Golden Folk Sessions
ALL AGES 6PM DOORS / 7PM SHOW FULLY SEATED SHOW LIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLE GOLDEN FOLK SESSIONS Golden Folk Sessions (formerly Open Folk AVL) offers an intimate, carefully curated listening experience that celebrates the art of original music. Each event showcases six handpicked artists, performing three-song sets in a quiet, seated environment where the music takes center stage. To add a sense of surprise and discovery, the lineup is revealed only when the show begins. Running from 7–9 PM, these early shows create the perfect evening for music lovers who value live performances and a good night’s rest. With over 100 shows hosted and extraordinary artists from around the globe gracing our stage, Golden Folk Sessions is entering an exciting new chapter. Under a new name and with a new home at The Grey Eagle—one of the Southeast’s most iconic venues—we’re thrilled to continue fostering community through music. Staying true to our values of accessibility, we aim to make music available to everyone. Presale tickets guarantee your seat and support both Golden Folk Sessions and The Grey Eagle. For those attending on the day of the show, our “pay what you can, if you can” option ensures that all are welcome to be part of this unique and meaningful experience. • $25 for Priority Seating (first three rows) • $10 General Admission (presale) • $0-$25 Day-of-Show (no minimum) We can’t wait to see y’all there
The Arcadian Wild
ALL AGES FULLY SEATED SHOW LIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLE THE ARCADIAN WILD The Arcadian Wild is a four-piece indie folk/pop group from Nashville, TN. Led by songwriters Isaac Horn and Lincoln Mick and Bailey Warren on fiddle, The Arcadian Wild confidently inhabits and explores an intersection of genre, blending the traditional with the contemporary. Combining elements of progressive bluegrass, folk, and formal vocal music, The Arcadian Wild offer up songs of invitation; calls to come and see, to find refuge and rest, to journey and wonder, to laugh and cry, to share joy and community and sing along. The band’s 2023 album Welcome marks the start of a captivating new chapter for the genre-bending trio, who returned to the studio with renewed purpose and insight after devoting the last few years to a series of critically acclaimed singles and EPs. Like much of the band’s catalog, the album blurs the lines between chamber folk and progressive bluegrass, drawing on everything from country and classical to pop and choral music with lush harmonies and dazzling fretwork, but this time around there’s a rawness to the writing, an embrace of candor and simplicity that cuts straight to the heart of things like never before. The result is perhaps the most arresting collection yet from a band known for its ability to stop listeners dead in their tracks, an exquisitely beautiful celebration of community, connection, and the power of belonging that feels tailor-made for these challenging times. DALLAS UGLY Nashville’s Dallas Ugly are an indie rock band of truly trusted friends who – after a decade of playing together – return with their best work yet. Beautifully produced in collaboration with Grammy winning engineer Justin Francis, their sophomore album See Me Now is contemporary, crisp, and alive, a fiddle-filled entry in the current band-with-guitar renaissance that puts them in conversation with acts like MJ Lenderman, Big Thief, and Allegra Krieger while still channelling the sparkly sing-along heights of late 90s radio. The growth of heartache, finding footing in an unstable world, and modern anxiety resonate out in soaring harmony.
Florry
ALL AGESSTANDING ROOM ONLY FLORRY A far cry from the cool, calculated distance and reserved posture that is all-too-familiar to the indie-rock sphere, Florry, the Philly-bred septet and songwriting vehicle of bandleader Francie Medosch, are marking their territory as a band resolving to do something very different: they are having a really good time out there. Cutting her teeth in the Philadelphia DIY scene starting in 2019 as a student at Temple University, the early days of Florry found Medosch at the end of her teenage years releasing a slew of singles and EP’s in a familiar idiom of lo-fi bedroom recordings tinged with country melancholy. A lot has changed since then. Most importantly, perhaps, the project snowballed into a barn-burning seven piece rock band in the proceeding years; and without sacrificing any of the emotional immediacy that’s come to define Medosch’s brashly earnest, bleeding-heart lyrical style, you’re unlikely to find her lingering as much on the melancholy these days. Or, as Medosch plainly puts it in regards to Sounds Like… , the band’s forthcoming LP. “The Jackass theme song was actually a really big influence on the new album” The release of their 2023 formal full-length debut The Holey Bible (via Dear Life) found Medosch now flanked by six bandmates and trafficking in a wider, more rock-oriented approach with the bravado of someone with a new lease on life. With Jon Cox (Sadurn, Son of Barb) on pedal steel, John Murray on electric guitar, Colin Dennen on bass, Will Henrikson on fiddle, Katya Malison (Doll Spirit Vessel) on Vox, and Joey Sullivan (Bark Culturr) on drums, Florry 2.0 had arrived. The retooled seven-piece embraced a lengthy run of tours dialing in their new kinetic sound and freewheeling chemistry including runs with Fust, MJ Lenderman, Greg Freeman, and Real Estate. Greeted to critical acclaim upon its release, with positive notices from outlets including Pitchfork, Stereogum, Paste, and Brooklyn Vegan, the album quickly introduced Florry to an expanded audience and pointed a way forward for Medosch and the band at a time when the future wasn’t so clear. “I had a job lined up selling insurance, I guess I figured that was that, you know?” As it turns out, that was not that. A few days went by, and then the phone started ringing. From managers, from booking agents, from indie-rock elder statesman Kurt Vile, who took the band on the road in support of his 2023 Back to Moon Beach LP. On the winkingly titled Sounds Like… , the band’s second full-length release via Dear Life, Florry is picking up right where they left off in 2023. Again upping the ante with a bigger, brighter, more abrasive sound that resembles something closer to Rolling Thunder Revue-era Bob Dylan than their humble DIY roots. Across ten tracks, the band wear their influences on their sleeve while carving out a space that is distinctly their own, blending raw honky-tonk grit and rich instrumental textures with the disarming sincerity and intimacy of the group’s lo-fi beginnings. It’s a record about searching—searching for home, for love, for meaning, and for a sound that captures it all. As Medosch croons on the red-hot opening track, First it was a movie, then it was a book Last night i watched a moviethe movie made me sad‘cause i saw myself in everyonehow’d they make a movie like that?
Frankie and the Witch Fingers
ALL AGESSTANDING ROOM ONLY FRANKIE AND THE WITCH FINGERS Los Angeles psych-punk shapeshifters Frankie and the Witch Fingers have spent the last decade mutating their sound into bold, electrifying new forms. Their latest release, Trash Classic (via Greenway Records and The Reverberation Appreciation Society), plunges into a sewer-slick fusion of proto-punk venom, fractured new wave, and industrial grime. Brimming with wiry synths, angular melodies, and grooves that squirm and bite, it’s all delivered with a sly, playful wink. Fueled by relentless global touring and a fierce DIY ethos, the band has shared stages with OFF!, Ty Segall, Oh Sees, Cheap Trick, and ZZ Top, cementing their place as one of the most unforgettable live acts around. Frankie and the Witch Fingers continue to morph, dragging listeners into whatever warped direction their experimental journey takes next. Hooks so infectious they rot on impact. Trash Classic marks a feral mutation for Frankie and the Witch Fingers—a record that snarls with proto-punk venom, angular melodies, and electronic textures that cough and sputter like dying neon lights under a poisoned sky. This record pushes the Witch Fingers’ sound to a razor’s edge. Wiry and twitching, it bends into synth-punk and fractured new wave, with fragments of industrial grime caked under its nails. Guitars detonate and slice like cinder blocks through glass, while gnashing basslines slither through the sludge, alive and seething. Buzzy synths take the forefront, driving relentless rhythms that crack and pop, drenched in a chemically saturated sheen—part bug-eyed speed-freak pogo, part dance-floor delirium. The vocals cut through like static-laced transmissions—balancing both smirk and sneer—layering playful unease over themes of escapism, decay, and overindulgence. The songs were born in the grime of Vernon, Los Angeles—a wasteland littered with gutted RVs and rusting machinery, where the air tastes like asphalt and dog food. But the real alchemy happened in Oakland, at Tiny Telephone Studio, where producer Maryam Qudus (La Luz, Spacemoth) helped transmute the tracks into their final forms. Unhinged tones, unconventional recording experiments, and wild sonic detours transformed the songs into something alive and unpredictable. Every day of recording began with cartoons blaring at full volume—a Looney Tunes ritual that turned the madness of the recording process into something child like. Late at night, sugar-fueled candy binges kept the energy spiking, pushing the sessions into a fever dream of jittery, spastic playfulness. POPULATION II is a band dedicated to its disengagement, constantly working on refining their imposing, yet unpretentious sound. A trio consisting of singer/drummer Pierre-Luc Gratton, guitarist/keyboardist Tristan Lacombe and bassist Sébastien Provençal, Population II are masters at both improvised madness and sophisticated composition, delivering heavy psychedelic rock infused with feverish funk rhythms, a hint of jazz philosophy, a burst of energy reminiscent of punk’s early days, and a love of minor scales that harkens back to the roots of heavy metal. The band’s uniqueness is reinforced by Pierre-Luc’s unique voice and his introspective, nostalgic, and offbeat lyrics.
Stillhouse Junkies
ALL AGES SEATED SHOW LIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLE STILLHOUSE JUNKIES Acoustic adventurers Stillhouse Junkies explore the worlds between roots, bluegrass, Texas swing, blues, and rock. Their free-flowing musical interplay and improvisation make every show unique as they weave their way through high-energy, intricately composed original songs, never taking the same path twice. Based in the Southwestern Colorado town of Durango, the band consists of founder Fred Kosak on guitar and mandolin and longtime member Alissa Wolf on fiddle. They’ve recently been joined by Nederland, CO’s Matt Thomas on upright bass and Nashville, TN’s Eric Lee on mandolin, guitar, and fiddle. Lee and Thomas formerly played together in the award-winning band Man About a Horse. Formed in 2017, Stillhouse Junkies plan to release their fourth album in early 2025. Their prolific songwriting, tight vocal harmonies, and blistering instrumentals earned them the prestigious International Bluegrass Music Association’s “Momentum Band of the Year” award in 2021. As they tour relentlessly across the United States and abroad, Stillhouse Junkies are gaining a reputation as one of the most exciting bands in the acoustic music scene. They have played such beloved festivals as Grey Fox Bluegrass Festival, Rockygrass, Merle Fest, and ROMP, and their busy schedule has seen them supporting Willie Carlisle, The Lil Smokies, and Asleep at the Wheel. Join us in this Americana experiment and be the one to say you booked Stillhouse Junkies before they were huge. From festivals to performing arts centers – Stillhouse Junkies will deliver a one-of-a-kind experience!
PATIO: Lord Nelson
– ALL AGES- LIMITED PATIO SEATING IS FIRST COME FIRST SERVE LORD NELSON Lord Nelson have been covering the backroads and highways of this country, bringing their version of rock ’n roll to anyone that will listen. Rooted in central Virginia, the songs depict a landscape of hard choices with a wry sense of humor. Leaning into the curve, aware of the choices that put you on that bend. Bringing together folk, rock, blues, and country in the most natural sense, their latest studio album, “Transmission”, charted on the Americana charts and garnered play across the country. Currently working on their follow up, slated for a late 2024 release, the road shows no signs of slowing down. “Their live show can’t help but draw you into the music, whether you’re a Virginia native or not. By the end of their set, you’ll wish you were.” -Nashville 360
Black Moth Super Rainbow
ALL AGESSTANDING ROOM ONLY BLACK MOTH SUPER RAINBOW Black Moth Super Rainbow – now two decades into their candied up career – emerges from the technicolor pollen puckered Pennsylvania landscape with a new and reformulated fructose-blasted seventh album. Soft New Magic Dream is here and with it comes that familiar rush of flavors that pump directly from the BMSR soda fountain; that signature blend of strange neon nostalgia, sweetly melancholic synth pop wizardry, hip hop head bobbing, and citric acid tinged freak out flourish. It’s been seven years since the more sinister Panic Blooms, and in that time plenty has happened in the house of Rad Cult, but with Soft New Magic Dream, we are invited to bask in the analog sweet and sour embrace of that classic and here notably chilled out and snoozled up BMSR sensibility. Soft New Magic Dream has a nuanced flavor profile; these are freaky love songs, they funk up crunchy and rattle the speakers here and there, they melt down gelatinous at the right temperatures, and even go full ballad in a few extra-soft spots. The album balances sugar kinked romance with their distinctive and here notably downtempo funky production. Never fully eschewing BMSR’s signature strange liquid centers, these songs still flirt with the uncanny while honing in on the deeply melodic and approachably groovy tendencies they’ve have been exploring in their twenty years of lid flipping. Soaring synth leads ribbon through taffy colored chord changes and highly tactile and fractured drum programming and breaks. Tobacco’s classic vocoder vocals, puckish as ever, burble fawning tenderness and body horror quasi erotic double dares in the fizzy saturated mist. These gummy serenades will leave you blissed out with a cavity-crumbled ear to ear grin. As the BMSR project has evolved, from the scuzzier and folk-tinged backwoods leaf worship of the first albums into the more anthemic roller disco fog machine scenes of their mid-career, and then darker turns in the last few recent albums, Soft New Magic Dream feels like another subtle and surprisingly tender twist on that now-classic sound you’ve come to expect from BMSR. A turn towards something more serene, more direct, playfully wooing us without totally ditching that enigmatic crooked smile. Lose your toothbrush in the clouds and get ready to guzzle down this potent marshmallow cloudscape concoction optimized for falling into face first. GIANT DAY
Melissa McKinney & Datrian Johnson: Campfire Sessions (An Acoustic Song Share)
ALL AGES FULLY SEATED SHOW, GA SEATING CAMPFIRE SESSIONS: Bringing Light to the Darkness (An Acoustic Song Share) Featuring: Melissa McKinney and Datrian Johnson with special guests: JP Furnas, Jamie Hendrickson, Adama Dembele
PATIO: Phuncle Sam
– ALL AGES- LIMITED PATIO SEATING IS FIRST COME FIRST SERVE PHUNCLE SAM Asheville’s own Dead-Centric “jam band”. Since their formation in 2004, Phuncle Sam has been firmly rooted in musical exploration. The band serves up inventive interpretations of Jerry Garcia, Grateful Dead, and many others. They have built up a faithful following by using an approach that respects the improvisational traditions of The Grateful Dead, while exploring what can happen when individual band members bring their unique influences and interpretations into the mix.
PATIO: Phuncle Sam
– ALL AGES- LIMITED PATIO SEATING IS FIRST COME FIRST SERVE PHUNCLE SAM Asheville’s own Dead-Centric “jam band”. Since their formation in 2004, Phuncle Sam has been firmly rooted in musical exploration. The band serves up inventive interpretations of Jerry Garcia, Grateful Dead, and many others. They have built up a faithful following by using an approach that respects the improvisational traditions of The Grateful Dead, while exploring what can happen when individual band members bring their unique influences and interpretations into the mix.
