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.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Passing Strangers is a 1st Wave/80's retro/ Alternative band based out of San Antonio, Tx. Best known for the dance remake of Dream Weaver
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Those who have followed Ruthie Foster's eclectic musical history know that she can burn down any stage with her combustible blend of soul, blues, rock, folk and gospel. And when Grammy Award-winning producer John Chelew suggested she record an album in New Orleans - with support handpicked from the Crescent City's overflowing pool of talent - it was an opportunity for Ruthie to infuse fresh spices into her already rich sonic gumbo. The result is Let It Burn - slated for January 31, 2012 release on Blue Corn Music - a recording that smolders, sizzles and ignites with an intensity born from her vibrant voice and indelible presence.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW-----------------BOBBY BARE JR'S QUICK FACTS--------------------- Nominated for a grammy at the age of 6 years old for a duet with his dad called "daddy what if"-written by Shel Silverstein - has a degree in psychology from the UNIVERSITY OF TENNESSEE - is VERY afraid of elves - made 2 albums for Immortal Records with his band BARE JR. one for sony records in 1998 and one for virgin records in 2001- born in Nashville, TN june 28, 1966- has 2 children -- believes that blue is a flavor and not a color nor a feeling--- has made 3 albums and 1 ep for BLOODSHOT RECORDS since 2003- co-produced his dad's last record THE MOON WAS BLUE in 2006- grew up in HENDERSONVILLE, TN with George Jones and Tammy Wynette as his next door neighbors- is only making music in the hopes of getting one step closer to his ultimate dream of being STEVEN PATRICK MORRISSEY'S personal bicycle mechanic- has toured with- DR. DOG, THE WALKMEN, THE DECEMBERISTS, THE BLACK CROWES, BOB DYLAN, AREOSMITH, MY MORNING JACKET, CENTRO-MATIC, THE BOTTEL ROCKETS, THE DRIVE BY TRUCKERS, ANDREW BIRD, and THE OLD 97's has been romantically linked to the BOB'S BIG BOY boy- in June of 2007 Bobby was asked by a casting company to audition for the role of "Shrek" for "Shrek the Musical" on Broadway- is on HOUSTON PARTY RECORDS in spain and HAZELWOOD RECORDS in germany- did a family album of all SHEL SILVERSTEIN songs called "SINGIN' IN THE KITCHEN" in 1975- can NOT speak mandrin chinese- had all his songs critiqued by SHEL SILVERSTEIN till shel died in may of 1999- sang on the song "getting back into you" on THE SILVER JEWS album "TANGLEWOOD NUMBERS"- sang on the song "horses" on WILL OLDHAMS' album "bonnie prince billie sings Great
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---After building a strong reputation with sister Roberta as Sisters Morales, Lisa Morales steps out on her own with an album of self-penned songs that are more about emotion than they are about pretty.
In the three years since their last record (Talking to the River-produced by Los Lobos Steve Berlin), their mother, Gloria, died after a struggle with cancer. It was Glorias fight for life, not her loss, that made Lisa re-examine her own life.
Beautiful Mistake finds her doing just that. Her writing on this album is her best to date!
She confronted longtime friend and bassist, Michael CornbreadTraylor about his hidden talents and tapped them as producer. He put together a great cast of talented musicians and pulled out some of Morales best performances.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---"He sings of distance, about rivers and ranches, of smoldering passions and sad laments, of faraway longing and unrequited love."
Everybody else romances the road. Joe Ely lives it. Call him what you want - a wandering minstrel, gypsy cowboy, visionary song poet, or houserocker on fire - whatever he is, Ely's covered a lot of ground in his time. He really has ridden the rails (in a circus train, no less), thumbed his way across the country, hopped boats to exotic foreign lands, and ridden horses across the prairie. All part of the relentless quest for revelation that only a journey can satisfy.
Those sort of restless yearnings come naturally to a boy from Lubbock, Texas, where the flat dusty landscape, endless sky and vast horizons have inspired several generations of young creative types to fill up all that empty space with music, as Buddy Holly did, as did Waylon Jennings, and Roy Orbison all the way to the current Lubbock Mob consisting of Ely and his compadres Jimmie Dale Gilmore, Butch Hancock, and Terry Allen. Like them, Joe Ely has proved to himself before he proved to a growing number of faithful that when it comes to the mystical process of writing, singing, and performing music, there's no pretending or holding back. Where he comes from, you put your emotions on the line each and every night.
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Recently featured on the cover of Texas Music magazine, Soul Track Mind has made a name for themselves by blending ’60s and ’70s era soul and R&B with flares of jazz, blues, funk and dance rhythms and a sound deeply rooted in retro convictions that still manages to feel fresh and modern. Over the last few years, whirlwind front man Donovan Keith and the dapper disciples of Soul Track Mind have become synonymous with raucously entertaining shows. Since releasing their debut album, Ghost of Soul, Soul Track Mind has become a force to reckon with in the modern soul genre.
"A cultural exclamation point about American music... They come out of a gritty melting pot that includes seasonings from Booker T and the MGs, Otis Redding, Billy Preston, the later works of Ray Charles, and more contemporary influences like the Black Keys and John Legend." - Jim Moore, Huffington Post
"Sidestepping or in some cases abandoning the most dominant music of the last 20 years, hip-hop, in favor of basic, traditional soul and creating the equivalent of a farm-to-turntable groove. What was even more notable was that these artists - Mayer Hawthorne, Eli (Paperboy) Reed, Kings Go Forth, Aloe Blacc, Jamie Lidell, Fitz and the Tantrums, Soul Track Mind, among others - were claiming this music as their own and their own generation’s." - Rob Hoerburger, The New York Times Magazine
"Pristine production, intricate instrumentation and high-speed horn solos, all the while showcasing frontman Donovan Keith's impressive vocal range." - Texas Music Magazine
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Steve Poltz is obsessed with the challenge of knowing and understanding the thoughts of each and every person in his audience. He is a lover of life; fascinated by all things large and small. As a road-tested troubadour armed with whimsy, curiosity and a healthy respect for the absurdities of existence, he is unafraid of saying yes, unafraid of letting his relentless, giddy energy fill a room and he is unafraid of letting his streams-of-consciousness take him where he needs to go.
His songs are guileless snapshots filtered through the windshield of his brain. He opens his mouth and lets it fall out - a SONG - and it's as shameless and intriguing and profound and wondrous as he is. A mix of high octane performance, singular wit and endlessly entertaining storytelling, Steve is legendary for his improvisational songwriting and timeless, original classics. Oh, and he's a pretty good guitarist too.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Music has been a part of Fernando Davil’s life, quite literally, since he opened his eyes for the first time. The son of a trained classical pianist, Fernando’s childhood in Saltillo, Mexico was an eclectic musical education which included everything from Latin and Mexican boleros to classic American songbooks and jazz standards.
It’s no wonder then, that Fernando began performing, playing the piano, and singing as soon as he could speak, joining his father for weekend gigs soon after. By age 12, he was playing professionally.
Following a successful album and tour with the Saltillo-based rock group KGB in the early 90s, Fernando’s career took him to Monterrey, where he made a name for himself as a gifted young solo performer, earning the Pianist of the Year award from the Monterrey Musician’s Union.
After touring and performing nationally with Los 10 Pianos, Fernando was awarded the CONARTE scholarship, for which he was commissioned to compose his first jazz album and was invited to represent Mexico in Cuba’s Romerias Festival.
Fernando’s performances and discography speak volumes to his versatility as a musician. From earlier jazz albums, like the award-winning “Hispanoamerica,” to later Pop Latino records, like the well-received DIFERENTE, Fernando relentlessly pursues work that inspires and challenges him creatively.
In 2013, the next challenge began with a move to San Antonio inspiring his fifth album, aptly titled A New Beginning. As he delves into his first fully self-produced English language album, Fernando is busy doing what he does best – writing, producing, and performing music that inspires and celebrates life.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---The latest, tight incarnation of the Cody Canada-led group The Departed isn’t a reinvention of the group’s sound, or a reimagining of Canada’s musical perspective – it’s a reunion. As with any reunion, the passing years have provided the involved parties with new and unique perspectives, breathing vibrant excitement into their streamlined new environment.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---A musical force equipped with the soulful vocals of Janis and the guitar slinging skills of Stevie Ray, Carolyn Wonderland reaches into the depths of the Texas blues tradition with the wit of a poet. She hits the stage with unmatched presence, a true legend in her time.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---A self-proclaimed “failed scholar and modern-day hobo,” 24 year-old Caroline Rose has broken her long string of short circuits with a live-wire national debut, I Will Not Be Afraid (August 19th / Little Hi! Records) that draws on her roots in rockabilly, vintage country, and blues to capture her unique and distinctive vision. Written and arranged by Rose and co-produced with multi-instrumentalist Jer Coons (with Pat Melvin on bass), I Will Not Be Afraid chronicles Caroline’s wandering years; a disillusioned youth constantly demanding freedom and the most from life. Raised in the Northeast (and currently living in her van), Rose is a rare mix of Northern grit and Southern charm whose musical influences trace back to her family’s Southern roots, running deep into the heart of Mississippi. “You can hear my history in the music,” Rose says. “It’s a bit rough around the edges, a bit wild, but American music through and through.”
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Loaded guns, space heaters, and big skies. Welcome to the lethal littered landscape of Jim Heath’s imagination. True to his high evangelical calling, Jim is a Revelator, both revealing & reinterpreting the country-blues-rock roots of American music. He’s a time-travelling space-cowboy on a endless interstellar musical tour, and we are all the richer & “psychobillier” for getting to tag along.Seeing Rev. Horton Heat live is a transformative experience. Flames come off the guitars. Heat singes your skin. There’s nothing like the primal tribal rock & roll transfiguration of a Reverend Horton Heat show. Jim becomes a slicked-back 1950′s rock & roll shaman channeling Screamin’ Jay Hawkins through Buddy Holly, while Jimbo incinerates the StandUp Bass. And then there are the “Heatettes”. Those foxy rockabilly chicks dressed in poodle-skirts and cowboy boots slamming the night away. It’s like being magically transported into a Teen Exploitation picture from the 1950′s that’s currently taking place in the future. Listening to the REVEREND HORTON HEAT is tantamount to injecting pure musical nitrous into the hot-rod engine of your heart. The Reverend’s commandants are simple.And no band on this, or any other, planet rocks harder, drives faster, or lives truer than the Reverend Horton Heat. These “itinerant preachers” actually practice what they preach. They live their lives by the Gospel of Rock & Roll. From the High-Octane Spaghetti-Western Wall of Sound in “Big Sky” — to the dark driving frenetic paranoia of “400 Bucks” – to the brain-melting Western Psychedelic Garage purity of “Psychobilly Freakout” — The Rev’s music is the perfect soundtrack to the Drive-In Movie of your life.
Jim Heath & Jimbo Wallace have chewed up more road than the Google Maps drivers. For twentyfive Psychobilly years, they have blazed an indelible, unforgettable, and meteoric trail across the globe with their unique blend of musical virtuosity, legendary showmanship, and mythic imagery.
“Okay it’s time for me to put this loaded gun down, jump in my FiveOh Ford, and nurture my pig on the outskirts of Houston. I’ll be bringing my love whip. See y’all later.” - Carty Talkington Writer/Director
Rev your engines and catch the sermon on the road as it’s preached by everybody’s favorite Reverend. Don’t forget to keep an eye out for the 11th studio album from REVEREND HORTON HEAT, boldly titled Rev, due out January 21st.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW Some bands insist on dragging listeners into their world, but Carbon Leaf works towards a more admirable and considerably more difficult goal.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---DEL CASTILLO began as a CD project for family back in the winter of 2000 and has become a symbol of the cross-cultural power of music with their eclectic blend of Flamenco, Rock, Latin, Blues, and World music. Between the release of their first CD, Brothers of the Castle back in 2001, to their 2006 release, Brotherhood, Del Castillo has received an astonishing 18 awards including SXSW/Austin Music “Album of the Year” Awards for Vida (2002) and Brotherhood (2006), “Band of the Year (2003)”, ASCAP’S “Best Independent Group of the Year (2005)”, and Austin Music Pundits “Best Live Act (2004)”.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---With a "Bible in one hand, broken bottle in the other" (Spin June '09) Ha Ha Tonka return with their sophomore effort on Bloodshot Records, Novel Sounds of the Nouveau South. The album takes listeners on a complex tour of the South—through lynchings and mob violence, sacrifice and reconciliation. It’s dense subject matter for any artist, but delivered beautifully on this record by these native sons of the Ozarks from Springfield, Missouri.
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In a relatively brief span of time, Colony House has emerged as a vibrant creative force, as well as a beloved fan favorite with a passionate, fiercely loyal fan base. That audience is likely to expand substantially with the release of When I Was Younger, the Nashville, TN trio's first full-length album, whose 14 compelling original tunes fulfill the abundant promise of the band's three widely-acclaimed, self-released EPs.
Knox Hamilton is an indie pop band from Little Rock, Arkansas. The band was originally formed in the mid 2000’s by brothers Boots and Coby Copeland and their best friend, Brad Pierce. Drew Buffington, guitar, joined the band in 2009.
To date, Knox Hamilton has released three EPs; one each year since 2011.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW Beloved by audiences throughout the world, the Eric Tessmer Band has captured the attention of fans from all ages as a result of their uncompromising musicianship and unbridled aggression. Their music is organic and natural
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With the release of his latest album Burden of Proof, Bob Schneider breaks new ground. Exploring loss, lust, love, dark desires and skeptical optimism, Schneider has crafted lyrically and musically, his most ambitious and sophisticated album to date.
Born in Michigan and raised in Germany, Schneider was playing music and creating art from the time he was four years old. “I was left-handed, but the nuns at my Catholic school forced me to write with my right hand,” Schneider reflects. “But I still like to think of myself as left-handed. I’ve always thought of myself as a round peg in a square hole sort of person. Like I just didn't quite fit in. I was socially awkward and I think that led me to finding solace in imaginary worlds that I would create in my art and music.”
At age ten, Schneider’s father, an opera singer by trade, dressed him in a leisure suit and took him along to gigs where they’d perform jazz standards and other hits from the 1940s-70s.
Schneider spent his college years as a fine arts major, but dropped out to move to Austin and pursue a music career after taking to heart the words of singer-songwriter Terry Allen. “I remember him saying ‘If you’re going to do art, drop out of school and start doing your art and living your life ‘cause your degree’s not going to make a difference.”
So Bob Schneider blazed into Austin and has been packing houses and winning over audiences ever since, firmly claiming his place as one of the most sought-after entertainers in the live music capital. Schneider sells out venues coast to coast from New York, Chicago Minneapolis and Baltimore to LA, Seattle, Portland and San Francisco. His live shows are playful and raw, while on stage Schneider commands the room. He’s charismatic and friendly, bantering with his bandmates and heckling the audience. As he launches into each song with his whole being, the audience is instantly transported, tumbling through the dark recesses of his imagination.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Canned Heat’s unique blend of modern electric blues, rock and boogie has earned them a loyal following and influenced many aspiring guitarists and bands during the past four decades. Their Top-40 country-blues-rock songs, “On The Road Again,” “Let’s Work Together,” and “Going Up The Country,” became rock anthems throughout the world with the latter being adopted as the unofficial theme song for the film Woodstock. Their cover version of Wilbert Harrison’s “Let’s Work Together” was actually their biggest hit as it rose to #1 in 31 different countries around the world.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Bill Wilson is from Central Virginia. He is a professor of philosophical theology, a songwriter, an expert on southern literature, and a father of six.
His three eldest sons returned to Virginia to start a rock band in 2006 with long-time musical compadres Seth Green and Todd Wellons. As a tribute to the man who taught them how to play guitar, write songs, drive a stick-shift, and back up a trailer, the band decided to name themselves Sons of Bill.
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Guitarist Aaron Moreland and harpist/vocalist Dustin Arbuckle have spent over a decade exploring the edges of American roots music. In the process, Moreland & Arbuckle have forged a relentless and haunting sound that merges Delta blues, folk, rock, traditional country, soul and numerous other echoes and murmurs from an infinitely layered musical narrative that spans more than a century. The Moreland & Arbuckle journey began when the two met at an open-mic jam at a club in Wichita, Kansas, in 2001. Moreland had just moved into town a few months earlier from Emporia – a city located some eighty-five miles to the northeast. A guitarist since age 15, his source material was admittedly diverse – Led Zeppelin, Creedence Clearwater Revival, Black Sabbath, Charley Patton, Motley Crue – but he’d settled into traditional blues by the time he’d arrived in Wichita in his mid-20s. Arbuckle, a native of Wichita, had been playing in a blues rock bar band at the time, but his truest sensibilities ran a couple generations deeper, into the heart of the Mississippi Delta. He counts iconic figures like harpists Little Walter and Sonny Boy Williams and guitarist Son House among his most profound influences. “It was kind of perfect,” says Arbuckle of the chance encounter between the two musicians. “We had a shared vision, in a place where there really wasn’t much interest in – or support for – country blues.” Moreland joined Arbuckle’s blues rock band for the last few months before the project dissolved, then the two started a quartet called the Kingsnakes, which Arbuckle describes as “electrified Mississippi blues mixed with a sludgy, jam-oriented rock thing.” The project incorporated a range of sounds: soul, country, funk, jam rock, blues and whatever else worked. Horner joined in 2003, but left after just a few months. A few bass players came and went in the years that followed, until Moreland and Arbuckle discovered they could lay down a solid groove on their own. - See more at: http://www.morelandarbuckle.com/bio/#sthash.NbGgp7GV.dpuf
BOOTH DOES NOT INCLUDE ADMISSION---LIMITED SEATED SHOW---Slaid Cleaves spins stories with a novelist’s eye and a poet’s heart. Twenty years into his career, the celebrated songwriter’s Still Fighting the War spotlights an artist in peak form. Cleaves’ seamless new collection delivers vivid snapshots as wildly cinematic as they are carefully chiseled. Dress William Faulkner with faded jeans and a worn six-string for a good idea. “Slaid’s a craftsman,” says Terri Hendrix, who sings harmony on “Texas Love Song.” “He goes about his songs like a woodworker.”