle for a Bill Monroe CD box set and got it as a birthday present when I turned 18. The sound coming out of my speakers blew my mind, almost like ancient acoustic heavy metal. But then a song like ‘A Voice From On High’ would come on, and even though it was slow, it had this captivating power. The ancient tones.”

The GRAMMY® Award-winning quintet—Andy Falco [guitar], Chris Pandolfi [banjo], Andy Hall [dobro], Jeremy Garrett [fiddle], and Travis Book [double bass]—have musical influences that truly run the gamut, but their common denominator is certainly bluegrass -- the sound that has in essence defined the course of their career.

This particular body of work, the first in a series of bluegrass tribute albums, was an obvious choice in that Bill Monroe truly laid the foundation for bluegrass as we know it today. This particular style of music is still played, and honored, 75 years later and remains a total creative force, something that albeit separated by the devastating impact of Covid-19 on the live music industry, the ‘Dusters (as they’re known to their fans) came together in their truest, most authentic form to create.

The Infamous Stringdusters stand out as the rare group who can team up with contemporary artists on late night television one night and headline the legendary Red Rocks Amphitheatre or perform alongside The Grateful Dead’s Phil Lesh the next, and have recently emerged as proprietors behind their newly found independent record label, Americana Vibes.

Manifesting an actual flock of impassioned fandom, much like those who paved the road before them, the band have attracted a faithful international audience that continues to grow. Moreover, their powerful music and performances paved the way for a GRAMMY® Award win in the category of “Best Bluegrass Album” for 2017’s Laws of Gravity, and a number of International Bluegrass Music Awards in a variety of categories.

Sometimes going back to the roots is where we are most likely to find opportunities for growth and evolution, so A Tribute to Bill Monroe was the catalyst for returning home.

“Once we realized that we were going to be grounded for a good while, we found the best way for us to stay connected musically, as a band spread out around the country, would be to record remotely, each guy from his own home studio,” shared Andy Falco. “The silver lining of it was recording albums [such as Dust the Halls: An Acoustic Christmas Holiday and A Tribute to Bill Monroe) like we always talked about but didn’t have the time to actually do because of our busy touring schedule. The most important thing is for the art to continue, and we are very happy to have been able to create despite our different geographical locations.”

Bill Monroe was most widely known for his mandolin playing, however interestingly enough, the mandolin does not appear once in the Dusters’ interpretation. So, while the nature of Bill Monroe’s bluegrass resides within the spirit of innovation, the Dusters took that same leap of faith in excluding Monroe’s instrument in that they “followed their own path to be innovators in the music they create together,” shared Jeremy Garrett, “along with exploiting the musical foundation they all share.”

This album, like both December 2020’s holiday album and their last pre-pandemic effort, Rise Sun, was self-produced offering the band an opportunity to stay connected musically, together/apart, for which they are grateful.

A Tribute to Bill Monroe is the Infamous Stringdusters telling listeners that they are slowly and continually evolving, by honoring the roots of the music that has shaped them as a band and individually. The songs are meaningful, and the musical parts have become more essential. The Dusters are a brotherhood, but that family extends beyond the band even. And with most of the past year apart (and off), the guys can’t wait to hear what the future has in store for them musically speaking, and the hope is to bring that very musical joy back into people’s lives.

 
Psycho Killers (Talking Heads Tribute)
After Party following Greensky Bluegrass at The Anthem | @Union Stage | view more info »
Feb
5

Psycho Killers (Talking Heads Tribute)

After Party following Greensky Bluegrass at The Anthem


Saturday Feb 5|doors 11:30 pm|all ages
Union Stage|get directions »
740 Water Street SW
Washington DC|p: (877) 987-6487


Psycho Killers (Talking Heads Tribute)


After Party following Greensky Bluegrass at The Anthem

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to all shows at Union Stage.


Same as it ever was? Not exactly, but pretty close! Psycho Killers, Talking Heads tribute band, will take you on a musical journey through the expansive catalog of one of the most diverse bands in rock and roll history! Known for their high energy, always changing live shows, Psycho Killers deliver a Once In A Lifetime experience that must be seen to be believed!

 
Cory and the Wongnotes feat. Antwaun Stanley
special guest Sierra Hull | @9:30 club | view more info »
Feb
5

Cory and the Wongnotes feat. Antwaun Stanley

special guest Sierra Hull


Saturday Feb 5|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Cory and the Wongnotes feat. Antwaun Stanley

official band site »

Proof of vaccination required for entry to all shows at 9:30 Club.


Music motivates at the most primal level.

You instinctually hum a tune in order to get pumped up in the morning, for fuel on the treadmill, to soundtrack your commute, or as the pre-game to a big night out. As much as he treasures his roles as a guitarist, composer, and producer, Cory Wong fashions himself “a hype man,” first and foremost. Living up to this classification, he slings a Stratocaster and hurls “dad jokes” from the stage with the same panache, poise, and power.

“For me, it’s all about the listener’s experience,” he explains. “I want them to have a visceral response like: ‘I feel better,’ ‘That was really fun,’ or ‘I got to escape for an hour.’ You’ll hear my voice through the guitar, but I’m just a hype man. To uplift audiences with instrumental music that has no singing or lyrics is a fun challenge. I’m trying to solve the riddle. If I can get one person to feel good this way, it’s a success.

Straight out of Minneapolis, Cory positioned himself as music’s answer to motivational speakers like Tony Robbins since emerging in 2011. Head-spinning rhythm guitar wizardry, technical ebullience, laugh-out-loud jokes, and radiance on stage established him as both a sought-after collaborator and celebrated solo artist alike. He lent his talents to television programs such as The Voice at the dawn of his career. After an impromptu meeting at the weekly jam hosted by Prince’s rhythm section (where the Purple One often either performed or watched), he crossed paths with Vulfpeck who welcomed him as a frequent collaborator and member of the band. Solidifying a fruitful partnership, the group named their most popular instrumental track “Cory Wong,” in tribute. Lighting up the stage in the band everywhere from Red Rocks Amphitheatre to Madison Square Garden, he remains a cornerstone of Vulfpeck’s storied gigs.

“I try to feature the guitar, but I don’t force myself into being the star of every song,” he says. “The instrument plays an appropriate role. It’s not all flash. I’m bringing rhythm to the forefront where it’s not so shreddy. I refer to it as ‘Covert chops.’ I’m doing things that are sneakily hard, but they lay in the cut. I allow the song to breathe and present myself as more of a composer rather than a guitar player.”

In the end, Cory transmits joy in its purest form through the guitar. “The guiding light is to impart a feeling of joy,” he leaves off. “I want people to experience instrumental music in a different way. This is hype. It’s more than just guitar.”


special guest Sierra Hull

official band site »

In her first 25 years alone, singer/songwriter/multi-instrumentalist Sierra Hull hit more milestones than many musicians accomplish in a lifetime. After making her Grand Ole Opry debut at the age of 10, the Tennessee-bred virtuoso mandolinist played Carnegie Hall at age 12, then landed a deal with Rounder Records just a year later. Now 28-years-old, Hull is set to deliver her fourth full- length for Rounder: an elegantly inventive and endlessly captivating album called 25 Trips.

Revealing her profound warmth as a storyteller, 25 Trips finds Hull shedding light on the beauty and chaos and sometimes sorrow of growing up and getting older. To that end, the album’s title nods to a particularly momentous year of her life, including her marriage to fellow bluegrass musician Justin Moses and the release of her widely acclaimed album Weighted Mind—a Béla Fleck- produced effort nominated for Best Folk Album at the 2017 Grammy Awards.

“There’s a lot of push-and-pull on this record, where in some moments I feel like everything’s happening so fast and I wish I could slow it all down so I can really enjoy it,” Hull points out. “But then there are also times where I’m looking forward to the day when the craziness has died down a bit, and life’s a little calmer.”

Made with producer/engineer Shani Gandhi (Kelsea Ballerini, Dierks Bentley, Sarah Jarosz, Alison Krauss), 25 Trips continues the musical journey begun on Weighted Mind, a body of work that built off Hull’s bluegrass roots and ventured into entirely new terrain. But while its predecessor assumed a sparse and stripped-back palette, 25 Trips embodies a far more intricately arranged sound—an effect achieved with the help of peers like guitarist Mike Seal, bassist Ethan Jodziewicz, violinist Alex Hargreaves, and fiddler Christian Sedelmyer, as well as several musicians that Hull has long admired (including bassist Viktor Krauss, guitarist Bryan Sutton, and multi-instrumentalist Stuart Duncan). Along with integrating electric instrumentation and percussion into her material for the first time, Hull dreamed up the album’s eclectic textures by embracing a free-flowing process that often gave way to lightning-in-a-bottle improvisation.

“There were some songs that we created from the ground up, where I’d go in and play by myself, and from there we’d bring in other musicians to add more and more layers,” Hull says. “It was really wonderful to work that way, where we started from a place of mystery and then just let the song show us what it wanted or needed to become.”

Immediately proving the power of that approach, 25 Trips lures the listener into its unpredictable sonic world on the beguiling opening track “Beautifully Out of Place.” With its shifting tempos and gently tempestuous mood, the song was sparked from words of encouragement spoken by Hull’s husband at a time of self-doubt and confusion. “I remember Justin saying to me, ‘I believe in you, so you’re just going to have to learn to believe in yourself,’” she recalls. “That inspired the first line for me, and the song just wrote itself from there.”

Although much of the album bears a rich complexity, 25 Trips also includes moments of stark simplicity that perfectly showcase Hull’s stunning vocal range. On “Everybody’s Talking,” for instance, her luminous vocals quietly capture the frustration of finding clarity in the midst of constant chatter from the outside world. And on “Ceiling to the Floor”—co-written with Kai Welch, a songwriter/musician known for his work with Glen Campbell and Abigail Washburn—Hull spins a tender metaphor from her longtime fear of heights. “I was telling Kai about how when I was little my dad used to try to get me over that fear by holding me up to the ceiling and saying, ‘Just touch it—I’m not gonna let you fall,’” she explains. Featuring a performance from legendary steel-guitar player Paul Franklin, “Ceiling to the Floor” drifts from memory to real-time reflection, slowly unfolding as a nuanced meditation on courage and love.

One of the most unexpected turns on 25 Trips, “Escape” emerges as a delicate collage of hypnotic percussion, otherworldly electric-mandolin tones, and poetic yet plainspoken lyrics (e.g., “I want to escape to a world that’s not closing in”). “I didn’t even have that song on my list for the album, but I played Shani a voice memo and right away she said, ‘I wanna record that,’” remembers Hull, who penned “Escape” with singer/songwriter Angel Snow. “I was a little hesitant since it’s so unlike anything else I’ve done, but in the end it was really exciting to play electric and come up with something in a completely different vein.”

In closing out 25 Trips, Hull shares an especially poignant track titled “Father Time.” “I wrote that song with Mindy Smith after spending a week with my husband and his grandma, after his grandpa had a stroke on Christmas morning,” she says. “His grandma had suffered with Alzheimer’s for years and couldn’t really stay by herself, and through that experience I decided to write about watching my husband take such good care of her, and how that made me love him even more.” With its heavy-hearted melody and choir-like harmonies, “Father Time” shows Hull’s effortless finesse in embedding her music with so many subtle details (including an instrumental reference to “Jingle Bells” tucked into the second verse). “We had our instruments with us at Christmas, so at some point we played ‘Jingle Bells’ for my husband’s grandma,” says Hull. “She can’t remember my name or Justin’s name now, but for some reason ‘Jingle Bells’ stuck, and she still asks for it year- round—it’s the most amazing thing.”

Even as its songs continually shift in genre, encompassing everything from bluegrass to folk-pop to ethereal alt-rock, 25 Trips remains rooted in the sophisticated musicianship that Hull has cultivated almost her entire life. Hailing from the tiny Tennessee hamlet of Byrdstown, she learned to sing from her mother as toddler, took up mandolin just a few years later, and began joining in local bluegrass jams by the young age of eight. With her childhood triumphs including joining her hero and mentor Alison Krauss onstage at the Grand Ole Opry at age 11, she made her Rounder debut with the 2008 album Secrets and promptly garnered the first of many nominations for Mandolin Player of the Year at the International Bluegrass Music Association Awards. In 2016, after a near- decade of consecutive nominations, Hull became the first-ever woman to win the award—then claimed that prize again at the 2017 and 2018 IBMAs. Over the years, Hull has also maintained a rigorous touring schedule, and has made occasional guest appearances with such icons as the Indigo Girls, Garth Brooks, and Gillian Welch.

Marking a bold new era in Hull’s artistic evolution, 25 Trips wholly channels the pure and palpable joy she discovered in the album’s creation—and ultimately illuminates certain truths about the indelible connection between risk-taking and reward. “One of the things I most enjoyed about making this record was getting to show the wide variety of music I love,” says Hull. “I don’t really know what category the album falls in, but I also think that matters less and less. What really matters to me is trusting myself to be who I am, and just putting my voice and my heart out there in the most sincere way that I possibly can.”

 
The Movement
Ballyhoo! | Little Stranger | @9:30 club | view more info »
Feb
10

The Movement

Ballyhoo!
Little Stranger

Thursday Feb 10|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


The Movement

official band site »

Proof of vaccination required for entry to all shows at 9:30 Club.


The Movement has been winning the hearts and minds of alternative-reggae fans since their inception in Columbia, SC in 2003. Drawing inspiration from Sublime, 311, Slightly Stoopid and John Brown’s Body, they’ve made a name for themselves as reggae shapeshifters with a foundation of heavy drum and bass. Today the band consists of founding member, lead vocalist and guitarist Joshua Swain, bassist Jason Schmidt, drummer Gary Jackson, and keyboardist/multi-instrumentalist Matt Goodwin. Their sixth studio album, Ways Of The World, dropped on June 7, 2019, debuting at #1 in the Billboard Reggae Chart, and remained in the Billboard Reggae Top 10 for more than 40 consecutive weeks. The Movement’s new single "Sounds of Summer" feat. Slightly Stoopid was released June 25, 2021. Their seventh full length album is coming in 2022.


Ballyhoo!

official band site »

Little Stranger

official band site »

Born and raised in Philly, crash landed in Charleston, Kevin and John Shields are breaking into previously uncharted waters with their quirky indie hip-hop group, Little Stranger. Between John’s melodic singer-songwriter magnetism, Kevin’s in-your-face delivery, and an overall undeniable groove, this duo is sure to get any audience up and moving. Stylistically reminiscent of Gorillaz and Odelay-era Beck, Little Stranger delivers a fresh take on melodic hip-hop. Every track brings the uniqueness and strangeness that their name implies.

For the past few years, the duo has perfected their live performance by playing over 100 shows per year prior to the coronavirus shutdown. The group also puts a big focus on creating arresting visual experiences through their music videos, their own eccentric television program (LSTV), and in-house graphics. Between their out-of-the-box creative endeavors and an ever-increasing arsenal of new tunes, Little Stranger is poised to make 2021 another slam dunk.

 
Psycho Killers (Talking Heads Tibute)
@Union Craft Brewing | view more info »
Feb
12

Psycho Killers (Talking Heads Tibute)



Saturday Feb 12|doors 7:00 pm|21+
Union Craft Brewing|get directions »
1700 West 41st Street
Baltimore, MD


Psycho Killers (Talking Heads Tibute)

official band site »

Same as it ever was? Not exactly, but pretty close! Psycho Killers, Talking Heads tribute band, will take you on a musical journey through the expansive catalog of one of the most diverse bands in rock and roll history! Known for their high energy, always changing live shows, Psycho Killers deliver a Once In A Lifetime experience that must be seen to be believed!


 
SUSTO
@The 8x10 | view more info »
Feb
13

SUSTO



Sunday Feb 13|doors 7:00 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


SUSTO

official band site »

Mobility has always helped define America. Don't settle for where you start. Find a new town, new coast, or new state of mind -- then make it yours. "We export this idea of getting in your car and going somewhere, trying to find something new, bouncing around," says Justin Osborne. "We live in some strange, crazy times. There is a sense of darkness. But I'm crisscrossing the country, and people are good and fun. There is a lot of beauty everywhere. I think not forgetting that is important."

Osborne is home in Charleston, South Carolina, reflecting on the personal journey and cultural climate that have led to Ever Since I Lost My Mind, the third record and label debut for his acclaimed project SUSTO. The album is a resounding triumph: a mix of new partnerships and collaborations with old friends, all anchored by Osborne's perceptive songs that explore connection, loss, and transience -- and the pain and joy each brings.

"Ever Since I Lost My Mind is very personal. This collection of songs came together over the course of a couple of years, and they all represent different moments," he says. "It felt cathartic writing all of them, and they were also all fun in different ways."

With a rock-rooted sound that doesn't shy away from radio-ready hooks, SUSTO keeps listeners engaged by refusing to occupy an easily defined space. Produced by Ian Fitchuck (Kacey Musgraves, Ruston Kelly) and featuring key input from Osborne's longtime creative sounding board Wolfgang Zimmerman, Ever Since I Lost My Mind defiantly experiments with synth embellishments, Latin heart, guileless folk, and more. Osborne's mellow vocals comfort without losing the ability to surprise -- delicate croons, growls, and occasional screams take turns.

Osborne wrote his first songs as a 14-year-old in small town South Carolina, sneaking time with his late grandfather's parlor guitar that his parents had actually forbidden him and his three rowdy brothers to touch. "So I'd go steal it out of my dad's closet whenever they were out of the house," he recalls. "It only had like three strings on it. I remember figuring out how to do barre chords, and I wrote a three-chord song about a girl I liked." Drawn to music and supported by parents who just hadn't wanted their boys to break a family heirloom, Osborne played in bands throughout high school, military school, and college.

But SUSTO didn't begin until Osborne thought he was walking away from music for good. Burned out after years of self-booking, self-management, and a relentless grind, he had played a farewell show with his then-band and was prepping for a move to Cuba. He set up an online home for SUSTO as a holding tank for demos he couldn't quite bear to toss.

When Osborne moved to Havana as part of a study abroad opportunity, he thought he was abandoning music for anthropology. But the Cuban musicians and artists he befriended had other ideas. They were among the first to see that SUSTO -- and the music that would ultimately fuel it -- captured him too well to remain an afterthought. Re-energized, he returned to the States half a year later and recorded SUSTO's first album. Just after the release of the band's self-titled debut album, Osborne faced a clear choice. "It was a weird moment. I just had to finally quit keeping one foot out of music and dive in. So, I got knuckle tattoos and haven't stopped trying to make this work since then," he says with a laugh. SUSTO's acclaimed sophomore album & I'm Fine Today made it even more clear that music and Osborne were meant to be.

In Latin American cultures, the word susto describes an intense fear understood as a condition of the soul -- an ongoing, spiritual panic attack. All of the letters of susto also appear in Osborne's full name. "SUSTO was this combination of phonetics and meaning -- it felt like me, like a name for myself," he says. "I chose the name SUSTO for the project because the meaning behind the word -- that deep fright -- was something I was experiencing, and songwriting felt like it was helping me cure it by helping me to process what was happening. Personally, it was a time of so many powerful transitions: abandoning my religion, losing touch with my family, and just having a general sense of being lost, without direction."

That nod to transition reverberates loudly throughout Ever Since I Lost My Mind. While SUSTO began as a band and still benefits from collaboration with peers, the new record also positions the project finally and firmly as what it's really always been: Osborne's vision. "I come from a background of being in bands, so it's hard for me to be comfortable taking complete control," he says. "Even being the only person in a promo photo was a hard thing for me to get used to. It's taken years for me to realize what SUSTO should be -- what it really is."

"Homeboy" kicks off the album. Osborne contemplates friends moving on from Charleston over jaunty acoustic guitar that evokes exploratory rambling before heavier electric guitar adds gravity to all the leaving. He didn't want loved ones to go, but then realized that in many ways -- even though Charleston remains home base -- he'd already left. "The whole album deals with these pulling-apart decisions -- not in a negative or a positive way, but in a reflective way," he says.

Sauntering "If I Was" is a lighthearted stroll through different identities and aspirations, followed by the optimistic yearning of "Weather Balloons," buoyed by punchy percussion and keys. Driving "Last Century" revels in timeless bonds revealed by details: "I can see you in the driveway, smiling, licking your left front tooth," he sings.

"Livin' in America" extols beloved U.S. cities and finding the right people in them. It's a self- aware ode, both gently sarcastic and totally sincere -- a timely love letter to a country whose defining quality today is often turmoil. Stripped down "Cocaine" skulks through dark corners, while "No Way Out" lounges in captivity that Osborne has no urge to escape. Gorgeous album closer "Off You" is bright and honest, an intimate moment of clarity mid-transition.

One of Osborne's favorite tracks, "Manual Transmission," was written on a cold day on tour in Norway when he was hounded by homesickness. He plays lead guitar on the track and relished the opportunity to express himself via aching strings in addition to words. "Esta Bien" soars sweetly and entirely in Spanish. "House of the Blue Green Buddha" is a love song that lands because of its whimsical specificity -- details from the home and closeness Osborne and his wife share.

The title track is a stunner: sad but hopeful, content but restless, nostalgic but progressive -- a beautiful encapsulation of the push and pull that shapes the entire record. Osborne's experiences with psychedelics also play a role, both in "Ever Since I Lost My Mind" and the album as a whole. Warned as a child that drugs would make him lose his mind, he now believes in the freedom and self-discovery that can come with letting go in various ways. He is also convinced that some people from his past think he's insane. "They think I'm a crazy hippie, and really, in a lot of ways, I guess I am," he says with a smile. "I feel more loving and more understanding."

That acceptance of himself and others may be SUSTO's defining trait. "I can lose my mind on stage sometimes -- I will break down and cry or have to keep myself from doing it," Osborne says. "I think about my grandad's guitar, all the bands I've been in, and just seeing these people responding to and connecting with the songs..." He trails off before grinning again and adding, "I just feel so incredibly lucky."


 
Doom Flamingo
@Union Stage | view more info »
Feb
18

Doom Flamingo



Friday Feb 18|doors 11:30 pm|all ages
Union Stage|get directions »
740 Water Street SW
Washington DC|p: (877) 987-6487


Doom Flamingo

official band site »

Doom Flamingo is a six-headed synthwave beast with a Jekyll and Hyde element to the songwriting. Top Gun guitar riffs and Miami Beach poolside lounge-vibes, are all at once contrasted with eerie darksynth soundscapes reminiscent of old John Carpenter films.

Doom Flamingo came together organically through friendships and past collaborations in their hometown of Charleston, South Carolina. Dynamic vocalist, Kanika Moore, sets the project into hyperdrive alongside bassist Ryan Stasik, of the prolific rock band Umphrey’s McGee. The sextet features a cast of powerhouse musicians including keyboardist Ross Bogan, Thomas Kenney on guitar, Mike Quinn on sax and drummer Stuart White.


 
Neal Francis
Emily Wolfe | @Union Stage | view more info »
Feb
19

Neal Francis

Emily Wolfe


Saturday Feb 19|doors 7:00 pm|all ages
Union Stage|get directions »
740 Water Street SW
Washington DC|p: (877) 987-6487


Neal Francis

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to all shows at Union Stage.


On his new album In Plain Sight, Neal Francis offers up a body of work both strangely enchanted and painfully self-aware, unfolding in songs sparked from Greek myths and frenzied dreams and late-night drives in the depths of summer delirium. True to its charmed complexity, the singer/songwriter/pianist’s second full-length came to life over the course of a tumultuous year spent living in a possibly haunted church in Chicago. The result: a portrait of profound upheaval and weary resilience, presented in a kaleidoscopic sound that’s endlessly absorbing.

The follow-up to Francis’s 2019 debut Changes—a New Orleans-R&B-leaning effort that landed on best-of-the-year lists from the likes of KCRW, KEXP, and The Current, and saw him hailed as “the reincarnation of Allen Toussaint” by BBC Radio 6—In Plain Sight was written and recorded almost entirely at the church, a now-defunct congregation called St. Peter’s UCC. Despite not identifying as religious, Francis took a music-ministry job at the church in 2017 at the suggestion of a friend. After breaking up with his longtime girlfriend while on tour in fall 2019, he returned to his hometown and found himself with no place to stay, then headed to St. Peter’s and asked to move into the parsonage. “I thought I’d only stay a few months but it turned into over a year, and I knew I had to do something to take advantage of this miraculous gift of a situation,” he says.

Mixed by Grammy Award-winner Dave Fridmann (HAIM, Spoon, The Flaming Lips, Tame Impala), In Plain Sight finds Francis again joining forces with Changes producer and analog obsessive Sergio Rios (a guitarist/engineer known for his work with CeeLo Green and Alicia Keys). Like its predecessor, the album spotlights Francis’s refined yet free-spirited performance on piano, an instrument he took up at the age of four. “From a very early age, I was playing late into the night in a very stream-of-consciousness kind of way,” he says, naming everything from ragtime to gospel soul to The Who among his formative influences. With a prodigy-like gift for piano, Francis sat in with a dozen different blues acts in Chicago clubs as a teenager, and helmed a widely beloved instrumental funk band called The Heard before going solo. Along with earning lavish acclaim (including a glowing review from Bob Lefsetz, who declared: “THIS IS THE FUTURE OF THE MUSIC BUSINESS!”), Changes led to such triumphs as performing live on KCRW’s “Morning Becomes Eclectic,” sharing the stage with members of The Meters at the New Orleans Jazz & Heritage Festival, and touring with such acts as Lee Fields & The Expressions and Black Pumas.

Recorded entirely on tape with his bandmates Kellen Boersma (guitar), Mike Starr (bass), and Collin O’Brien (drums), In Plain Sight bears a lush and dreamlike quality, thanks in large part to Francis’s restless experimentation with a stash of analog synths lent by his friends in his early days at the church. “My sleep schedule flipped and I’d stay up all night working on songs in this very feverish way,” he says. “I just needed so badly to get completely lost in something.” In a move partly inspired by Led Zeppelin’s Houses of the Holy, In Plain Sight takes its title from a track Francis ended up scrapping from the album. “It’s a song about my breakup and the circumstances that led to me living in the church, where I’m owning up to all my problems within my relationships and my sobriety,” says Francis, whose first full-length chronicles his struggles with addiction. “It felt like the right title for this record, since so much of it is about coming to the understanding that I continue to suffer because of those problems. It’s about acknowledging that and putting it out in the open in order to mitigate the suffering and try to work on it, instead of trying to hide everything.”

The opulent opening track to In Plain Sight, “Alameda Apartments” makes for a majestic introduction to the album’s unveiling of Francis’s inner demons. “I started writing that song maybe six years ago, before I got sober,” he says. “I was going through another breakup and getting kicked out of my place, and I had a nightmare about moving into an art-deco apartment that was haunted, where the walls were all shifting around.” A prime showcase for Francis’s piano work, “Alameda Apartments” simulates that dream state in its untethered melodies, luminous grooves, and lyrics that drift from despair to detached curiosity (e.g., “It remains to be seen if the ghosts are all right”). “The craziest thing is that I’d never encountered the name ‘Alameda’ in any time in my life prior to that dream,” says Francis. “It’s bizarre that I even remembered it, especially since you don’t dream very often when you’re getting fucked up.”

On “Problems,” In Plain Sight eases into a brighter and breezier mood, with Francis mining inspiration from early-’70s Sly & the Family Stone and the glistening soft rock of Mirage-era Fleetwood Mac. But in a stark contrast to the track’s radiant synth and rapturous harmonies, “Problems” centers on Francis’s exacting introspection. “It’s about being half-in and half-out of a relationship, and how untenable that is,” he says. “I wrote it at a time when I really couldn’t maintain a relationship, because I had too many issues with myself that needed to be addressed.”

Graced with a smoldering slide-guitar solo from the legendary Derek Trucks, “Can’t Stop the Rain” arrives as the first unabashedly hopeful moment on In Plain Sight. “I wrote that with my buddy David Shaw, who came up with the refrain and this idea that even though life’s going to throw all this shit at you, there’s still so many things to be grateful for,” says Francis. Propelled by the track’s cascading piano lines and wildly soaring vocals, that refrain takes on an unlikely anthemic power as Francis shares a bit of gently expressed encouragement: “You can’t stop the rain/It’s always coming down/It’s always gonna fall/But you’re not gonna drown.”

On the guitar-heavy and glorious “Prometheus,” Francis nods to the Greek myth of the Titan god who stole fire from Mount Olympus and gave it to the humans. As punishment, Prometheus spent eternity chained to a rock as an eagle visited each day to peck out his liver—which then grew back overnight, only to be eaten again the following day in a neverending cycle of torment. “That song came from the lowest ebb of quarantine, when Chicago was literally on fire,” Francis says. “It came to me while I was driving around all these abandoned streets in the middle of the night, and turned into a song about facing my problems with addiction and feeling like I’m chained to this set of compulsions.” Threaded with plainspoken confession (“It’s not in my nature to try to do better”), the track features a sprawling synth arrangement informed by the many hours Francis spent playing the St. Peter’s pipe organ. “I call that section of the song ‘The Pope,’” he says. “It’s this grand, powerful entry that’s sort of sinister, and then it just drops away.”

By the end of his surreal and sometimes eerie experience of living at the church—“I’m convinced that the stairway leading to the choir loft where I used to practice is haunted,” he notes—Francis had found his musicality undeniably elevated. “Because I was forced into this almost monastic existence and was alone so much of the time, I could play as often and as long as I wanted,” he says. “I ended up becoming such a better pianist, a better writer, a better reader of music.” Dedicated to a woman named Lil (the de facto leader of the St. Peter’s congregation), In Plain Sight ultimately reveals the possibility of redemption and transformation even as your world falls apart.

“When I started the process of writing these songs, I was so emotionally out-of-sorts and really kind of hopeless that I’d be able to come up with anything,” says Francis. “But then I sat down and started working, and embraced whatever inspiration came my way. Sometimes it felt like beating my head against a wall, but I tried to trust that it would lead somewhere. The whole thing was like a weird dream—this very strange time of terrible, wonderful isolation.”


Emily Wolfe

official band site »

The second full-length from Emily Wolfe, Outlier is an album built on exquisite tension: an endless push-and-pull between desire and resistance, determination and self-sabotage, the instinctive need to belong and the urge to strike out on your own. For help in channeling that complexity of feeling, the Austin-based singer/songwriter/guitarist explored and obliterated the boundaries of rock-and-roll and modern pop, mining equal inspiration from the likes of Judas Priest and Ariana Grande in her bold but masterful genre-bending. Produced by Michael Shuman of Queens of the Stone Age and Mini Mansions, the resulting body of work finds Wolfe upending the conventions of each genre, ultimately arriving at a guitar-drenched sound that’s wildly unpredictable and immediately magnetic.

The follow-up to her self-titled debut album (a 2019 release produced by Ben Tanner of Alabama Shakes), which featured the single “Holy Roller,” Outlier came to life in Shuman’s garage in Los Angeles, where Wolfe was joined by her longtime bandmates Evan Nicholson (bass) and Clellan Hyatt (drums). After completing basic tracking for the songs, Wolfe and Shuman layered on new and unexpected textures with the help of programmed drums and beautifully warped synth tones.

““Outlier” is a different direction for me musically,” says Wolfe.” I wanted to try something new and different. I wanted to step outside of the blues-rock box and see what else could happen. This record is my attempt at crossing genres between classic '70s rock, '80s pop, '90s grunge, and modern pop elements of today. I wanted to see how far I could push my boundaries musically, while still holding onto my integrity as a guitar player first and foremost. This album is a huge indicator of where I'm headed as an artist — my goal is to create well-crafted rock songs with polished pop production, but stay true to myself as a lover of guitar solos.”

If 2021 weren’t busy enough – landing a label deal; Outlier’s release; the launch of her signature guitar by Gibson/Epiphone; multiple TV sync placements; returning to performing and touring; and writing for her next album – the year may pale in comparison to what’s next in 2022.

 
Dumpstaphunk
PRS Eightlock | @The Hamilton | view more info »
Feb
20

Dumpstaphunk

PRS Eightlock


Sunday Feb 20|doors 6:30 pm|all ages
The Hamilton|get directions »
600 14th Street NW
Washington DC|p: (202) 787-1000


Dumpstaphunk

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to all shows at The Hamilton.


Dumpstaphunk stands out amongst New Orleans' best, cementing themselves as one of the funkiest bands to ever arise from the Crescent City. Born on the Jazz & Heritage Festival stage, and descended from Neville and Meters family bloodlines, these soldiers of funk ignite a deep, gritty groove that dares listeners not to move. Their performances combine ingenious musicianship through complex funk, rock, and jazz arrangements accompanied by soulful melodies and Big Easy traditions.

The band just released their 4th studio album Where Do We Go From Here on April 23, 2021 featuring Marcus King, Trombone Shorty and Chali 2Na, and is now available on double bronze vinyl, CD and all digital platforms. Dumpstaphunk culled material from many different sources over the past few years, creating during downtime and rare off tour cycle stop-gaps at various studios in New Orleans: some songs were born on-the-spot in the studio, others as a drum beat or a groove at sound-check. A few were simply covers that were already in the band’s live repertoire. The songwriting was largely collaborative, with all band-members contributing their own respective stylistic nuances.

For the past 17 years, Dumpstaphunk has earned its reputation as the most well-regarded next-generation New Orleans live powerhouse, the type of band whose live shows attract sit-ins from legends like Carlos Santana, Bob Weir and Trombone Shorty. Alongside Hall, Daniels, Alex Wasily, Ryan Nyther and drummer Deven Trusclair, cousins Ivan and Ian Neville have built upon their family’s iconic NOLA legacy as they’ve transformed Dumpstaphunk into the city’s pre-eminent 21st-century funk-fusion export, resulting in recent career highlights like their July 2019 opening gig for the Rolling Stones on their home turf at the Superdome.

Dueling baselines from Tony Hall and Nick Daniels III set off one of the dirtiest rhythm sections on the planet, while Ivan Neville lights up the Hammond B3 keys and cousin Ian Neville's funky guitar riffs send the groove into overdrive. Dumpstaphunk tosses around lead vocals and four-part harmonies the way Sly & the Family Stone did, but with three studio albums under their belt, Dumpstaphunk stands on the merit of their own material.

Dumpstaphunk has performed at the New Orleans Jazz & Heritage Festival every year since 2001 and continues to tour all over the world. Most recently, before the pandemic the band supported The Rolling Stones in New Orleans, as well as toured with George Clinton & The Parliament Funkadelic for his farewell tour. They have performed on hundreds of festival stages likeJamCruise, Dead & Company’s Playing in the Sand, Lockn Festival, NYC’s Summerstage, and Byron Bay Bluesfest, and you never know who may appear as a guest on stage with the band on any given night. Guest appearances have included Santana, Bob Weir, John Oates, Lucas Nelson, Deen Ween, Blackbyrd McKnight, Jerry Harrison, Marcus King and Nicki Bluhm.


PRS Eightlock

official band site »

 
Lotus
@Baltimore Soundstage | view more info »
Feb
25

Lotus



Friday Feb 25|doors 8:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


Lotus

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to this show at Baltimore Soundstage.


Lotus has always been difficult to define musically; an instrumental jamband that has favored groove-based improvisation instead of gaudy solos and noodling. Influences of classic electronic dance music, funk, post-rock and dance-rock have all made their way into the Lotus sound. Over the years, their unique musical blend helped forge a fresh path in the jamband landscape, influencing many younger bands in the scene. Albums such as their debut studio release, Nomad (2006) have become a touchstone for how to organically fuse elements of electronica with jam music, and the band continues to evolve through each tour and album bringing in new sounds and writing styles. Since their formation two decades ago, Lotus – Mike Greenfield (drums), Jesse Miller (bass, modular synth), Luke Miller (keyboards, guitar), Chuck Morris (percussion) and Tim Palmieri (guitar) – has toured actively throughout the US working their way up from dingy basement clubs to world-class venues such as Red Rocks. They've become festival favorites, playing everything from Bonnaroo, Camp Bisco and Outside Lands to Ultra Music Festival and Electric Forest, building a hyper-loyal following along the way. Lotus also hosts their annual Summerdance Festival in Garrettsville, Ohio. A Lotus live show is an experience, a uniquely crafted and improvised set taking everyone, the crowd and band, on a journey.


 
The Vegabonds
Virginia Man | @Pearl Street Warehouse | view more info »
Feb
25

The Vegabonds

Virginia Man


Friday Feb 25|doors 7:00 pm|21+
Pearl Street Warehouse|get directions »
33 Pearl Street
Washington DC|p: (202) 380-9620


The Vegabonds

official band site »

The Alabama-born, Tennessee-bred Southern rock band, The Vegabonds got their start in Alabama, after meeting while attending Auburn University in 2009 and playing the college circuit across the Southeastern United States. Their popularity quickly burgeoned to the point where they found their fans singing along word-for-word to their first hits like Georgia Fire and “Shaky Hands.” From Ole Miss to South Carolina, students buzzed about The Vegabonds authentic sound and their seemingly effortless ability to bring the house down. Through word of mouth, the group’s fan base rapidly grew, and the guys learned they had something distinctive with their eclectic mix of Southern Rock, Country, and earnest songwriting. Their DIY efforts delivered three full-length albums and an EP before partnering with Blue Élan Records.

With a sound reminiscent of Tom Petty & The Heartbreakers mixed with the grit and twang of the Allman Brothers Band, The Vegabonds deliver a sensational performance with powerhouse guitar riffs and impactful songwriting, night after night. Their hard work and unbridled talents have not gone unnoticed; the group has opened for such notable acts as Lynyrd Skynyrd, Blackberry Smoke, and the late Gregg Allman and delivered rousing performances at festivals like Peach Festival, Sweetwater 420, Magnolia Fest, Sunfest and Taste of Randolph. In addition to countless dates throughout the Southeast, the band has toured Europe three times, played multiple dates in Canada and have visited every corner of the US.

A group of five musicians with myriad influences between them, The Vegabonds are fronted by lead vocalist and songwriter Daniel Allen, with Richard Forehand (lead guitar/vocals), Paul Bruens (bass), Beau Cooper (keys/vocals), and Bryan Harris (drums) rounding out the quintet.


Virginia Man

official band site »

Are they your hometown rapper from the beach? Are they a singer/songwriter from the mountains? Are they the chef of your favorite restaurant in uptown, or your favorite tattoo artist downtown? Truth be told, Virginia Man is anyone. Virginia Man is everyone.

This Virginia Man is a 3 piece rock and roll band from Fredericksburg VA that sings lyrics from the bottom of your heart in songs from your fondest memory. Comprised of Kristian Lietzan (vocalist/guitarist), Jack Rutherford (drums), and Stephen Amoruso (Bass), their music will make you feel like coffee and cigarettes while reading your favorite author at 7:30 in the morning, reminiscing on the 3 course meal you shared with the love of your life the previous evening, they're the silly geese, you always want a party, and they're good people that make music for good people, and that feels good.”

 
The Vegabonds
Easy Honey | @Pearl Street Warehouse | view more info »
Feb
26

The Vegabonds

Easy Honey


Saturday Feb 26|doors 7:00 pm|21+
Pearl Street Warehouse|get directions »
33 Pearl Street
Washington DC|p: (202) 380-9620


The Vegabonds

official band site »

The Alabama-born, Tennessee-bred Southern rock band, The Vegabonds got their start in Alabama, after meeting while attending Auburn University in 2009 and playing the college circuit across the Southeastern United States. Their popularity quickly burgeoned to the point where they found their fans singing along word-for-word to their first hits like Georgia Fire and “Shaky Hands.” From Ole Miss to South Carolina, students buzzed about The Vegabonds authentic sound and their seemingly effortless ability to bring the house down. Through word of mouth, the group’s fan base rapidly grew, and the guys learned they had something distinctive with their eclectic mix of Southern Rock, Country, and earnest songwriting. Their DIY efforts delivered three full-length albums and an EP before partnering with Blue Élan Records.

With a sound reminiscent of Tom Petty & The Heartbreakers mixed with the grit and twang of the Allman Brothers Band, The Vegabonds deliver a sensational performance with powerhouse guitar riffs and impactful songwriting, night after night. Their hard work and unbridled talents have not gone unnoticed; the group has opened for such notable acts as Lynyrd Skynyrd, Blackberry Smoke, and the late Gregg Allman and delivered rousing performances at festivals like Peach Festival, Sweetwater 420, Magnolia Fest, Sunfest and Taste of Randolph. In addition to countless dates throughout the Southeast, the band has toured Europe three times, played multiple dates in Canada and have visited every corner of the US.

A group of five musicians with myriad influences between them, The Vegabonds are fronted by lead vocalist and songwriter Daniel Allen, with Richard Forehand (lead guitar/vocals), Paul Bruens (bass), Beau Cooper (keys/vocals), and Bryan Harris (drums) rounding out the quintet.


Easy Honey

official band site »

 
Lotus
@Baltimore Soundstage | view more info »
Feb
26

Lotus



Saturday Feb 26|doors 8:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


Lotus

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to this show at Baltimore Soundstage.


Lotus has always been difficult to define musically; an instrumental jamband that has favored groove-based improvisation instead of gaudy solos and noodling. Influences of classic electronic dance music, funk, post-rock and dance-rock have all made their way into the Lotus sound. Over the years, their unique musical blend helped forge a fresh path in the jamband landscape, influencing many younger bands in the scene. Albums such as their debut studio release, Nomad (2006) have become a touchstone for how to organically fuse elements of electronica with jam music, and the band continues to evolve through each tour and album bringing in new sounds and writing styles. Since their formation two decades ago, Lotus – Mike Greenfield (drums), Jesse Miller (bass, modular synth), Luke Miller (keyboards, guitar), Chuck Morris (percussion) and Tim Palmieri (guitar) – has toured actively throughout the US working their way up from dingy basement clubs to world-class venues such as Red Rocks. They've become festival favorites, playing everything from Bonnaroo, Camp Bisco and Outside Lands to Ultra Music Festival and Electric Forest, building a hyper-loyal following along the way. Lotus also hosts their annual Summerdance Festival in Garrettsville, Ohio. A Lotus live show is an experience, a uniquely crafted and improvised set taking everyone, the crowd and band, on a journey.


 
Marco Benevento
@Union Stage | view more info »
Feb
26

Marco Benevento



Saturday Feb 26|doors 7:00 pm|all ages
Union Stage|get directions »
740 Water Street SW
Washington DC|p: (877) 987-6487


Marco Benevento

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to all shows at Union Stage.


Over the course of seven studio albums and countless shows around the world, keyboardist Marco Benevento has amassed a devoted fanbase, while drawing praise from tastemakers far and wide. Los Angeles Times has written, “it’s safe to say that no one sees the keyboard quite like Marco Benevento's genre-blind mashup of indie rock, jazz and skewed improvisation," while NPR Music raves that Benevento combines "the thrust of rock, the questing of jazz and the experimental ecstasy of jam," and Rolling Stone praises "the textures and colors available in his keyboards and arsenal of manipulated pedals and effects along with his deceptively rich, catchy melodies and straight-ahead grooves."

Indeed, Marco Benevento’s music covers a wide swath of ground, seemingly connecting the dots in the vast space between LCD Soundsystem and Leon Russell, His songwriting is smart and earthy, yet simultaneously pulsating with dance rock energy. Benevento’s high energy live shows—fronting a three-piece band currently comprised by bassist Karina Rykman and drummer Dave Butler—have led to numerous high profile appearances, ranging from Carnegie Hall to Pickathon. In the studio, he’s collaborated with the likes of Richard Swift (The Shins, Nathaniel Rateliff), Leon Michels (Lee Fields, Freddie Gibbs) and Simone Felice (The Felice Brothers, The Lumineers) among others.

On his latest single, “At The End Or The Beginning,” Marco Benevento dives deep down a psych funk rabbit hole, capturing the current Zeitgeist with lyrics like “We can walk and keep our distance, The whole world changed in an instant,” as it creates a euphoric trance state where listeners can reimagine these troubled times through surrealistic optimism and the pure joy of an irresistible groove.


 
Goose
@9:30 club | view more info »
sold out
Mar
1

Goose



Tuesday Mar 1|doors 6:30 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930
Sold Out


Goose

official band site »

Proof of vaccination required for entry to all shows at 9:30 Club.


Goose, based in Norwalk, CT, is comprised of Rick Mitarotonda (vocals, guitar), Peter Anspach (vocals, keyboards/guitar), Trevor Weeks (bass), and Ben Atkind (drums). Goose’s music is the culmination of a rich history between friends of differing ages and experiences from the same small town in Connecticut, drawn together through a deep love of music and storytelling.


 
Goose
@9:30 club | view more info »
sold out
Mar
2

Goose



Wednesday Mar 2|doors 6:30 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930
Sold Out


Goose

official band site »

Proof of vaccination required for entry to all shows at 9:30 Club.


Goose, based in Norwalk, CT, is comprised of Rick Mitarotonda (vocals, guitar), Peter Anspach (vocals, keyboards/guitar), Trevor Weeks (bass), and Ben Atkind (drums). Goose’s music is the culmination of a rich history between friends of differing ages and experiences from the same small town in Connecticut, drawn together through a deep love of music and storytelling.


 
Dogs In A Pile
@Pearl Street Warehouse | view more info »
Mar
4

Dogs In A Pile



Friday Mar 4|doors 7:00 pm|21+
Pearl Street Warehouse|get directions »
33 Pearl Street
Washington DC|p: (202) 380-9620


Dogs In A Pile

official band site »

Dogs in a Pile is the culmination of a love of music born from the deepest American roots of psychedelia, jazz, fusion, funk, traditional, and rock & roll. Sprung from the rich Asbury Park music scene in New Jersey, their serendipitous convergence has made for the kind of kindred intuition its members had only once dreamed of. Described as “listening to a single moving organism,” the sum of its five parts represents an original journey into the peaks and valleys of psychedelic improvisation, all while remaining reminiscent of so much we love of life and music.

The final iteration of “the Dogs” began with University of the Arts Philadelphia student and Asbury Park veteran Jimmy Law along with his long-time friend Joe Babick, a 4 year veteran of the gifted young musician’s program at the nationally renowned Count Basie Theater in Red Bank, NJ. Lightning struck when they were introduced to Berklee School of Music student and bass player Sam Lucid, who immediately suggested fellow Berklee student and multi-instrumentalist Jeremy Kaplan. The addition of fellow Berklee student and collaborator Brian Murray in 2019 made for the quintessential final piece in the Dogs’ puzzle. Their commonality and love for improvisation by way of bands like the Grateful Dead and Phish, as well as a fervent inclination for the study of jazz, fusion and classical music has helped shape the free-flowing style that is the Dogs. Their unique synergy and joy in creating “music as an atmosphere” equates simply to, as the band would say, “spreading good music and good energy to good people.”


 
Big Something
Kendall Street Company | @9:30 club | view more info »
Mar
11

Big Something

Kendall Street Company


Friday Mar 11|doors 10:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Big Something

official band site »

Proof of vaccination required for entry to all shows at 9:30 Club.


Fusing elements of rock, pop, funk, and improvisation, Big Something takes listeners on a journey through a myriad of musical styles. It's no secret why this group has quickly become one of the most exciting bands to emerge from the Southeast. Huge rhythms paired with soaring guitars, E.W.I (electronic wind instrument), synths, horns and alluring vocal hooks rise to the top of their infectious collection of songs and represent a sound that has landed the band marquee appearances at Bonnaroo, Peach Music Festival, Lock'n, Summer Camp and Electric Forest as well as critical acclaim from the likes of Billboard, Guitar World, Glide Magazine and Jambase.

With 5 full-length studio albums produced by Grammy-nominee John Custer, and even their own Summer music festival The Big What?, the band has carved out their own niche in the live music community and continues to grow nationally with sold out headlining performances throughout the United States. This year the band will release their highly anticipated 6th full-length studio album 'Escape' to celebrate their 10 year anniversary. Featured on Live For Live Music, the first three singles Heavy, The Breakers and Timebomb are all available on streaming platforms world-wide.


Kendall Street Company

official band site »

Kendall Street Company is a jam-alt rock band based out of Charlottesville, Virginia. From late night jam sessions at the University of Virginia to main stages at venues and festivals throughout the country, Kendall Street Company has broken the mold of improvised rock and entered a world of jazz-grass infused psychedelic bliss. The band's musical style embraces mind-altering riffs as well as soulful and jazzy wit, while remaining true to their folksy songwriting roots. With no two shows ever the same, word of mouth has quickly grown a ravenous fanbase eager to hear their favorite studio tracks explored and extended as part of a live community. As seasoned KSC fans can tell you, any one of their songs could easily turn from a fun sing-along to a cacophonous headbanging garage-rock soundscape, before finally resolving into a peaceful ambience. “The Space Race” is Kendall Street Company’s first single off their highly anticipated pop-ambient space opera double LP “The Year the Earth Stood Still,” (set to release summer 2021). Recorded in the midst of the covid 19 pandemic, the record was born as a collective improvisational experiment over a 5 day period in a rural farmhouse studio in Louisa, VA. With imaginations running wild and sessions lasting through to the wee hours of the morning, the record quickly took on a life of its own as a time capsule of the band’s thoughts, feelings, and creative drive in a year of great uncertainty over their own future, and that of humanity at large.

Averaging over 100 shows per year since 2013, the band is currently comprised of Louis Smith [Acoustic guitar, vox], Brian Roy [Bass], Ryan Wood [Drums], Ben Laderberg [Electric guitar], and Jake Vanaman [Saxophones, keys]. For such a young band, their accomplishments are commendable. Kendall Street has performed at festivals such as Lockn’, Roosterwalk, Floydfest, Resonance, and Domefest and has opened for acts such as Pigeons Playing Ping Pong, Papadosio, Umphrey’s McGee, Tauk, and Leftover Salmon. All the while, the band has proudly released myriad records, EPs, and singles to national acclaim.

 
Carbon Leaf
@The Recher | view more info »
Mar
18

Carbon Leaf



Friday Mar 18|doors 7:00 pm|all ages
The Recher|get directions »
512 York Road
Towson, MD|p: (410) 337-7178


Carbon Leaf

official band site »

“The Gathering series is all about building community,” says Carbon Leaf frontman Barry Privett. “It’s an invitation to reach out and embrace the gifts of human connection.”

That’s no mean feat given the deep divisions that have defined the past few years of American life, but Carbon Leaf has always punched above their weight, defying the odds at every turn and redefining what’s possible for a modern indie band in the process. The group’s extraordinary new mini-album, Gathering 2: The Hunting Ground, is no exception. Recorded at the band’s own studio in Richmond, VA, the collection marks the second installment of the four-part Gathering series, which finds the long-running quintet stripping their sound back to its organic, acoustic core as they grapple with grief and loss, anger and pain, unity and independence.

Founded in 1992, Carbon Leaf, built a devoted cult following with their first three albums, but it was 2001’s Echo Echo that truly brought the band to national attention, with lead single “The Boxer” earning them a performance in front of millions at the American Music Awards. After years of grinding it out on the road (both as headliners and as guests on bills alongside the likes of Dave Matthews Band, O.A.R., and Guster), the band signed with Vanguard in 2004 for Indian Summer, which yielded a Top 5 hit at AAA radio and garnered rave reviews. While the group would release two more albums with Vanguard, it soon became obvious that independence was an integral part of their DNA, and they returned to their DIY roots in 2010. Acting as their own label, distributor, and manager, the band cut new versions of all three Vanguard albums, launched their own festival, and began releasing a series of direct-to-fan concert films, livestreams, and studio records.


 
Satsang
Tim Snider & Wolfgang Timber | @Pearl Street Warehouse | view more info »
Mar
20

Satsang

Tim Snider & Wolfgang Timber


Sunday Mar 20|doors 7:00 pm|21+
Pearl Street Warehouse|get directions »
33 Pearl Street
Washington DC|p: (202) 380-9620


Satsang

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to this show at Pearl Street Warehouse.


Written and recorded during an extended hiatus from the road, Satsang’s extraordinary new album, ‘All. Right. Now.,’ finds frontman Drew McManus reconnecting with his Montana roots and exploring a whole new palette of sounds and textures, drawing on classic country and modern Americana to forge a joyful, rustic collection all about letting go and living in the moment. McManus produced the album himself, and while the songs here are certainly honest and deeply personal, they’re written in a spiritual language that taps into something far more universal, something inherent in the human condition that binds us as brothers and sisters on a shared journey to find ourselves and our place in this world. The performances and arrangements are broad and spacious to match, reflecting the wide-open fields and soaring mountains that surrounded the band during the whirlwind recording process, and the result is a lush, organic collection fueled by acoustic guitars, fiddle, and pedal steel, a warm, inviting record that hints at everything from Uncle Tupelo and The Jayhawks to Gregory Alan Isakov and The Head and the Heart as it meditates on the power—and the pull—of home.


Tim Snider & Wolfgang Timber

official band site »

For years Tim Snider has been touring the world non-stop as the renowned violinist for the American band Nahko and Medicine for the People. Performing to sold-out crowds in amphitheaters like Red Rocks and The Greek to stadiums like Suntrust Park – Atlanta, GA and Rogers Centre – Toronto, Canada. He has performed at some of the world’s biggest festivals, Bonnaroo, Byron Bay Blues, Caliroots, Glastonbury, and been direct support for Zack Brown Band, Dispatch, Rebelution, and Xavier Rudd. Now he is working on a brand new record and getting ready to hit the road with his new band, Tim Snider & Wolfgang Timber.

Tim not only plays violin but loops guitar, percussion, and vocals into a sound that has been described as a “world-folk hybrid, aimed at the heart the head and the feet.” His individual style of folk-fusion and conscience rock will leave you dancing with a new sense of purpose. He is no stranger to the frontman role having toured his original music in venues and festivals throughout Europe, Australia, Brazil, and North America. He has worked with Trevor Hall, Mike Love, Nahko, Satsang, Talib Kweli, Dispatch, Hirie, Cas Haley, and countless others.

 
Railroad Earth
@9:30 club | view more info »
Mar
24

Railroad Earth



Thursday Mar 24|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Railroad Earth

official band site »

Rescheduled from 1/7/22. Tickets for previous date will be honored


There’s a great scene in The Last Waltz – the documentary about The Band’s final concert – where director Martin Scorsese is discussing music with drummer/singer/mandolin player Levon Helm. Helm says, “If it mixes with rhythm, and if it dances, then you’ve got a great combination of all those different kinds of music: country, bluegrass, blues music, show music…”

To which Scorsese, the inquisitive interviewer, asks, “What’s it called, then?” “Rock & roll!”

Clearly looking for a more specific answer, but realizing that he isn’t going to get one, Marty laughs. “Rock & roll…”

Well, that’s the way it is sometimes: musicians play music, and don’t necessarily worry about where it gets filed. It’s the writers, record labels, managers, etc., who tend to fret about what “kind” of music it is.

And like The Band, the members of Railroad Earth aren’t losing sleep about what “kind” of music they play – they just play it. When they started out in 2001, they were a bunch of guys interested in playing acoustic instruments together. As Railroad Earth violin/vocalist Tim Carbone recalls, “All of us had been playing in various projects for years, and many of us had played together in different projects. But this time, we found ourselves all available at the same time.”

Songwriter/lead vocalist Todd Sheaffer continues, “When we started, we only loosely had the idea of getting together and playing some music. It started that informally; just getting together and doing some picking and playing. Over a couple of month period, we started working on some original songs, as well as playing some covers that we thought would be fun to play.” Shortly thereafter, they took five songs from their budding repertoire into a studio and knocked out a demo in just two days. Their soon-to-be manager sent that demo to a few festivals, and – to the band’s surprise – they were booked at the prestigious Telluride Bluegrass Festival before they’d even played their first gig. This prompted them to quickly go in and record five more songs; the ten combined tracks of which made up their debut album, “The Black Bear Sessions.”

That was the beginning of Railroad Earth’s journey: since those early days, they’ve gone on to release five more critically acclaimed studio albums and one hugely popular live one called, “Elko.” They’ve also amassed a huge and loyal fanbase who turn up to support them in every corner of the country, and often take advantage of the band’s liberal taping and photo policy. But Railroad Earth bristle at the notion of being lumped into any one “scene.” Not out of animosity for any other artists: it’s just that they don’t find the labels very useful. As Carbone points out, “We use unique acoustic instrumentation, but we’re definitely not a bluegrass or country band, which sometimes leaves music writers confused as to how to categorize us. We’re essentially playing rock on acoustic instruments.”

Ultimately, Railroad Earth’s music is driven by the remarkable songs of front-man, Todd Sheaffer, and is delivered with seamless arrangements and superb musicianship courtesy of all six band members. As mandolin/bouzouki player John Skehan points out, “Our M.O. has always been that we can improvise all day long, but we only do it in service to the song. There are a lot of songs that, when we play them live, we adhere to the arrangement from the record. And other songs, in the nature and the spirit of the song, everyone knows we can kind of take flight on them.” Sheaffer continues: “The songs are our focus, our focal point; it all starts right there. Anything else just comments on the songs and gives them color. Some songs are more open than others. They ‘want’ to be approached that way – where we can explore and trade musical ideas and open them up to different territories. But sometimes it is what the song is about.”

So: they can jam with the best of them and they have some bluegrass influences, but they use drums and amplifiers (somewhat taboo in the bluegrass world). What kind of music is it then? Mandolin/vocalist John Skehan offers this semi-descriptive term: “I always describe it as a string band, but an amplified string band with drums.” Tim Carbone takes a swing: “We’re a Country & Eastern band! ” Todd Sheaffer offers “A souped-up string band? I don’t know. I’m not good at this.” Or, as a great drummer/singer/mandolin player with an appreciation for Americana once said: “Rock & roll!”


 
Dark Star Orchestra
@The Anthem | view more info »
Mar
25

Dark Star Orchestra



Friday Mar 25|doors 6:30 pm|all ages
The Anthem|get directions »
901 WHARF ST SW, WASHINGTON, DC 20024|p: (202) 265-0930


Dark Star Orchestra

official band site »

Performing to critical acclaim for over 20 years and over 3000 shows, Dark Star Orchestra continues the Grateful Dead live concert experience. Their shows are built off the Dead's extensive catalog and the talent of these seven fine musicians. On any given night, the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra's members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.

Dark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It's about a sense of familiarity. It's about a feeling that grabs listeners and takes over. It's about that contagious energy...in short, it's about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show. Dark Star Orchestra has performed throughout the entire United States, including a sold out debut at Colorado’s Red Rocks Park & Amphitheater, plus shows in Europe and the Caribbean with the band touching down in seven different countries. DSO continues to grow its fan base by playing at larger venues for two and even three-night stands, as well as performing at major music festivals including Bonnaroo, Milwaukee's SummerFest, The Peach Music Festival, Jam Cruise, Wanee Festival, SweetWater 420 Festival, Mountain Jam, and many more.

In addition to appearing at some of the nation's top festival, Dark Star Orchestra hosts its own annual music festival and campaign gathering, titled the "Dark Star Jubilee", currently in its eighth year where DSO headline all three nights and are joined by a mix of established and up and coming national touring acts. Beyond the shores of the United States, DSO has taken its internationally-acclaimed Grateful Dead tribute to the beaches of Jamaica in the dead of winter for the past six years, with their event appropriately titled 'Jam in the Sand'. Featuring an ocean-side stage, DSO sets up camp to perform shows for four nights along the tropical sands of an all-inclusive resort, selling out the event each year for hundreds of lucky attendees.

Fans and critics haven't been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from six original Grateful Dead members Phil Lesh, Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-MacKay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, Peter Rowan, Ramblin' Jack Elliot and many more.

"For us it's a chance to recreate some of the magic that was created for us over the years," keyboardist and vocalist Rob Barraco explains. "We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheads who can say they've been to a hundred shows in the 90s, we offer something they never got to see live."


 
The Soul Rebels
@9:30 club | view more info »
Mar
26

The Soul Rebels



Saturday Mar 26|doors 10:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


The Soul Rebels

official band site »

Eight men pick up shiny brass and drum instruments, lock into an unspoken groove and rotate genres like your favorite playlist shifting from funk, jazz and R&B to hip-hop and beyond. With fire, focus and fluidity, New Orleans-bred staple THE SOUL REBELS expand musical boundaries with an unwavering commitment to originality and innovation through genre-bending songs and collaborations.

Brass sensation The Soul Rebels are riding high in 2021 after receiving national attention following the release of their new album, Poetry In Motion. The eight-member collective appeared on Def Jam artist Dave East and Nas’ “Godfather 4” single, Big Freedia and Icona Pop’s “Pipe That”, and reached fans with original singles “Greatness” featured as ESPN's official College Hoops theme anthem, and “Good Time” featured on Netflix’s #BlackAF and Dad Stop Embarrassing Me!

The Soul Rebels have impressed viewers with two recent appearances on The Late Show with Stephen Colbert, featured on NPR's Tiny Desk series with Wu Tang Clan front man GZA, headlined the global TED Conference, and appeared on the official soundtrack for Universal Pictures' hit comedy Girls Trip.

On the heels of their new supergroup with The Wu Tang Clan, The Soul Rebels continue to expand their international reach touring four continents including Europe, Australia, China, South Korea and Japan. Their explosive stage presence has led to live collaborations with the likes of Katy Perry, Nas, G-Eazy, DMX, Robin Thicke, Macy Gray, Portugal. The Man, Robert Glasper, Big Freedia, Macklemore & Ryan Lewis and Matisyahu.

The Soul Rebels started with an idea - to expand upon the pop music they loved on the radio and the New Orleans brass tradition they grew up on. They took that tradition and blended funk and soul with elements of hip hop, jazz and rock all within a brass band context. The band has built a career around an eclectic live show that harnesses the power of horns and drums in a deep pocket funk party-like atmosphere. The Soul Rebels continue to chart new territory as they feature in major films, tour globally, and combine topnotch musicianship with songs that celebrate dancing, life, funk and soul.


 
Southern Avenue
@Pearl Street Warehouse | view more info »
Mar
30

Southern Avenue



Wednesday Mar 30|doors 7:00 pm|21+
Pearl Street Warehouse|get directions »
33 Pearl Street
Washington DC|p: (202) 380-9620


Southern Avenue

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to all shows at Pearl Street Warehouse.


Memphis-based, GRAMMY®-nominated Southern Avenue inked their first record deal with legendary Stax Records in 2016. The first Memphis band signed to Stax in over 40 years, their self-titled debut was an immediate phenomenon, reaching #1 on iTunes’ “Top Blues Albums” chart before being honored with the 2018 Blues Music Award for “Best Emerging Artist Album.” 2019’s KEEP ON proved an even greater success, debuting among the top 5 on Billboard’s “Top Blues Albums” chart amidst worldwide critical acclaim, ultimately earning Southern Avenue their first GRAMMY® Award nomination, for “Best Contemporary Blues Album”.

In addition to the early success that the band has had with their recordings, they have also found a home on the road. The band has performed in 15 countries on three continents and averages over 150 shows in a typical year, making the group one of the most sought-after live performance experiences. Their high-energy shows have captivated audiences around the globe, making this eclectic group a must-see at venues and festivals alike.


 
Toubab Krewe
@The 8x10 | view more info »
Mar
30

Toubab Krewe



Wednesday Mar 30|doors 7:00 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Toubab Krewe

official band site »

Some music cannot be found on a map or within iTunes categories. Some music is so original it seems snatched from the great, invisible substrata that runs below all human activity, a sound aching to be born without a flag or fixed allegiance – free, questing, overflowing with immediate, tangible life. This is the music of Toubab Krewe, the vibrant Asheville, NC-based instrumental powerhouse that creates a sonic Pangaea that lustily swirls together rock, African traditions, jam sensibilities, international folk strains and more. While nearly impossible to put into any box, it takes only a few moments to realize in a very palpable way that one is face-to-face with a true original who recognizes no borders in a march towards a muscular, original, globally switched-on sound.

Formed in 2005, Toubab Krewe has tenaciously honed their craft through relentless touring and a fierce dedication to carving out something they can truly call their own. The fruits of this hard work can be heard on their latest release, STYLO, (March 2nd, 2018). What Justin Perkins (kora, kamelngoni, guitar, percussion), Terrence Houston (drumset), Drew Heller (guitar, organ), Justin Kimmel (bass, keys), and Luke Quaranta (djembe, dunun, sangban, kenkeni, kryn, karenye) have wrought on STYLO reflects the many miles and musical journeys that have transpired since their last studio album, TK2.

This is a band that actively draws inspiration from whatever source floats into their purview, something they've exhibited in their decade and a half of heavy gigging, including regular appearances at major U.S. festivals like Bonnaroo, High Sierra, Electric Forest, Wakarusa, Hulaween, and abroad at such legendary gatherings as the Festival In The Desert in Essakane, Mali, Shanghai World Music Festival, and Jam Cruise. Whether on their own or collaborating with luminaries like the Last Poets' Umar Bin Hassan, Uncle Earl's Rayna Gellert, or Weedie Braimah, Toubab Krewe has already earned the attention and respect of a broad musical community.

Toubab carries echoes of African greats like Ali Farka Toure, Orchestra Baobab and Salif Keita, no doubt picked up during the group's travels to study and live in Guinea, Ivory Coast and Mali. But what truly differentiates Toubab Krewe from other Statesiders inspired by African music is how they innovate on what they've learned instead of simply recreating tradition. Toubab Krewe carves out a new trail honoring the African originators they admire by making something alive and contemporary.


 
Lettuce
@Baltimore Soundstage | view more info »
Mar
31

Lettuce



Thursday Mar 31|doors 8:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


Lettuce

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to this show at Baltimore Soundstage.


LETTUCE both feed the rich history of funk and also combine it with strains of hip-hop, rock, psychedelia, jazz, soul, and go-go. The GRAMMY® Award-nominated six-piece—Adam Deitch [drums, percussion, arrangement], Adam “Shmeeans” Smirnoff [guitar], Erick “Jesus” Coomes [bass], Ryan Zoidis [alto, baritone, tenor sax, Korg X-911], Eric “Benny” Bloom [trumpet, horns], and Nigel Hall [vocals, Hammond B-3, Rhodes, clavinet, keyboards]—once again break rules, push boundaries, and uplift on their sixth full-length studio offering, Resonate [Round Hill Records].

To date, their discography comprises Outta Here [2002], Rage! [2008], Fly [2012], Crush [2015], the EP Mt. Crushmore [2016], the live album Witches Stew [2017], and Elevate [2019]. The latter lifted LETTUCE to new heights. Notably, it garnered a 2020 GRAMMY® Award nomination in the category of “Best Contemporary Instrumental Album” and bowed at #1 on both the Billboard Contemporary Jazz Albums Chart and iTunes Top R&B Albums Chart. Elevate also soared to the Top 15 on the Billboard Jazz Albums, R&B Album Sales, and Heatseekers Charts. Not to mention, it put up 3 million streams within six months, and simultaneously received acclaim from BrooklynVegan, Billboard, Rolling Stone, NPR, and more. Throughout 2019, LETTUCE siphoned all of this energy back into the studio. Written and recorded during the same Colorado Sound sessions that spawned Elevate, the band brought Resonate to life alongside iconic producer and engineer Russ Elevado [D’Angelo, The Roots, Erykah Badu]. Lettuce introduces this chapter with the first single “Checker Wrecker” featuring Washington D.C. go-go music legends Big Tony Fisher of Trouble Funk and Tyrone “Jungle Boogie” Williams of Rare Essence.


 
lespecial
@Pearl Street Warehouse | view more info »
Apr
2

lespecial



Saturday Apr 2|doors 7:00 pm|21+
Pearl Street Warehouse|get directions »
33 Pearl Street
Washington DC|p: (202) 380-9620


lespecial

official band site »

lespecial carve their own sonic path in modern music, creating their signature blend of “heavy future groove.” The power trio’s fresh synthesis of varied and divergent influences doesn’t underestimate the listener, reflecting a post-modern cultural climate in which fans have space on their aural palette for J Dilla, Radiohead, King Crimson and Fela Kuti.

Veering from hip-hop to metal, prog to house, pensive indie-rock to apocalyptic dub, leaving room for head banging and hip swaying alike, while still presenting a unified sound and vision.


 
Melvin Seals & JGB
@9:30 club | view more info »
Apr
14

Melvin Seals & JGB



Thursday Apr 14|doors 8:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Melvin Seals & JGB

official band site »

Melvin Seals has been a powerful presence in the music industry for over 30 years with a long-established reputation as a performer, recording artist and producer. Melvin is most revered for his powerful, high-spirited, Hammond B-3 organ, and keyboards in the Jerry Garcia Band. Melvin spun his B-3 magic with the Jerry Garcia Band for 18 years and in doing so helped pioneer and define what has now become "Jam Band Music". From blues to funk to rock to jazz, Melvin Seals serves up a tasty mix with a little R&B and gospel thrown in to spice things up.

Melvin and JGB bring an intuitive, expressive style, soul, spontaneity and remarkable chops to the table. John Kadlecik on lead guitar and vocal duties, John-Paul McLean's savory bass, Jeremy Hoenig on the drums and, of course, a heapin' helpin' of the wizard's magic on Hammond B-3 Organ and keyboards. Their chemistry is the focus from which they create a spontaneous and high art where the sky is the limit musically. They offer an exciting, often psychedelic musical journey that changes nightly and keeps the audience dancing and smiling (and some staring in amazement) for hours.

Adding his rock-gospel-soul-rhythm and blues touch with his funky style of playing, no wonder Jerry nicknamed him "Master of the Universe". Melvin continues to treat music lovers to his unique brand of melodic flavor with JGB. Come see and hear for yourself!


 
El Ten Eleven
Cedric Noel | @Union Stage | view more info »
Apr
15

El Ten Eleven

Cedric Noel


Friday Apr 15|doors 7:00 pm|all ages
Union Stage|get directions »
740 Water Street SW
Washington DC|p: (877) 987-6487


El Ten Eleven

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to all shows at Union Stage.


Experiencing an unexpected tragedy or loss often provokes a period of self-reflection, a time to contemplate one’s own place and purpose in the world. That was true for El Ten Eleven’s Kristian Dunn. When a beloved family member passed, Dunn found his own reflections on life emerging in the music he composed. Those expressions led to the creation of Tautology — a sonic meditation on the arc of human life, composed in three parts.

Over the course of three discs, Tautology is, in Dunn’s words, “a representation of life from the teenage years, through middle-age, until the end of life.” The sounds on the album echo Dunn’s own experiences, veering from aggressive metallic riffs to blissful ambient soundscapes. And while there are shared melodies and harmonies through all three records, each one has its own distinct qualities: Tautology I, which represents adolescence, is angsty, aggressive and occasionally depressive; Tautology II is head-noddy and mid-tempo, and represents middle age; while Tautology III, quiet and ambient, represents one’s golden years.

The music on the first disc, Tautology I, has a heavier sound that might surprise longtime El Ten Eleven fans. “I wanted to represent what my teenage years were like, when I was full of testosterone and depression,” says Dunn. “When you're a teenager everything feels so grandiose and dramatic.” The album’s second movement, Tautology II, reflects Dunn’s current state. “I'm middle-aged now, and this is the happiest I've ever been. I think that comes across in the music. This record is the one that sounds the most like the El Ten Eleven people are used to.” For the final chapter, Tautology III, Dunn composed a transcendent set of ethereal music inspired partly by the loss of a dear family member. “I don't know what it's like to be elderly. But my grandmother-in-law Frances McMaster was a very inspiring person. She died recently, and I was thinking about her a lot. She was really smart. She lived into her early nineties and she wrote her fourth book when she was eighty-eight. I'd like to be like her if I make it to that age.”

Tautology is not a typical rock album, and El Ten Eleven are not a typical rock band. For seventeen years the instrumental duo of Dunn (bass/guitar) and Tim Fogarty (drums) have flourished outside the accepted norms of rock orthodoxy, releasing eight full length albums and four EPs, and performing over 750 live shows. Utilizing inventive arrangements and a masterful use of looping, El Ten Eleven create a sound much bigger than the sum of its parts. Most first-timers to an El Ten Eleven show are stunned that the band is a duo. It’s a refreshing sight and a palette whose boundaries the band have explored for unexpected additions to their sound. Tautology finds Dunn and Fogarty pushing this sound into new territory, experimenting with a range of textures not heard on previous El Ten Eleven releases.

Joyful Noise Recordings will digitally release each of Tautology’s three discs, individually and in sequential order, beginning May 1st, with a physical 3xLP release on September 18, 2020. Dunn explains there’s no right or wrong way to listen to Tautology, suggesting that a deep dive into the full project will yield rewards. “I think someone could listen to any one of the discs by themselves and have a really great experience—even if they didn't know about the others. But if they do want to go deeper, I think there will be a lot of interesting stuff to discover. It works symbolically and it all connects. I think this is the best record we've ever done.”


Cedric Noel

official band site »

 
Sierra Ferrell
Timbo | @The 8x10 | view more info »
Apr
19

Sierra Ferrell

Timbo


Tuesday Apr 19|doors 7:00 pm|18+
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Sierra Ferrell

official band site »

With her spellbinding voice and time-bending sensibilities, Sierra Ferrell makes music that's as fantastically vagabond as the artist herself. Growing up in small-town West Virginia, the singer/songwriter/multi-instrumentalist left home in her early 20s to journey across the country with a troupe of nomadic musicians, playing everywhere from truck stops to alleyways to freight-train boxcars speeding down the railroad tracks. After years of living in her van and busking on the streets of New Orleans and Seattle, she moved to Nashville and soon landed a deal with Rounder Records on the strength of her magnetic live show. Now, on her highly anticipated label debut Long Time Coming, Ferrell shares a dozen songs beautifully unbound by genre or era, instantly transporting her audience to an infinitely more enchanted world.

Co-produced by Stu Hibberd and 10-time Grammy Award-winner Gary Paczosa (Alison Krauss, Dolly Parton, Gillian Welch), Long Time Coming embodies a delicate eclecticism fitting for a musician who utterly defies categorization. "I want my music to be like my mind is -- all over the place," says Ferrell, who recorded the album at Southern Ground and Minutia studios in Nashville. "I listen to everything from bluegrass to techno to goth metal, and it all inspires me in different ways that I try to incorporate into my songs and make people really feel something." In sculpting the album's chameleonic sound, Ferrell joined forces with a knockout lineup of guest musicians (including Jerry Douglas, Tim O'Brien, Chris Scruggs, Sarah Jarosz, Billy Strings, and Dennis Crouch), adding entirely new texture to each of her gracefully crafted and undeniably heartfelt songs.

Sprung from her self-described "country heart but a jazz mind," Long Time Coming opens on the unearthly reverie of "The Sea," a haunting and hypnotic tale of scorned love. Its bewitching arrangement is adorned with sublime details like Ferrell's tender toy-piano melodies and Scruggs's woozy steel-guitar work. In a striking sonic shift emblematic of the whole album, Ferrell then veers into the galloping beat and classic bluegrass storytelling of "Jeremiah," a heavy-hearted but sweetly hopeful romp featuring Jarosz on banjo and octave mandolin. Another impossibly charming bluegrass gem, "Bells of Every Chapel" sustains that wistful mood as Ferrell muses on the exquisite pain of "loving someone unconditionally with all your heart, but they don't receive your love the way you want them to." Graced with Strings's nimble acoustic-guitar work and the heavenly harmonies of O'Brien and Julie Lee, "Bells of Every Chapel" reaches its breathtaking crescendo as Ferrell belts out the song's closing lyrics, effectively twisting that heartache into something strangely glorious.

One of the most enthralling moments on Long Time Coming, "Far Away Across the Sea" finds Ferrell serenading her tragically distant beloved, channeling the track's ardent longing in wildly cascading guitar lines and the fiery trumpet work of Nadje Noordhuis. "Since I'm singing about the ocean in that song, I wanted it to have a calypso vibe -- but then there's also a bit of a tango feel to it, and some Spanish influence too," Ferrell points out. Noting that she first became fascinated with island music while touring with blues singer/songwriter C.W. Stoneking, Ferrell also infuses an element of calypso into "Why'd Ya Do It" -- a beguiling and bittersweet lament whose lyrics perform a sort of poetic love spell ("My love for you's a deep blue ocean, baby/I just wanna swim inside").

In her elegant blurring of musical boundaries, Ferrell brought her vast imagination to the reworking of two signature fan favorites, including "In Dreams" -- a song previously glimpsed in a viral video that's now amassed nearly four million views on YouTube. A bold departure from the rugged simplicity of that rendition, the album version of "In Dreams" unfolds with an unbridled splendor that wholly intensifies the impact of Ferrell's outpouring. Meanwhile, in reimagining the self-reflective "Made Like That," Ferrell introduces unexpected flourishes like loping percussion and luminous piano tones, ultimately building an even more immersive atmosphere around the song's softly devastating confession. "When I wrote 'Made Like That,' I was thinking about where I am now compared to what my life was like in West Virginia," she says. "It was hell for me to be stuck in a small town, but I got out and finally realized what the world had to offer. Now I'm here, and I'm so much healthier and happier."

Despite its endless wandering into new sonic terrain, Long Time Coming is indelibly rooted in Ferrell's ravishing vocal presence, revealing her extraordinary ability to draw enormous feeling from just one single note. A lifelong singer, she got her start performing covers in a local bar at the young age of seven. "There was this little dead-end bar nearby that my mom and I would go hang out at during the day, and I'd get up and sing Shania Twain songs," she recalls. "There'd be hardly anyone in there, so I'd have free rein of the place." Later on, while living in a trailer park, Ferrell had a chance encounter that would soon turn out to be life-changing. "I met all these homeless kids who were traveling all over the place and playing amazing old songs, and I wanted to be a part of that," says Ferrell. "The music they were making was so honest, so pure. It seemed important to bring that kind of music back, and it's been with me ever since." Though her years of traveling proved immensely formative, Ferrell eventually settled in Nashville in her late 20s. Soon after her arrival, she began taking the stage at major festivals like The Avett Brothers at the Beach, AmericanaFest, and Out on The Weekend and touring with the likes of Parker Millsap and Charley Crockett, immediately captivating crowds with her joyful and spirited live set.

A consummate musician's musician, Ferrell found an easy camaraderie with the many luminaries who accompanied her on Long Time Coming. To that end, her most cherished moments in the album's production include the recording of the soul-stirring choir-like harmonies of "West Virginia Waltz," as well as Rory Hoffman's impromptu whistling on "Bells of Every Chapel." ("Rory's got one heck of a whistle on him," she marvels). At the same time, the making of Long Time Coming fully affirmed her affinity for lifers like Strings. "Billy's in it for the music, which is something we have in common," she says. "We're just gonna keep playing till we're not on this Earth anymore."

While the wayward sound of Long Time Coming is in many ways a perfect echo of Ferrell's free-spirited nature, there's also a much deeper intention at play: a desire to expand her listeners' capacity for wonder, so that they might uncover some enchantment in their own lives. "A lot of us are taught to wake up, go to work, make money, eat, sleep, rinse, repeat," says Ferrell. "It's so easy to get caught up in that nine-to-five routine, and end up numb and dulled-down to everything. I want my music to help people break away from that -- to get lost in their imagination, and start seeing how magical the world can be if you just pay attention."


Timbo

official band site »

Born and raised in Davidson & surrounding counties in Middle Tennessee, Timbo is a third-generation musician from a family with strong ties to Roots music. Influenced by his parents, family & peers, childhood was often spent riding along from show to show, or back & forth from the city to the rural areas where family lived.

A realization that their lives were different than other families took hold as he grew up at festivals, broadway bars, his father's instrument repair shop, backstage at the opry; sleeping in the old green room at the Station Inn while his parents played the late show; generally living in the world his parents worked in.

Timbo's brand of music showcases the sound he grew up on-Country, Bluegrass, and Rhythm & Blues shining through perhaps most of all. There is a modern feel to his approach-his delivery of melody and bands' style suited to their own interpretation. Timbo's style has many times been described as "soul country."

 
The Main Squeeze
@Union Stage | view more info »
Apr
24

The Main Squeeze



Sunday Apr 24|doors 7:00 pm|all ages
Union Stage|get directions »
740 Water Street SW
Washington DC|p: (877) 987-6487


The Main Squeeze

official band site »

Proof of vaccination or a negative test taken within 72 hours are required for entry to all shows at Union Stage.


There seems to be an aura in the air when the five members of The Main Squeeze enter a room. A multicultural five-piece from Los Angeles, CA, The Squeeze have built a cult following in the States on the road – putting rubber to pavement and playing over 1,000 shows together over the past eight years. For a group of men with completely different backgrounds, tastes, religions, and opinions, there’s already a spirit shared amongst them when The Squeeze sit down to play together.

From diehards who have seen over 30 performances to celebrities like Wayne Brady and Cedric The Entertainer, the list of superfans goes on and on. From touring the country with jam band titans like The String Cheese Incident and Umphrey’s McGee, to producing projects with artists and bands of all genres, The Main Squeeze has shown no signs of ever letting themselves be boxed in.