185 Clingman Ave. Asheville, NC 28801

Victoria Canal

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ALL AGESSEATED SHOWLIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLEVICTORIA CANAL For almost two years, singer-songwriter Victoria Canal used her gift primarily as a way to process grief. The result of this transformative period was 2022’s Elegy EP, a bittersweet collection of tracks. Now, after experiencing creative and emotional catharsis, Canal is turning the camera back on herself and zooming in further than ever before. Grown from heartache and made with unabashed honesty, her upcoming release finds the artist at her most vulnerable—and her most courageous.   Canal, who received the 2023 Rising Star award at the prestigious Ivor Novellos, embraces the discomfort of self-analysis. “These days I’m writing mostly to confront things about myself in order to gain more of an understanding and acceptance of them,” she shares. She first started sowing the seeds of her new project during quarantine, in part while watching the TV show Parenthood. She recognized herself in a people-pleasing character, remarking, “I’ve definitely shrunk myself down before to please everyone else. I deserve to take up space.”   Canal challenges the habit of self-shrinking across all of her work, magnifying parts of herself that she’s never openly shared before. The gentle gut-punch of opener “Shape” delves into the complex and intimate topic of body dysmorphia. Against folky guitar and airy backing vocals, her retrospective lyricism brings to the surface internalized moments, like the lasting impact of passing cruelty and the relationship between self-image and faith. These experiences are all too common for anyone who sits outside the status quo, and Canal reclaims her own power by bringing them to the surface on her own terms.   “She Walks In” continues to explore body image, this time from a more current perspective. “The idea of this song stems from a beautiful girl turning heads when she walks into a room. I have the experience of people staring at me, but it’s because of my limb difference,” Canal shares, “There’s an inherent yearning for people to look at me the way that they look at her.” This vulnerability comes through in her poignant reflections set against waltzing watery instrumentals. Its candid delivery and gentle rocking almost makes you forget its devastation. But she ensures that it can’t be ignored.   Canal recently made her acting debut exploring the ideas of confidence, belonging, and self-awareness with regard to limb difference in Apple TV+’s acclaimed anthology series Little America. She has also been featured in campaigns for Nike, LinkedIn, and Mastercard.   This project marks an expansion for Canal, not just thematically, but also with regard to her growth as an artist. Working with the likes of Sean Carey and Madison Cunningham helped push her creatively in a way she’s never experienced before. The artist attributes her new sound to her clear vision and the dedication she brings to her craft.   The project concludes with a sense of introspection and growth. After an impactful journey, Canal emerges with a renewed sense of self and a deeper connection to her artistry.

Mama’s Broke + Allison de Groot and Tatiana Hargreaves

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ALL AGESSEATED SHOWLIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLEMAMA’S BROKE Mama’s Broke is a powerful duo that deliver a compelling performance with heart and raw energy.  Although highly influenced by their Canadian roots, Lisa and Amy are based out of nowhere and everywhere. Their two strong voices blend to create haunting harmonies, while they artfully juggle fiddle, banjo, guitar and mandolin, and incorporate traditional dance and foot percussion into their performance.  Their original -and often dark- compositions push the boundaries of tradition and the constraints of genre.  Drawing from old-time, Quebecois, blues, punk, celtic, balkan and doom metal, they create a soundscape that is both familiar and new. ALLISON DE GROOT & TATIANA HARGREAVES Traditional music is not static; it shifts with the times, uncovering new meanings in old words, new ways of talking about the communal pathways that led us to where we are today. For master musicians Allison de Groot & Tatiana Hargreaves, traditional banjo and fiddle music is a way to interpret our uncertain times, to draw artistic inspiration and power from the sources of meaning in their lives. History, family, literature, live performance, and environmental instability all manifest in the sounds, feelings, and sensations that permeate their music. Their 2022 sophomore album, Hurricane Clarice is a direct infusion of centuries of matrilineal folk wisdom, a fiery breath of apocalyptic energy.  Individually they are both leaders in the young generation of roots musicians, de Groot being known for intricate clawhammer banjo work with Bruce Molsky, and Hargreaves bringing powerhouse fiddling to the stage with Laurie Lewis and David Rawlings in addition to teaching bluegrass fiddle at UNC-Chapel Hill. Their first self-titled album released in 2019 garnered attention from CBC Q, Paste Magazine and Rolling Stone Country, earning the duo the Independent Music Awards “Best Bluegrass Album” and a nomination from IBMA for “Best Liner Notes of the Year.” The duo has been booked at festivals and venues such as Newport Folk Festival, Savannah Music Festival, Winnipeg Folk Festival, the Red Hat Amphitheater in Raleigh, NC, and Red Wing Roots Music Festival. Allison de Groot & Tatiana Hargreaves create a sound that is adventurous, masterful, and original, as they expand on the eccentricities of old songs, while never losing sight of what makes them endure.


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ALL AGESSTANDING ROOM ONLYSPIRIT OF THE BEEHIVEFor the past decade, SPIRIT OF THE BEEHIVE have honed an aesthetic like no other. They’ve chopped up samples, chewed them up, spit them back out again, baby birded it. Across four albums and a smattering of EPs, Zack Schwartz, Corey Wichlin, and Rivka Ravede have fully solidified their stance as some of rock’s weirdest and best deconstructionists. 2018’s Hypnic Jerk was a study in noise punk sampledelia. It was a breakthrough for the band. Frank Ocean became a fan, spinning “fell asleep with a vision,” on Blonded Radio. 2021’s ENTERTAINMENT DEATH, was nasty dream pop by way of K-Mart realism and hitting the channel search setting on an old TV set.The goal in making YOU’LL HAVE TO LOSE SOMETHING was to soften out some of the edges. “Less hard left turns,” says Wichlin. “We wanted to make something intentionally less antagonistic,” he jokes. In practice, this means the record has slightly fewer drastic arrangement changes, and it is more stripped down. Take “I’VE BEEN EVIL,” one of the newest songs on the record, as one such offering. It is straightforward in that its tempo is consistent, in that the song keeps us in the same place. It does not digress. It holds itself steady, with bleary-eyed guitars and hushed vocals. The song is weary, the song is a whisper. The utterance “I’ve been evil,” is like the shrug of a shoulder, a so what, ha ha.YOU’LL HAVE TO LOSE SOMETHING is a record of provocations. It wants you to think it is just normal rock ‘n’ roll music. That it is purely pleasure oriented. But beneath these intentions is a collection of songs that are as complex as ever. The Ravede-led “FOUND A BODY,” is a downtempo smoke cloud of variegated synths. “Found a body,” she sings “No one can touch me.” “SUN SWEPT THE EVENING RED,” starts out disconcertingly chipper, before breaking down into an assault of sludged out guitars, auto-tuned vocals, a flurry of strings. Like all Spirit records, It is music made by three distinct voices, written independently and then assembled together. Despite being written all over the globe, with Ravede in Portugal and Schwartz and Wichlin back in Philadelphia, the trio arrived at the same themes: that of the brutality of coming to terms with reality, that of what it means to lie to protect yourself and your heart. Schwartz says he writes songs more less in a stream of consciousness. The band listens to very little outside music when working. The result is a record that very much is its own world. Where chaos is carefully organized, where being able to ever actually chill out is totally illusory, a trick mirror.KASSIE KRUTTaking inspiration from dub, noise, UK club music, and contemporary pop, Kassie Krut is a brand new project by Eve Alpert, Kasra Kurt (both Palm) and Matt Anderegg (Mothers, Body Meat).

A Place to Bury Strangers

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ALL AGESSTANDING ROOM ONLYA PLACE TO BURY STRANGERSFans all over the globe know: Oliver Ackermann always brings surprises. The singer and guitarist of New York City’s A Place To Bury Strangers has been delighting and astonishing his audience for close to two decades, combining post-punk, noise-rock, shoegaze, psychedelia, and avant-garde music in startling and unexpected ways. As the founder of Death By Audio, creator of signal-scrambling stomp boxes and visionary instrument effects, he’s exported that excitement and invention to other artists who plug into his gear and blow minds. In concert, A Place To Bury Strangers is nothing short of astounding — a shamanistic experience that bathes listeners in glorious sound, crazed left turns, transcendent vibrations, real-time experiments, brilliant breakthroughs.And just as many of his peers in the New York City underground seem to be slowing down and settling in, Ackermann’s creativity is accelerating.He’s launched a label of his own: Dedstrange, dedicated to advancing the work of sonic renegades worldwide. He’s also refreshed the group’slineup, adding bassist John Fedowitz and drummer Sandra Fedowitz, and the band has never sounded more current, or more courageous, or moreaccessibly melodic. The Hologram EP is the first release from the new lineup — and the first on Dedstrange — and it’s no overstatement to saythat the reaction has been ecstatic. Ghettoblaster wrote that the band’s racket outpaced everything to emerge from New York City in the pastdecade. Brooklyn Vegan praised Ackermann’s “terrific, emotive” singing, and lauded the group’s recent commitment to foregrounding its melodiesand lyrics. Pitchfork, Flood, AllMusic: they’ve all lined up to call Hologram an example of the best work of a tireless band with a deep discography and an unquenchable drive to create challenging, unprecedented music. A Place To bury Strangers released their highly anticipated sixth album See Through You February 4, 2022 to on their newly formed label Dedstrange to critical acclaim and have been touring incessantly since then. 2024 brings the release of ‘The Sevens’: four 7”s featuring unreleased tracks from ‘See Through You’ released monthly starting in February with Album #7 due in the fall.

The Cactus Blossoms

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ALL AGESSTANDING ROOM ONLYTHE CACTUS BLOSSOMS “Hey baby, do you wanna take a trip with me? / I’ve got a feeling there might be a silver lining all around.” So begins One Day, the captivating new album from critically acclaimed Minneapolis duo The Cactus Blossoms. Written and recorded during the COVID-19 pandemic, the record explores the tension between optimism and despair that’s defined much of the past few years of American life, examining the power (or naïveté, depending on your perspective) of positive thinking in the face of chaos and uncertainty. The songs here are tender and timeless, with straightforward arrangements centered around brothers Jack Torrey and Page Burkum’s airtight harmonies, and the performances are warm and intimate to match, delivered with a soulful, ’70s-inspired palette of playful Wurlitzer, breezy guitars, and muscular percussion. The Cactus Blossoms broke out nationally in 2016 with their JD McPherson-produced debut, You’re Dreaming. Dates with Kacey Musgraves, Jenny Lewis, and Lucius followed, as did raves from the New York Times and NPR, who praised “the brothers’ extraordinary singing.” The band was further catapulted into the spotlight in 2018, when David Lynch tapped them to perform in the return of Twin Peaks, and continued to build on their success with their 2019 sophomore LP, Easy Way, which led Rolling Stone to laud the duo’s “rock-solid, freak of genetics harmonies.” ERIN RAE Three years after the release of her critically acclaimed debut, Putting On Airs, Nashville-raised singer-songwriter Erin Rae shares an intimate, honest, and playful version of herself through her sophomore album Lighten Up. Produced by Jonathan Wilson, and recorded in the musically hallowed grounds of California’s Topanga Canyon, the album represents a sonic and inner shift for Rae. In it, she embraces more of her influences, like baroque-pop, cosmic country, and indie-folk songs while mirroring a more compassionate self-view she calls “accepting my humanness”.  Although she grew up in a musically oriented family, Rae’s pursuit of music happened by accident. After being gifted a Martin acoustic guitar on her 18th birthday, Rae decided to drop out of college after just one semester. Her goal at the time had little to do with making music into a career, and everything to do with spending more time and energy with the community of musicians and writers she knew back home. Looking back on those days, she recalls the initial high of playing live at an open mic during winter break and realizing, “this is how I connect with people. I have to pursue this.”  Rae has continued to connect with people through her music ever since, performing at mainstays like Newport Folk Festival, Red Rocks Amphitheater, and sharing stages with Father John Misty, Hiss Golden Messenger, Jenny Lewis, Jason Isbell, and Iron & Wine. The success of Putting On Airs also earned her a nomination for Emerging Act of The Year at the 2019 Americana Music Awards alongside other trailblazing artists like Yola, Jade Bird, and J.S. Ondara. 


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ALL AGESSTANDING ROOM ONLYCOPPERHEADFormed around the campfire at the French Broad River Festival in 2016, Copperhead began playing gigs in 2019. The band works to take your old favorite songs new places and has an array of accessible original songs to complement their catalog. Copperhead is Michael Thurman on guitar and vocals. Jay Copley on guitar and vocals. Eric Snoddy hangs out in the lowlands on Bass. George Hodges,Jr. adds guitar and sings . Mark Murphy plays piano, Hammond, and also vocals. Jenn Webb holds us all together on the drum kit.

PATIO: Jennifer Niceley

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ALL AGESLIMITED PATIO SEATING IS FIRST COME FIRST SERVEJENNIFER NICELEY Tennessee songwriter Jennifer Jane Niceley’s latest collaboration with visionary musical artist/producer Feathered Mason and multi-instrumentalist Jason Goforth marks over two decades of releasing deeply sensitive and strikingly original material. Preternaturally under the radar, she’s stepped in and out of the music world, torn between pursuing success and living a quiet life close to the land.     Previous albums include the lush sounds of Luminous in 2008 produced by Joe McMahan (Kevin Gordon, Luella and the Sun), and the bare and eclectic  Angels, Demons, Red-Tail Hawks with Eric McConnell (Loretta Lynn, Todd Snider, Sierra Ferrell) in 2017. The expansive, sonic shift of “Built to Last” and “Flight Patterns” is a harbinger of what to expect on her upcoming album, Not Lost (release date July 5, 2024).  The third single, “Desert Dreams” drops April 19, 2024, and features a powerful symphonic backdrop by pedal steel player Jason Goforth as well as the impeccable touch of Clint Mullican (Watchhouse) on upright bass. 

PATIO: Americana Troubadour Round ft Wyatt Espalin, Caitlin Cannon, Jack McKeon

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ALL AGES LIMITED PATIO SEATING IS FIRST COME FIRST SERVEWYATT ESPALINIn 2022, Wyatt Espalin shakes things up with his new band the Riverstones and a collection of songs that invites his fans to examine his songwriting through a different lens. After returning to his roots to live at the rustic campground where he was raised by his grandparents in the North Georgia Mountains, he found a setting that would inspire “DIAMONDBACK”, a collection of mysterious songs released in 2020 that gave his audience a bird’s eye view of an artist rediscovering himself. Well, this fiddler/singer and champion clogger has discovered more and before the Year of the Rabbit, all may be revealed. Let the enlightenment begin! After releasing Songwriter/Singer” in 2015, Wyatt went on to win the 1st Annual New Song Songwriting Contest at North Carolina’s popular L.E.A.F. festival. He has also spent the last few years sharing the stage opening for some of his songwriting idols Indigo Girls, Jennifer Knapp, Kevn Kinney, Chely Wright, Michelle Malone, Shawn Mullins, Patty Loveless, to name a few. During his performances, the haunting, intimate songs juxtaposed with the hilarious stories that he sharesin the banter between them create a beautiful tension.CAITLIN CANNON“She’s not a songwriter for the winners. She’s a songwriter for the broken, the downtrodden, the losers, the motherfuckers. She sings about real shit that most other songwriters don’t have the guts to broach. A crack pool player and a hilarious person on stage that could have a second career as a comedian, Caitlin Cannon is one of those country artists that slides so criminally under the radar, it angers the blood”— SAVING COUNTRY MUSIC JACK McKEONA Nashville-based singer-songwriter with an honest, plainspoken vocal, an eclectic-roots sound and a knack for bringing crystalline characters to life, Jack McKeon is a different sort of musician. A student of the greats drawn to the timeless, rather than the trendy, he hails from Chatham, New York and harbors a deep love for the written word. First inspired by literary music icons from Hank Williams and Guy Clark to Tom T. Hall and John Hartford, McKeon arrived in Nashville in 2021 and has since established a reputation for his own message-drive lyricism – a value which shows up in its full sonic serenity on his 2024 album debut, Talking to Strangers.

Odie Leigh: Carrier Pigeon Tour

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– ALL AGES – STANDING ROOM ONLYODIE LEIGH Odie Leigh would never have called herself a musician before the depths of the 2020 pandemic, when her rapper roomies made a bet: Whoever records a song that goes viral first, wins. Slightly ticked off that they hadn’t included her in the wager, she decided to hit them with her best shot, and Odie was crowned the victor when a track she wrote blew up on TikTok. “I was like, ‘I’m gonna show y’all. I’m gonna win,’” she recalls, laughing. “Then I woke up to a bunch of comments on TikTok being like, ‘Oh my God, release this. This is amazing!’ Now, I’m a musician.”Four years after posting what she calls “that silly joke song” on TikTok, Odie Leigh has continued to transform and evolve as an artist — from what she calls “acoustic, ethereal folk sad girl music” to a harder-edge tunes that flirt with early Aughts pop-punktivism. That trajectory culminates in her first LP, Carrier Pigeon. “All the music I’ve released up until this point can kind of be thrown into the indie folk acoustic genre,” Odie says. “But I never set out to make Americana music. I never set out to make folk music. I’m just a girl with an acoustic guitar.”The fact that Odie Leigh never set out to make music is key here. Unlike a lot of musicians who grew up picking out tunes on toddler guitars or belting it out in garages, Odie never pictured herself on stage. Born and raised in Louisiana, she sang in the church choir, sure — her grandfather built the building, after all, and her family attended three times per week. But after moving to New Orleans to study English, she fully intended on making her bones in the film industry. That 2020 wager changed things, though, when she realized that she could win hearts in addition to bets. Although she’d taught herself to play guitar as a child, Odie didn’t know that much about music from the get-go, but she was inspired by the likes of ‘50’s singer-songwriter Connie Converse and her out-of-the-box style. Coming from the film world, she found songwriting freeing, unbound from the rigidity of screenplay and discovered that simplicity can be a strength.After her early releases began gaining steam on social media, Odie Leigh started hitting stages hard — an impressive show of hustle for someone who never really dreamed of life on the road. Nevertheless, she toured Europe, North America, and played Newport Folk in 2023; she also has festival gigs like Shaky Knees and Kilby Block Party, among others, later this year. Odie eventually achieved many an indie musician’s dream when she signed with Mom + Pop in 2023, mostly due to their diverse catalog: Yes, she’s made Americana music in the past, but she’s no one-trick pony. She craved the room to stretch and change and scream. And for Carrier Pigeon, she did just that, teaming up with a producer/musician Derek Ted — and infusing the 10-track suite with a more hard-edged sound, and plenty of fun. “I wanted to call it Carrier Pigeon because as I was writing these songs I just kept on thinking how silly it is that I’m writing all these thoughts and feeling down about someone and for someone who is only going to hear it months if not years after I write it,” she says. “I was like ‘I might as well be putting letters in bottles and throwing them into the ocean or just strapping it to a pigeon and hoping it lands at the right house.’ This album is the carrier pigeon and the songs are the messages.”

Reverend Kristin Michael Hayter

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ALL AGESSEATED SHOWLIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLEREVEREND KRISTIN MICHAEL HAYTERSAVED! is an apocalyptic revelation on the complex, sometimes ugly, always nonlinear process of healing. Herein, Reverend Kristin Michael Hayter documents an earnest attempt to achieve salvation through the tenets of charismatic Christianity, focusing on the Pentecostal-Holiness Movement, which dictate that one’s closeness to God is demonstrated through transcendental personal experience. Sonically and thematically, the record is both alogical conclusion to and a significant departure from Hayter’s previous work as Lingua Ignota. Mirroring her personal evolution away from pain, she sheds the moniker that made her successful for its unflinching expression of lived trauma and instead builds herself anew, claiming her full given name, determined to see value within. Musically, while she continues to use historical avant-garde technique and formal constraints superimposed over accessible frameworks, she also strips down her instrumentation and degrades audio to provide a sense of musicological antiquity. Similar to Lingua Ignota, the record is steeped in pathos, but now the wrath of God gives way to His deliverance: “His boundless love shall make you whole.”To evoke the lonely roads of salvation-seeking, SAVED! is stark, confined mostly to vocals (sometimes overdubbed into a dissonant chorus of twelve simultaneous voices) and piano prepared with bells and chains, the earthly and celestial. Speaking in tongues is achieved by self-imposing a variety of conditions; sleep deprivation, fasting, repetition of prayer, and sensory overstimulation. Working with long-time collaborator Seth Manchester to achieve a sound that is without era or place, high-fidelity recordings of each song were committed to a 4-track recorder, and then further degraded in a series of small half-broken cassette players. Tape manipulation techniques provide additional effects of deteriorating texture. The result is an artifact that sounds lost to decay, forgotten, as though never meant to be heard. This is all in service of the message — that in its quest for salvation and healing SAVED! is a renunciation of life. Here solace is found in absolute retreat from the world, far from pain and sin, burning with the holy fire until the end comes. And it is written: as you are when the end comes, so will you be when you must face Him. Whether this is enlightenment or insanity is up to the listener to decide.