CANCELED: OUTPOST: Mile Twelve w/ Zoe and Cloyd
– ALL AGES- STANDING ROOM ONLY- RAIN OR SHINE Mile Twelve is back in motion. From the first manic, dissonant downbeat of their virtuosic new record, Close Enough to Hear, you’ll discover a band that is ready to explode from a restless pandemic-induced hiatus. The first track “Romulus,” glides and rages as the narrator wrestles with the ultimate impermanence of the empire he’s forged. Next comes the magical realism of “Johnny Oklahoma,” the youth who volunteers to be fired out of a cannon for the good of his community, in one big beautiful nihilistic burst. These musicians are clearly working through some hard questions posed by the last few years. You’ll hear the same warmth and innovation that earned the band IBMA’s 2019 Album of the Year nomination and 2020 New Artist of the Year Award, and that’s gained them an international reputation as one of the most dynamic groups in contemporary acoustic music. The title track “Close Enough to Hear,” is a stripped down dream of all that we missed so dearly in those early, terrifying months of lockdown. Something else is close enough to hear on this new album. You’ll notice the presence of two new members: fiddler and vocalist Ella Jordan and mandolinist Korey Brodsky. Take note of the new dimension they add to the band, and their ability to lock in with founding members Evan Murphy (guitar, vocals), Catherine Bowness (banjo), and Nate Sabat (bass, vocals). These aren’t session players; this album captures the formation of a new coherent unit. Zoe and Cloyd Klezgrass. This one word may best describe the vast musical world of Asheville, NC duo Zoe & Cloyd. Springing from rich and complementary traditions, the artistic stylings of fiddler/vocalist Natalya Zoe Weinstein and multi-instrumentalist/vocalist John Cloyd Miller fit together in a harmonic dovetail. In 2022, the band was an official showcase artist at the IBMA World of Bluegrass, featured guest artists for the Davidson College Holiday Gala, as well as hosts of A Swannanoa Solstice at the Wortham Center for the Performing Arts. Their fifth studio album, Songs of Our Grandfathers, is set to release in May of 2023 on Organic Records, just before their international debut in Northern Ireland.Zoe & Cloyd delight audiences with soaring harmonies and heartfelt songwriting, seamlessly combining original bluegrass, klezmer, old-time and folk with sincerity and zeal.
The Criticals
– ALL AGES- STANDING ROOM ONLYTHE CRITICALSThe Criticals are a Nashville based rock band formed by Parker Forbes and Cole Shugart. In November 2019, they released their first EP, “Mimosa Hygienem” starting their journey. When covid hit in early 2020, the band focused on writing, recording and releasing music and music videos. Their first music video for Treat Ya Better became popular online, leading many diehard fans to their music. Their sophomore EP, “Sour Grapes” was released in October 2020, along with several singles in ’21 and ’22. In addition to the organic traction on Spotify, along with their music videos, the band has built a loyal and growing audience eager to see them live. CONNOR KELLY & THE TIME WARPConnor Kelly & The Time Warp is dedicated to pushing sonic boundaries while persevering the anthropomorphic elements of Rock & Roll. Drawing inspiration from icons like Pink Floyd, Radiohead, and Red Hot Chili Peppers, the group cultivates a sound that pays tasteful homage to legends of the genre but not without their own unusual twist. Since their latest album release “Distant Forest” the band has accumulated over 5 million streams and joined acts like The Backseat Lovers, Vista Kicks, and Moon Taxi on the road. Connor Kelly, Ben Kelly, Aiden Lamb, and Daniel Ryan are liable to disrupt the space-time continuum.
Bill Callahan
– ALL AGES- STANDING ROOM ONLYBILL CALLAHAN“And we’re coming out of dreams / And we’re coming back to dreams” is the first thing you hear Bill say as you remake your acquaintance on YTI⅃AƎЯ. Right out the gate, he’s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. “You do what you’ve got to do / To see the picture” Bill’s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might—but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill’s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There’s nothing they can’t do. “I wrote this song in five and forever / I’m writing it right now” Bill sings on “Natural Information”—an admission of the everyday alchemy he’s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they’re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill’s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. “I realize now that dreams are real” On YTI⅃AƎЯ’s inner sleeve, alongside his lyrics, Bill celebrates the “exhilaration and dread” of cover artist Paul Ryan’s paintings. Paul’s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world—and in the bright colors found in these new images, a parallel to Bill’s recognitions here. “A breath of exquisite air as we come up from drowning”, sounds like the desired hope for those hearing the songs of YTI⅃AƎЯ.Pascal Kerong’A
AGENT ORANGE
– ALL AGES- STANDING ROOM ONLYAGENT ORANGEThe Original Southern California Punk/Surf Power Trio, Agent Orange, is one of only a handful of bands who have been continually active since the earliest days of the West Coast Punk Scene. A small circle of musical rebels who came together to form a movement, they took their place front and center to experience and participate in the explosion of now legendary underground music that was created during the golden era of American Punk Rock.Being the first to combine the melodic California surf guitar sound with the frantic energy of punk, Agent Orange invented the formula that would come to define the Orange County punk sound. Highly influential to many of the bands who have followed in their path, Agent Orange have always stayed one step ahead. Their strong connection to the Action Sports world has resulted in their music providing the soundtrack to numerous major motion pictures, video games, surf and skate films, television, and live sports events.The last of the true independents, Agent Orange have managed to stay true to their roots, while always moving forward. Powered by a loyal following built up through years of explosive live performances all over the world, Agent Orange continue to deliver their Fullblown-Supercharged-Punk-Surf Sound on an international basis, with a never ending schedule of tours in the United States, Canada, South America, Europe, Australia, and Japan.C’mon down front and expose yourself to Agent Orange.SUZI MOON The unstoppable SUZI MOON comes roaring back with a debut solo EP Call the Shots, a powerful clutch of high impact songs which reaffirm her status as one of punk rock’s most vibrant performers! With a stellar rock & roll pedigree reaching back to when the then 15-year-old MOON joined her sister’s famed punk band, CIVET, the singer-songwriter has followed through with songs that show her incredible growth. Recording two albums for Hellcat Records and touring with the likes of SOCIAL DISTORTION, DROPKICK MURPHYS, and FLOGGING MOLLY (all before she turned 21), MOON established herself as a ferocious punk truth-teller with both a distinctive personal style and a fiercely untamed stage presence. After CIVET went on hiatus, MOON formed TURBULENT HEARTS, a high-intensity trio that quickly gained popularity in their hometown Los Angeles scene and earned followings in the US and Europe, playing such high-stakes settings as the Rebellion Festival and Punk Rock Bowling.THE DEATHBOTSThe Deathbots make their home in Asheville, NC among the freaks, weirdos, and white dudes named Chad that just moved here from Charlotte and are totally down to brewery hop on the South Slope. It’s widely accepted in Asheville that everything was better a few years ago and the Deathbots do their part by making the punk rock that your older sister used to listen to before she sold out and went to law school. Holy Crap Records describes the sound as a “brawling mix between Bad Religion and Johnny Cash, that combo of super speedy melodic punk and killer bad-ass country.”
Velvet Truckstop (Album Release Show) w/ Pyletribe ft Artimus Pyle
– ALL AGES- STANDING ROOM ONLYVELVET TRUCKSTOPFrom the Blue Ridge Mountains of Western North Carolina, Velvet Truckstop is a seasoned powerhouse that delivers a high-energy mix of Southern Rock and jam fueled Cosmic Americana every time they take the stage! VT has recorded / performed live with many notable musicians; including Tom Constanten ( Grateful Dead) , Ike Stubblefield (Frank Zappa, Jerry Garcia Band) Artimus Pyle (Lynyrd Skynyrd) and John Keane ( Widespread Panic) . Following the success of their first full-length album, “Sweet Release” (voted No. 5 on WNCW’s Top 20 regional charts), they went on to command stages at top events; including multiple performances at SXSW in Austin, Texas; the Warren Haynes’ Christmas Jam (2009- 2019 ) and the French Broad River Festival ( 2019 ) After extensive touring throughout the East Coast, the band cut their second album, “Southbound and Down” , produced by Johnny Sandlin ( Allman Brothers / Widespread Panic) in Muscle Shoals AL. Velvet Truckstop is happy to announce their third album ” Reckless Abandon ” will be released in 2022. Band Members are : Jamie Dose (guitar / vocals), Josh Gibbs ( Lap steel / Guitar and vocals ) Will Nicholson ( bass ) and Jor Sutton ( drums ). PYLETRIBE Combining the iconic talents of legendary Lynyrd Skynyrd drummer Artimus Pyle, and the infectious vocal and guitar licks of son Chris Pyle, PYLETRIBE pushes the creative boundaries with their percussion influenced style dubbed “southern fried tribal boogie.”
Avey Tare: 7s Tour
– ALL AGES- STANDING ROOM ONLYAVEY TAREYou remember how it was, don’t you, back in the Spring of 2020? Knowing so little about what any of us should do, so many of us crawled inside our quarters to find new obsessions or indulge the familiar ones, unencumbered by anything else we could do. At home in the woods on the eastern edge of Asheville, N.C., Avey Tare took the latter path, sequestering himself in his small home studio to sort the songs he’d written and recorded with friends in the instantly distant before times — Animal Collective’s Time Skiffs, of course, their astonishing document of communal creativity a quarter-century into the enterprise. He often worked there for 12 hours a day, tweaking mixes alone, save the birds and bears and his girlfriend, Madelyn. By Fall, though, it was done, so what next? How else should Avey now occupy himself in his cozy little room? The answer became 7s, his fourth solo album (and first in four years), an enchanting romp through the playground of his head. He wasn’t, however, going to do it alone.During the first week of January 2021, Avey began making regular drives to his friend Adam McDaniel’s Drop of Sun Studios to give guts and flesh and color to the skeletal demos he’d made at home. They turned first to “Hey Bog,” a tune Avey had been tinkering with since he wrote it to have new material for a rare live performance years earlier. The inquisitive electronic meditation — all tiny percussive pops and surrealist textures at first — slowly morphs into a gem about surrendering cynicism and accepting the world a bit more readily, the call buttressed by trunk-rattling bass and spectral guitar. It feels like a lifetime map for new possibilities, encapsulated in nine absorbing minutes. The plot for 7s, then, was set: trusting, intuitive, exploratory collaboration among friends, after a Winter without it. These songs are like overstuffed jelly jars, cracking so that the sweetness oozes out into unexpected shapes. Still, the sweetness — that is, Avey’s compulsory hooks — remains at the center, the joy inside these Rorschach blots.If Animal Collective has forever been defined by its charming inscrutability, Avey surrenders to a new intimacy and candor with 7s. Take “The Musical,” a bouncing ball of rubbery synths and wah-wah guitars that contemplates what draws someone to sound and how turning that calling into a profession can alter the source. “I can hear the mountains singing,” he counters with an audible smile wiped across his face, painting a postcard of his home amid one of the United States’ folk hubs, “and I do believe they could do that forever.” Obligations aside, this is a self-renewing love, he realizes, the source as captivating as it was the first time. “Have you ever felt a thing and known that’s how you felt about it all along?” he ends this guileless love song for everything.SHAMsongs of Shane Justice McCord expanded in collaboration with Mikey Powers, other friends & magnetic tape
shame
– ALL AGES- STANDING ROOM ONLYshameshame were tourists in their own adolescence – and nothing was quite like the postcard. The freefall of their early twenties, in all its delight and disaster, was tangled up in being hailed one of post-punk’s greatest hopes. In 2018, they took their incendiary debut album Songs of Praise for a cross-continental joyride for almost 350 relentless nights. They tried to bite off more than they could chew, just to prove their teeth were sharp enough – but eventually, you’ve got to learn to spit it out. Then came the hangover. shame’s frontman, Charlie Steen, suffered a series of panic attacks which led to the tour’s cancellation. For the first time, since being plucked from the stage of The Windmill and catapulted into notoriety, shame were confronted with who they’d become on the other side of it. This era, of being forced to endure reality and the terror that comes with your own company, would form shame’s second album, 2021’s Drunk Tank Pink, the band’s reinvention.If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album’s identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be “the Lamborghini of shame records.”For the first time, the band are not delving inwards, but seeking to capture the world around them. “I don’t think you can be in your own head forever,” says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: “It’s weird, isn’t it? Popular music is always about love, heartbreak, or yourself. There isn’t much about your mates.” In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together – and grown so close, against all odds – can share.BEEN STELLAR Been Stellar is what you get when you leave the youth alone in a metropolis; they grow up. They make noise. Their songs are formed and lived somewhere on Broadway, on Hester, on 34th, in Union Square, on the bridge, in the gutter, and under your shoe. The trivial street scenes lipsticked by well-loved decades are fully recognized in Been Stellar’s hail of guitar tones and insistent lyrical earnesty. Crackly, bright and distorted – stories of violence, love, and a new, un-glamorous, New York City. Hailing from metro-Detroit, the beaches of Los Angeles, and Brazil by way of Sydney, Nando Dale (guitar), Laila Wayans (drums), Sam Slocum (vocals), Nico Brunstein (bass) and Skyler St. Marx (guitar) have positioned themselves at the glimmering rotten center of tonight’s rock and roll. Each member so distinctly themselves, it must be assumed that such a diverse and unlikely gang were drawn tight together in their first year of university by nothing short of serendipitous fortune and a shared, waggish sense of humor, reflected at the heart of their lyrics and hardened over years of shared experience in the city’s lavish rigidity and urban decay.
Tank and the Bangas
– ALL AGES- STANDING ROOM ONLYTANK AND THE BANGASComing from New Orleans, Tank and the Bangas are surrounded by plenty of grand musical traditions. And the five-piece group has a rare knack for combining various musical styles—fiery soul, deft hip-hop, deep-groove R&B and subtle jazz—into one dazzling, cohesive whole that evokes the scope of New Orleans music while retaining a distinctive feel all its own.“It’s music that can’t really be put in a box,” says singer and poet Tarriona “Tank” Ball. She fronts the band with vivid charisma that helped Tank and the Bangas win NPR’s 2017 Tiny Desk Concert Contest by unanimous acclaim, standing out among 6,000 entrants because of what Bob Boilen called “the depth of their lyricism and the versatility of their players.” Those same qualities also attracted the attention of Verve Records, which has signed the band.Ball’s lyrical depth has been years in the making. She came up in the strong local slam poetry scene before meeting her bandmates: Merell Burkett on keyboards, Joshua Johnson on drums, Norman Spence on bass and synth keys and, eventually, Albert Allenback on alto sax and flute. “Growing up, I always could sing, but I wrote better than I sang, so I focused on writing,” she says. After her team won the National Poetry Slam Championship two years in a row, Ball turned her full attention to Tank and the Bangas.What started as a loose collaboration at an open-mic night in 2011 has grown into a mesmerizing musical force that’s only picking up speed. After a featured set at the New Orleans Jazz & Heritage Festival early in the band’s career, the musicians built a reputation outside their hometown by grinding it out on the road, honing their live show and releasing the 2013 album Think Tank, all the while converting audiences into passionate fans and garnering critical acclaim, from the New Orleans Advocate to The New York Times. “It made us work hard,” Ball says of playing Jazz Fest. “It made us want to feel deserving of it.”Their hard work is paying off: The Huffington Post says Tank and the Bangas defy description onstage, adding, “It’s music that you have to experience.” The experience is subject to change from one night to the next.“One show will feel very electronic, or hip-hop, and another show will feel slow and vibe-y and jazzy, and then another show will just be poetry and off-the-cuff riffs,” says Johnson. “As a band, we don’t like to hear ourselves do the same thing for too long, so we might change a small thing here or there, and if we change enough small things, it seems like a big change.”The band’s ongoing evolution involves more than just music: Ball continues to grow and develop as a performer and writer. Even back in the open-mic days, she was a force of nature. “I don’t know if there’s such a thing as too free, but it was totally uninhibited. She was inspired,” Spence says, laughing at the memory. More recently, Ball has become less of a dervish onstage—“I was running around so much I didn’t have time to sing at all,” she say—while finding new ways of expressing herself as a writer. “I don’t just think about myself when I write now,” she says. “Just being with my bandmates taught me to think more about other people. And when you have an audience of people ready to listen to you, you’re excited to connect with them, you really are.”McKINLEY DIXON
NIGHT TWO: “Dolly Days” – A Tribute to Dolly Parton (standing room only)
– ALL AGES- STANDING ROOM ONLY- NIGHT ONE (2/13) IS A FULLY SEATED SHOW, IF YOU’RE LOOKING TO CHILL! It’s a Dolly Parton lovefest this Valentine’s with TWO BIG NIGHTS at The Grey Eagle, Feb. 13 & 14 in tribute to the divine Ms. Dolly. Night one (2/13) is a fully seated show and night two (2/14) is a standing room only show. Hosted by CyndiLou & the Want To with numerous special guests, the Coats of Many Colors winter coat drive, and a portion of proceeds going to the Buncombe Partnership for Children, Asheville’s chapter of Dolly’s Imagination Library!
NIGHT ONE: “Dolly Days” – A Tribute to Dolly Parton (fully seated show)
– ALL AGES- FULLY SEATED SHOW- LIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLE- NIGHT TWO (2/14) IS STANDING ROOM ONLY, IF YOU’RE LOOKING TO BOOGIE! It’s a Dolly Parton lovefest this Valentine’s with TWO BIG NIGHTS at The Grey Eagle, Feb. 13 & 14 in tribute to the divine Ms. Dolly. Night one (2/13) is a fully seated show and night two (2/14) is a standing room only show. Hosted by CyndiLou & the Want To with numerous special guests, the Coats of Many Colors winter coat drive, and a portion of proceeds going to the Buncombe Partnership for Children, Asheville’s chapter of Dolly’s Imagination Library!
