OUTPOST: Jake Xerxes Fussell & Twain
– ALL AGES- STANDING ROOM ONLY- RAIN OR SHINE Jake Xerxes Fussell is a singer and guitarist based in Durham, NC. He is, according to Ann Powers of NPR, “maybe the leading interpreter of American folk music right now…” Fussell’s album Good and Green Againwas released to critical acclaim in January of 2022. The album was produced by James Elkington and featured some formidable musicians, including Casey Toll on upright bass, Libby Rodenbough on strings, Joe Westerlund on drums, Joseph Decosimo on fiddle, and others. Bonnie “Prince” Billy contributed additional vocals.“…Fussell is the rare contemporary to approach folk in its pure form, shunning self-penned compositions about bummer relationships to concentrate on material handed down from bygone, hardenedtimes.” –The New Yorker“(Fussell) is one of the great magpies of American song, collecting forgotten, tarnished gems with a folklorist’s zeal… his renditions aren’t so much cover versions as composites…” –The GuardianTwain “There is nothing remarkable about my life that is necessary to know in order to appreciate the songs,” says Matthew Davidson of Twain. He describes the project as “a modern folk-opera of indefinite length consisting of songs and images from my life, a self-caricature of the musician and writer Matthew Davidson.” “Some of the songs deal with the experience of male-ness, but it isn’t necessary to identify as male or female to understand them. A lot of the music comes out of depressive or ecstatic states, but it is not necessary to have experienced those feelings in order to appreciate the music. The offering is supposed to be a very naked voice which the listener can commune with. If it were up to me, I would share this music with people who don’t know a single fact about my self, my name, my story. I make music in order to take a break from those things, and I hope the music I make offers others a chance to take a break from their own selves, names, stories.”
OUTPOST: For the First & Last Time: Grateful Shred & Circles Around the Sun
– ALL AGES- STANDING ROOM ONLY – LIMITED NUMBER OF VIP TICKETS AVAILABLE GRATEFUL SHREDAfter a meteoric rise from obscurity to a national touring band, Los Angeles-based Grateful Shred has made the most of its time in the spotlight. The lineup, featuring Dan Horne and Austin McCutchen alongside keyboardist Adam MacDougall woke the Grateful Dead cosmos with a unique laid-back harmony driven sound. The band literally went from playing the Shakedown Street vendor area prior to Dead and Company shows to touring the United States. The moment that sent the band’s popularity soaring is the “Busted at the Bowl” video, a YouTube video that features Shred members starting an impromptu set in the parking lot of the Hollywood Bowl before a Dead and Company show in 2017. They don’t get too far before drawing so much attention that the police shut them down. Instantly creating Shred-cred, this was a bit of good fortune that doesn’t get past McCutchen. “We’ve been dealt some pretty good cards,” he states. “It’s been cool to roll with it and push forward and continually make stuff happen. Things have gone our way. Even that video happened magically. It was put together at the last minute, and boom!” The thing is, Grateful Shred manage to channel that elusive Dead vibe: wide-open guitar tones, effortless three-part vocal harmonies, choogling beats, and yes, plenty of tripped out, Shredded solos. The look, the sound, the atmosphere. It’s uncanny. Far from being a historical re-enactment, Grateful Shred’s laissez faire vibe infuses the band with a gentle spirit, warmth, and (dare we say it) authenticity. From their killer merch game to their eminently watchable YouTube channel, they’re clearly having a rad time and spreading the love. Strangely enough, in a world overflowing with wax museum nostalgia and Deadly sentimentalism, we need the Shred, now more than ever. CIRCLES AROUND THE SUN Originally formed from an idea that concert impresario Peter Shapiro had about commissioning original set-break music at the Grateful Dead’s 50th anniversary concerts (“Fare Thee Well”), Circles Around The Sun is a first-of-its-kind band that has continued to trail-blaze the instrumental cosmic disco space for nearly a decade, shapeshifting through several iterations. Not just spiritually but actually and tangibly linked to Grateful Dead history, the band’s music shares shelf space with post-rock, surf-rock, jazz-funk, and good old fashioned psychedelia, while their recorded output has included collaborations with such diverse luminaries as Joe Russo, Billy Strings and Mikaela Davis. Original instrumentals form the bedrock of CATS’ live show, taking fans on a whole different journey every time.
of Montreal
ALL AGESSTANDING ROOM ONLYOF MONTREAL Kevin Barnes did not believe they could ever leave Georgia. Barnes arrived in the erstwhile college-rock hub of Athens around 1996, a pop four-tracker in their early twenties with permissive images of Bowie, Prince, and Iggy Pop prancing through their head. Almost immediately, of Montreal became a signal flare for a slowly changing South. Barnes, who will answer to any pronoun you proffer, bent gender and genre through complicated and ever-delightful records, trouble and woe fueling kinetic tunes of radical incandescence. But there is only so much energy one can expend on the vanguard, living in a town that often felt like a frat house suffused with regressive notions of race, sexuality, and decency. It all exhausted Barnes.They had, however, built a life there—a home, a family, a studio, a reputation. Could Barnes ever really exit? The new Lady On The Cusp is not only a rapturous synthesis of most everything of Montreal has ever done but also Barnes’ final transmission from Athens, as they’re now a fresh Southern expatriate delighted to be living among the snowy peaks and progressive politics of southern Vermont. Written and recorded in the months when Barnes and partner, musician Christina Schneider, prepared to leave, Lady On The Cusp combines a keen reckoning with the past with hopeful glimpses of the future, all clad in Barnes’ purposefully scattershot pop kaleidoscopes. The glittering trauma confrontation of “PI$$ PI$$,” the devotional R&B surrealist fantasy of “Soporific Cell,” the nuevo jazz lamentation of “Sea Mines That Mr Gone”: These 10 tracks—funny and sad, sexy and brooding, playful and serious—find Barnes finding new paths ahead. Barnes is moving both from situations that felt suffocating and toward musical ideas that feel evermore freeing. Barnes and Schneider met nearly seven years ago, when of Montreal and Schneider’s Locate S,1, shared a tour. They fell in love on the road, and she relocated to Athens to begin their life together there. Barnes had certainly contemplated leaving the South but worried about the existential anxieties: Where would they go, for instance, and how would they make friends wherever that was? Easier just to stay in place, right? But the couple began visiting Vermont together, slowly seeing every season in the state where Schneider had gone to school. Barnes imagined another way to exist. What’s more, Schneider—whose own band was in part a vehicle for confronting childhood damage—encouraged Barnes to engage with the wreckage of their past, to grow beyond it in a way they admit they never had. “Christina has been extremely helpful,” Barnes says with more than a touch of relief, “in realizing that who you’ve been doesn’t make you who you are.” Nostalgia is not Barnes’ thing, never really has been. While of Montreal’s peers from mid-’00s indie bloom have often circled back for seemingly endless reissues, reunions, and retreads, Barnes mostly hasn’t, choosing instead to press for novel ways to make the kind of jubilant but tumultuous tunes they have long loved. With its views of the past not as a crutch but as a cage, its nods to what’s next, and sounds that tinker with the idea of what it means to make pop at all, Lady On The Cusp is a compelling reintroduction to of Montreal—a project that has never stalled but has here found and used several new wellsprings of inspiration, all at once.TELE NOVELLA
KIM GORDON
ALL AGESSTANDING ROOM ONLYKIM GORDONThere was a space in Kim Gordon’s No Home Record. It might not have been a home and it might not have been a record, but I seem to recall there was a space. Boulevards, bedrooms, instruments were played, recorded, the voice and its utterances, straining a way through the rhythms and the chords, threaded in some shared place, we met there, the guitar came too, there fell a peal of cymbals, driving on the music. We listened, we turned our back to the walls, slithered through the city at night. Kim Gordon’s words in our ears, her eyes, she saw, she knew, she remembered, she liked. We were moving somewhere. No home record. Moving. Now I’m listening to The Collective. And I’m thinking, what has been done to this space, how has she treated it, it’s not here the same way, not quite. I mean, not at all. On this evidence, it splintered, glittered, crashed and burned. It’s dark here. Can I love you with my eyes open? “It’s Dark Inside.” Haunted by synthesised voices bodiless. Planes of projections. Mirrors get your gun and the echo of a well-known tune, comes in liminal, yet never not hanging around, part of the atmosphere, fading in and out, like she says – Grinding at the edges. Grinding at us all, grinding us away. Hurting, scraping. Sediments, layers, of recorded emissions, mined, twisted, refracted. That makes the music. This shimmering, airless geology, agitated, quarried, cries made in data, bounced down underground tunnels, reaching our ears We recalled it – but not as a memory, more like how you recall a product, when it’s flawed. She sings “Shelf Warmer” so it sounds like shelf life, it sounds radioactive, inside our relationships, juddering, the beats chattering, edgy, the pain of love in the gift shop, assembled in hollow booms, in scratching claps. Non-reciprocal gift giving, there is a return policy. But – novel idea – A hand and a kiss. How about that. Disruption. I would say that Kim Gordon is thinking about how thinking is, now. Conceptual artists do that, did that. “I Don’t Miss My Mind.” The record opens with a list, but the list is under the title “BYE BYE.” The list says milk thistle, dog sitter…. And much more. She’s leaving. Why is the list anxious? How divisive is mascara? It’s on the list. I am packing, listening to the list. Is it mine, or hers. She began seeking images from behind her closed eyes. Putting them to music. But I need to keep my eyes open as I walk the streets, with noise canceled by the airbuds rammed in my ears. quiet, aware, quiet, aware, they chant at me. What could be going through Kim’s head as she goes through mine? -Written by English artist Josephine PrydeBILL NACE
Billy Jonas Band ‘Welcome Spring!’ Family Concert
ALL AGESSEATED SHOWEARLY SHOW BILLY JONAS BAND Fun for All Ages! Bring the family, and welcome spring at an afternoon show on April 7. The Billy Jonas Band loves to engage and delight both young and adult audiences. Whether performing for adults, families, school groups, faith communities, or a mix, they strive for a musical excellence that inspires, entertains, and moves people literally and figuratively. With “wild-winded word magic” (Dirty Linen Magazine), homemade “industrial re-percussion” instruments, exquisite 3 and 4-part vocal harmonies, plus guitar and bass, they love to create community through song and story. Their specialty: finding and pushing your “wonder” button. In 2010, the Billy Jonas Band was honored with a performance at the White House!
Cloud Nothings
ALL AGESSTANDING ROOM ONLYCLOUD NOTHINGSSome bands never miss. This rare breed consistently puts out great records every couple years, avoiding the lengthy hiatuses or egregious sonic missteps that often come with achieving longevity. It’s an often unsung reliability, as few realize how truly remarkable it is to put art into the world at this rate without letting the quality slip. For nearly 15 years, Cloud Nothings have continued to hit the target, steadily becoming a part of the fabric of modern indie rock as we know it with a run of fantastic albums. This streak continues unabated with their latest full-length, Final Summer–an album that’s so assured, so instantly satisfying, that it forces you to pause and realize you’re listening to one of the great American rock bands in their prime.Formed in 2009 by guitarist/vocalist Dylan Baldi, Cloud Nothings evolved over the years from a one-man lo-fi project into a finely tuned unit also composed of drummer Jayson Gerycz and bassist Chris Brown. Cloud Nothings, over so many years and so many records (nine or ten “depending on how you look at it,” laughs Baldi), have existed long enough to witness all sorts of musical moments come and go, but the secret to their endurance isn’t about savvily navigating trends. “We’ve just never felt inclined to stop,” Baldi explains. “It’s not like this makes us millions of dollars, but it’s a great gig, it’s what we love to do.” Gerycz adds, “It’s just still so fun every time we do it, every time we go get in the basement and start writing.”And it shows. Recorded with Jeff Zeigler (Kurt Vile, The War On Drugs, Torres, Purling Hiss), mixed by Sarah Tudzin (Porches, Tim Hiedecker, Pom Pom Squad), and mastered by Jack Callahan (Ryley Walker, Merchandise, Wolf Eyes), Final Summer is bursting with the unbridled joy that only comes from playing guitars and drums loudly. This is not the work of a scrappy new band cramming all of their ideas into a debut album or grizzled veterans grinding through another release: it’s one of the tightest and most invigorating rock bands active today, driven to make the best version of themselves. Very few bands take listeners on that kind of journey within a hooky rock song as effectively as Cloud Nothings, and the album’s opening title track proves exactly why. A wash of crackling synths sets the scene before the band roars to life with a cutting riff and Gerycz’s driving beat. From there, it’s layer after layer of interlocking melodies and guitar lines, all rising action while Baldi lays out the album’s overarching lyrical ideas. “It’s about feeling alright in the moment,” Baldi says. “A lot of these songs sort of ended up being about getting by or trying to keep improving despite everything.”On Final Summer closer “Common Mistake,” Baldi sings, “This is your life, it’s a common mistake. We’ll be alright, just give more than you take.” It’s the kind of deceptively direct lyric that he excels at, a clear and real sentiment filtered through a melody that’s stuck in your head before the end of the first chorus. The line could almost be an accidental mission statement for the band itself: a group that creates with a workman-likecommitment, providing listeners with something authentic and artful at an unflinching pace. Cloud Nothings don’t miss, and you won’t want to miss them either.WIND CULTS
Tinsley Ellis – Naked Truth Tour
ALL AGESSEATED SHOWLIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLETINSLEY ELLIS On Naked Truth (his 21st album), Ellis swaps his blistering, guitar-fueled full band workouts for equally passionate, soul-searching acoustic folk blues. His famed guitar chops and musical creativity are on full display throughout the album’s 12 songs, including nine newly written originals. Naked Truth was produced by Ellis, with the foot-stomping cover of Son House’s Death Letter Blues produced by Atlanta roots musician Eddie 9V. The album was recorded live in the studio using Ellis’ beloved 1969 Martin D-35 (a gift from his father) and his 1937 National Steel O Series guitars. Whether intricately fingerpicking the Martin or playing hair-raising slide on the National Steel, Ellis delivers each song with unvarnished intimacy. The opener, Ellis’ original Devil In The Room, comes from an expression Ellis’ close friend, the late Col. Bruce Hampton, would tell his musicians just before a show was about to begin (“We’re here to put the devil in the room,” he’d say). From the original, Skip James-inspired Windowpane to the Delta-styled Tallahassee Blues, to the humorous Grown Ass Man, Ellis goes deep, singing and playing the blues’ honest truths. The inclusion of four introspective instrumentals (including a transcendent cover of Leo Kottke’s A Soldier’s Grave On The Prairie, a song he’s been playing live for almost 50 years) adds even more depth and substance to an album overflowing with riches. Each song carries the weight, experience and hard-earned wisdom Ellis learned over four decades on the road, infusing Naked Truth with an emotional authenticity that is palpable from start to finish. Tinsley Ellis has been immersed in music his whole life. Born in Atlanta 1957 and raised in southern Florida, he acquired his first guitar at age seven, inspired by seeing The Beatles perform on The Ed Sullivan Show. He took to guitar instantly, developing and sharpening his skills as he grew up. Like many kids his age, Ellis discovered the blues through the back door of British Invasion bands like The Yardbirds, The Animals, Cream and The Rolling Stones as well as Southern rockers like The Allman Brothers. According to Atlanta-based blues guitarist, singer and songwriter Tinsley Ellis, his new, first-ever solo acoustic album, Naked Truth, is both “a departure and an arrival.” Ellis has been recording and travelling the world for over four decades, delivering his feral, guitar-fueled, original electric blues-rock to ever-growing audiences at concert halls, festivals, and clubs. Naked Truth is steeped in the folk blues traditions of Muddy Waters, Skip James, Son House, Robert Johnson and even Leo Kottke. To the casual fan, this might seem to be a new direction, but for Ellis, it’s an extension of his music, as he taps into the raw essence of the blues. “This is a record I’ve always wanted to make, and one that my longtime fans have been asking for,” he says, noting he’s included an acoustic mini-set in his concert performances for years. In the last 12 months, Ellis has already performed over 100 solo shows, many as co-bills with his Alligator label-mate Marcia Ball. “I’m having so much fun playing these shows,” he says.
Comedian Michael Palascak
– ALL AGES- SEATED SHOW- LIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLE- PRESENTED BY MODELFACE COMEDYMICHAEL PALASCAK Michael Palascak is a comedian who grew up in Wabash, Indiana, began his career in Chicago and now resides in LA. He performed on both The Late Late Show with James Corden and The Late Show with Stephen Colbert in the same year. In addition, his resume includes A Little Late with Lilly Singh, Letterman, The Tonight Show with Jay Leno, The Late Late Show with Craig Ferguson, Conan, has a Comedy Central Half Hour special, and was a Top 5 Finalist on Last Comic Standing where one judge claimed, “My first impression of Michael was a great likability. This is a guy that could star in a sitcom.” Michael’s likability allows him to relate to his audiences in a real way which sets up the huge laughs he gets from his sharp, personal material. Consistently writing and performing, Michael recently released both a new album— The Internet Live through 800 Pound Gorilla and a new stand-up special on the Dry Bar app— 1984. Available for free streaming. Drew Hunt of The Chicago Reader wrote about Michael, “In a lot of ways, he represents the ideal antidote to the sort of unbridled cynicism that pervades much of contemporary stand-up.” Michael’s optimism continues in the new National Lampoon series — The Bright Side where he takes a positive stance on a negative topic streaming on YouTube.
PATIO: Stella Prince w/ Old Sap & Jackson Grimm
ALL AGES LIMITED PATIO SEATING IS FIRST COME FIRST SERVESTELLA PRINCE2022 has been a groundbreaking year for Stella Prince. Her first single that went to radio, “Crying on a Saturday Night”, charted on the Americana Singles Chart, was played on over 100 radio stations internationally, and was the most added song on folk radio in March of 2022. Her debut music video for the song has received over 80,000 views on YouTube alone, and has received support from legendary outlets such as CMT, Ditty TV, Heartland, The Country Network, and Discover Music Videos. This year Stella has been featured over 50 times in various articles by outlets such as Americana Highways, Country Music Views, Teen Look, Think Country, NY State Music, Cowgirl Magazine, and Music City Magazine, among others. Touring has been another breakthrough for Stella. She completed her first international run of the UK, as well as an 18 city tour of the Southwest. She has performed at some of the world’s most prestigious venues, such as London’s “The Bedford” and “Spice of Life”, New York’s “Bitter End” and “Arlene’s Grocery”, Austin’s “Cactus Cafe”, and Nashville’s “Bluebird Cafe”.
Maggie Rose: No One Gets Out Alive Tour
– ALL AGES- STANDING ROOM ONLY- LIMITED QUANTITY OF “Maggie Rose VIP Experience Package” TICKETS AVAILABLE, INCLUDING: Ticket to the show, Soundcheck Experience with Maggie Rose (performance + Q&A), Photo Op with Maggie Rose, Exclusive Poster Autographed By Maggie Rose, Commemorative Laminate and Lanyard, Onsite VIP Host. **VIP instructions for the preshow Photo Op and Soundcheck Experience will be emailed approximately 48 hours prior to the event. Merchandise items are collected at the venue during the VIP Experience. If you have a question related to your VIP package, please email [email protected] or call (877) 717-5816. Merchandise subject to change.** MAGGIE ROSE Acclaimed singer/songwriter Maggie Rose has shared her empowering new single, “Underestimate Me.” The galvanizing anthem, delivered with an assured confidence, is the launching pad for an exciting new chapter in Maggie’s musical journey, and her first release with her new label partner, independent powerhouse Big Loud. Maggie has been hailed for her passionate individualism and influences spanning rock, soul, Americana, folk and funk. Her previous lauded studio albums were embraced by the likes of Rolling Stone who declared she’s a “star” and NPR Music who called her a “multi-genre powerhouse,” among others. A respected fixture of the Nashville community (she was recently elected Governor of the Recording Academy’s Nashville Chapter and has played the iconic Grand Ole Opry almost 100 times), she has carved out a unique path for herself, refusing to be pigeonholed in any one genre. Maggie comfortably straddles different worlds as evidenced by her dynamic performances at such varied festivals as Austin City Limits, Bonnaroo, and Newport Folk Fest. A true road warrior, she has shared the stage with an impressive array of artists including Kelly Clarkson, Tedeschi Trucks Band, Heart, Joan Jett, Eric Church, Gov’t Mule, The Mavericks, Fitz & The Tantrums, and The Revivalists to name a few. Rose is readying some of her most powerful music to date coming soon.FANCY HAGOODFancy Hagood is an artist from Bentonville, AR who now lives and makes music out of Nashville, TN. In 2021 he released his debut album, Southern Curiosity, which was nominated for Best Country Record at The Libera Awards. His follow-up single “Blue Dream Baby,” featuring Grammy Award winner Kacey Musgraves, was released last summer. Fancy’s music has been streamed across multiple platforms over 30 million times. He has garnered the attention of generational artists like Brandi Carlile who called Fancy “an artist to watch,” and Sir Elton John, who asked Fancy to be a guest on his Rocket Hour Radio Show. Elton proclaimed, “We need more people like Fancy.” Later this year Fancy will release his highly anticipated sophomore album.Beyond creating music of his own music, Fancy has written songs for Christina Aguilera, Little Big Town, Rascal Flatts, Anderson East and more. He is the host of Apple Radios, “Hallelujah Radio” and “Trailblazers Radio” which features interviews with a diverse line-up of co-hosts including Jelly Roll, Brett Eldredge, The War And Treaty, Brothers Osborne and many others.
