Looking for a place to showcase your musical talent? Look no further! Join us every Thursday for our Open Mic. It’s free to watch and play! If you would like to perform, please show up at 7pm to sign up.
Mandolin Orange’s music radiates a mysterious warmth —their songs feel like whispered secrets, one hand cupped to your ear. The North Carolina duo have built a steady and growing fanbase with this kind of intimacy, and on Tides of A Teardrop, due out February 1, it is more potent than ever. By all accounts, it is the duo’s fullest, richest, and most personal effort. You can hear the air between them—the taut space of shared understanding, as palpable as a magnetic field, that makes their music sound like two halves of an endlessly completing thought. Singer-songwriter Andrew Marlin and multiinstrumentalist Emily Frantz have honed this lamp glow intimacy for years.
For this album, Marlin and Frantz enlisted their touring band, who they also worked with on their last album Blindfaller. Having recorded all previous albums live in the studio, they approached the recording process in a different way this time. “We went and did what most people do, which we’ve never done before—we just holed up somewhere and worked the tunes out together,” Frantz says. There is a telepathy and warmth in the interplay on Tides of A Teardrop that brings a new dynamic to the foreground—that holy silence between notes, the air that charges the album with such profound intimacy. “This record is a little more cosmic, almost in a spiritual way—the space between the notes was there to suggest all those empty spaces the record touches on,” acknowledges Marlin. There are many powerful ways of acknowledging loss; sometimes the most powerful one is saying nothing at all.
This was a surprising bit of news considering he had spent the last six years making rock albums of one kind or another. But Snider was feeling as if he had “maybe drifted too far from the shore.” He was feeling the pull to start over, to go back to what he was doing when he first began, to return to his roots as a folksinger.
If Snider needed any further evidence that was the direction he should pursue, he got it a half hour later. Back inside his home office, he checked his email and had one from his manager informing him he had just received an offer to play the 2019 Newport Folk Festival, an event he had never done.
Snider mentioned he had been listening to Woody Guthrie’s Library of Congress Recordings, then crossed the room to the turntable and put the needle down on side one of the record. “Woody Guthrie sometimes gets me reset on why you do a song, instead of how,” Snider explains of the man who has long been a touchstone for him. “When I was young, there was something about him that made me want to do it. So once or twice a year, I’ll go back to him, I’ll go back to the source.”
Guthrie famously had the words “This machine kills fascists” printed on his guitar, and on several of the songs on Snider’s new album, Cash Cabin Sessions, Vol. 3, he squarely aims his guitar at the creeping fascism he sees in America. He had been wanting to make a political record since 2016, and although only half the songs lean in that direction, there is one constant throughout the album: a man, his guitar, and the truth.
* * * * *
Snider has long been recognized as one of his generation’s most gifted and engaging songwriters, so it’s no surprise he has returned with a brilliant set of songs — and make no mistake, Cash Cabin Sessions, Vol. 3 contains some of his best work as a writer. But what really jumps out on the album is Snider’s growth as a musician and vocalist. He plays all the instruments on the record, and his guitar work and harmonica playing are nothing short of exceptional; not only full of feeling, but highly skilled. In regards to his guitar playing on the record, Snider says he wanted to take everything he’s learned over the past 30 years and play the way he used to play really well.
As far as his vocals on the album are concerned, Snider is singing with more confidence than ever, a confidence born in part from his time with Hard Working Americans doing nothing but sing. His stirring vocal performances range from slurring blues mumble to Dylanesque talking blues to gravely, honest ache.
Of the five songs on which Snider serves up his humorous brand of socio-political commentary, three are performed in the talking blues style: “Talking Reality Television Blues,” a hilariously accurate short history of television; “The Blues on Banjo,” a bad case of the blues caused by the sorry state of everything from the crooked international monetary-military-industrial complex to the spineless politicians who serve it and which references “Blue Suede Shoes,” Richard Lewis, and Townes Van Zandt; and “A Timeless Response to Current Events,” a brilliant bit of wordplay on which he calls bullshit on faux patriotism, crooked capitalism, and lying politicians. Jason Isbell and Amanda Shires contributed backing vocals on the latter two songs.
There are two other songs on the album featuring Snider’s socio-political points of view: “Just Like Overnight,” about the surprising inevitability of change, and “Framed,” written from the point of view of the framed ‘first dollar bill’ in a bar, a point of view that shows doing the right thing doesn’t pay.
There also are three songs with a music theme. If not for the events that led to the writing of one of those songs,“The Ghost of Johnny Cash,” there almost certainly would be no Cash Cabin Sessions, Vol. 3. After a visit to Cash Cabin Studio for a Loretta Lynn session in 2015 where she recorded a song they cowrote, Snider began having a recurring dream about the studio that featured the Man in Black himself. The dream led him to book time at the studio and ultimately inspired him to write “The Ghost of Johnny Cash,” which tells the story of Loretta Lynn dancing with Cash’s ghost outside the studio in the middle of the night. As he did on much of the record, Snider played the century-old Martin that had long been Johnny Cash’s favorite instrument on that song.
Snider paid tribute to Cash’s longtime friend and confidante in another of the music-themed songs, “Cowboy Jack Clement’s Waltz.” Inspired by the iconic record man’s oft-quoted maxims regarding the art of recording, the song achingly laments Clement’s passing, while touchingly celebrating his legacy.
The album opens with the other song with a music theme, “Working on a Song.” It’s an existential exercise, a song Snider wrote about writing a song called “Where Do I Go Now That I’m Gone,” an idea he actually has been working on for thirty years, but which remains unfinished.
There are also two songs that are personal in nature: “Watering Flowers in the Rain,” which was inspired by a former associate of Snider’s whose nickname was “Elvis,” and “Like a Force of Nature,” a philosophical reflection on the orbital nature of friendships. Isbell also added harmony vocals to “Like a Force of Nature.”
If Snider is anything, he is a true artist, and he reminds us of that on Cash Cabin Sessions, Vol. 3. At a point in time when the world has never been more complicated and confusing, with people getting louder and louder, Snider did a 180, went back to his roots as a folksinger, to a simpler, quieter form of expression; and it might be what the world is waiting to hear: just a man, his guitar, and the truth.
Crystal Fountains is a Bluegrass duo made up of Grant Funderburk and Matt Faircloth that play original music Mixed with traditional bluegrass.
Techno Live Sets and Brass Knuckles Prod. presents
Bringing you some of the very best in Techno, HardTechno, and House monthly
Our DJs for the evening are
ProducerCharlotte, North Carolina
ProducerRaleigh, North Carolina
Stacey Essene: 10-11
J. Costea: 11-12
The Shana Blake Band is an innovative new take on the old soul cover band. The ensemble hails from Charlotte, North Carolina and features singer/songwriter Shana Blake (The Near Misses, Wavy Space, Tesser), veteran guitarist Keith Shamel (Virgo Musik, Daily Soul), bassist Dave Eatman (Bellyful, Automatic Chi) and drummer/percussionist Scott Newell (Vonce, Justice League). The expressive vocals and rich textures of the instrumentation fuse coherently to create a sound that’s as smooth as honey, with a hint of R&B, funk, reggae, southern rock, gospel, country, jazz and the blues. The repertoire covers the gamut from emotionally-charged ballads to energetic, danceable grooves. The song choices are anything but ordinary and, along with the original compositions, appeal to a broad spectrum of listeners. An evening with Shana Blake & Pivotal Soul is like a breath of fresh air. Funky fresh air.
John Emil , an accomplished singer/songwriter, guitarist, and a master of slide guitar, has delivered show stopping performances at major music festivals like the Telluride Blues and Brews Fest, the Leek Blues & Americana Festival UK, the Florida Folk Festival, the Decatur Blues and Bluegrass Festival, the Bangor On Dee Blues Festival UK and Garden & Gun Festival support act for The Steep Canyon Rangers.
Equally adept with the acoustic Hawaiian lap steel guitar and Dobro, Emil first appeared on the South Florida music scene in 2000. Fans hear haunting, subtle hints of Delta bluesmen Son House and Blind Willie Johnson, but Emil ultimately creates a unique style all his own by integrating country blues, folk and bluegrass sounds into his repertoire.
Bring your lawn chair and join us for Sounds on the Square! This free event takes place at The Square at Spirit Square. Concessions and beverages will be available for purchase. This event will be moved indoors if there is inclement weather.
In 2012, Lucca burned up The Voice stage, making it all the way to the finals on the back of his electric performances. Following this monumental experience, Lucca felt poised for a change and headed to Nashville.
Lucca has spent his fair share of time exploring the country’s greatest music scenes. From his hometown Motown mecca of Detroit, to the hills of Hollywood, to the borough of Brooklyn. Each has made its impact on Lucca, but none quite like Nashville. Lucca brought his same workman-like mentality to songwriting in his new hometown, writing “daily and diligently.”
There’s one song in particular so arresting it became the cornerstone for all the work to come after it. “I wrote something that reminded me I still have something sufficient to say, something that still matters to me — and that was the song ‘Everything’s Changing,’” Lucca says. The emotive, dynamic song became a live show stunner and the catalyst for Lucca’s forthcoming 2019 LP. The combination of meticulously crafting songs and freewheeling in the studio led to a record that is ready to announce Lucca as a force not just for his vocals, but also for his voice.
Formed in the college bars of Statesboro, GA in 2012 and transplanted to Athens among the reminiscence of R.E.M. and Widespread Panic, vintage rock outfit The Orange Constant blends the organic charm of southern psychedelia, heartfelt narrative, and progressive composition all with a spontaneous yet pop-like sensibility.
The band has shared bills with nationally and internationally touring acts including Perpetual Groove, TAUK, Pink Talking Phish, CBDB, RIPE, and Atlas Road Crew and won the 2016 Flagpole Athens Music Award for best “Jam/ Funk” band. Its second LP, Point of Reference (March 2017), was produced by Drew Vandenberg (of Montreal, Kishi Bashi, Futurebirds) and has been described as “eclectic rock n’ roll, everything from blissful southern rock and indie jams to urban funk.” The Orange Constant draws influence from many different styles, and fans are often drawn to their ability to meld progressive composition and improvisation with a pop-like sensibility. The band consists of Andrew Brantley (guitar/vocals), Nickalous Benson (guitar/vocals), Tyler Walker (bass/vocals),Chris Freiberg (keyboard), Sam Groveman (Drums).
- When: Friday, June 21
- Time: 7:00pm – 10:00pm
- Location: River Jam Stage
- Cost: Free and open to the public
- Weather: This event will proceed rain or shine
Angelo’s latest full-length album A Matter of Time (Aug 2017) reflects his journey through the life-altering experiences of becoming a father and facing his daughter’s rare, life-threatening metabolic disease. His daughter received a liver transplant in Fall 2016, and Angelo’s latest release A Matter of Time wrestles with the aches of adversity and ultimately celebrates the beauty of life and the hope he has for his daughter. A Matter of Time embraces the soul, classic r&b and piano-pop of some of Angelo’s more prominent influences — Stevie Wonder, Marvin Gaye and Elton John — while fearlessly venturing into new sonic territory to compete with pop contemporaries like Bruno Mars and Justin Timberlake. Alongside his finest songwriting to date, Angelo’s voice resounds as an irrefutable force as he carries listeners to new places unfamiliar to the likes of modern pop music.
A Matter of Time debuted at #12 on the iTunes singer-songwriter charts and has already garnered more than 1,000,000 streams on Spotify.
An active songwriter since childhood, Kevin Goodwin made his debut onto the music scene with his 2018 single, ‘All I Can Think About’. The upbeat, pop-rock song followed the theme of missed opportunities and was accompanied by a story driven music video.
Soon after his first single began to receive airplay on local radio stations, Goodwin released a second single, called ‘Alaska’. A stark contrast to his first release, ‘Alaska’ told the story of a young woman struggling with suicidal thoughts. The emotional track would go on to be added to Spotify’s ‘Radar Indie’ playlist, where it garnered thousands of streams.
After the success of ‘Alaska’, Goodwin released his debut EP, “This Is How It Starts”, on February 1st, 2019. The record included both of his previous singles, as well as three new songs that have quickly become crowd favorites at live shows.
With piano driven verses, lush guitars, and an earnest voice, he aims to relate to listeners in a direct and intimate way. Drawing influence from artists such as The Fray and Jack’s Mannequin, Goodwin’s music strives to stand out from today’s pop music with deep lyrical storytelling and emotionally expressive music.
The Charlotte New Music Festival is proud to present Transient Canvas, featuring premieres by the following composers on this evening: Marti Epstein, Charles Nichols, Ashby Brown, Marina Lopez, Jonathan Rome, Stephen Brown, Hannah Rice, and Katie Lee.
Praised by the Boston Globe as ‘superb’, Amy Advocat and Matt Sharrock have been blazing their own trail as the bass clarinet/marimba duo Transient Canvas since 2011. In that time they have premiered over 80 pieces and continue to perform across the United States and abroad. They have been presented by the Alba Music Festival (Alba, Italy), Music at the Forefront (Bowling Green, OH), Composers, Inc. (San Francisco, CA), New Music at the Short North Stage (Columbus, OH), and Music on the Edge (Pittsburgh, PA), among others. Additionally, they have held residencies with the composition departments at Harvard, Northeastern, Brandeis, Otterbein, and Tufts Universities, the University of Georgia, the Vermont College of Fine Arts, and the Boston Conservatory at Berklee. They have two albums, Sift and Wired, both released on New Focus Recordings. Transient Canvas proudly endorses Henri Selmer Paris and Marimba One. For more information, visit www.transientcanvas.com.
$5 Students / $10 General Admission.
Charlotte New Music’s Mission:
Join Carolina Gator Gumbo for a night of Cajun, Creole, and Country dancing. Glenn McLeroy will be teaching a Cajun and Texas 2 step class at 8pm! Then CCG will let you strut your new found stuff all night long!
Carolina GATOR GUMBO, based in Charlotte NC, is a well seasoned Cajun & Creole band bringing festive music from southwest Louisiana to the Carolinas since the early 90’s! This friendly mix of high spirited musicians have sought and studied Cajun/Creole music, dance & culture throughout the southeast. ‘Leona Had A Party’, the band’s most recent recording has been met with great reviews:
*Petra’s is a 21+ private club and requires a valid ID for entry. If you are not already a member with us you will be expected to pay a $1 annual membership upon arrival.
BearCat Kringle, whose lyrical content ranges from straightforward to metaphorically obscure, has teamed up with familiar partners to produce creative compositions with a unique sonic palette. The players are Boss Jones on guitar and vocals, Joni Flynn on keyboards and vocals, Jacob Gresham on drums, and Jason Pentecost on bass. A shared vision inspires each musician to challenge himself to keep the work hypnotic and original.
The members of HIPGNOSTIC have played together since 2005 in varying incarnations and in front of thousands of people, from headlining sold-out club shows to sharing bills at numerous festivals up and down the East Coast. They are currently in the studio recording their newly hatched ideas for an EP to be released in early 2017.
As this reincarnated hip-hop machine again embarks on a mission to deliver a fresh take on new ideas, HIPGNOSTIC eagerly awaits the opportunity to drop an earworm into your head.
For over 10 years, Mike Strauss has been a prominent character in the Charlotte music scene. Throughout the years, Mike has put together an impressive catalog of rural rock featuring songs described as warm, lyrical and gritty.
Appearing in different incarnations, the Mike Strauss band consists of a core trio along with 4 other members that assemble the ‘big band.’
Pen15 were formed 3 decades ago in CLT by the British Mike Bradley and American Ryan Sullivan who bonded over their mutual love of old UK punk. Pen15 have toured the US and UK and briefly appear in the 2013 CBGBs film because of their performance there once. The have performed with The UK Subs, The Misfits, The English Beat and other punk legends. They will perform 3 sets of their originals and 1977-era UK punk covers.
Pen15 will perform three sets of their “anarchy in the UK’ style punk at Tommy’s Pub.
Set 1: Ryan Sullivan performs acoustic covers of punk and classic-alternative favorites
Set 2: Pen15 perform their originals
Set 3: Pen15 perform a set of 1977-era UK punk covers including some “new” songs by Crass and The Stranglers
The Lenny Federal Band Federal, formerly of the …
wait for it … Federal Bureau of Rock ‘n’ Roll (yes!)
was, along with his musical (com)patriots, a staple in
the burgeoning Charlotte rock scene of the ’70s and
early ’80s. Known for its brand of relatively
straightforward bluesy originals and for its good taste
in classic cover tunes, the Federal Bureau always
resisted making the move to the Allman Brothers-like
sound so many of their Caucasian compatriots did,
in favor of keeping it simple. Federal, a cornerstone cog in the Charlotte music scene, hasn’t changed that recipe a whole lot of the years. Forgive the food metaphor, but it’s musical meat and potatoes you’re getting here Ã¢â‚¬â€œ meat and potatoes slow-cooked with plenty of care, and with but a soupcon of spice. Appearing at The Comet Grill (Timothy C. Davis) a cornerstone cog in the Charlotte music scene, hasn’t changed that recipe a whole lot of the years. Forgive the food metaphor, but it’s musical meat and potatoes you’re getting here Ã¢â‚¬â€œ meat and potatoes slow-cooked with plenty of care, and with but a soupcon of spice. Appearing at The Comet Grill (Timothy C. Davis) – Charlotte Now
Topping the August Doom Charts, their fourth effort ‘Rift’ evokes the progressive and heavy tendencies of Mastodon and Torche, the psychedelic and soaring melodies of Pink Floyd, and rolling approach of Soundgarden. Swamp mud stuck to their feet as they trudge from South Central Louisiana, Forming the Void aren’t afraid to slow things to a crawl.
Their otherworldly sound has earned them spots on large festivals such as Psycho Las Vegas, Denver’s Electric Funeral Fest, EndHipEndIt, Stoner Daze and Stoner Jam at SXSW, and Descendants of Crom. Transcend through space and time with Forming the Void as they traverse the cosmic murk.
RUNAWAY GIN – A Tribute To Phish – Phish After Party
With over 290 shows performed since their inception in 2014, Runaway Gin is the World’s Most Active Phish Tribute Band. On July 4th, 2015, after the second show of the Grateful Dead GD50 run, Runaway Gin sold out the Hard Rock Cafe in Chicago and catapulting them from a Southeastern regional act onto the National scene.
The members of Runaway Gin are long time Phish fans who have united with the goal of creating musical moments inspired by Phish. The band’s song list is constantly growing and their improvisational and communication skills are constantly developing independently and together. Like Phish, Runaway Gin will never play the same show or jam the same way twice making every show a unique experience and every moment pure artistic creation.
Early Bird Tickets $12, Advanced Tickets $15, Day of show $20
With their third European tour under the belt, three full-length albums including a fourth nearing completion, and a gravitational pull to their growing fan base down every American highway, the Vegabonds are on a musical pilgrimage to spread the gospel of pure, unadulterated New South Rock.
Some might assert that their sound is Americana, while others may consider them to be true rock ‘n’ rollers. Regardless of what fans like to call them, the Alabama-born, Nashville-bred quintet is pulling themselves up by the bootstraps just in time for 2018, forging ahead into the future by avoiding pigeon holes.
With a sound reminiscent of Tom Petty & The Heartbreakers mixed with the grit and twang of the Allman Brothers Band, The Vegabonds give their fans a sensational performance with powerhouse guitar riffs and impactful songwriting night after night. Their hard work and unbridled talents have not gone unnoticed; the group has opened for such notable acts as Lynyrd Skynyrd, the late Gregg Allman, and Kid Rock, among others. Rousing performances at festivals like Peach Fest, Magnolia Fest, Sunfest, and Toadlick grew their notoriety nationwide, leading to a west coast tour that formed in-roads with the music and comedy community in Los Angeles. It’s no wonder that Live for Live Music has compared them to musical legends like My Morning Jacket and The Black Crowes, calling them “a force to be reckoned with,” complete with “gorgeous harmonies and impressive instrumental skills mak[ing] for a perfect combination.”
Born in Alabama. Bred in Nashville. Seasoned by the Road. Celebrated the world over. Come let your hair down with The Vegabonds.
- When: Saturday, June 22
- Time: 7:00pm – 10:00pm
- Location: River Jam Stage
- Cost: Free and open to the public
- Weather: This event will proceed rain or shine
Join the Beo String Quartet performing New Classical Music!
Dane Page continues to tour through the southeast and mid-Atlantic in support of his independently produced EP City to City. A collection of bawdy, rambler tunes perfect for taprooms, bars, and breweries. Selma (Summer 2018) will be his first full-length record. Selma is a more mature album that pushes the boundaries of folk and gives Dane the space to fully develop his sound.
Dane is a storyteller perfect for intimate rooms where audiences can delve into the imagery and lyricism of his songs. The full band—Eric Fellner on bass, Kevin Orlando on guitar, and Josh Kelley on drums—is a dynamic act taking Dane’s solo storytelling ability and adding an infectious blend of folk, rock, and blues capable of filling music halls and festival stages. In either setting, listeners are welcomed into the music and leave feeling like old friends after a bonfire.
Produced by Peter Case (T-Bone Burnett, John Hiatt, Mike Campbell), American Eclipse puts Heart Hunters’ gorgeously wounded harmonies front-and-center
“Right now, my stuff is all in storage,” she says of her state of constant motion. “I’ve lived in a lot of different places – different countries even. It’s a little overwhelming, keeping track of stuff, but it’s been an amazing trip because music has taken me places I never dreamed.
“I’m the same way with writing. Even when I’ve finished a record, or am in the middle of recording, I’m writing. Writing songs is what I do; it’s how I connect with the world.”
That sense of motion infuses Edgeland with immediacy. From the Buck Owens/Don Rich opening notes of “Red Line,” the dusky blond sweeps listeners up in her whirl. If “Red Line” is a missed train and a moment of immersion in the station, “The Get Together” shimmers with a Laurel Canyon lushness and ease in the awkward (that evokes J.D. Souther’s post-romantic midtempos) and “Can’t Seem To Let You Go” owns the ‘60s Merseybeat pop luxury of the Seekers or Dusty Springfield in Memphis. Demonstrating a facility for slipping in and out of oeuvres and emotions, this – in many ways — culminates her passage through music.
Kim Richey is a traveller, after all. Musically, physically, emotionally. Not merely restless or rootless, it’s who she is. Willing to follow where the music leads, she’s landed in Los Angeles, Nashville, London, working with a who’s who of producers – Richard Bennett, Hugh Padgham, Bill Bottrell, Angelo, Giles Martin. She’s attracted a coterie of top-shelf genre-definers — Jason Isbell, Trisha Yearwood, Chuck Prophet, My Morning Jacket’s Carl Broemel, Wilco’s Pat Sansone – for her critically-lauded projects. She has also sung on records for Ryan Adams, Shawn Colvin, Isbell, and Rodney Crowell.
Part of what draws them to the dusky honey of her crystalline alto is the way she writes: to and from the soul, never flinching from the conflicts and crushing moments, yet always finding dignity and resilience. Her arc of the human heart is true. True enough that over the years, Richey’s been both Grammy nominated. Nominated for Yearwood’s truculently groove-country “Baby, I Lied,” she also co-wrote Radney Foster’s #1 “Nobody Wins.”
“Harlan Howard said – and maybe I’ve taken it too much to heart, ‘It’s always more believable if you sing it in the first person.’ And when I sit down to write, if it’s something I’m going to sing, I want it to be what I want it to be. I don’t really settle, which may make me a little hard to write with. But I have to be able to stand up and sing it night after night, and I can’t if I don’t really believe it.”
Those standards made Glimmer one of TIME’s Top Records of 1999 and Rise named People’s Best Alt-Country Record of 2002. Even when singing from the point of view of a guy working on a barge going up and down the Ohio River in “Dear John,” her aim is true. As she says of the man refusing to read the letter that ends his romance, “because if I don’t read your letter, then it’s not over. Sometimes these songs are specific and personal, but it’s also true in ways that reflect so many other people’s experience, too.”
Sometimes Richey channels profound truths. Sometimes she embraces breezy freedom. “Leavin’ Song,” a rambler’s shuffle, is more about tasting the world than exiting a bad situation. As its chorus offers, “This ain’t no leaving song, you ain’t done nothing wrong” over an electric banjo and Resonator guitar, Richey finds the sweet spot in exulting for just being alive.
Once again, Richey has drawn a multitude of collaborators who rival her own singular voice. Veteran journeymen artist/writers Chuck Prophet, Maendo Sanz, Mike Henderson (Steeldrivers), Bill Deasy (the Gathering Field), Pat McLaughlin (John Prine) and Al Anderson (NRBQ), plus Aussies Jenny Queen and Harry Hokey co-sign on these musical polaroids from the going, the leaving, and the pausing.
“I’ll be doing an interview, and people will say, ‘You co-write a lot…’,” she marvels, “like it’s a bad thing. But it’s inspiring to me, and takes me in other directions, to other places. The people I write with are funny, and smart, and a blast to hang out with, but they’re also really good writers in their own right. Nobody’s pandering or chasing ‘a hit,’ we’re all just trying to get to the best possible song.”
Whether growing up, owning and relinquishing high times in the sleek “Chase Wild Horses,” echoed in the ether-lite, percussive folk “High Time,” then jettisoned on the smoky acceptance of her own flawed inability to be in a romance on the Western-tinged on “I Tried,” the woman from Ohio makes our natural selves both exotic and homey.
Richey enlisted producer Brad Jones, known for Over the Rhine, Josh Rouse, Butterfly Boucher, Hayes Carll and Marshall Crenshaw, in crafting an adult album that evokes and provokes musically. “I wasn’t sure at first if we’d be a good combo because he has such strong opinions, and I do, too. But it was (laughter) the easiest record I’ve ever made. He has really different ideas, and it’s nice to have somebody push you in a direction you might not have gone – and have them respect your opinion, too. I really loved working with Brad.””
With three different tracking bands, Edgeland is a who’s who of Nashville’s roots players: beyond co-writers, steel player Dan Dugmore, drummer Jerry Roe, multi-instrumentalist Sansone, guitarist/various stringed thing players Doug Lancio and Dan Cohen, string arranger Chris Carmichael and Robin Hitchcock all contribute to the bewitchery.
“So many of these guys produce and make records on their own,” she marvels. “I’m open to collaboration, too. These songs wouldn’t sound the way they do without these players.”
The noir-slink of “Pin A Rose,” a cautionary told-you-so tale of domestic abuse’s repeat cycles, the neo-madrigal “Not for Money or Love,” inspired by the father Richey lost at 2, and the Mellotron-tinged austerity of “Black Trees,” finished after a few years gestation during a residency at the Banff Centre for the Arts Colony and expanded to consider a refugee’s fortunes, all seek and explore. Here melody reinforces words, feelings, even interpersonal dynamics. Simplicity – as executed – breaks complicated things into evocative clouds that seep into the listeners unconscious.
“It’s a lot easier to say something in a song than in a conversation,” allows the easy-going grown-up. “And it’s not all about me, but the people in the songs. Even the stuff you leave out says something, so you’re creating on so many layers. And sometimes I don’t know where it comes from, just some other place.”
Listening to “Whistle On Occasion,” the Everly-esque closer duet with Prophet, Richey owns one’s place in the world. Here, there, going or gone, that’s all anyone can ask.
Hailed as “a talent to outrank Ryan Adams or Conor Oberst” by Uncut and praised for his “spare and easy sounding guitar songs” by NPR, Rouse first emerged in 1998 with his debut album, ‘Dressed Up Like Nebraska,’ which Billboard called a “dark horse gem.” Over the next two decades, he’d go on to release a steady stream of critically lauded records that would solidify his status as one of the his generation’s most acclaimed songwriters, both in the US and Europe, where he’s lived on and off since 2004. Q called his breakout album, ‘1972,’ “the most intimate record of the year,” while Rolling Stone dubbed his follow-up, ‘Nashville,’ “a landmark album,” and EW described 2013’s ‘The Happiness Waltz’ as “a big contender for Rouse’s best work.” In 2014, Rouse won a Goya Award (the Spanish equivalent of an Oscar) for best song for “Do You Really Want To Be In Love,” from the film ‘La Gran Familia Española.
As he began work on ‘Love In The Modern Age,’ Rouse was caught in a moment of international limbo. He was ready to relocate from Spain back to Nashville with his family, but his wife’s green card process was stretching out interminably. As they awaited news from the US government, their Tennessee home sat empty for more than a year, and Rouse found himself making regular trips across the Atlantic to check in on the property.
“I started working on songs with my old friend and writing partner Daniel Tashian on those trips,” Rouse explains. “I’d just finished reading Sylvie Simmons’ great Leonard Cohen biography, ‘I’m Your Man,’ and it got me really into Cohen’s synthier records. I told Daniel that I thought it’d be fun to write some stuff in that vein, so we’d start with these moody soundscapes, and then I’d write lyrics on top of them.”
Inspired by Cohen and cult heroes The Blue Nile, as well as the English bands Rouse grew up listening to like The Cure and The Smiths, the songs were cinematic and enveloping. Each track created its own entrancing world out of dense synthesizer textures and shimmering electric guitar lines. While many of his previous albums were recorded with a full band performing live in one room, Rouse built up the tracks on ‘Love In The Modern Age’ a layer at a time, recording the majority of the instruments himself between Spain and Nashville.
in me that wouldn’t have happened with just an acoustic guitar.”
Much like love in our modern age, the album is defined by the coming together of those physical and digital worlds. Underneath it all, though, lays the same endless search for human connection that drives each and every one of us. Times may change, but the song remains the same.
***Floydfest 17 “On The Rise” Competition Winner***
South Hill Banks – Lance Thomas (vocals, guitar), Eric Horrocks (mandolin, vocals), Ryan Horrocks (banjo), Dan Fiasconaro (guitar, vocals), and Matt Eversole (upright bass) – have carved a niche for themselves with their jam infused bluegrass sound. Formed in August 2015 in Richmond, Virginia, South Hill Banks pulls from a wide range of influences such as classic rock, jam, blues, to traditional bluegrass to keep audiences entertained with a blend of sounds old and new.
Since the release of their debut album, Riverside Dr., South Hill Banks has gone on to showcase at the IBMAs in Raleigh, NC, win Floydfest’s ‘On the Rise’ Competition, host a successful monthly residence at The Camel in Richmond, VA, and be feature in the ‘On the Rise’ section in Relix Magazine. SHB has created an ever growing fan base by headlining a multitude venues as well as directly supporting some of the top national touring acts in their genre.
Guitar & Vocals
Joseph Huntley (Donnie Yale)
Drums & Vocals
Guitar & Keys
The band’s legendary live shows and blistering singles have earned the group slots opening for Guitar Legend Dick Dale, Yawning Man, Truckfighters, Cage The Elephant, White Reaper, Gov’t Mule, 1,000 Mods, Low Cut Connie and Primus.
TBOF’s accolades include a Georgia Music Award & 13 2018 Creative Loafing Best of Atlanta nominations.
2019 will bring the Deep Fried Fuzz Run, the reissue of their first EP Buzzard Custard on limited edition hand lathed vinyl and the second year of their namesake festival, Fuzzstock.
Help our good friend raise funds for his next album!
Tickets: $7 + $3 Under 21
Charlotte jazz legend Bill Hanna brings his famous jazz session to Petra’s. Come join us each and every Sunday to see some of Charlotte’s best musicians perform in an intimate setting.
*Petra’s is a private club. You MUST have a valid ID to enter. Please be expected to pay a $1 annual fee if you are not already a member with us.
Start Time: 8:00
Sweet and soulful sounds to top off your weekend. Seriously one of the best kept musical secrets in Charlotte is Sunday’s at the Comet Grill with Omari and the Hellhounds, no cover.
Some people listen to everything ‘but country’ – this night is not for them.
Come hang out at Hattie’s every Monday for Country Music, Boots, Bolo Ties, Belt Buckles and Jorts. The last Monday of every month is Karaoke Country Music Monday.
$4 Kentucky Gentleman
$2 12oz Bush Light, Natty Light and Narragansett Lager
The Charlotte New Music Festival invites you to a performance of Duo Zonda, featuring new music by contemporary composers.
Find Your Muse Open Mic is Charlotte’s premier open mic night. Each week we feature a special guest performer from around the region. Come out and see some of the area’s best up & coming talent perform their latest original tunes. Always a fun time, hosted by the semi-hilarious Mr. Erik Button. Look forward to the start of a great Monday night at 7:30pm as you are greeted by the rest of our FYM team; Aaaaron at the door, Donniebaseball behind the bar serving up cold ones, and Normal Dennis doing his best at making it all sound great from behind the board. Sign ups are at 7:45, so come out and get your time slot.
Open Mic at Puckett’s Farm Equipment: Every Monday, at 8:00 p.m., Puckett’s Farm Equipment, a bar and music venue in Derita (and yes, it used to sell farm equipment), hosts an open mic that features all kinds of music. No cover. 18+.
2740 West Sugar Creek Road, 704-597-8230
Looking to listen to nice smooth jazz, look no further than Crown Station Coffee House and Pub every Monday at 10 PM!
Join us every Monday at Crown Station for a night of live music featuring Ocie Davis on drums and Troy Conn on guitar from 8:30-10:00. Afterwards there will be an open jam featuring Rob Linton on bass and Eric Chang on drums from 10:00-12:00.
DC Suo Ocie Davis & Troy Conn 8:30pm – 10pm
Rob & Eric’s UNCC Jazz Jam 10pm – ???
Open Mic Mondays with Jeff
8:30 till 11pm
Blind Alien Records & King Batt Entertainment present Phoenix’s Alternative Experimentalist Bent Self for his second North American/Canadian tour in support of his new album ‘Universal Drifter’ (out on Blind Alien Records). Bent Self is a singer/songwriter consistently pushing musical boundaries through his aggressive but melodic vocals, deep lyrics and unique electro-rock sound. Going to be a great night of live music with special guest Sol-Omen (San Diego, CA), along with other talented local acts.
–> FREE album download with ticket purchase – https://www.bentself.com/product-page/show-ticket-universal-drifter
–> Listen – https://bent-self.lnk.to/UV8hQ
–> Videos – https://youtube.com/bentselfrocks
A weekly party born from the brains of Justin Aswell and friends featuring the best in electronic, hip hop & forward music for the truly awesome human being. *Beginning July 2, 2018, unless otherwise noted for special performances, admission will be $2 from 9 pm-midnight and then $5 from midnight-2 am.
Knocturnal: A weekly party born from the brains of Justin Aswell and friends featuring the best in electronic, hip hop & forward music for the truly awesome human being.
With appeal for both lovers of space-age and vintage, FUTURIST has been likened to the visions of Flaming Lips, Pink Floyd, and Spoon. The band is known for its associations with folk-lore and psychedelia, with elements of this culture permeating the group’s instrumentation, effects, and composition.
Their debut 2011 LP War Is Yesterday laid foundation for the anthemic duality found throughout the band’s core sound. The Deli Magazine NYC wrote:
‘FUTURIST hearkens to the past with the sounds of strings and colonial drumbeats, but the underlying darkness meshed with sunny demeanor proves they offer enough light to burn.
Lovaas’s records have premiered on Billboard, Idolator, Culture Collide, Ones to Watch and We Found New Music. In 2017, he released his debut single, “Lie,” which garnered over 5M plays and appeared on Spotify’s Chill Vibes and Pop Chillout playlists. The following year, he dropped “Find,” a single produced with artists Shallou and Kasbo that reached 17M streams as well as “Prove It,” which earned 3M streams and a place on Starbuck’s Coffeehouse playlist. Lovaas’s most recent releases Talk Slow and Finally Fallen gained over 50 playlist placements as well as Apple Song Of The Day. Both songs are from his upcoming EP which will release May 31st.
Lovaas was fourteen and performing at an intimate open mic in his hometown of Carlsbad, CA, when he caught the attention of Jason Mraz, who began to mentor him and develop him as his protégé. Lovaas quickly emerged as an intuitive and prolific songwriter. Throughout his teenage years, he found his way up the coast and into studio sessions in Los Angeles. Today, his writing draws on a youth spent falling in and out of love in a small beach town and demonstrates the restraint and maturity of a seasoned artist.
$12 Ticket = Beer + Glass + Classical Music
WDAV’s next Small Batch Concert will be off the hook. Beo String Quartet, the Charlotte New Festival’s quartet in residence, will present a program of fresh chamber works by composers at the festival. Here’s what you can expect:
#1 WORLD PREMIERES of classical works. That’s right plural, as in multiple premieres.
#2 BEER RELEASE by Free Range Brewing
#3 WDAV’s Mobile Record Store will be back with fresh vinyl. $1 a record or 6 for $5. We’re pricing them like it’s 1890 all over again.
WDAV has teamed up with Free Range Brewing and Charlotte New Music Festival to present the next Small Batch concert, bringing together good music, good people, and good beer. A $12 ticket supports the station and also gets you a Small Batch glass filled with a beer from Free Range. Get your tickets now to avoid lines at the door. NO ONLINE TICKETING FEES.
Almost 10 years later, after playing countless shows locally, the band released Adults in 2013, which they recorded with producer/engineer Jesse Cannon (Animal Collective, The Misfits). This also marked their first release with bassist Kevin Smart. In 2015, they reached a turning point with the release of their single “Chardonnay,” recorded with producer Paul Levitt (All Time Low, Have Mercy). This began a transition from their pop-punk beginnings to put more focus on their pop sensibilities. Spring of 2016 marked the arrival of their self-released, self-produced EP I’m So Dead, showcasing their shift from a fast, loud pop-punk band to a more groove driven, pop-rock sound. It also landed them recognition from MTV who called the EP “the perfect pop-alt soundtrack to take you into the summer season.” They recorded at Cannon’s New Jersey studio but produced and mixed the album themselves.
Meanwhile, between recording stints, the band continued touring aggressively whether it be self-booked stretches with their peers, touring/performing with acts like Neon Trees, The All American Rejects, The Academic, Jake Miller, Punchline or even following Vans Warped Tour to reach new fans and compete to see who could sell the most CDs and merch. These efforts show the bands perseverance and hustle that they display on and off the road.
Fragile Heart (released May 2017) is the band’s most collaborative effort to date and, once again, done with a DIY mentality with the drums and vocals being predominantly recorded from home. With Fragile Heart, The Stolen have accomplished something that sounds both familiar and comforting with an ’80s pop vibe that is simultaneously young, fresh and new.
Their single “Overboard,” (released Feb 2018) which hit No. 21 on the iTunes Alternative Chart, perfectly illustrates where the band’s sound is going.
Red Rocking Chair is made up of four veteran
musicians, each bringing his own unique approach
to the music they present. An acoustic quartet of
multi-instrumentalists, they blend folk, bluegrass
and country in a way that only players with decades
of making music professionally can attain. Jack
Lawrence, Michael Reno Harrell, Tom Kuhn and
Dale Meyer present a blend of bass, mandolin,
guitar, Dobro, banjo, and vocals that have kept their fans coming back time and again. All that aside, their music is just plain fun to listen to at the bar in Charlotte!
– Charlotte Now
Classical and modern R&B , hip hop , fusion and more. Local and visiting acts. Hosted by Ciroc. Join us every Tuesday at Crown Station for a night of live music.
Summit Coffee continues to offer live music, usually with no cover. Summit is located at 128 South Main Street in Davidson. Call them at 704-895-9090 with questions.
Charlotte New Music Festival presents New York City based new music chamber group, Loadbang! Featuring new work by contemporary composers.
Scott Bartlett is one of the founding members of the platinum selling rock band Saving Abel. Famous for their hits ‘Addicted’, ’18 Days’, ‘Miss America’, ‘Drowning (Face Down)’, ‘Stupid Girl’, and more.
Chris Johnson is a Memphis, TN based professional musician known best as a Top 12 Finalist in the 16th Season (aka The Farewell Season) of American Idol.
The duo perform together acoustically under the moniker the Mad Souls and have been well received thus far. They perform a number of Saving Abel hits, original songs, as well as popular covers.
Born out of hard times, Faith & Scars acts as a namesake of the code the members live by: Faith will see you through, and Scars will make you stronger.
Open mic night tonight and we have a talented bunch of musicians ready to play.
Local, live, free music done right y’all!