Listen to the new Sons Of Bill. They will be here Nov. 6.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---If you haven't yet heard about Somebody's Darling, an inventive rock band from Dallas, Texas, chances are you will soon. The group has played relentlessly over the last five years, clocking in over 500 shows through multiple headlining tours, numerous festival stops and supporting great artists like Shovels & Rope, Lucero and Divine Fits. SD is spearheaded by lead singer Amber Farris, whose unrefined yet tender vocals belt out blistering songs that command the attention of anyone in earshot. She's oft-likened to great singers such as Bonnie Raitt, Susan Tedeschi and Erika Wennerstrom (Heartless Bastards), but there’s no borrowing, and you can’t really make comparisons. One thing that’s clear is that Somebody's Darling loves to play live – the band has gained a reputation for their frenetic performances. Their sound has its roots in live expression rather than that studio-perfected sort of vibe, drawing on a range of vintage influences. But just as their contemporary heroes, bands like My Morning Jacket, Wilco, Dawes, and the Black Keys, these five friends strive to create and perform exceptional songs that are at the spearhead of modern rock 'n' roll.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Hailing from Austin, TX, T Bird And The Breaks play a style of dance music that has it's most basic and obvious roots in the Funk and Soul music of the late 1960's and early 1970's. It'll get you dancing. It'll make you sweat. It'll make you smile.
But...it can't be classified as strictly throw-back, retro, Funk/Soul. The original songs belie lyrical influences such as Beck. Or Bob Dylan. And the contemporary swagger of The Breaks' live show especially pays homage to the creativity and positivity of early and golden-age Hip-Hop. The band's “kitchen-sink-style” of music is evident on their cover of Shirley Ellis' 1965 R&B hit “The Clapping Song” in which they include verses from Tom Waits' “Clap Hands”.
It's a melting-pot of funk but one that people of all ages, and across musical genres, can dig. In the last few years they've been invited to play shows with artists as eclectic as The Flaming Lips, The Funky Meters, Sting, Robert Randolph and the Family Band, and Galactic.
2014 will see T Bird and the Breaks releasing their third studio album, “What It Is (Harmonism)”, and bringing their electric, tear-a-hole-in-it, funk-bomb of a live show to a stage near you.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Anyone wondering about Wood & Wire’s sound need not look any further than the four-piece band’s name, which honors the purity of acoustic instruments and the gorgeous music a skilled artist can coax out of just simple wood and wire.
Founded in 2010, Wood & Wire’s core members are Tony Kamel on lead vocals and guitar, Dominic Fisher on Bass, and Trevor Smith on Banjo. Their sound, as Smith puts it, is “a modern take on traditional mountain, hillbilly, and country music”. In just a few short years, the band has had the honor of playing notable festivals and venues across the country like The Telluride Bluegrass Festival and Old Settlers Music Festival. Later in 2014, they’ll make their way across the country playing Grey Fox Bluegrass Festival in Oak Hill, NY and the IBMA Street Fair in Raleigh, NC. After that the guys will make their way home to Austin to play the Austin City Limits Music Festival.
In February 2013, the band released their self-titled debut album to much critical acclaim. In March of this year, the guys began work on their follow up album working again with Grammy nominated producer/engineer Erick Jaskowiak in Nashville, TN. Their second effort is a coming of age collection of original songs based on real and personal experiences with a coastal theme and is set for release in early 2015. While Kamel is the primary songwriter and vocalist, his tunes become Wood & Wire tunes when coupled with the talents, insight, and ideas of Fisher and Smith. The album will also feature an original written and sung by Fisher and an eclectic instrumental composed by Smith.
Touring heavily to round out the second half of 2014, the band has recently enlisted the talents of Billy Bright on the mandolin. Billy is a veteran in the acoustic music world having toured with Peter Rowan for many years and worked with heavy hitting legends like Tony Rice and Vassar Clements
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Shooter Jennings proudly announces his forthcoming EP from his label BCR Los Angeles/Thirty Tigers: Don’t Wait Up (for George), a tribute to the late great George Jones releasing August 5th. The single “Don’t Wait Up (I’m Playin’ Possum)” is available now.
Moved by his friendship with Jones, Shooter decided to put out a heartfelt, yet experimental tribute in his honor. “When people ask me about who I remember hanging around as a kid, I always say that I remember Tony Joe White and George Jones being the most frequent and consistent around the house. Very few people can look at a child and sees the full grown human inside them and make them feel important. George was always this way with me, making me feel like he took me seriously, no matter what age I was.” says Jennings.
The friendship of George Jones – one that started early in Jennings’ childhood – sparked the creation of this 5-track, heavy-hearted tribute record. “Very few people can look at a child and see the full grown human inside them and make them feel important. George was always this way with me, making me feel like he took me seriously, no matter what age I was.” Jennings says. This record serves as evidence of their serious, important bond as the title track, “Don’t Wait Up” was even initially written by Jennings for Jones’ next record, only to be unfortunately preceded by Jones’ passing.
“Honestly, I needed an excuse to write something that was very raw. And I couldn’t do it for myself.“ Jennings admits of the tribute.
“Don’t Wait Up (I’m Playin’ Possum)” as well as the second track “Living In A Minor Key” are original Shooter Jennings tunes. Don’t Wait Up (for George), the complete EP will be available worldwide August 5th on CD, 10” white vinyl, and digital formats. The EP will also be available on Black Country Rock’s experimental digital distribution hub The BCR Bazaar, and each copy of vinyl will include an invite code for the Bazaar. Later this year, Shooter will be re
To do big things, you have to make big noise. Up-and-coming Austin country band Moonlight Social is doing just that. Since being founded in early 2011, the band played a SXSW showcase after being selected by 9-time GRAMMY-winning frontman Ray Benson and won a GRAMMY-sponsored showcase after being selected by the board of governors for the Texas Chapter of The Recording Academy. The band was then named winners of the 2011 Austin Chronicle Sound Wars after beating out nearly 100 other Austin bands. The band also won the GRAMMY-sponsored “Show Us Your Hits” competition and was a judge’s selection for the Indaba songwriting showcase with the song “Neither Are You.” Moonlight Social was then named one of the Best New Bands in Austin in 2013, and was featured as a rising artist on Nashville-produced TV show, “Welcome To Indie Country.”
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---The powerful blues-funk machine that is Devil's Hollow has re-emerged from the Texas Hill Country, rejuvenated and full of swagger, fueled with new material, and motivated with a renewed optimism.
Still featuring the powerful, Allman Brothers-esque lead guitar duo of Justin Murray and Nick Doe, Devil's Hollow retains their Southern rock jam element, but new addition Thomas Raines on drums has changed the focus of the band; more emphasis on the groove, heavier on rhythm. "It was part of our strength, but it was also kind of a wild animal we had to corral. We all came from so many different backgrounds, rock, blues, funk, jazz, psychedelic jam. The band, and our successes, came quicker than any of us expected and as a band we were just running in circles," recalls guitarist Justin Murray.
By the time the band had independently released their debut album in May 2010, they had already played venues as notable as Gruene Hall and Antone's, and opened for folks such as Bob Schneider, Del Castillo, and Uncle Lucius, with shows with Los Lonely Boys and Monte Montgomery on the horizon.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Armed with old bastardized mid-century guitars, hand-me-down fiddles and banjos, home-made contraptions with just enough tension on a string to be considered an instrument and any random percussive item he can get his hands or feet on, Lincoln Durham is a roots-rock revivalist with a heavy amped edge, preaching the gospel of some new kind of depraved music. With driving guttural beats backboning various growling stringed instruments Lincoln gives birth to a sound that transcends genres with his dark, poetic and raw writing style telling tales that E.A. Poe would have been proud of.
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There are a lot of bands who claim to wear their hearts on their sleeves, but for Texan quartet Nothing More
that sentiment could scarcely be more literal. “When we first started, we branded ourselves on the arm after
each year of touring, so we’ve all got these scars now, reminding us of the commitment we made to each
other,” confides frontman Jonny Hawkins. To say that this is a band who are dedicated to their cause would
be to understate the case somewhat.
Hailing from San Antonio, Nothing More is a four-headed musical hydra that runs on frenetic passion,
unswerving DIY spirit and relentless sonic experimentation. Part schizoid System Of A Down weird-isms,
part Mars Volta-esque prog rock freak out, part effortless pop nous, they seamlessly barrel from churning
headbang to skyscraping chorus and back again in the blink of an eye. Capable of bombastic bounce that hits
as hard as an uppercut to the jaw
when they fancy it, the boys from The Alamo City are equally able to dial
down their bluster into deft moments of crystalline beauty when the mood takes them. It's a gut-punching
blend made all the more powerful by a keen lyrical sophistication and philosophical undertone which both
belies their years and marks them out from their contemporaries.