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You might expect a band that calls itself Yarn to, naturally, tend to spin a yarn or two. “that’s what we do, we tell stories, live and in the studio, truth and fiction” singer/songwriter Blake Christiana insists. “We don’t always opt for consistency. There’s a different vibe onstage from what comes through in our recordings. There’s a difference in every show as well, you never know what you’re going to get.”

It’s with that in mind that Yarn has announced a series of singles that will be digitally released on the 13th of every month beginning in January and continuing throughout the year. Each “single” will include an “A side”, a “B side” and an exclusive alternate version of one of the songs. Naturally, there’s no better name for the project than “Lucky 13.”

“These are essentially road stories,” Christiana says. “There’s an overriding theme that links these songs in a very broad sort of way, but again, the stories are not to be taken literally. The intention was to share the feeling of what it’s like to spend time traveling from city to city, with all the unlikely experiences that can be encountered along the way.

“People always ask us to tell them road stories,” singer-guitarist Rod Hohl adds. “While this batch of songs aren’t exactly literal road stories, most deal with some degree of adventure and adversity as inspired by our tours and treks around the country. Yet like any good story, there’s an imaginative element to it as well. That’s why we’ve decided to release alternate versions of some of the tracks, to provide a glance at the oddities that exist just beyond sight...”

The titles of these tracks summarize the stories at a glance. Hohl describes “Sioux City,” “Road Less Traveled” and “Hurricane” as adventure stories as seen from the perspective of the road. “Too Young” re-imagines that road as an analogy, the highway of life. “Weary,” as the title implies, describes the toll taken by that seemingly endless journey. However, there’s also hope on the horizon; “Heaven in You” suggests that there is an oasis out there somewhere. “Promised Land” and “American Dream” offer a reason why one might choose to embark upon that sojourn in the first place.

Yarn has never been content to simply ride a wave and see where it takes them. Their last album, This Is the Year, was celebratory in tone and boldly optimistic. A seamless blend of vibrant, inspired, back porch melodies and narrative, descriptive lyrics, it detailed the challenges one faces when life is jolted off its bearings and, in re-evaluating relationships, tough choices must be made that sometimes skirting the rules. It was recorded in the aftermath of real-life challenges that left the band splintered and unsure of their forward trajectory.

“We were dealing with real-life issues,” Christiana said at the time. “Broken relationships, a sense of having to regroup and put some things -- and people -- behind us. That’s what I was writing about lyrically in the new songs and it became kind of a catharsis. Nothing was contrived. We didn’t have to relate to it in the third person. We were living these circumstances, and that gave us the impetus and inspiration to share our sentiments. Ultimately those setbacks and difficulties led to new opportunities and allowed a little light to shine through.”

Yarn’s ability to persevere ought to come as no great surprise, especially for a band that spent two years honing their chops during a Monday night residency at the famed Kenny’s Castaway in New York’s Greenwich Village. In effect, it allowed them to rehearse onstage, mostly in front of audiences that often ranged in size from five to a hundred people on any given night. Five studio albums followed -- Yarn (2007), Empty Pockets (2008), Come On In (2010), Almost Home (2012) and Shine the Light On (2013).

The band then took to the road, playing upwards of 170 shows a year and sharing stages with such superstars as Dwight Yoakam, Charlie Daniels, Marty Stuart, Allison Krauss, Leon Russell, Jim Lauderdale and The Lumineers. They performed at any number of prestigious venues -- Mountain Stage, Daytrotter, the Orange Peel in Asheville, the Fox Theater in Boulder, the 9:30 Club in D.C, South by Southwest, the Strawberry Festival, Rhythm and Roots, Meadowgrass, Floydfest and more, eventually surpassing 1,000 shows, half a million miles and performances in nearly every state. They’ve driven nonstop, made countless radio station appearances, driven broken-down RVs and watched as their van caught fire. They’ve paid their dues and then some, looking forward even as they were forced to glance behind.

Indeed, the accolades piled up quickly along the way. They have landed on the Grammy ballot 4 times, garnered nods from the Americana Music Association, placed top five on both Radio and Records and the AMA album charts garnered airplay on Sirius FM, iTunes, Pandora, CNN, and CMT, and also accorded the “Download of the Day” from Rolling Stone. Shine the Light On found shared songwriting credits with John Oates (the Oates of Hall & Oates fame), and when audiences expressed their admiration, it brought the band a populist following of diehard devotees, popularly known as “the Yarmy.”

As odd as that might seem, it’s proof positive that the Brooklyn and Raleigh based band -- which is currently comprised of Blake Christiana, Rod Hohl, bassist Rick Bugel, and drummer Robert Bonhomme -- have made their mark, and in dealing with their emotions, scars, and circumstances, they find themselves in a position to share those experiences with others who have juggled similar sentiments. Then again, one needn’t take them at their word. When one unravels Yarn, it’s best to add one’s own interpretations.

Northeast native, singer-songwriter, Parker Mckay has established herself in Nashville as the breath of fresh air that pop-country needs. Her eclectic influences ranging from HAIM, John Mayer, Sheryl Crow, Shania Twain, and even Eminem are evident in her new take on country that is honest, conversational and has compelling melodies. Her powerhouse voice and engaging phrasing tie it all together.

Parker has opened for artists like Rascal Flatts, The Band Perry, Sheryl Crow, and Martina McBride. As both an artist and songwriter, her name has already made a notable impact on the industry’s community. Her debut music video premiered exclusively with Rolling Stone and she was recently added to CMT’s Artist Discovery Program. She brings a unique perspective to the table and shows that it’s a powerful thing to be a vulnerable, confident and fearless woman in country music.

Let's be honest, love doesn't exist, couples suck, and Valentine's Day is bullshit. Join your bitter host Carly Ann Filbin as she tests real life couples to see if they are meant to be together (they aren't). The couple with the least amount of points at the end of the night will have to break-up because we all die alone anyway and what's the point of anything really? It'll be FUN!

“I’m a singer not a preacher, but these songs are my sermon,” says Paul Cauthen. “We’re ripping each other apart out there, and forgiveness and mercy are what’s going to get us through. I want to use my voice the best I can to spread that message while I’m here on this Earth.”

Somewhere between an EP and an album, Cauthen’s new seven-track collection, ‘Have Mercy,’ is a stunning showcase of the pure power of truth and love. Building off the success of ‘My Gospel,’ the Texas troubadour’s breakout debut, ‘Have Mercy’ pushes Cauthen’s songwriting to new heights as he searches for common ground and peace of mind in an increasingly polarized world. Fueled by nearly two straight years of personal and artistic growth on the road, the songs reflect a newfound maturity and creative self-assurance. Cauthen’s rich, velvety baritone is still very much the centerpiece here, but it’s the craftsmanship that dazzles more than anything. ‘Have Mercy’ is the work of an artist who’s turned his life over to the music, body and soul, and the rewards for his devotion are undeniably on display throughout the record.

“I wanted to make an honest leap from ‘My Gospel’ to ‘Have Mercy,’” Cauthen explains. “I wanted to elevate everything: the songwriting, the sound, the live show, the look and the feel of it all. I’ve given up everything for the music and I’ve grown stronger because of it.”

While he’d already earned a reputation as a fierce and fiery frontman from his days in the critically acclaimed band Sons of Fathers, it wasn’t until the 2016 release of ‘My Gospel’ that Cauthen truly tapped into the full depth of his prodigious talents. Rolling Stone called the album “a triple-barreled blast of Texas country, soul and holy-roller rockabilly delivered by a big-voiced crooner,” while Vice Noisey dubbed it “a somber reminder of how lucky we are to be alive,” and Texas Monthly raved that Cauthen “sound[s] like the Highwaymen all rolled into one: he’s got Willie’s phrasing, Johnny’s haggard quiver, Kristofferson’s knack for storytelling, and Waylon’s baritone.” The album landed on a slew of Best Of lists at the year’s end and earned Cauthen dates with Elle King, Margo Price, Billy Joe Shaver, and Cody Jinks along with festival appearances from Austin City Limits and Pickathon to Stagecoach and Tumbleweed.

It was during those relentless months of touring that Cauthen first began to explore the songs that make up ‘Have Mercy.’

“A lot of these songs are tunes we’ve been playing live and fans have been asking about for a while,” says Cauthen. “They’re showstoppers when we play them out on the road, and I believe the whole purpose of putting out a record is so that people can have a little bit of that concert experience back at home.”

To that end, Cauthen and producer Beau Bedford recorded the album as live as possible at Modern Electric in Dallas, capturing all the raucous passion of the stage without sacrificing any of the nuance and sophistication the songwriting demanded. Fortified by contributions from The Texas Gentlemen, a 21st century Wrecking Crew of all-star musicians that’s backed everyone from Leon Bridges to Kris Kristofferson, the album is a plea for kindness and grace, both internally and externally. As easy as it is to hear these songs as an appeal for compassion from his fellow man, there are moments when it’s clear that Cauthen is singing as much to himself as anyone else, a reminder that love and forgiveness aren’t just for our brothers and sisters, but also for the faces staring back at us in the mirror.

“I’ve done a lot of reflection lately,” Cauthen says. “I’ve brought meditation into my life, and I’ve slowed my roll a bit. I’ve started to pull back on the reigns when it comes to living hard out there on the road. I love my band and I’m thankful to be where I’m at as a writer, and I think these songs really reflect that.”

The collection opens with the ominous chain gang percussion of “Everybody Walking This Land,” a righteous tune that thunders with the authority of God handing down the Ten Commandments. In a booming, half-spoken/half-sung drawl, Cauthen rattles off a list of all the things that divide us, insisting that they mean nothing compared to the humanity that we share. “Lord we pray we make it through the day,” he sings, “all you mothers, you brothers, you sisters, you fathers, believers, pretenders, bonafide sinners, everybody walking this land.”

“That song just means everything to me,” Cauthen explains. “Beau and I wrote it like two maniacs drinking coffee and pulling out our hair around a Steinway piano, laughing about doing the Lord’s work.”

Despite the album’s sometimes-heavy themes, that underlying sense of levity and brotherhood is the lifeblood of the collection. Cauthen never loses sight of the sheer joy he derives from playing music, and through all the ups and downs, he recognizes that good times are hollow if you can’t share them with the ones you love. On the funky “Resignation,” he learns to appreciate the present by letting go of his struggles and joining his pals for a drink at the bar, while the playful Jerry Reed-meets-Elvis Presley shuffle of “My Cadillac” finds bliss in the simplicity of joyriding with friends, and the epic, horn-and-string laden “In Love With A Fool” pays tribute to the partners who keep the home fires burning while their lovers are out chasing dreams on the road.

Cauthen writes with a unique blend of Biblical and modern vernacular, a style he likely picked up from his preacher grandfather. “Have Mercy” lands like a secular hymn for a country still coming to terms with the deep wounds of its bloody past and divided present, while ‘Lil Son’ lifts straight from generations of family teachings.

“That song is a message from my granddad,” Cauthen explains. “The lyrics come from riding around with him in his jeep when I was a kid, just listening to his instructions and learning from his morality.”

As Cauthen says, he’s ultimately a singer not a preacher, and the songs on ‘Have Mercy’ cut across cultures and creeds, speaking to truths that are bigger than any particular faith. The music is timeless, the themes universal. Whether you believe in the next life or not, our days are numbered, and Paul Cauthen’s here to remind us that a little love goes a long way.

“When I’m gone,” he concludes, “I hope that someday somebody picks up one of my records and says, ‘This guy was a hard worker. He honored the songs, he honored the music, and most of all, he honored his listeners.’ That’s the legacy I want to leave behind.”

Acclaimed raconteur Ray Bonneville strips his bluesy Americana to its essentials and steeps it in the humid grooves of the South, creating a compelling poetry of hard living and deep feeling. His ninth release, At King Electric, delivers more than his trademark grit and groove. Rich guitar and harmonica lines resonate over spare but spunky rhythms, while Bonneville’s deep, evocative voice confesses life’s harsh realities. Whether performing solo or fronting a band, playing electric or acoustic guitar, Bonneville allows space between notes that adds potency to every chord, lick, and lyric. Often called a “song and groove man,” he began writing his own music after two decades working as a studio musician, playing rowdy rooms with blues bands, and living hard. He’s since released nine albums, won Canada’s Juno award and other prestigious honors, earned wide critical acclaim, and garnered an enthusiastic following in the U.S., Canada, and Europe.

Due to unforeseen circumstances, William Matheny has canceled a portion of his tour including his scheduled stop in Pittsburgh. Refunds are available at your point of purchase.

A soulful vocalist and innovative multi-instrumentalist, award-winning singer/songwriter and producer Rachael Sage is one of the busiest touring artists in independent music, performing 100+ dates a year with her band The Sequins throughout the US, UK, & Europe. She has earned a loyal following for her dynamic piano playing, delicate guitar work, and improvisational audience interaction. Sage has shared stages with Beth Hart, Howard Jones, A Great Big World, Judy Collins, Shawn Colvin, Marc Cohn, Jamie Cullum, The Animals and Ani DiFranco. Her latest release is "PseudoMyopia", an acoustic collection of timely songs focusing on the concept of vision (including narrow-mindedness) in all its many manifestations, touching on topics as varied as government surveillance, environmental protection, and female empowerment.

Muscle Tough is Philadelphia’s premier Futuristic Funk Fusion trio, with a sound that is a heavily improvised blend of modal jazz, funk, and psychedelia. Drawing from a widely diverse set of influences and a common love of sonic texture, their unique use of sound design and group-minded improvisation allows them to create eclectic original compositions, as well as stretch classic pop hits to new depths. In 2018 the band had notable opening slots for artists such as Lotus at the Capitol Theater, toured throughout the Northeast supporting Matador Soul Sounds, performed on WXPN’s “Free-at-Noon” radio broadcast, and had a feature article in JUMP Philly, where they were lovingly described as “highly skilled and hilarious”. They have had guest appearances on stage by jam luminaries such Jon Fishman (Phish), John Medeski (Medeski, Martin & Wood), Eli Winderman (Dopapod), and the horn section of Snarky Puppy. In the Spring of 2016 the band released their first EP, “Greasin’ Up The Mediocrity Wheel”, and their first full-length record “Magical Achievements” was released at the end of 2017. Their latest release, Modern Romance (released 2/14/19), is a set of adventurous instrumental compositions which lean heavily on dance grooves and bizarre sounds, all with tongue- in-cheek titles that serve as a playful take on the world of modern dating in 2019.