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.
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
Come join us for The Underground Open Mic. All performers, styles, genres, and skill level are welcome to signup. Each month will have a featured artist.
Proceeds to benefit the UNDERGROUND Mobile Art Gallery.
The UNDERGROUND Mobile Art Gallery will bring amazing visual, musical, poetic, graphic, and historical works from local and accessible black artist right to Charlotte lower-income neighborhoods.
Our goal is to put an interactive Renaissance style art movement right in the heart of the hood, thus giving the youth in Charlotte’s at risk neighborhoods (where there’s mad talent, but nowhere to cultivate it) the opportunity to work with local artists, musicians, writers, gardeners, and historians on their own turf!
‘EDUCATION BEGINS AT HOME…BUILD COMMUNITIES, NOT MORE CONDOS!’
*Petra’s is a 21+ private club. Please be expected to provide a valid ID to enter. If you are not already a member please also be expected to pay a $1 annual membership fee upon arrival.
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.
Even before Samsara had been recorded, Los Coast had already earned a reputation as one of Austin’s most exciting and inventive young bands. With its lineup rounded out by Megan Hartman on bass, Damien Llanes on drums and Natalie Wright on keys, plus a varied assortment of guest players, Los Coast was already renowned for its rousing, expansive live sets.
That same mix of energy and expertise is reflected on Samsara, which features such memorable, no-nonsense tunes as “Simplify,” “Monsters,” “Graves” and the frantic, tongue-twisting “(Everything But) The Kitchen Sink.” The album delivers infectious hooks, ironic lyrical twists and explosive funk grooves in equal measure, providing an irresistible frame for Privott’s soulful vocals and the band’s explosive grooves.
“We love pop music, but we also love to experiment,” says Courtney. “We try to avoid letting the listener know what’s coming, and we like playing with people’s expectations and catching the listener off guard. It becomes stale if it’s too familiar, so we like to come up with music that’s familiar and surprising at the same time.”
“We’re lucky to be able to explore these different sounds and different attitudes, and do a little dabbling,” adds Privott. “We started with a blank canvas, and we built a diverse color palette around the album that we wanted to create. It felt like everything was fair game, from psychedelic funk to the blues to acoustic singer-songwriter pop.”
“I think this album captures a moment in time for the band, and a moment of time in Austin too, with certain things that were in the air at the time, and certain tides turning,” Courtney offers.
Georgia-born Privott’s first love was jazz — thanks to the influence of his uncle, noted guitarist and former Late Night with David Letterman band member Hiram Bullock — but his musical consciousness soon came to embrace gospel and soul, thanks to his family’s Southern Baptist faith, as well as punk rock, folk and hip-hop. He began picking up various instruments in his early teens and began experimenting with recording soon after. Although Texas native Courtney focuses on lead guitar with Los Coast, he’s a versatile multi-instrumentalist whose sensibility was influenced by his extensive studies at the prestigious Berkley College of Music.
“I see us as a rock and roll band with a lot of soul influences, like Sam Cooke and Otis Redding,” Privott states. “Otis was from Georgia, Little Richard, too, and that music is in my blood. What I think makes Los Coast stand out is that we’re psychedelic. As a guitar player, John Courtney is into guys like Jerry Garcia and he’s also jazz-trained. His playing defines the band just as much as my voice does.”
Trey and John hooked up in Austin in 2015, and quickly won an audience in their adopted hometown, thanks to a long-running weekly residency at the Austin club C-Boy’s. “We had wanted to use the residency as a chance to get comfortable onstage, and to really learn to play as a group,” Trey explains. “But more and more people started showing up, which we hadn’t expected at all.”
A high-profile gig at 2016’s Austin City Limits festival helped to spread the band’s reputation beyond its hometown, as did some out-of-town touring that helped to build demand for Los Coast’s long-simmering debut album, elevating the group to official buzz-band status. The band’s memorable first indie single, “Summer Samaritan,” gave way to the indelible gospel-funk of its follow-up “Simplify,” which now serves as a key track on Samsara.
“We reworked the album multiple times because we wanted to get it right,” Courtney admits. “We were being a little perfectionist, but we finally got to the point where we felt good about it. It was a long process, but it was time well spent.”
“We built the sessions from the ground up,” adds Privott. “It was kind of a non-traditional way to make an album, to work on it for so long. We went moment by moment, instrument by instrument, and we used everything we had to work with. That seemed to work for us. Now we’re looking forward to sharing it with the world.”
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
Charlotte New Music Festival invites musicians and composers to perform their music in a fun, casual setting at Crown Station! Whether it’s performing a previously written work, exploring something new and unusual, or an improvisation, sign up now and share your creativity! Sign up here: https://goo.gl/forms/fMgHZhOVzkSLFKDj2
For this year’s New Music Open Mic Night, we’re partnering with John Shaugnessy and his jazz improv night. The house band will perform a short set and then composers and performers from all over the world will be presenting new and experimental compositions in classical, improvised music, electronic music, and jazz. Admission is FREE.
On The Cinder returns to Charlotte, NC this summer for an evening of punk rock debauchery at Tommy’s Pub. OTC plays a combination of blistering fast skate punk mixed in with melodic hardcore in the vein of Strike Anywhere, Bad Religion, and A Wilhelm Scream. Joining them are local favorites Aloha Broha (best band name ever) and good buddies The Commonwealth ready to rip it up on a Tuesday night. Free show, 21+, starts at 8ish, buy booze/give hugs.
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
Free show by Jesse Lamar Williams & the Menastree Jazz Jam. 3rd Tuesday of month.
Menastree- was born in the early summer of 2014, originating from Charlotte North Carolina.
Beginning with musician/producer and videographer DJ Lil Tone, Musician/producer Jesse Lemar Williams and musician/vocalist Jeremy Mayher. Menastree created their formula for their sound by backing various artist deriving from various genres and performing at festivals such as SXSW. As a result of the new age mashup sound with elements of hip-hop/trap/jazz/house and R&B. By January 2017 Menastree had officially been established.
Solidifying the establishment with the particularly chosen additions of Zach Wheeler , Braxton Bateman , Malcolm Charles, Waneisha Nish Massey , Curt Keyz , Stefan Kallander , and Marcus Jones. Jesse Lamar Williams then planted Menastree in the heart of Charlotte North Carolinas art district Noda at the corner of E. 36th St. and N. Davidson Ave. at the prestigious listening room The Evening Muse where they can often be found cultivating the culture in a monthly residency.
A continuous monthly residency featuring Menastree and special guests. We play original music as well as a blend of modern jazz, hip-hop, funk, and pop including artists such as Robert Glasper, Roy Hargrove, Thundercat etc. Join us for a spontaneous night of 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.
From early mainstream successes to imaginative collaborations with icons like the Grateful Dead, Spike Lee, Bonnie Raitt and Bob Dylan, Bruce Hornsby continues to demonstrate exceptional focus on idiosyncratic, creative projects. Backed by The Noisemakers, his return to the Charlotte stage offers a glimpse of the restless spirit that continues to push him into exciting new musical terrain.
THE LEMON TWIGS
Do Hollywood, The Lemon Twigs’ 2016 debut LP, was an invigorating, much-needed blast of fresh air that whipped across the arid landscape of contemporary rock. If that stunningly accomplished recording, which flew in the face of current musical trends, wasn’t surprising enough on the face of it, the fact that Do Hollywood was the handiwork of two teenagers—brothers Brian and Michael D’Addario—rendered the achievement utterly mind-boggling. Now, with the follow-up full-length, Go to School (4AD, Aug. 24), the siblings, now 21 and 19, respectively, have set the bar dizzyingly high even by their own lofty standards, and proceed to soar over it into the stratosphere. Listening to this wildly ambitious album is like entering and inhabiting a parallel universe. Go to School’s subtitle is A Musical, and that turns out to be an accurate description of the 15-song extravaganza, which tells the tale of the pure-of-heart chimpanzee Shane, who’s adopted by a childless couple—played by the brothers’ musical hero Todd Rundgren and their mom, Susan Hall—and raised as a human boy. Michael describes Go to School as “a fairy tale with a dark edge,” as Shane is ostracized, bullied and rejected by the girl he falls for, erupts in an extreme act of retribution for being robbed of his innocence. The libretto is played out in a series of intricate, wildly eclectic musical settings ranging from spot-on throwback rockers to traditional Broadway-style production numbers. “We had enough songs to work on a straight-pop, more obviously autobiographical album—which didn’t feel like much of a risk—or this one,” Brian says of the decision-making that set them off in this envelope-ripping direction. “These [Go to School] songs come from the same place our autobiographical songs come from, so we decided to trust our instincts and to really commit to making it a musical.”
Start Time: 8:00
Boa Constrictors is Joe Astle. Joe Astle is an American Rock musician from Buena Park California who records and performs under the name Boa Constrictors. He has recorded several albums in his parent’s garage for the past decade and a half. He performs live with his two brothers Jethro and James and their good friend Harley Hill-Richmond from London.
Open mic night tonight and we have a talented bunch of musicians ready to play.
Local, live, free music done right y’all!
“Whoever thought of a band with two saxophones and a drummer? That’s the stupidest idea, right?” Moon Hooch saxophonist Wenzl McGowen asked the crowd at a recent gig. Well, Wenzl, James Muschler (drums) and Mike Wilbur (saxophone) never intended on forming a band together. The three guys attended The New School for Jazz and contemporary music. James is the only graduate.
The three began busking in the subway and in the city’s parks to pay off the New School’s extreme tuition costs. At the same time, Wenzl was producing electronic music. One day he wrote a simple tune with two part harmony. When the guys played this music in the subway, people immediately began dancing.
One subway goer asked, “What’s your band’s name?”
Mike blurted, “Moon Juice.”
A Google search revealed that there were already multiple bands called Moon Juice. With the help of a thesaurus, the name Moon Hooch was selected, and more importantly, the trio now realized that they were, in fact, a band.
Since solidifying as a band, Moon Hooch has quickly gained a reputation for inciting “subway raves” (they were banned from performing at the Bedford Ave stop off the L line in Brooklyn for “starting too many dance parties”), their strange instrumentation and explosive live show. Their frequent presence in New York City subways and parks has brought them notice and fans which has led to appearances as the house band on Australian TV show “Hamish and Andy’s Gap Year,” and a national tour with Mike Doughty (Doughty saw them on a train platform and immediately invited to tour as his supporting act). They have also held residencies at The Knitting Factory and Brooklyn Bowl.
The band has already begun to expand its sound beyond just two saxophones and drums. Wenzl inserts a cardboard tube into his saxophone to create a Dubstep style womp, and switches between a contrabass clarinet and electronic wind instrument. They also have begun experimenting with various vocalists, inviting both singers and rappers on stage with them at shows.
Recorded in just a single day, their debut record, “The Moon Hooch Album,” gives the listener a taste of what’s to come for these guys. They seamlessly blend House, Dubstep, Drum & Bass, and Jazz into style that is uniquely Moon Hooch: Cave Music.
You’re invited to Thursdays Live – free live music, cold beer, food from Hawthorne’s NY Pizza and refreshments from 6 until 8pm. It’s happening all summer, the 3rd Thursday of each month. Come hang out with your MoRA neighbors! At the new Embrace sculpture, located at the intersection of Monroe Rd and Conference Dr. Here’s a short video from last year: https://youtu.be/n_kkmLDi2zc
For Upstate, the last few years have been a time of profound exploration and self-discovery. As the band knocked off milestone after milestone on the road, their sound, their lineup, and even their name all underwent dramatic metamorphoses. Challenging and thrilling all at once, those changes have finally culminated in the sextet’s dazzling new album, a collection that showcases both their remarkable growth and their adventurous blend of folk, R&B, jazz, gospel, and rock and roll.
Recorded primarily over six days at the Clubhouse studio in Rhinebeck, NY, ‘Healing’ is the band’s first release with new member Allison Olender, their first with four contributing songwriters, and their first since shortening their name from Upstate Rubdown. It’s also their first project to be produced by Wood Brothers percussionist Jano Rix, who helped the group embrace their transformation and lean in to their unique lineup without sacrificing any of the gorgeous harmonies, eclectic arrangements, and unforgettable performances that have defined the band since their earliest days.
Upstate first emerged from New York’s Hudson Valley in 2015 with their critically acclaimed debut, ‘A Remedy.’ The Poughkeepsie Journal raved that the group “need[s] nothing more than their voices to channel rhythm and stoke your emotions,” while Chronogram hailed their “infectiously sunny organic stew,” and The Alt called them “toe-tapping, contagious, and fun.” The album earned the band festival performances from Mountain Jam to Fresh Grass, as well as a slew of national headline dates and support slots with everyone from The Felice Brothers and Phox to Marco Benevento and Cory Henry.
- When: Thursday, June 20
- Time: 7:00pm – 10:00pm
- Location: River Jam Stage
- Cost: Free and open to the public
- Weather: Events are scheduled to proceed rain or shine. In the event of severe weather, the USNWC reserves the right to reschedule/cancel live music performances.
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.
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.
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!