A Tribute to Roger Miller (hosted by Cyndi Lou and The Want To)
– ALL AGES- PARTIALLY SEATED SHOW- SEATED AND STANDING ROOM ONLY TICKETS AVAILABLEA TRIBUTE TO ROGER MILLER (HOSTED BY CYNDI LOU & THE WANT TO) A proper Asheville tribute to legendary livewire Roger Miller has been a long time comin’ but we’ll be a long time hummin’ his clever catchy classics on Sunday, Jan. 29th at the Grey Eagle! Hosted by traditional country crew CyndiLou & the Want To with special guests Drayton Aldridge (Drayton & the Dreamboats), Phil Alley (Heavenly Vipers), A. Lee Edwards, Morgan Geer (Drunken Prayer), Liliana Hudgens, Brody Hunt (Brody Hunt & the Handfulls), Josh Pierce (Shake a Leg), Jake Sessoms, Jessie Smith (Jessie & the Jinx) and more!
Byrds of a Feather: A Tribute to Gene Clark and Gram Parsons
– ALL AGES- PARTIALLY SEATED SHOW- SEATED AND STANDING ROOM ONLY TICKETS AVAILABLEBYRDS OF A FEATHER After a 2-year forced hiatus, the Byrds of a Feather tribute to Gene Clack & Gram Parsons is back at the Grey Eagle celebrating its 12th annual show! This year will spotlight the 50th anniversary of Gram’s solo debut album ‘GP’ and some of the ones we missed in ’20 and ’21 like ‘Gene Clark’ (aka White Light) and the Flying Burrito Brothers’ 2nd album ‘Burrito Deluxe’. The band will feature members of Asheville’s classic country crew CyndiLou & the Want To, Claude Coleman Jr (Ween) on drums, Marty Lewis (Sons of Ralph) on guitars, John McKinney (Carpal Tullar) on keyboards, Drayton Aldridge (Drayton & the Dreamboats) on fiddle and more! Special guests include Morgan Geer (Drunken Prayer), Liliana Hudgens, Chris Mondia (The Green Fields), Claire Whall and others.
Julia Sanders Album Release Show
– w/ K.M. FULLER- ALL AGES- PARTIALLY SEATED SHOWJULIA SANDERSAmericana artist Julia Sanders’ new album Morning Star—produced by John James Tourville of The Deslondes—unfolds a meticulously arranged musical landscape anchored by transfixing vocals and a compact but thoughtful narrative style that calls to mind forebearers like Gillian Welch and Emmylou Harris. On Morning Star, Sanders explores the complexities of transitions: from woman to mother, partners to parents, and free-wheelin’ musician to an adult with roots and responsibilities. The album is a poetic, often dark, yet silver-lined portrait of transformation and growth. With each track, Sanders explores a different facet—a career, a partner, a child—and the range of emotions they carry with them, from joy and pleasure to struggle, loneliness and self-doubt. Unafraid to address the complexities that walk hand in hand with the bliss of having children—such as the loss of autonomy and the fracturing of identity—Morning Star provides a much-needed soundtrack to the experience of matrescence—the physical, emotional and social transition to motherhood.K.M. FULLER
An Evening With Martin Sexton
– ALL AGES- PARTIALLY SEATED SHOW- GUARANTEED SEATING AND STANDING ROOM TICKETS AVAILABLEMARTIN SEXTON”The real thing, people.” -BillboardMartin Sexton returns with what RollingStone calls his “soul-marinated voice,” acoustic guitar, and a suitcase full of heartfelt songs. The 2023 Tour takes Martin across North America in support of his latest ep 2020 Vision (produced by 3-time Grammy nominee John Alagia (Lukas Nelson, John Mayer, Dave Matthews) as well as reinventing his own classics for these critically-acclaimed solo performances.Still fiercely independent and headlining venues from The Fillmore to Carnegie Hall, he has influenced a generation of contemporary artists. His songs have appeared in television series such as Scrubs, Parenthood, Masters of Sex, Sprung, and in numerous films, though it’s his incendiary live show, honest lyrics, and vocal prowess that keep fans coming back for a new experience every time.
Emily Scott Robinson, Alisa Amador and Violet Bell
– ALL AGES- SEATED SHOW- LIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLEEMILY SCOTT ROBINSON An evening of special performances from Emily Scott Robinson, Alisa Amador, and Violet Bell. Fans will hear music from each artist individually and the trio will come together to perform songs from Robinson’s latest release with Oh Boy Records, “Built on Bones.” “Built on Bones” is a collection of six original songs for the Witches of Shakespeare’s Macbeth. The recordings feature Emily Scott Robinson (writer/composer), Alisa Amador (NPR Tiny Desk Contest Winner 2022) and Lizzy Ross (of duo Violet Bell) as the three witches singing through the tragedy of Macbeth in three-part harmony.Colorado songwriter Emily Scott Robinson beckons to those who are lost, lonely, or learning the hard way with American Siren, her first album for Oh Boy Records. With hints of bluegrass, country, and folk, the eloquent collection shares her gift for storytelling through her pristine soprano and the perspective of her unconventional path into music. American Siren landed her on multiple 2021 “best-of” lists – including NPR, Rolling Stone, Sterogum, and more. Robinson’s follow up, Built on Bones (October 2022 via Oh Boy Records), is a collection of six original songs for the Witches of Shakespeare’s Macbeth. Originally commissioned as a live piece for theater by director Colin Sullivan, it features Emily Scott Robinson (writer/composer), Alisa Amador (NPR Tiny Desk Contest Winner 2022) and Lizzy Ross (of duo Violet Bell) as the three witches singing through the tragedy of Macbeth in three-part harmony.
49 Winchester
– WITH COLBY ACUFF- ALL AGES- STANDING ROOM ONLY49 WINCHESTERWith its latest album, “Fortune Favors The Bold,” Russell County, Virginia-based 49 Winchester is ready and roaring to break onto the national scene with its unique brand of tear-in-your-beer alt-country, sticky barroom floor rock-n-roll, and high-octane Appalachian folk. “As we’ve aged and matured, our sound has gone from a softer place to this grittier, edgier tone that we have now,” says lead singer/guitarist Isaac Gibson. “So, we’re trending more towards being a rock band instead of a country band. But, at the same time, I don’t think anybody’s ever known quite what to call it.” Although it’s 49 Winchester’s fourth studio album, “Fortune Favors The Bold” marks its debut for Nashville’s New West Records — one of the premier labels for Americana, indie and rock acts on the cutting edge of sound, scope and spectacle. Formed eight years ago on Winchester Street in the small mountain town of Castlewood, Virginia (population: 2,045), the band started as a rag tag bunch of neighborhood teenagers who just wanted to get together for the sake of playing together. “From day one, it’s always been a band and it will always be about being a band. This is everything, everything we love about music — we’re going for broke with this thing,” says Gibson. “And that gives us a unique perspective because it’s still the same guys. It’s still all of us from Castlewood traveling around, playing music and making this band a reality — this is a story of growth.” And it’s that sense of growth — more so, a sense of self — at the core of “Fortune Favors The Bold.” It’s not only a record that showcases the current state of 49 Winchester, it’s a melodic stake in the ground of how this group is constantly evolving and taking shape, sonically and lyrically. Reflecting on his early days as a jack-of-all-trades stone mason in Castlewood, where it was about trying to make ends meet in an effort to keep 49 Winchester rolling along, Gibson can’t help but be grateful for a well-earned notion at the core of the band’s ethos — anything worthwhile in life is built brick-by-brick. “Everything has to be built. And very few people are going to achieve success overnight,” says Gibson. “There’s going to be people you see succeed in front of you. Maybe you don’t think they deserve it as much as you, haven’t worked as hard as you, haven’t done it as long as you. But, none of that matters — they ain’t you. They’re not living your life. They’re not part of your experience.” At its essence, “Fortune Favors The Bold” is about going against all odds to bring your art into fruition and into the world. It’s about leaving your hometown and heading for the unknown horizon. And it’s about proving those wrong who snickered and waited for the day you’d give up somewhere down the line, only to circle back home with your tail between your legs. But, it’s also about looking into the rearview mirror with a genuine appreciation for where you came from and what you’re made of, those hardscrabble, salt-of-the-earth traits in your blood and character that define what it actually takes to climb that damn mountain of dreams — come hell or high water.
NED COLLETTE US TOUR feat. Elisabeth Fuchsia w. Shane Justice McCord (Sham) at Shakey’s
– ALL AGES- AT SHAKEY’S (38 N FRENCH BROAD) – FREE / $10 SUGGESTED DONATION AT DOORNED COLLETTE Australian Ned Collette has long established himself as a songwriter whose literate, evocative songs are paired with music that’s both adventurous and eclectic. His early background in improvised and experimental guitar music has resulted in six albums of uncompromising vision, released on a variety of international labels. 2018’s double album Old Chestnut was released by Feeding Tube Records and was his introduction to a lot of US audiences—a deep and complex folk song-cycle featuring musicians such as The Necks’ Chris Abrahams amongst Ned’s regular collaborators. In addition to his song work, he has released works such as 2019’s Afternoon—Dusk, a trio record of long-form instrumental music with James Rushford and Joe Talia. 2022 saw the first ever vinyl reissue of his 2006 debut, Jokes & Trials, the liner notes for which describe “a rich velvet voice somewhere between fragile youth and aged sage”. Ned’s live performances drift between delicate, intimate folk and explorative jam-outs, both when performing solo or with his band. He is currently working on new material featuring Abrahams and Dirty Three’s Mick Turner, and over the years has performed with such artists as Joanna Newsom, Cat Power, Bill Callahan, St Vincent, Kurt Vile and Deerhoof, amongst many others.SHANE JUSTICE McCORD
Pony Bradshaw
– ALL AGES- STANDING ROOM ONLYPONY BRADSHAW On his new album North Georgia Rounder, Pony Bradshaw leads the listener on an exploration of the woods, rivers, and mountains of Appalachia, more specifically, the area for which the album is named and he’s called home for the past 15 years. “It’s got its hooks in me,” Bradshaw says of North Georgia, and it shows, with songs that quickly establish a setting, much like the one he initiated with the album’s predecessor, Calico Jim. The sonic excursion includes stops along the Conasauga River, visits to the holler, and a few diversions—nearby Knoxville plays a supporting role, as do Louisiana and Arkansas. It’s an impressionistic journey of introspection and connection all at once. Will Stewart’s tastefully-understated guitar leads and Philippe Bronchtein’s atmospheric pedal steel provide the perfect backdrop for Bradshaw’s impassioned vocals in lead-off track “Foxfire Wine.” Its swampy, bluesy intro makes way for an interesting amalgamation of Sturgill Simpson and The Grateful Dead, serving as the perfect aperitif for “a hell of a heaven and a hell of a show.” From that point on till the album wraps with the aptly titled “Notes on a River Town,” not only do you see and hear North Georgia, you even smell and taste it. Take, for example, “Safe in the Arms of Vernacular,” a pensive, melancholy track that delights all the senses and is reminiscent of Ray Lamontagne’s mellow side. When Bradshaw sings of the “bonafide gas mask” his Dad brought back from Desert Storm and describes the Saudi Arabian sand as turning to “glass sharp as a sultan’s sword,” one can almost see it. As quickly as it sets the ever-vivid stage, the track shifts its focus to a waitress downtown. “Draped in Bedouin gown, smoking Kent cigarettes in the underground” in an attempt to “escape all those voices,” she naturally drinks white wine—”Riesling room temp from a coffee cup,” to be exact. A voracious reader, Bradshaw credits his talent for expressing such rich details in his songs not so much to other songwriters but instead to books, fiction, short stories, essays, and literary criticism. With such colorful descriptions as “teeth stained red with Lebanese wine, long hair … in sweeps of oil blacker than a cypress pool,” one might assume he bases the subjects of his songs on real-life people he interacts with in North Georgia; instead, Bradshaw describes them as “nameless characters” compiled from “fragments” he’s collected, pieces that usually start with just a line or two. These fragments all add up to a remarkably cohesive 10-song collection, despite Bradshaw being a self-professed admirer of (and writer of) the non-sequitur. This is thanks in no small part to his own masterful vocal delivery and the expert musicianship of his backing band, one that includes the aforementioned Stewart and Bronchtein with Robert Green on bass, Ryan Moore on drums, and Jenna Mobley on fiddle. “The poet soon stops experimenting and innovating and starts his life’s work,” Bradshaw expounds, citing a quote from one of his favorite writers, Wendell Berry. A single album as a life’s work may seem like a grand, overambitious aspiration. But for Pony Bradshaw, North Georgia Rounder is just that – a life’s work, one that, as he describes it, is a culmination of “sweat and work and joy and pain and anger and patience and restraint.”
The Travis Book Happy Hour ft Jim Lauderdale
– SEATED SHOW- LIMITED RESERVED TABLES VIRTUAL TIP JAR : Paypal.me/TravisBook1VIEW LIVE STREAM HERE : facebook.com/greyeagleasheville*DONATIONS ENCOURAGED TRAVIS BOOK (of The Infamous Stringdusters) The Travis Book Happy Hour is a 90 minute variety show hosted by Travis Book; bassist, songwriter, and vocalist in the Grammy Award winning bluegrass band, The Infamous Stringdusters, streaming live from the historic Grey Eagle in Asheville, NC. Born from his desire to bring musicians and friends together for collaboration and conversation, Travis launched the series in the summer of 2020 amidst the uncertainty of the Covid-19 crisis and a country divided. Faced with a cascade of existential questions about the nature of life and of being, Travis sought an outlet for inquiry, and individuals to help him dig deeper into what it means to be a musician and a creative being in the context of an ever-changing world. Unique, spontaneous musical collaboration with friends and contemporaries leads to singular moments of harmony and the occasional musical train-wreck… The Travis Book Happy Hour is his attempt to shine light into the darkest corners of our lives; to dive deep into the nature of our being and emerge bathed in the love, happiness, grace, and gratitude that’s available to us all, and hopefully, to make some beautiful, meaningful music along the way.JIM LAUDERDALE At any given time, you’re likely to find Jim Lauderdale making music, whether he’s laying down a new track in the studio or working through a spontaneous melody at his home in Nashville. And if he’s not actively crafting new music, he’s certainly thinking about it. “It’s a constant challenge to try to keep making better and better records, write better and better songs. I still always feel like I’m a developing artist,” he says. This may be a surprising sentiment from a man who’s won two Grammys, released 34 full-length albums, and taken home the Americana Music Association’s coveted Wagonmaster Award. But forthcoming album Game Changer is convincing evidence that the North Carolina native is only continuing to hone his craft. Lauderdale has been a vital part of the country music ecosystem since 1991, when he released his debut album and began penning songs for an impressively long roster of country music greats. “When I was a teenager wanting to be a bluegrass banjo player, I never would have imagined that I would get to work with people like Ralph Stanley, Robert Hunter, Loretta Lynn, George Jones, Emmylou Harris, Elvis Costello, Lucinda Williams and John Oates ,” he muses.
Oliver Wood Trio
– ALL AGES- STANDING ROOM ONLYOLIVER WOOD TRIOOliver Wood is a mainstay of modern-day American roots music. The frontman of the Wood Brothers since 2004, he’s spent the 21st century blurring the boundaries between folk, gospel, country-soul, and Americana, earning an international audience and a Grammy Award-nomination along the way. Always Smilin,’ his debut as a solo artist, continues that tradition while also shining new light on Oliver’s sharp songwriting, savvy guitar chops, and a voice that evokes the swagger of a Saturday evening picking party one moment and the solemnity of a Sunday morning gospel service the next.Always Smilin’ is an album of bridges, mixing a wide range of collaborations with a uniquely personal touch. Guests include bandmates from Oliver’s musical past and present, from mentor and co-writer Chris Long (who performed alongside Oliver in King Johnson, the roots-rock band that dominated Atlanta’s music scene around the turn of the millennium) to percussionist Jano Rix (Oliver’s partner in The Wood Brothers). Blues heroine Susan Tedeschi, Hiss Golden Messenger’s Phil Cook, Medeski Martin & Wood’s John Medeski, Tedeschi Trucks Band’s Tyler Greenwell, Nashville staple Phil Madeira, and singer/songwriter Carsie Blanton also make appearances, with Rebecca Wood — Oliver’s wife — handling the album’s handmade linocut cover art. For Oliver, the goal was simple: to collaborate freely with a mix of old friends and new partners, embracing a new level of independence.Longtime fans don’t need to worry; Oliver remains fully committed to the Wood Brothers. When the Covid-19 pandemic forced the band to clear its touring schedule and spend most of 2020 at home, though, he began gathering together the solo material he’d been writing with other musicians. Gradually, almost surprisingly, an album began taking shape.”People would come through Nashville during the year before the pandemic, and I’d set up a co-write or a jam in our studio, just to do some stuff outside of my own band,” he explains. “There wasn’t an album in mind. I just wanted to be creative. But when the pandemic happened, the songs started building up.”There was plenty of stress to go around in 2020, but Always Smilin’ — like its title suggests — is mostly an album of celebration. While “Get the Blues” addresses the struggles of the modern moment, songs like “Roots” and “Molasses” focus on brighter topics, from finding one’s center to embracing a simpler way of living. That diversity is reflected throughout the track list: on gospel covers like “The Battle is Over (But the War Goes On)” and “Climbing High Mountains (Tryin’ To Get Home)”; on country-soul standouts like “Soul of This Town”; on the tongue-twisting craft of “Kindness.” Oliver even makes room for an unlikely percussion instrument — the chicken coop — that once played a major role in his pre-Wood Brothers projects.Always Smilin’ celebrates the full range of Oliver Wood’s musical heritage, from the blues and gospel sounds he explored long before the Wood Brothers’ formation to the American roots music he’s been making during the past two decades. It’s an album of collaborations and communal recordings, spearheaded by a longtime team player who, for the first time ever, is making the final decisions himself. There will be more Wood Brothers music in the future, but this is an album about the present. An album about right now. And right now, Oliver Wood is smiling.
