185 Clingman Ave. Asheville, NC 28801

Hannibal Buress / Eshu Tune

– ALL AGES – STANDING ROOM ONLY- LATE SHOW (9:30 doors/10pm show)HANNIBAL BURESS / ESHU TUNE For Buress, the work is all infused with love. He truly adores music and piecing a song’s puzzle together. He finds both joy and honor in the endeavor. It’s truly admirable. Buress could be doing more Marvel movies. He could be going into some Netflix special or sitcom. He could be leveraging the work he’s already done to live fat off the land, so to speak. Instead, he’s challenging himself, doing something he loves—yes—but in many ways starting from scratch.  JACOB UITTI – AMERICAN SONGWRITER

OUTPOST: Yesterdays Clothes

– ALL AGES- STANDING ROOM ONLY- RAIN OR SHINE Yesterdays Clothes A fresh & vibrant indie alternative rock band hailing from Asheville, NC. As a brand new band, Yesterdays Clothes is all about having fun, being genuine, & rocking the stage. Their exhilarating performances are a testament to their camaraderie and desire to create a welcoming & inclusive atmosphere for fans. They thrive on the energy exchanged between the stage & the crowd, ensuring that every show is a memorable experience for all. With a deep love for music & a passion for the outdoors, Yesterdays Clothes finds inspiration in both realms. When they’re not creating infectious melodies, you’ll often find them camping & exploring the natural wonders around Asheville. This sense of adventure infuses their music, creating a unique blend of indie alternative rock. Embrace the thrill of their irresistible rhythms & be part of the incredible adventure that is Yesterdays Clothes.BlankState Weaving heartfelt lyrics into danceable indie tunes, the three-piece indie project “blankstate.” has cut their way through the Charlotte music scene since their formation in 2018. The trio fine-tuned their sound through 3 years of live performance prior to releasing studio music. With traces of everything from alternative rock to bedroom pop, blankstate. creates unforgettable music and an even more unforgettable live act. Their years of live-performance experience make for an explosive show that can fill any space, shake any room, and move any crowd. The band capitalized on the attention garnered by their debut EP with the release of their first full-length album, “The World is Not Kind to These Things.” On any stage, blankstate. creates a captivating and one-of-a-kind experienceBlissful Thoughts

Burial’s Burnpile After Party w/ MJ Lenderman and Pile

– ALL AGES- STANDING ROOM ONLYMJ LENDERMAN MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; a voice reminiscent of the high-lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made with longtime friends at Asheville’s Drop of Sun studios, but the recording setting doesn’t seem to matter much — at its core, a Lenderman song rings true. These are stories about everything from a relationship disintegrating outside the high-end butcher shop to a sighting of football star Dan Marino at the local Harris Teeter; from a love song built around a t-shirt kiosk at the airport, or the malaise of a grill rusting in the rain. And those are just some of the things you might find across his three solo records: MJ Lenderman (2019), Ghost of Your Guitar Solo (2021), and break-through acclaimed studio debut, Boat Songs (2022). Lenderman’s songwriting is simple and true, stories delivered with a loping, easy vibe — a shrug of the shoulders, off-the-cuff guitar riffs fuzzy, a tangle of pedal steel and rock ‘n’ roll distortion culminating in alt-country cacophony. An MJ Lenderman song feels like a postcard from a hazy memory, the unpredictable bits and details that end up sticking — bird songs from the rafters of a hardware store, a real good Bob Dylan cover — and what make a story whole.PILE “I want to do what makes me feel like a kid: experimenting, having fun, and trying to discover new things about this work,” says Pile’s Rick Maguire about All Fiction. It’s his band’s eighth record, and one that finds the ambitious group assembling its most texturally complex material yet—despite the fraught inspiration underscoring its restive lyrics. Alongside the blistering drums and scorched-earth riffs that first galvanized Pile’s dedicated fanbase, the band has incorporated elegiac strings, mystifying vocal corrosions, and haunting synths. From the creeping fear of cinematic opener “It Comes Closer” to the euphorically ascending keys on ego-shattering closer “Neon Gray,” All Fiction is an ornate, carefully paced study on the subjectivity of perception, the data-shaping despotism of big tech, and the connections between anxiety and death. In its most vital moments, it’s also a resolute recommitment to the restorative significance of art and imagination. For fifteen years, Pile’s evolving take on rock has earned the group one oft-repeated superlative: “your favorite band’s favorite band.” Ceaseless touring took its members from Boston’s basement circuit to international festivals, hitting loftier technical apexes with each new record. Maguire—the fastidious composer, evocative guitarist, and potent voice behind the solo-turned-punk project—gives musical body to his interior world in scream-along-able lyrics that skew surreal. Drummer Kris Kuss’s time-defying performances, layered over gnarled basslines, have garnered widespread acclaim. 2019’s Green and Gray took Pile’s thunderous noise to more intricate realms, thanks to new recruit Alex Molini’s work on bass and keyboards, and Chappy Hull’s dextrous interplay on second guitar. That record drew praise for its political directness and instrumental ferocity, but Pile’s seventh album was almost a wholly different endeavor—one on which Maguire would favor piano.

A. Savage (of Parquet Courts)

– ALL AGES- STANDING ROOM ONLY A. SAVAGE Parquet Courts frontman A. Savage presents his new single/video, “Thanksgiving Prayer,” and announces a fall North American tour. “Thanksgiving Prayer” marks Savage’s first new solo music since 2017’s Thawing Dawn — “a handy guide for keeping your cool as the world degenerates into a hot mess” (Pitchfork) — and follows the release of Parquet Courts’ acclaimed 2021 album, Sympathy For Life. “Thanksgiving Prayer” is anchored by Savage’s poetic musings, observations that are accentuated by saxophone flourishes from Euan Hinshelwood. “Thanksgiving Day is every day I write a song like this,” Savage croons atop instrumentation from Magdalena McLean (violin), Jack Cooper (guitar), and Dylan Hadley (drums/percussion). “When I get down on all four paws and drag myself // by my own jaws toward a feeling.”   Of the single, Savage adds: “Well, Thanksgiving is my favorite holiday, and every year on that day I write down some words having to do with gratitude. Some years are better than others, but the last one I celebrated these words just sort of came out of me. It was a pretty special holiday actually, because in fact we were recording this song, but I made everybody take a day off. [Producer] John Parish and his wife Michelle were kind enough to allow me to take over their kitchen to cook the meal for everyone. Dylan and I were the only Americans, so there was a bit of explaining to do. So it was the band, the studio staff and the Parish family, and it was an absolutely lovely day. I was in awe of the kindness and mercy, and that’s what the song is about; being in awe of humans. When I got back to my room I was on such a high so I started writing and this song is what was on the page the next morning, when we recorded it.”   The accompanying “Thanksgiving Prayer” video — directed by Tiff Pritchett —is a black-and-white homage to silent film, with Savage adorned in makeup and surrounded by his band and handmade decoration. Of the “Thanksgiving Prayer” video, Savage adds: “The video is directed by a brilliant young director Tiff Pritchett, and she had this idea to sort of do a silent film tribute. The scene from Renoir’s film Rules of the Game where Danse Macabre is played was referenced, as was Klaus Nomi.”

Frankie Cosmos w/ Good Morning

– ALL AGES- STANDING ROOM ONLY FRANKIE COSMOS Several things happened before a warm day when I met the four members of Frankie Cosmos in a Brooklyn studio to begin making their album. Greta Kline spent a few years living with her family and writing a mere 100 songs, turning her empathy anywhere from the navel to the moon, rendering it all warm, close and reflexively humorous. In music, everyone loves a teen sensation, but Kline has never been more fascinating than now, a decade into being one of the most prolific songwriters of her generation. She’s lodged in my mind amongst authors, other observational alchemists like Rachel Cusk or Sheila Heti, but she’s funnier, which is a charm endemic to musicians. Meanwhile Frankie Cosmos, a rare, dwindling democratic entity called a band, had been on pandemic hiatus with no idea if they’d continue. In the openness of that uncertainty they met up, planning to hang out and play music together for the first time in nearly 500 days. There, whittling down the multitude of music to work with, they created Inner World Peace, a collection of Greta’s songs changed and sculpted by their time together. While Kline’s musical taste at the time was leaning toward aughts indie rock she’d loved as a teenager, keyboardist Lauren Martin and drummer Luke Pyenson cite “droning, meditation, repetition, clarity and intentionality,” as well as “‘70s folk and pop” as a reference for how they approached their parts. Bassist/guitarist Alex Bailey says that at the time he referred to it as their “ambient” or “psych” album. Somewhere between those textural elements and Kline’s penchant for concise pop, Inner World Peace finds its balance. GOOD MORNING They say it’s hard to keep a creative partnership going after a while. Not so in the case of Good Morning – in their seventh year of making music together, the Melbourne duo made up of Stefan Blair and Liam Parsons have only just now stepped into that most fruitful of creative endeavours: commercial real estate. They’re not landlords just yet: in fact, the early months of 2021 have seen Stefan and Liam sign the lease on a modest, appropriately scrappy recording studio in Melbourne’s inner north. The natural next step for two musicians who have always preferred to do things entirely themselves – the band first formed after Stefan and Liam split the cost of a Foxtex 4-track tape machine – Good Morning’s new recording space is already yielding dividends with the release of Mollyduker / Keep It, a new double-A-side single and their first new music since 2019’s Basketball Breakups. A full-length album will be released later in 2021, with details to come.JANA HORNA Rothko-esque color field set to music, The Window Is The Dream ventures even deeper into Jana Horn’s inner space than her stark, acclaimed debut Optimism. The New Yorker recently described her music as: “Spectral and strangely soothing”  going on to say that “Horn’s work aligns with a fraternity of the lonely that cuts across genres: traces of Young Marble Giants, Syd Barrett, and Broadcast all waft through her songs.”

Heartless Bastards

– ALL AGES- STANDING ROOM ONLYHEARTLESS BASTARDS No salve soothes quite like music does. Like the ultimate balm, it releases tension and stress and reinvigorates the spirit. With a warm patchwork of rock ‘n’ roll, psychedelia, folk, alternative, and blues, Heartless Bastards unlock healing and catharsis within their music. Whether in the studio or on stage, the Austin-based band fronted by vocalist, songwriter, multi-instrumentalist, and producer Erika Wennerstrom calm as they captivate. After generating over 100 million total streams and enrapturing audiences at legendary venues such as Red Rocks Amphitheatre, the group continue to connect with listeners everywhere through boundary-breaking sonics and straight-from-the-heart lyrics. At the turn-of-the-century, Erika founded Heartless Bastards in Cincinnati, OH. Inspired by the likes of Joan Jett, Bob Dylan, Tom Petty, and more, she cut early demos in 2003, performing the bulk of the instruments herself. A bartending gig inspired the name Heartless Bastards. The bar’s touch screen game posed the question, “What is Tom Petty’s backing band?” and offered “The Heartless Bastards” as an answer option, so she accepted this humorous twist of fate and adopted it as her band’s moniker.The band initially came to life with Stairs and Elevators in 2005, building a discography of fan favorites highlighted by All This Time [2006], The Mountain [2009], and the seminal Arrow [2012]. The latter captured #2 on the Billboard Top Independent Albums Chart, went Top 10 on the Tastemaker Albums Chart, and even cracked the Top 200. “Only For You” notably amassed north of 42.6 million Spotify streams and 17.2 million YouTube views. In the wake of the album, Time attested, “Wennerstrom’s voice is one of the cornerstones of their success. It is tender even when it is severe, and she is unabashedly soulful even when she rocks, almost as though she were at once performing a slow country ballad and singing alongside Mark Bolan from T. Rex.”In 2022, they celebrate the 10th anniversary of Arrow with a special limited-edition re-release on vinyl, new acoustic recordings, and the addition of the previously unavailable “Got to Have Rock and Roll,” “Parted Ways,” and “Bye Bye Baby Blues” originally by George “Little Hat” Jones.“Arrow is the album that reached the most people,” she smiles. “It’s cool to celebrate the success of it and give fans something else. The response to ‘Only For You’ made me feel connected to people everywhere in a beautiful way. I’ll always be grateful for Arrow.”In the end, Heartless Bastards might just be able to heal what ails you.“Ultimately, I hope people enjoy themselves when they’re listening to our records or seeing us live,” she leaves off. “Playing shows really brings me a lot of joy. I hope the connection translates. I’m ready to tour a lot and release more music.”SANTIAGO Y LOS GATOS Santiago y Los Gatos is pop music at its core, indie rock at its root that is infused with Hispanic heritage and Southern soul.  All this, delivered in songs from the heart.  Their live shows are full of passion, energy and emotion. 

OUTPOST: Santiago y Los Gatos

– ALL AGES- STANDING ROOM ONLY- RAIN OR SHINE Santiago y Los GatosAfter settling in Asheville, NC, Bronx born singer-songwriter Jeff Santiago quickly became immersed in the city’s diverse music community, joining bandmates Josh Chassner, Lee White, Sprigs Wade and Lisa Scivolete to for Santiago y Los Gatos. The band has played along side artists like Franz Ferdinand, Scott Weiland, Ozomatli, bringing a combination of emotionally driven lyrics and funky, rhythmic rock-inspired jams to the stage.  Santiago y Los Gatos is pop music at its core, indie rock at its root that is infused with Hispanic heritage and Southern soul. All this, delivered in songs from the heart.  Their live shows are full of passion, energy and emotion. Kismet Kind Kismet Kind is a Sad Girl Rock two-piece indie band out of Greenville, SC. Their sound is original and evocative. Picture folky and raw growing-against-the-grain style meets rock. Ashley (Drummer) and Corinne (Vocalist & Guitarist) met in a kismet fashion on the corner of downtown. The two musicians have been inseparable ever since.  You’ll hear a mixture of their own original songs and covers thrown in. Stay tuned for what this dynamic duo is up to! Follow Kismet Kind on all social platforms. 


– ALL AGES- STANDING ROOM ONLYMAPACHE Roscoe is a road dog. The 14-year-old Boston Terrier has been there for the whole ride of Mapache, Clay Finch and Sam Blasucci’s band, which has grown from being the casual project of two longtime buds to one of the most formidable cosmic-folk acts around. “Roscoe’s been through a lot of shit,” says Blasucci, the dog’s formal owner. “He’s been all around the country, come on tour a little bit.” With some bemused pride, Finch points out that, for a few years, he and Blasucci bunked together in a room in the Echo Park neighborhood of Los Angeles that was just big enough to fit two twin beds. “It was the two of us and the dog,” he laughs. Naturally, Roscoe has found himself the subject of a good handful of Mapache songs in the past—and on Roscoe’s Dream, the band’s third LP of originals, he takes center stage. (That’s him in quilt form on the album cover.) “I Love My Dog” opens up the album with a blissed-out stack of acoustic guitars and a lyrical explanation of one of Roscoe’s many talents: “I love my dog / Keepin’ the policeman out.” Just as much an easygoing trip with Gram Parsons into the desert as a mad dash with the Grateful Dead away from the law, Roscoe’s Dream is the purest distillation yet of the distinct Mapache sound, which has been brewing for many years now. Finch and Blasucci first met as students at La Cañada High School, just north of Los Angeles: “There wasn’t much supervision or anything,” remembers Blasucci. “It was really nice. And we got to just play guitars together.” So when it came time to record Roscoe’s Dream, they didn’t mess with the formula. The band booked some time at Horne’s Lone Palm Studio and called in a handful of friends to play additional parts, including Farmer Dave Scher of Beachwood Sparks on melodica and lap steel on a couple tracks. The family affair has always been how the band likes to work, but this time they approached it on a grander scale than before, recording live as a full group in some cases, as opposed to working over Finch and Blasucci’s initial guitar/vocal parts. “It was a bit more of a band experience,” explains Finch. The finished product is an ode to the past as well as a bridge forward. Covers of songs like Bo Diddley’s “Diana” and Gabby Pahinui’s “Kaua‘i Beauty” act as nods to heroes of theirs while originals like “Man and Woman” and “Pearl to the Swine” take the template of golden-age rock and lovingly deconstruct it in a modernist lens. “(They Don’t Know) At the Beach” was inspired by the idea of what trailblazing oldies DJ Art Laboe might like—but the gentle ripper of a song would fit right in at a backyard party in 2022.JOHNNY PAYNE Johnny Payne is in it for the music. He’d much rather be in the public ear than the public eye. So we’ll just introduce him to you and let his new album speak for itself.  Johnny spent much of his 20’s in The Shilohs. He wrote and produced more than half of the band’s material that contributed to 3 full length albums and an assortment of other releases.  Since leaving the group a few years ago, he has been producing, recording for film and quietly releasing his own music. One such release was the much loved “Johnny” EP, which was recorded and co-produced by Alaina Moore and Patrick Riley of Tennis.  

Noah Gundersen

– ALL AGES- STANDING ROOM ONLY- LIMITED NUMBER OF “MOMENT LIKE THIS” VIP EXPERIENCES AVAILABLE, INCLUDING:   One General Admission ticket to see Noah Gundersen live Private pre-show acoustic performance (2-3 songs) Moderated Q&A with Noah Signed photograph Exclusive VIP merch including tote bag, personalized journal and pen Commemorative VIP laminate Early entry to the venue NOAH GUNDERSENIn November of 2021, we started this record at Sage Arts Studio in Arlington, Washington. The south fork of the Stillaguamish River runs through the property – a rapid, churning force. There is a deep, smoldering green and gray that envelops the Pacific Northwest in the winter. The sun sets around 4:30 p.m. It’s the perfect time to make an album.Andy Park, Dave Dalton, Sean Lane, Harrison Whitford, Dave Dawda, and I learned and tracked 11 songs in five days. Most of it was done live, with all of us playing together in the same room. These guys are incredibly talented musicians and it was a privilege to make this record with them. This is the third record Andy and I have made together and I am continuously grateful for his guidance. My sister, Abby, contributed beautiful string arrangements and harmonies, once again playing an integral part as she has on all my records.These last several years have been ones of significant personal change. I got married to my lovely wife, Misha, taking a deeper step into the uncharted territory of building a life with another person, pushing past my former limits of commitment. We bought a little house in a small town in Washington with our two (now three) dogs and our cat. It’s a quiet life, but a good one.For a while, I stopped actively pursuing music and took a job working construction. I found myself disillusioned with the industry and no longer knew my place in it. The world around me has changed rapidly and I sometimes have difficulty grasping it. There were moments when I felt I had lost the wind from my sails – but I still love creating music and I love these songs. It’s been a challenging but rewarding period of my life, which I feel throughout this record. A lot of regret and failure, but also hope and the transformative power of love. Acceptance of the way things have been, and the way they are, and how little control we really have – acceptance that everything is transient. My hope is that these songs will find you in the ways you need. Here’s another message in a bottle – I hope it washed up on your shore at just the right time. – NoahCASEY DUBIE


– ALL AGES- STANDING ROOM ONLYSUPERCHUNKLike every record Superchunk has made over the last thirty-some years, Wild Loneliness is unskippably excellent and infectious. It’s a blend of stripped-down and lush, electric and acoustic, highs and lows, and I love it all. On Wild Loneliness I hear echoes of Come Pick Me Up, Here’s to Shutting Up, and Majesty Shredding. After the (ahem, completely justifiable) anger of What a Time to Be Alive, this new record is less about what we’ve lost in these harrowing times and more about what we have to be thankful for. (I know something about gratitude. I’ve been a huge Superchunk fan since the 1990s, around the same time I first found my way to poetry, so the fact that I’m writing these words feels like a minor miracle.)On Wild Loneliness, it feels like the band is refocusing on possibility, and possibility is built into the songs themselves, in the sweet surprises tucked inside them. I say all the time that what makes a good poem—the “secret ingredient”—is surprise. Perhaps the same is true of songs. Like when the sax comes in on the title track, played by Wye Oak’s Andy Stack, adding a completely new texture to the song. Or when Owen Pallett’s strings come in on “This Night.” But my favorite surprise on Wild Loneliness is when the harmonies of Norman Blake and Raymond McGinley of Teenage Fanclub kick in on “Endless Summer.” It’s as perfect a pop song as you’ll ever hear—sweet, bright, flat-out gorgeous—and yet it grapples with the depressing reality of climate change: “Is this the year the leaves don’t lose their color / and hummingbirds, they don’t come back to hover / I don’t mean to be a giant bummer but / I’m not ready / for an endless summer, no / I’m not ready for an endless summer.” I love how the music acts as a kind of counterweight to the lyrics.Because of COVID, Mac, Laura, Jim, and Jon each recorded separately, but a silver lining is that this method made other long-distance contributions possible, from R.E.M.’s Mike Mills, Sharon Van Etten, Franklin Bruno, and Tracyanne Campbell of Camera Obscura, among others. Some of the songs for the record were written before the pandemic hit, but others, like “Wild Loneliness,” were written from and about isolation.Wild Loneliness is becoming part of my life, part of my memories, too. And it will be part of yours. I can picture people in 20, 50, or 100 years listening to this record and marveling at what these artists created together—beauty, possibility, surprise—during this alarming (and alarmingly isolated) time. But why wait? Let’s marvel now.SLUICESluice is the recording project of Durham based musician/engineer Justin Morris (Fust, Weirs, Aunt Sis). Radial Gate, the second release as Sluice, features a wide collection of local talent including Avery Sullivan (Fust, Indigo De Souza), Oliver Child-Lanning (Fust, Weirs), Luke Norton (HC McEntire), Frank Meadows (Fust, Tomberlin, Bellows) and Natalie King (Toss) to name a few. Radial Gate continues the Sluice theme of nature’s intersection with industry, and lyrically explores the ideas of isolation and depression giving way to community and personal growth. ‘Could you pass me a beer, oh no it fell in the river. Hey man that’s all right, goodnight.’