club cafe

pittsburgh, pa
***SOLD OUT*** Joe Grushecky & The Houserockers (Love's So Tough 40th Anniversary)

Please join us for this special event, The 40th Anniversary of Love' So Tough. We will be playing the lp from start to finish and will be joined ny original member Marc Reisman.

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Joe Grushecky's music has stood the test of time. For 30 years publications such as Billboard, Rolling Stone, Village Voice, No Depression, and countless others have hailed him as one of rock & roll's most talented singer-songwriters.

In 1979 Rolling Stone magazine crowned his band's, the Iron City Houserockers, first album Love's So Tough the "debut record of the year." Acclaimed rock writer Jimmy Guterman, named their second album, Have a Good Time (But Get Out Alive) as one of the 100 Best Rock & Roll Records of all time! Legendary guitarist and Rock Hall of Famer Steve Cropper produced Blood on the Bricks. Rock superstar and Hall of Famer, Bruce Springsteen, produced American Babylon in 1995 and continues to perform with the band and write with Joe including the Grammy winning Code of Silence.

We're Not Dead Yet, Live in Pittsburgh, Joe’s 14th LP, carries on his tradition of delivering honest and passionate music. This is what Blurt Magazine has to say about the band's live performances. "Grushecky and the Houserockers performed like they thought they were damn rock stars and, on that night, they were indeed the greatest rock 'n' roll outfit on the planet"

In a world where truth is rare and nothing seems genuine anymore, some things remains constant…there is still real music being made out there. And Joe Grushecky is still making it.

Please join us for this special event, The 40th Anniversary of Love' So Tough. We will be playing the lp from start to finish and will be joined ny original member Marc Reisman.

--

Joe Grushecky's music has stood the test of time. For 30 years publications such as Billboard, Rolling Stone, Village Voice, No Depression, and countless others have hailed him as one of rock & roll's most talented singer-songwriters.

In 1979 Rolling Stone magazine crowned his band's, the Iron City Houserockers, first album Love's So Tough the "debut record of the year." Acclaimed rock writer Jimmy Guterman, named their second album, Have a Good Time (But Get Out Alive) as one of the 100 Best Rock & Roll Records of all time! Legendary guitarist and Rock Hall of Famer Steve Cropper produced Blood on the Bricks. Rock superstar and Hall of Famer, Bruce Springsteen, produced American Babylon in 1995 and continues to perform with the band and write with Joe including the Grammy winning Code of Silence.

We're Not Dead Yet, Live in Pittsburgh, Joe’s 14th LP, carries on his tradition of delivering honest and passionate music. This is what Blurt Magazine has to say about the band's live performances. "Grushecky and the Houserockers performed like they thought they were damn rock stars and, on that night, they were indeed the greatest rock 'n' roll outfit on the planet"

In a world where truth is rare and nothing seems genuine anymore, some things remains constant…there is still real music being made out there. And Joe Grushecky is still making it.

Common Holly with Special Guests Vireo & Scratchy Blanket

Holding fast to the emotional honesty of Playing House (2017), Common Holly’s sophomore record, When I say to you Black Lightning is a look outward; an exploration of the ways in which we all experience pain, fear and self-delusion, and how we can learn to confront those feelings with boldness. A swift change of course, WISTYBL couples a submergence into the dark and dissonant with its consolation in harmony, and a dose of dry humour.

The record is more experimental than Brigitte Naggar’s debut. It is rougher, looser, louder and more atonal. It feels edgy, but still kind. WISTYBL ditches fear without losing vulnerability, and trades in sadness for the healing powers of anger, and the strength of observing, recognizing and confronting. Through its 9 labyrinthian yet catchy tracks, shaped sonically by the seriously unique visions of Devon Bate, Hamish Mitchell, and Naggar herself, the album observes the complexities of mental health, the precarity of life, and the challenges of finding strength in the face of grave misunderstanding.

On its own, When I Say to you Black Lightning is a phrase which holds authority-- it does not apologize for itself, it stands boldly where it is, and yet it also laughs at itself for daring to take up that space. The title phrase is directive—it suggests a thought without completing it, engaging you to contemplate what comes next and pointing the finger away from itself to somewhere undefined. If Playing House was about personal turmoil, WISTYBL is about humanity’s emotional challenges and how we each approach them as individuals. The former centered around one person and one heartbreak, while the latter circles different characters that Naggar has observed or interacted with—romantically or otherwise, whose stories cumulate in a whimsically entertaining tale of struggle, and the resulting emotional growth.

“This record isn’t one singular statement, it documents a period of growth. The songs were written mainly over two years and they all reflect potent moments from that time. While it’s obviously personal and based off of my own experience, I want this album to feel familiar— life gets complicated as we grow, people form relationships to each other, they lose things, they discover pain, fear, self-delusion; sometimes it’s funny, sometimes it’s weird, often it sucks—and we have to navigate our way through all of that.”

This narration of experience is first introduced on the orchestral opener “Central Booking,” (slang for jail), where Naggar illustrates the story of someone whose troubled past forces them to pick up and start over in Canada. Whispering the hook I’m sorry New York broke you, she coyly pairs empathy with aloofness—suggesting perhaps that for once, someone else’s concerns might not need to be hers as well—while also playing on the stereotype that Canadians can’t help themselves for apologizing wherever they go.

This playfulness is also demonstrated in “Joshua Snakes,” using sounds composed of quirky materials like bouncy balls, fidget spinners, and accidental recordings of roommates— an area where electroacoustic producer Devon Bate (Jean-Michel Blais, Jeremy Dutcher) thrives. Joshua Snakes works through the themes of restlessness, jealousy, even mild obsession, and paints a picture of the damsel in distress tied to the tracks, but this time without the need to be rescued.

“Measured” feels more sober, a tone not unfamiliar to the album. It’s what Naggar calls her “thesis statement on love + pain,” where she documents a new cynicism, the disillusionment in discovering that romance belongs to a strict formula of loving = losing = hurting = healing = loving again, in perpetuity. The track is sparse and confrontational, and despite its progression always returns to the same verse form, the same quiet moments, and the same last line: I think we’ve been measured out for pain since birth.

In a self-deprecating and painfully catchy final statement, Naggar sings Don’t leave me, I’m crazy, ok. “Crazy Ok” is voiced in the first person, but Naggar explains that the line wasn’t actually her own when she first took her inspiration from it, bringing home the idea that most of the record could be as much about her as about anyone else.
WISTBYL feels like Naggar’s conversation with herself, meticulously penned to work through challenges as they unfold. It’s cool, and more than that, it feels important. It’s about finding the seeds of strength to navigate adult life, and about the ways in which we all find ourselves in that place of struggle when life starts to show you its cards and you begin to understand, in the artist’s words, “just how real shit can get.”

Holding fast to the emotional honesty of Playing House (2017), Common Holly’s sophomore record, When I say to you Black Lightning is a look outward; an exploration of the ways in which we all experience pain, fear and self-delusion, and how we can learn to confront those feelings with boldness. A swift change of course, WISTYBL couples a submergence into the dark and dissonant with its consolation in harmony, and a dose of dry humour.

The record is more experimental than Brigitte Naggar’s debut. It is rougher, looser, louder and more atonal. It feels edgy, but still kind. WISTYBL ditches fear without losing vulnerability, and trades in sadness for the healing powers of anger, and the strength of observing, recognizing and confronting. Through its 9 labyrinthian yet catchy tracks, shaped sonically by the seriously unique visions of Devon Bate, Hamish Mitchell, and Naggar herself, the album observes the complexities of mental health, the precarity of life, and the challenges of finding strength in the face of grave misunderstanding.

On its own, When I Say to you Black Lightning is a phrase which holds authority-- it does not apologize for itself, it stands boldly where it is, and yet it also laughs at itself for daring to take up that space. The title phrase is directive—it suggests a thought without completing it, engaging you to contemplate what comes next and pointing the finger away from itself to somewhere undefined. If Playing House was about personal turmoil, WISTYBL is about humanity’s emotional challenges and how we each approach them as individuals. The former centered around one person and one heartbreak, while the latter circles different characters that Naggar has observed or interacted with—romantically or otherwise, whose stories cumulate in a whimsically entertaining tale of struggle, and the resulting emotional growth.

“This record isn’t one singular statement, it documents a period of growth. The songs were written mainly over two years and they all reflect potent moments from that time. While it’s obviously personal and based off of my own experience, I want this album to feel familiar— life gets complicated as we grow, people form relationships to each other, they lose things, they discover pain, fear, self-delusion; sometimes it’s funny, sometimes it’s weird, often it sucks—and we have to navigate our way through all of that.”

This narration of experience is first introduced on the orchestral opener “Central Booking,” (slang for jail), where Naggar illustrates the story of someone whose troubled past forces them to pick up and start over in Canada. Whispering the hook I’m sorry New York broke you, she coyly pairs empathy with aloofness—suggesting perhaps that for once, someone else’s concerns might not need to be hers as well—while also playing on the stereotype that Canadians can’t help themselves for apologizing wherever they go.

This playfulness is also demonstrated in “Joshua Snakes,” using sounds composed of quirky materials like bouncy balls, fidget spinners, and accidental recordings of roommates— an area where electroacoustic producer Devon Bate (Jean-Michel Blais, Jeremy Dutcher) thrives. Joshua Snakes works through the themes of restlessness, jealousy, even mild obsession, and paints a picture of the damsel in distress tied to the tracks, but this time without the need to be rescued.

“Measured” feels more sober, a tone not unfamiliar to the album. It’s what Naggar calls her “thesis statement on love + pain,” where she documents a new cynicism, the disillusionment in discovering that romance belongs to a strict formula of loving = losing = hurting = healing = loving again, in perpetuity. The track is sparse and confrontational, and despite its progression always returns to the same verse form, the same quiet moments, and the same last line: I think we’ve been measured out for pain since birth.

In a self-deprecating and painfully catchy final statement, Naggar sings Don’t leave me, I’m crazy, ok. “Crazy Ok” is voiced in the first person, but Naggar explains that the line wasn’t actually her own when she first took her inspiration from it, bringing home the idea that most of the record could be as much about her as about anyone else.
WISTBYL feels like Naggar’s conversation with herself, meticulously penned to work through challenges as they unfold. It’s cool, and more than that, it feels important. It’s about finding the seeds of strength to navigate adult life, and about the ways in which we all find ourselves in that place of struggle when life starts to show you its cards and you begin to understand, in the artist’s words, “just how real shit can get.”

Corey Harris / Todd Albright

Corey Harris
Corey Harris is a guitarist, vocalist, songwriter and band leader who has carved out his own niche in blues. A powerful singer and accomplished guitarist, he has appeared at venues throughout the North America, Europe, Brazil, The Caribbean, West Africa, Asia, Australia and New Zealand.

He began his career as a New Orleans street singer, travelling throughout the southern U.S. In his early twenties he lived in Cameroon, West Africa for a year, which had a profound effect on his later work. He has recorded many old songs of the blues tradition while also creating an original vision of the blues by adding influences from reggae, soul, rock and West African music. His 1995 recording, Between Midnight and Day, is a tribute to the tradition of acoustic blues. Subsequent recordings, such as Greens From the Garden (1999), Mississippi to Mali (2003), and Daily Bread (2005) show Harris’ maturation from interpreter to songwriter. Some of his imaginative compositions are marked by a deliberate eclecticism; other works stay true to the traditional blues formula of compelling vocals and down-home guitar. With one foot in tradition and the other in contemporary experimentation, Harris is a truly unique voice in contemporary music.

He has performed, recorded, and toured with many of the top names in music such as BB King, Taj Mahal, Buddy Guy, R.L.Burnside, Ali Farka Toure, Dave Matthews Band, Tracy Chapman, Olu Dara, Wilco, and others. His additional recordings include Fish Ain’t Bitin’ (1996), Vu-Du Menz (with Henry Butler, 2000), Downhome Sophisticate (2002), Zion Crossroads (2007), and blu black (2010).

In 2003 Harris was a featured artist and narrator of the Martin Scorcese film, “Feel Like Going Home,” which traced the evolution of blues from West Africa to the southern U.S. In 2007, he was awarded a $500,000 MacArthur Fellowship — commonly referred to as a “genius award” — from the John D. and Catherine T. MacArthur Foundation. The annual grant, which recognizes individuals from a wide range of disciplines who show creativity, originality and commitment to continued innovative work, described Harris as an artist who “forges an adventurous path marked by deliberate eclecticism.” That same year, he was also awarded an honorary Doctor of Music degree from Bates College, in Lewiston, Maine.

Todd Albright
Todd Albright is a country blues, twelve string guitar player and vocalist based in Detroit, Michigan. Grounded in the pre-war era of the blues tradition (1880-1939), Todd is a mindful purveyor of blues history. His repertoire upholds musical pillars such as Blind Willie McTell, George Carter, Blind Lemon Jefferson and Leadbelly. His life’s work continues the distinguished tradition of the very roots of American music as told by the African American musicians who created it.

Todd's vigorous, gritty and soulful performances are accompanied by stories of the masters and a deep intuitive sense of respect for craft, providing audiences with a meaningful experience while creating a transcendent moment. One of the top blues guitarists in the world, Todd is the only contemporary twelve string player in his genre.

Todd began playing the blues while still a teenager, some twenty-five years ago. Initially, he was drawn to the sound of the finger-picked style and has since immersed himself in the foundational music and narratives of American culture. Over the years, Todd has shared the stage with artists such as Roy Book Binder, Charlie Parr, Paul Geremia, and Dakota Dave Hull.

Todd's first full-length LP, Fourth Floor Visitor, was released by Jett Plastic Recordings out of Detroit, Michigan (2017). His latest album, Detroit Twelve String: Blues & Rags, is out now on Third Man Records (2017).

Corey Harris
Corey Harris is a guitarist, vocalist, songwriter and band leader who has carved out his own niche in blues. A powerful singer and accomplished guitarist, he has appeared at venues throughout the North America, Europe, Brazil, The Caribbean, West Africa, Asia, Australia and New Zealand.

He began his career as a New Orleans street singer, travelling throughout the southern U.S. In his early twenties he lived in Cameroon, West Africa for a year, which had a profound effect on his later work. He has recorded many old songs of the blues tradition while also creating an original vision of the blues by adding influences from reggae, soul, rock and West African music. His 1995 recording, Between Midnight and Day, is a tribute to the tradition of acoustic blues. Subsequent recordings, such as Greens From the Garden (1999), Mississippi to Mali (2003), and Daily Bread (2005) show Harris’ maturation from interpreter to songwriter. Some of his imaginative compositions are marked by a deliberate eclecticism; other works stay true to the traditional blues formula of compelling vocals and down-home guitar. With one foot in tradition and the other in contemporary experimentation, Harris is a truly unique voice in contemporary music.

He has performed, recorded, and toured with many of the top names in music such as BB King, Taj Mahal, Buddy Guy, R.L.Burnside, Ali Farka Toure, Dave Matthews Band, Tracy Chapman, Olu Dara, Wilco, and others. His additional recordings include Fish Ain’t Bitin’ (1996), Vu-Du Menz (with Henry Butler, 2000), Downhome Sophisticate (2002), Zion Crossroads (2007), and blu black (2010).

In 2003 Harris was a featured artist and narrator of the Martin Scorcese film, “Feel Like Going Home,” which traced the evolution of blues from West Africa to the southern U.S. In 2007, he was awarded a $500,000 MacArthur Fellowship — commonly referred to as a “genius award” — from the John D. and Catherine T. MacArthur Foundation. The annual grant, which recognizes individuals from a wide range of disciplines who show creativity, originality and commitment to continued innovative work, described Harris as an artist who “forges an adventurous path marked by deliberate eclecticism.” That same year, he was also awarded an honorary Doctor of Music degree from Bates College, in Lewiston, Maine.

Todd Albright
Todd Albright is a country blues, twelve string guitar player and vocalist based in Detroit, Michigan. Grounded in the pre-war era of the blues tradition (1880-1939), Todd is a mindful purveyor of blues history. His repertoire upholds musical pillars such as Blind Willie McTell, George Carter, Blind Lemon Jefferson and Leadbelly. His life’s work continues the distinguished tradition of the very roots of American music as told by the African American musicians who created it.

Todd's vigorous, gritty and soulful performances are accompanied by stories of the masters and a deep intuitive sense of respect for craft, providing audiences with a meaningful experience while creating a transcendent moment. One of the top blues guitarists in the world, Todd is the only contemporary twelve string player in his genre.

Todd began playing the blues while still a teenager, some twenty-five years ago. Initially, he was drawn to the sound of the finger-picked style and has since immersed himself in the foundational music and narratives of American culture. Over the years, Todd has shared the stage with artists such as Roy Book Binder, Charlie Parr, Paul Geremia, and Dakota Dave Hull.

Todd's first full-length LP, Fourth Floor Visitor, was released by Jett Plastic Recordings out of Detroit, Michigan (2017). His latest album, Detroit Twelve String: Blues & Rags, is out now on Third Man Records (2017).

Kate Voegele & Tyler Hilton with Special Guest Casey

Kate Voegele bio:

Hailing from a little suburb of Cleveland, Ohio, Kate Voegele first picked up a guitar at age 15. Influenced by the rock and roll history of the city and her father’s songwriting, she began to pen her own songs from the minute she learned to play her first three chords. Voegele embraced this newfound passion, recording her first EP during her freshman year of high school, and soon after landed gigs alongside artists like Counting Crows and John Mayer. Those shows quickly led to attention from labels in New York and LA, and Kate spent the majority of her high school years diving headfirst into a career in music.

After high school, Voegele decided to attend Ohio’s Miami University, where she quickly found new inspiration, and simultaneously found herself uploading song after song to her MySpace page. Kate managed to get the attention of the social network's founder, Tom Anderson, and just a few weeks later, she became MySpace Records’ first signed artist. In spring of 2007 Voegele finished recording her first full-length record with Marshall Altman in LA and decided to swap her text books in for a tour bus and a year full of shows throughout the US.

Over the next couple of years Voegele toured the country playing hundreds of shows. While traveling through LA, Kate auditioned on a whim and would eventually land the role of Mia Catalano on the CW show, “One Tree Hill.” What was supposed to be a two-episode run became a four-season recurrence, and Kate found herself performing eleven of her original songs to millions of viewers over the course of the show. Record sales jumped dramatically after Voegele’s first appearance on the show, and she was subsequently upstreamed to Interscope Records in January of 2008. At this point Kate toured internationally with artists like Natasha Bedingfield and Jordin Sparks. She split her time between the road and the television set, and released a second full-length, “A Fine Mess,” in spring of 2009.

After her first two records sold over 500,000 units, Voegele signed with ATO Records in 2011, releasing "Gravity Happens.” She spent the next two years continuing to tour the US and Europe, writing new songs from airplane

window seats and ultimately embarking on a new chapter in her life.

In fall of 2013, Voegele moved her home base from LA to Nashville, getting back to her songwriter roots. Being in Music City has given Kate the opportunity to work with writers like Nathan Chapman and Liz Rose, and open up opportunities to work with the country’s best creative talents. In November
’14 Voegele released the “Wild Card” EP, which debuted in the top 10 on the top pop albums chart on iTunes, and received an average of a 5-star review across all major online distribution outlets.

Kate released her fifth full-length record, “Live In London”, in the fall of 2015. “Live In London” was a released as a thank you to her fans, and included Kate’s cover of “Hallelujah”, as well as “When The Stars Go Blue”, sung as a duet with Tyler Hilton.

Kate’s latest album, “Canyonlands”, was released in the fall of 2016.




Tyler Hilton bio:

Tyler Hilton was singing and playing in coffee houses as a 15 year old, when a chance encounter with Los Angeles radio personalities Mark and Brian from KLOS led to multiple appearances on their radio show, live concert dates with the duo, and national exposure. He released his first album independently shortly thereafter, which led to major label interest and eventually signing to Maverick/ Warner Records where he released "The Tracks of Tyler Hilton" which garnered two singles on the Billboard Top 40 charts. While on tour promoting the album, Tyler was cast as his child hood hero Elvis Presley in "Walk the Line" where he worked with T-Bone Burnett on the soundtrack, and for which he received a gold record.

An opportunity to sing on TV's "One Tree Hill,” a notorious breeding ground
for new musical talent, led to a series long run, several appearances on MTV's "TRL" with the cast, and a national tour with Gavin DeGraw and Michelle Branch who also sang on the show. Taylor Swift admitted to being a fan, and asked Tyler to star in her music video "Tear Drops on My Guitar" which became a huge crossover hit. The two appeared together live several times and later Tyler appeared via interactive video on her stadium tour. The independent comedy "Charlie Bartlett" followed with Robert Downey Jr. and Anton Yelchin and where Tyler met his wife, Megan Park, who was also in the

film.


Tyler moved to Nashville where he began exploring his family's country roots and made several records with notable producers including Dan Huff, Nathan

Chapman, Matt Serletic, and John Alagia. Sadly, non of these records saw the light of day, as staff and roster upheaval plagued Warner Brother Records,
and eventually led to Tyler's departure from the label. One of these unreleased songs made their way to Joe Cocker, who recorded it on his final album. Tyler then started his own label, Hooptie Tune Records, and released "Forget the Storm" the following year. It became the first record of Tyler's to gain international success and led to several European tours and a new fervent fan base. His follow up, the mellow folky country album “Indian Summer,” was recorded live in studio with a bluegrass band including his uncle, Tommy Hilton, on guitar. While recording, Tyler landed a role in Halle Berry's "Extant" on CBS and continued to film the show over the course of its two season run, touring and filming the holiday movie “Christmas on the Bayou” with Randy Travis, Ed Asner, and “One Tree Hill” alum, Hilarie Burton, for which he also recorded the single “One Foot in the Bayou”.


Following the end of “Extant,” Tyler worked on a pilot for the ABC sitcom, "The Fluffy Shop" alongside Gabriel Iglesias. Tyler is currently based in Los
Angeles, where he’s working on a new album.

Kate Voegele bio:

Hailing from a little suburb of Cleveland, Ohio, Kate Voegele first picked up a guitar at age 15. Influenced by the rock and roll history of the city and her father’s songwriting, she began to pen her own songs from the minute she learned to play her first three chords. Voegele embraced this newfound passion, recording her first EP during her freshman year of high school, and soon after landed gigs alongside artists like Counting Crows and John Mayer. Those shows quickly led to attention from labels in New York and LA, and Kate spent the majority of her high school years diving headfirst into a career in music.

After high school, Voegele decided to attend Ohio’s Miami University, where she quickly found new inspiration, and simultaneously found herself uploading song after song to her MySpace page. Kate managed to get the attention of the social network's founder, Tom Anderson, and just a few weeks later, she became MySpace Records’ first signed artist. In spring of 2007 Voegele finished recording her first full-length record with Marshall Altman in LA and decided to swap her text books in for a tour bus and a year full of shows throughout the US.

Over the next couple of years Voegele toured the country playing hundreds of shows. While traveling through LA, Kate auditioned on a whim and would eventually land the role of Mia Catalano on the CW show, “One Tree Hill.” What was supposed to be a two-episode run became a four-season recurrence, and Kate found herself performing eleven of her original songs to millions of viewers over the course of the show. Record sales jumped dramatically after Voegele’s first appearance on the show, and she was subsequently upstreamed to Interscope Records in January of 2008. At this point Kate toured internationally with artists like Natasha Bedingfield and Jordin Sparks. She split her time between the road and the television set, and released a second full-length, “A Fine Mess,” in spring of 2009.

After her first two records sold over 500,000 units, Voegele signed with ATO Records in 2011, releasing "Gravity Happens.” She spent the next two years continuing to tour the US and Europe, writing new songs from airplane

window seats and ultimately embarking on a new chapter in her life.

In fall of 2013, Voegele moved her home base from LA to Nashville, getting back to her songwriter roots. Being in Music City has given Kate the opportunity to work with writers like Nathan Chapman and Liz Rose, and open up opportunities to work with the country’s best creative talents. In November
’14 Voegele released the “Wild Card” EP, which debuted in the top 10 on the top pop albums chart on iTunes, and received an average of a 5-star review across all major online distribution outlets.

Kate released her fifth full-length record, “Live In London”, in the fall of 2015. “Live In London” was a released as a thank you to her fans, and included Kate’s cover of “Hallelujah”, as well as “When The Stars Go Blue”, sung as a duet with Tyler Hilton.

Kate’s latest album, “Canyonlands”, was released in the fall of 2016.




Tyler Hilton bio:

Tyler Hilton was singing and playing in coffee houses as a 15 year old, when a chance encounter with Los Angeles radio personalities Mark and Brian from KLOS led to multiple appearances on their radio show, live concert dates with the duo, and national exposure. He released his first album independently shortly thereafter, which led to major label interest and eventually signing to Maverick/ Warner Records where he released "The Tracks of Tyler Hilton" which garnered two singles on the Billboard Top 40 charts. While on tour promoting the album, Tyler was cast as his child hood hero Elvis Presley in "Walk the Line" where he worked with T-Bone Burnett on the soundtrack, and for which he received a gold record.

An opportunity to sing on TV's "One Tree Hill,” a notorious breeding ground
for new musical talent, led to a series long run, several appearances on MTV's "TRL" with the cast, and a national tour with Gavin DeGraw and Michelle Branch who also sang on the show. Taylor Swift admitted to being a fan, and asked Tyler to star in her music video "Tear Drops on My Guitar" which became a huge crossover hit. The two appeared together live several times and later Tyler appeared via interactive video on her stadium tour. The independent comedy "Charlie Bartlett" followed with Robert Downey Jr. and Anton Yelchin and where Tyler met his wife, Megan Park, who was also in the

film.


Tyler moved to Nashville where he began exploring his family's country roots and made several records with notable producers including Dan Huff, Nathan

Chapman, Matt Serletic, and John Alagia. Sadly, non of these records saw the light of day, as staff and roster upheaval plagued Warner Brother Records,
and eventually led to Tyler's departure from the label. One of these unreleased songs made their way to Joe Cocker, who recorded it on his final album. Tyler then started his own label, Hooptie Tune Records, and released "Forget the Storm" the following year. It became the first record of Tyler's to gain international success and led to several European tours and a new fervent fan base. His follow up, the mellow folky country album “Indian Summer,” was recorded live in studio with a bluegrass band including his uncle, Tommy Hilton, on guitar. While recording, Tyler landed a role in Halle Berry's "Extant" on CBS and continued to film the show over the course of its two season run, touring and filming the holiday movie “Christmas on the Bayou” with Randy Travis, Ed Asner, and “One Tree Hill” alum, Hilarie Burton, for which he also recorded the single “One Foot in the Bayou”.


Following the end of “Extant,” Tyler worked on a pilot for the ABC sitcom, "The Fluffy Shop" alongside Gabriel Iglesias. Tyler is currently based in Los
Angeles, where he’s working on a new album.

J. Robbins (band) 'Un-Becoming / Tour 2019' with Special Guest Nightmarathons

Dischord Records released singer/guitarist/producer J. Robbins’ first full-length solo album Un-Becoming on May 31, 2019, just as J.’s best-known project Jawbox emerged from a 23-year hiatus to do a joyful reunion tour that spanned the USA. Meanwhile the post-punk-inflected rhythmic push, melodic dissonance, and contrarian lyrical catharsis of Un-Becoming has been received by many as Robbins’ strongest work to date, and this December, J. Robbins (band) will finally play a limited run of shows to support the release. The band on this tour is the same band featured on the album: drummer Pete Moffett (frequent collaborator and former drummer of Government Issue, Burning Airlines, Wool, and many others), bassist Brooks Harlan (J’s former bandmate in Office of Future Plans, but best known as the guitarist of War On Women), and cellist/guitarist Gordon Withers (and currently garnering attention for his “Jawbreaker on Cello” album, also an Office of Future Plans alumnus, featured cellist on too many albums to list).

Dischord Records released singer/guitarist/producer J. Robbins’ first full-length solo album Un-Becoming on May 31, 2019, just as J.’s best-known project Jawbox emerged from a 23-year hiatus to do a joyful reunion tour that spanned the USA. Meanwhile the post-punk-inflected rhythmic push, melodic dissonance, and contrarian lyrical catharsis of Un-Becoming has been received by many as Robbins’ strongest work to date, and this December, J. Robbins (band) will finally play a limited run of shows to support the release. The band on this tour is the same band featured on the album: drummer Pete Moffett (frequent collaborator and former drummer of Government Issue, Burning Airlines, Wool, and many others), bassist Brooks Harlan (J’s former bandmate in Office of Future Plans, but best known as the guitarist of War On Women), and cellist/guitarist Gordon Withers (and currently garnering attention for his “Jawbreaker on Cello” album, also an Office of Future Plans alumnus, featured cellist on too many albums to list).

Postponed to February 27 - Craig Cardiff

The show scheduled for Dec 12 with Craig Cardiff has been postponed to February 27. All tickets honored.

The show scheduled for Dec 12 with Craig Cardiff has been postponed to February 27. All tickets honored.

Opus One Comedy Presents Jon Daly (Bob's Burgers / Big Mouth / Kroll Show) with Special Guest Suzanne Lawrence

Jon Daly is is an American actor, comedian, writer, and producer best known for his sketch comedy work on the Comedy Central series Kroll Show. In 2013 he starred as Hobbes in the Amazon Studios original series Betas, and also played Agent Filippo in Zoolander 2. Jon provides an assortment of voices in Family Guy including the adult Leo the Lion in "Brian's a Bad Father" and Sasha Whiteman in Bob's Burgers.

Jon Daly is is an American actor, comedian, writer, and producer best known for his sketch comedy work on the Comedy Central series Kroll Show. In 2013 he starred as Hobbes in the Amazon Studios original series Betas, and also played Agent Filippo in Zoolander 2. Jon provides an assortment of voices in Family Guy including the adult Leo the Lion in "Brian's a Bad Father" and Sasha Whiteman in Bob's Burgers.

(Early Show) Opus One Comedy Presents DAVID KAYE 'A Dirty Little Christmas Miracle' with Special Guest Mike Wysocki

Christmas memories are not always as cheery as a Norman Rockwell painting. David Kaye's darkly comedic holiday season assault unwraps a lifetime of presents from under the tree as he hilariously confronts ghosts of Christmas past and present. No part of the hallowed baby Jesus birthday party is safe From tortured family gatherings to unwanted gifts, A Dirty Little Christmas Miracle is replete with holiday carol sing-a-longs, naughty tales from under the mistletoe and a real-live-fake Talking Tannenbaum. This mature adult oriented show is filthier than chimney soot, so buckle up your galoshes and hold on to the reins as this sleigh load of laughs runs off the rails.

Christmas memories are not always as cheery as a Norman Rockwell painting. David Kaye's darkly comedic holiday season assault unwraps a lifetime of presents from under the tree as he hilariously confronts ghosts of Christmas past and present. No part of the hallowed baby Jesus birthday party is safe From tortured family gatherings to unwanted gifts, A Dirty Little Christmas Miracle is replete with holiday carol sing-a-longs, naughty tales from under the mistletoe and a real-live-fake Talking Tannenbaum. This mature adult oriented show is filthier than chimney soot, so buckle up your galoshes and hold on to the reins as this sleigh load of laughs runs off the rails.

(Late Show) Herbivore with Kenny Sukitch, Jackson Grey and Live Painting by Zachary Rutter

Pittsburgh Holiday Showcase featuring local musical acts Herbivore, Kenny Sukitch, and Jackson Grey. Live painting by local artist Zachary Rutter. Painting will be raffled off at the end of the night.

Pittsburgh Holiday Showcase featuring local musical acts Herbivore, Kenny Sukitch, and Jackson Grey. Live painting by local artist Zachary Rutter. Painting will be raffled off at the end of the night.

(Early Show) This Side Of Eve with Special Guest Bill Adams

Alyssa and John Creasy have created music together since they met in high school, exploring genres far and wide. This Side of Eve consists of the Creasy's and a few friends who delve into Americana with soulful melodies made beautiful by Alyssa's vocals. In 2018 the band released Take Me Down, a 5 song EP, recorded both in Nashville and Pittsburgh. The continuation of their writing and recording will lead to a full length album release coming in 2020.

Alyssa and John Creasy have created music together since they met in high school, exploring genres far and wide. This Side of Eve consists of the Creasy's and a few friends who delve into Americana with soulful melodies made beautiful by Alyssa's vocals. In 2018 the band released Take Me Down, a 5 song EP, recorded both in Nashville and Pittsburgh. The continuation of their writing and recording will lead to a full length album release coming in 2020.

(Late Show) Smokin' Betties Burlesque Presents Have Yourself A Very Bettie Christmas

Hosted by Lilith DeVille. With Special Guests Macabre Noir, Sophie du Mal, Amoxie Villain & Askasha Lestat

Hosted by Lilith DeVille. With Special Guests Macabre Noir, Sophie du Mal, Amoxie Villain & Askasha Lestat

Shine Out in the Wild Kindness: A Tribute to David Berman & Silver Jews.

With performances by:

Sara Renberg
Eric Frankenberg, Julia Frankenberg, & Co
Joe Hale(TYL) Anna Hale(Swampwalk)
Adam Fitz
Warren Pryde, Dane Adelman, et al (TBD)
Tessa Barber & Em Fear
Jen Sabol, Scott Fry, Greg Cislon, Jerry Lyon
Glam Hand
Mike Baltzer (Benefits)

With performances by:

Sara Renberg
Eric Frankenberg, Julia Frankenberg, & Co
Joe Hale(TYL) Anna Hale(Swampwalk)
Adam Fitz
Warren Pryde, Dane Adelman, et al (TBD)
Tessa Barber & Em Fear
Jen Sabol, Scott Fry, Greg Cislon, Jerry Lyon
Glam Hand
Mike Baltzer (Benefits)

Opus One Comedy Presents Jordan Weeks with Cassi Bruno, Greg Cislon and Special Guest TBA. Hosted by Liz Tripoli.

A Pittsburgh-based comedian who has performed throughout the northeast and midwest and has opened for Kevin Brennan and W. Kamau Bell among other folks, Jordan Weeks started doing stand-up at DIY shows and in less-traditional venues and settings during what geologists now refer to as The Epochal Era of Facebook Kicking MySpace’s Proverbial Dick into Low Earth Orbit.   
 
Throughout 2010 and 2013 Jordan frequently performed at the Weird Paul Rock Band's "$.99 Variety Show", a monthly interdisciplinary shindig held at a shifting roster of venues and featuring a sometimes alarming number and cross-section of participants. Providing rare opportunities for completely open performative experimentation, these shows sometimes saw Jordan appearing in abstruse ensemble sketches and improvisational situations and sometimes presenting stand-up and other comedy formats in widely varying permutations, often with collaborative accomplice and disgraced birdwatcher Greg Cislon.

In 2013 and 2014 Jordan appeared in both productions of live satirical juggernaut Pittsburgh Batman at Pittsburgh’s Bricolage andKelly-Strayhorn theaters.

In addition to producing his own film and video works, Jordan has also collaborated on and appeared in a number of other films, both shorts and features, including found-footage nail-biter Paranormal Excellence (2011), independent thriller The Quiet Arrangement ("Best Feature" 2380 Film Festival 2010),self-reflexive noir send up South of the City ("Best Film" Pittsburgh 48 Hour Film Project 2011), rarely seen existential puzzler Oh, Shit(2012), and elusive VHS-only caper Jeff Clouter the Wicked Awesome Thief(date expunged).

About a month ago a pretend janitor at NASA told Jordan that he should "start a podcast" - but he’s not sure that’s such a great idea since nobody’s done one of those things in like ten years. This was reinforced earlier today when a guy outside of a McDonald's who looked lost but said he was "just checking things out" told Jordan, "Get your head outta your ass!" and informed him that there’s no more room on the internet. Good points all around.

A Pittsburgh-based comedian who has performed throughout the northeast and midwest and has opened for Kevin Brennan and W. Kamau Bell among other folks, Jordan Weeks started doing stand-up at DIY shows and in less-traditional venues and settings during what geologists now refer to as The Epochal Era of Facebook Kicking MySpace’s Proverbial Dick into Low Earth Orbit.   
 
Throughout 2010 and 2013 Jordan frequently performed at the Weird Paul Rock Band's "$.99 Variety Show", a monthly interdisciplinary shindig held at a shifting roster of venues and featuring a sometimes alarming number and cross-section of participants. Providing rare opportunities for completely open performative experimentation, these shows sometimes saw Jordan appearing in abstruse ensemble sketches and improvisational situations and sometimes presenting stand-up and other comedy formats in widely varying permutations, often with collaborative accomplice and disgraced birdwatcher Greg Cislon.

In 2013 and 2014 Jordan appeared in both productions of live satirical juggernaut Pittsburgh Batman at Pittsburgh’s Bricolage andKelly-Strayhorn theaters.

In addition to producing his own film and video works, Jordan has also collaborated on and appeared in a number of other films, both shorts and features, including found-footage nail-biter Paranormal Excellence (2011), independent thriller The Quiet Arrangement ("Best Feature" 2380 Film Festival 2010),self-reflexive noir send up South of the City ("Best Film" Pittsburgh 48 Hour Film Project 2011), rarely seen existential puzzler Oh, Shit(2012), and elusive VHS-only caper Jeff Clouter the Wicked Awesome Thief(date expunged).

About a month ago a pretend janitor at NASA told Jordan that he should "start a podcast" - but he’s not sure that’s such a great idea since nobody’s done one of those things in like ten years. This was reinforced earlier today when a guy outside of a McDonald's who looked lost but said he was "just checking things out" told Jordan, "Get your head outta your ass!" and informed him that there’s no more room on the internet. Good points all around.

WHY? With Special Guest Gabby's World

Yoni Wolf has spent the last two decades traveling the remote sonic terrain where underground hip hop, avant-pop, and psych-rock meet. Some of Yoni’s most compelling and critically-praised musical experiments have been issued under the moniker WHY? and his latest entry is no exception. On AOKOHIO Yoni condenses the essential elements of WHY? into a stunningly potent musical vision.

Co-produced by Yoni and his brother Josiah, AOKOHIO presents a rich palette of musical voices that emerge and disappear into a constantly shifting kaleidoscope of sound. “I wanted a wide variety of sounds. I didn’t want this album to sit in one sonic zone. I’ve always felt like too jagged of a person to be smooth in that way,” Yoni says. While the album features many notable guest contributors, from Lala Lala’s Lillie West, to Nick Sanborn and Amelia Meath of Sylvan Esso, the listener’s attention remains squarely directed on Yoni’s voice and vision.

AOKOHIO finds Yoni rethinking fundamental aspects of his approach to creating and delivering his music. The album is presented as six movements comprised of two to four songs each, with some segments appearing as brief fragments that dissolve within seconds.

“When I started this project, I decided I needed to try a new approach in creating music and how I work,” Yoni reflects. “I wasn’t feeling the idea of going back in and making another ten or twelve song album. It felt arduous. It felt like too much. So I wanted to pare the process down and make it manageable. I thought, ‘Why don’t I make small five or six minute movements and finish up each movement before I move on to the next.’ That’s how I started approaching it. The whole process took over five years, I’d start working on something and set it aside for awhile. The earliest songs on this album started in 2013.“

As Yoni reimagined his approach to creating music, he also began thinking of new ways to share the music with his audience. “I initially wanted to release the music as I progressed through the project,” Yoni says. “When I finished a movement I wanted to put it up digitally on Bandcamp or Soundcloud. I just wanted to make little pieces of music and put them out there. But I had a call with my manager and the label and they said, ‘We can release stuff through time like that, but we want to do it properly.’ So the idea of the project changed after that, but it retained the integrity of working in movements. It’s definitely a very different way of working for me. I think it has yielded some interesting results.”

The concept of sharing AOKOHIO in segments over time has been preserved with the release of an accompanying visual album. “I think it’s a very artful way of putting the music out there,” Yoni explains. “It’s like a television series, it’s revealing itself slowly over time. I think it’s cool that the audience gets to hear it one piece at a time, and has to wait and digest each piece before they get the next one.”

“I knew early on that I wanted that visual element for this album,” Yoni recalls. “My brother and I have worked on video stuff our whole lives. Our dad had video equipment since we were little kids, he had an editing suite in our basement. We weren’t rich, we were actually fairly poor, but somehow he’d gotten ahold of these video editing decks and cameras. Even though my brother and I had dabbled in video as kids, it’s not what we do for a living. So we wanted to find someone, and fucking randomly a guy messaged me on Instagram and was like, ‘Hey, I like your music and I’d love to work with you.’ I looked at his work and I was like, ‘This guy is for real!’ “

The author of that fateful Instagram message was Sundance award-winning director Miles Joris-Peyrafitte. “Miles directed the first three segments of the visual album and is the mastermind of the overarching video project,” Yoni explains. Joris-Peyrafitte’s visuals cut contemporary footage of Yoni and actress Tatiana Maslany with vintage home videos documenting Yoni’s childhood life in Cincinnati. It’s a fitting juxtaposition, as Yoni’s lyrics on AOKOHIO seem to question how memory, history, and place shape our anxieties and sense of self. “I moved back to Cincinnati after living in the Bay Area for over a decade,” Yoni says. “This album is very much me thinking about my mom and dad, and my siblings.”

Yoni’s return to his Ohio hometown brought on a period of critical self-reflection. “Is there a word for bad nostalgia?” Yoni asks. “When I think of the word nostalgia, it seems like pleasant feelings and all that, but this is not really like that. It’s more about reflecting on the anxieties I’ve had since I was born. Why are they there? Is this epigenetics? Is that shit just inside of me because of the Holocaust and my relatives back then? What am I really? Why do I operate in these ways?”

Ultimately AOKOHIO sees Yoni pushing to find meaning and peace of mind in the moment, even if it’s not exactly where he wants to be. “The title is sarcastic I guess,” Yoni offers. “But it’s also wishful. A lot of my album titles have been names of maladies, like Alopecia and Mumps, Etc. I don’t want to project that into the world. You know, ‘A-OK Ohio, I’m here and it’s fine.’ It’s like a mantra, ‘A-OK Ohio, I’m here and it’s OK.’ Even though in reality, everyday I’m like, ‘I’ve got to get the hell out of Ohio.’“

AOKOHIO feels like a consequential addition to the WHY? catalog, possibly even an artistic turning point. But its creator remains circumspect when asked to comment on the album’s significance within his discography, instead preferring to characterize the work as the latest iteration of his deep commitment to his artistic practice. “I have no idea if this record is good or not,” Yoni says. “But I never really know. I know that I’ve never written a song that’s indispensable to the American songbook. But in terms of what it is, it’s a piece of art. I put blood, sweat, and tears into this album, and struggled through the creative process as I always do. As far as where this sits with the rest of my albums? I can’t answer that. I just know that my career is a lifelong career, and I’m working it. Every time it feels right, it makes me feel good.”

Yoni Wolf has spent the last two decades traveling the remote sonic terrain where underground hip hop, avant-pop, and psych-rock meet. Some of Yoni’s most compelling and critically-praised musical experiments have been issued under the moniker WHY? and his latest entry is no exception. On AOKOHIO Yoni condenses the essential elements of WHY? into a stunningly potent musical vision.

Co-produced by Yoni and his brother Josiah, AOKOHIO presents a rich palette of musical voices that emerge and disappear into a constantly shifting kaleidoscope of sound. “I wanted a wide variety of sounds. I didn’t want this album to sit in one sonic zone. I’ve always felt like too jagged of a person to be smooth in that way,” Yoni says. While the album features many notable guest contributors, from Lala Lala’s Lillie West, to Nick Sanborn and Amelia Meath of Sylvan Esso, the listener’s attention remains squarely directed on Yoni’s voice and vision.

AOKOHIO finds Yoni rethinking fundamental aspects of his approach to creating and delivering his music. The album is presented as six movements comprised of two to four songs each, with some segments appearing as brief fragments that dissolve within seconds.

“When I started this project, I decided I needed to try a new approach in creating music and how I work,” Yoni reflects. “I wasn’t feeling the idea of going back in and making another ten or twelve song album. It felt arduous. It felt like too much. So I wanted to pare the process down and make it manageable. I thought, ‘Why don’t I make small five or six minute movements and finish up each movement before I move on to the next.’ That’s how I started approaching it. The whole process took over five years, I’d start working on something and set it aside for awhile. The earliest songs on this album started in 2013.“

As Yoni reimagined his approach to creating music, he also began thinking of new ways to share the music with his audience. “I initially wanted to release the music as I progressed through the project,” Yoni says. “When I finished a movement I wanted to put it up digitally on Bandcamp or Soundcloud. I just wanted to make little pieces of music and put them out there. But I had a call with my manager and the label and they said, ‘We can release stuff through time like that, but we want to do it properly.’ So the idea of the project changed after that, but it retained the integrity of working in movements. It’s definitely a very different way of working for me. I think it has yielded some interesting results.”

The concept of sharing AOKOHIO in segments over time has been preserved with the release of an accompanying visual album. “I think it’s a very artful way of putting the music out there,” Yoni explains. “It’s like a television series, it’s revealing itself slowly over time. I think it’s cool that the audience gets to hear it one piece at a time, and has to wait and digest each piece before they get the next one.”

“I knew early on that I wanted that visual element for this album,” Yoni recalls. “My brother and I have worked on video stuff our whole lives. Our dad had video equipment since we were little kids, he had an editing suite in our basement. We weren’t rich, we were actually fairly poor, but somehow he’d gotten ahold of these video editing decks and cameras. Even though my brother and I had dabbled in video as kids, it’s not what we do for a living. So we wanted to find someone, and fucking randomly a guy messaged me on Instagram and was like, ‘Hey, I like your music and I’d love to work with you.’ I looked at his work and I was like, ‘This guy is for real!’ “

The author of that fateful Instagram message was Sundance award-winning director Miles Joris-Peyrafitte. “Miles directed the first three segments of the visual album and is the mastermind of the overarching video project,” Yoni explains. Joris-Peyrafitte’s visuals cut contemporary footage of Yoni and actress Tatiana Maslany with vintage home videos documenting Yoni’s childhood life in Cincinnati. It’s a fitting juxtaposition, as Yoni’s lyrics on AOKOHIO seem to question how memory, history, and place shape our anxieties and sense of self. “I moved back to Cincinnati after living in the Bay Area for over a decade,” Yoni says. “This album is very much me thinking about my mom and dad, and my siblings.”

Yoni’s return to his Ohio hometown brought on a period of critical self-reflection. “Is there a word for bad nostalgia?” Yoni asks. “When I think of the word nostalgia, it seems like pleasant feelings and all that, but this is not really like that. It’s more about reflecting on the anxieties I’ve had since I was born. Why are they there? Is this epigenetics? Is that shit just inside of me because of the Holocaust and my relatives back then? What am I really? Why do I operate in these ways?”

Ultimately AOKOHIO sees Yoni pushing to find meaning and peace of mind in the moment, even if it’s not exactly where he wants to be. “The title is sarcastic I guess,” Yoni offers. “But it’s also wishful. A lot of my album titles have been names of maladies, like Alopecia and Mumps, Etc. I don’t want to project that into the world. You know, ‘A-OK Ohio, I’m here and it’s fine.’ It’s like a mantra, ‘A-OK Ohio, I’m here and it’s OK.’ Even though in reality, everyday I’m like, ‘I’ve got to get the hell out of Ohio.’“

AOKOHIO feels like a consequential addition to the WHY? catalog, possibly even an artistic turning point. But its creator remains circumspect when asked to comment on the album’s significance within his discography, instead preferring to characterize the work as the latest iteration of his deep commitment to his artistic practice. “I have no idea if this record is good or not,” Yoni says. “But I never really know. I know that I’ve never written a song that’s indispensable to the American songbook. But in terms of what it is, it’s a piece of art. I put blood, sweat, and tears into this album, and struggled through the creative process as I always do. As far as where this sits with the rest of my albums? I can’t answer that. I just know that my career is a lifelong career, and I’m working it. Every time it feels right, it makes me feel good.”

(Early Show) The Nerd Herders / Ali Spagnola's Power Hour Drinking Game Concert

The Nerd Herders
The Nerd Herders influences stem from the golden age of the 1990s grunge/punk/hard rock scene, as reflected in our songs. Each band member is a musical veteran of Pittsburgh, and we all have over 10 years of gig experience.

Ali Spagnola
ome experience the live Drinking Game Concert! Ali Spagnola will be playing her Power Hour Show. They play 60 of your favorite cover songs. All one minute long. Everyone cheers and drinks in between each song. Awesomeness ensues.

The Nerd Herders
The Nerd Herders influences stem from the golden age of the 1990s grunge/punk/hard rock scene, as reflected in our songs. Each band member is a musical veteran of Pittsburgh, and we all have over 10 years of gig experience.

Ali Spagnola
ome experience the live Drinking Game Concert! Ali Spagnola will be playing her Power Hour Show. They play 60 of your favorite cover songs. All one minute long. Everyone cheers and drinks in between each song. Awesomeness ensues.

(Late Show) Emerson Jay (Reunion Show)

Join Club Cafe for a very special evening featuring Emerson Jay (Reunion Show)

Join Club Cafe for a very special evening featuring Emerson Jay (Reunion Show)

'A Ray Charles Review' with Clinton Clegg. Backed by Anton DeFade, Brian Wolfe, Anthony Ambroso, JD Chaisson & Patrick Breiner

Second show added! A night celebrating the music of Ray Charles featuring a variety of hits from all genres and generations

Second show added! A night celebrating the music of Ray Charles featuring a variety of hits from all genres and generations

SOLD OUT - 'A Ray Charles Review' with Clinton Clegg. Backed by Anton DeFade, Brian Wolfe, Anthony Ambroso, JD Chaisson & Patrick Breiner

A night celebrating the music of Ray Charles featuring a variety of hits from all genres and generations

A night celebrating the music of Ray Charles featuring a variety of hits from all genres and generations

Bill Deasy's Annual Boxing Day Show

43 minutes. That is all Bill Deasy is asking of you.

43 minutes.

Turn off your phone. Shut the door. Block out the world.

Then...just...listen.


Wheels on road
Roads in moonlight
Moonlight falling on a midnight train

So begins "Timeless Things," the lead-off title track for Bill Deasy's eighth full-length studio record. Anton DeFade's driving bass pumps along beside Jake Hanner's steady kick drum. Rob James' (on loan from The Clarks) signature confectionary guitar work assisted by electric rhythm from newcomer Noah Minarik, laces through, tying the musical tapestry together. All are in support of Bill's voice, his acoustic guitar, and, of course, his words.

Timeless things.

"Every now and then you strike a vein," Deasy says, reflecting on this latest batch of songs. "I didn't even know I was wanting to do a new project, but the songs kept coming, each one seeming to lead to the next."

Nowhere is his intuitive approach to songwriting more prominently displayed than on the record's closing track, "End of the Record Song," which recalls vintage Jackson Browne.

"That one was a real labor of love," Bill notes. "I wrote it over a long weekend and just kept singing it and singing it as the lines slowly appeared."

The song shifts at the midway point from third to first person, a choice Deasy explains holds personal significance.

"The first half of that song is about the character I used to be, wallowing in the sad heartache music of my melancholy youth. Then after the solo section, I find the guts to step out from behind the mask of all the story songs and just be myself. I am wallowing in happiness now. A nice change, for sure."

Though at first the songsmith envisioned recording this new material with his long-time band mates in the Gathering Field, scheduling issues made a solo project the best option. Deasy teamed with local producer Jake Hanner (Donora, Meeting of Important People) and the two set to work.

"We built each song from the ground up," Bill explains. "Jake referenced a rehearsal recording to create simple loops to which I then laid down solo acoustic performances. Once we felt great about those we started layering."

In addition to the studio band mentioned above, guests include singers Maia Sharp, Scott Blasey and Clark Slater. Gathering Field member Dave Brown contributes electric guitar on two tracks as well.

The result is a remarkably natural sounding recording of, perhaps, the strongest songs of Deasy's career.

"We realized as we got deeper into it that something really good was happening," he recalls. "Our job from that point on was just to let it."

********

Bill Deasy has recorded and toured nationally both as a solo artist and with the Gathering Field. Bill has also written for other artists including Martina McBride and Billy Ray Cyrus in addition to collaborating on songs with the likes of Howard Jones, the Clarks, Maia Sharp, Bijou Phillips, One Flew South, Kim Carnes, Odie Blackmon and many others. Bill's recording of "Good Things are Happening," a song he co-wrote on a trip to Nashville, became the long-running theme for Good Morning America on ABC and he appeared in the promo spots, strumming his guitar and singing.

In 2006, Bill added "published author" to his list of accomplishments with the release of Ransom Seaborn which went on to win the Golden Needle Award and is currently being adapted for film. Traveling Clothes followed in 2009 and Ghost Tree in 2010, both delivering generously on the promise of Ransom Seaborn.

Bill was recently included in the book “Pittsburgh Born, Pittsburgh Bred” as one of 500 of the most memorable Pittsburghers from the past 250 years.

43 minutes. That is all Bill Deasy is asking of you.

43 minutes.

Turn off your phone. Shut the door. Block out the world.

Then...just...listen.


Wheels on road
Roads in moonlight
Moonlight falling on a midnight train

So begins "Timeless Things," the lead-off title track for Bill Deasy's eighth full-length studio record. Anton DeFade's driving bass pumps along beside Jake Hanner's steady kick drum. Rob James' (on loan from The Clarks) signature confectionary guitar work assisted by electric rhythm from newcomer Noah Minarik, laces through, tying the musical tapestry together. All are in support of Bill's voice, his acoustic guitar, and, of course, his words.

Timeless things.

"Every now and then you strike a vein," Deasy says, reflecting on this latest batch of songs. "I didn't even know I was wanting to do a new project, but the songs kept coming, each one seeming to lead to the next."

Nowhere is his intuitive approach to songwriting more prominently displayed than on the record's closing track, "End of the Record Song," which recalls vintage Jackson Browne.

"That one was a real labor of love," Bill notes. "I wrote it over a long weekend and just kept singing it and singing it as the lines slowly appeared."

The song shifts at the midway point from third to first person, a choice Deasy explains holds personal significance.

"The first half of that song is about the character I used to be, wallowing in the sad heartache music of my melancholy youth. Then after the solo section, I find the guts to step out from behind the mask of all the story songs and just be myself. I am wallowing in happiness now. A nice change, for sure."

Though at first the songsmith envisioned recording this new material with his long-time band mates in the Gathering Field, scheduling issues made a solo project the best option. Deasy teamed with local producer Jake Hanner (Donora, Meeting of Important People) and the two set to work.

"We built each song from the ground up," Bill explains. "Jake referenced a rehearsal recording to create simple loops to which I then laid down solo acoustic performances. Once we felt great about those we started layering."

In addition to the studio band mentioned above, guests include singers Maia Sharp, Scott Blasey and Clark Slater. Gathering Field member Dave Brown contributes electric guitar on two tracks as well.

The result is a remarkably natural sounding recording of, perhaps, the strongest songs of Deasy's career.

"We realized as we got deeper into it that something really good was happening," he recalls. "Our job from that point on was just to let it."

********

Bill Deasy has recorded and toured nationally both as a solo artist and with the Gathering Field. Bill has also written for other artists including Martina McBride and Billy Ray Cyrus in addition to collaborating on songs with the likes of Howard Jones, the Clarks, Maia Sharp, Bijou Phillips, One Flew South, Kim Carnes, Odie Blackmon and many others. Bill's recording of "Good Things are Happening," a song he co-wrote on a trip to Nashville, became the long-running theme for Good Morning America on ABC and he appeared in the promo spots, strumming his guitar and singing.

In 2006, Bill added "published author" to his list of accomplishments with the release of Ransom Seaborn which went on to win the Golden Needle Award and is currently being adapted for film. Traveling Clothes followed in 2009 and Ghost Tree in 2010, both delivering generously on the promise of Ransom Seaborn.

Bill was recently included in the book “Pittsburgh Born, Pittsburgh Bred” as one of 500 of the most memorable Pittsburghers from the past 250 years.

The Music of R.E.M. with The Reckoning

The premier REM tribute band, dedicated to presenting faithful recreations of the band's entire musical catalog.

The premier REM tribute band, dedicated to presenting faithful recreations of the band's entire musical catalog.

(Early Show) Sarah Tilghman with Special Guests The Living Street and Sleepyycreampuff

At every defining moment, you’re faced with fear. The anxiety kicks in and suddenly who you thought you were and what you thought you wanted doesn’t seem so clear any longer. It’s a place of tension where you get to make the choice to follow your heart or follow fear. That’s why Sarah Tilghman makes music. Sarah was raised in a small town outside of Pittsburgh, PA, where dreams were lofty and leaving, was rare. From a very young age, Sarah always knew she wanted to share music with the world.
Sarah and her best friend formed a band in high school, this is where her love of songwriting and performing began to develop. They played local shows and put demos on MySpace when that was still a thing. Sarah received her first singing lessons at the age of 17 at a performing arts charter school. Here she began getting immersed in the rich diversity of music and vocal training. With musical knowledge in theory and piano, Sarah started teaching herself how to play guitar on a loaned Yamaha that never really seemed to stay in tune. Songwriting is something that did not always come easy for her, but with time the melodies got catchier and the lyrics more meaningful.
College came and Sarah knew she wanted to get serious about music. Sarah recorded her first EP “Sanctuary” with Lu Rubino. Soon after the recording was complete, Sarah signed with a small record label. Sarah went on two tours that traveled throughout the east coast and the Midwest. After a trip to Russia, Sarah found love. She always dreamed of living in California, and the dream became a reality when she met Jonathan Tilghman. Sarah moved to San Diego, got married, and started her new life with her husband at the age of 22.
Many changes started taking place in Sarah’s music career, and she decided it was time to take her career in a new way as an independent artist. This decision came with the loss of her EP among other things that she worked hard for. That feeling of fear started becoming a familiar feeling. What once seemed easy for her, became very difficult because of leaving everything she knew with the label and venturing into the unknown. It was like a loss of security in her music career, and she felt lost. After a time of walking through a journey of anxiety & fear that was so consuming, Sarah began songwriting again, but this time the songs had so much more meaning and the “why” behind everything became so much more clear. These songs weren’t just for her, there was a story to share with others.
Sarah recorded a live album with Resurgent Sound. This was an 11 track album titled “Foreign Affair”. These songs shared her story about struggling with anxiety, fear, and feeling hopeless. As her story has unfolded, Sarah is more driven than ever to share this message with the world. “Fear is a liar and it does not have to steal who you are. We all walk through difficulty, but it doesn’t have to overcome us. You owe it to yourself to get back up when you get knocked down because you are full of goodness...exactly what the world needs more of.”
Getting in touch with her roots of influence from jazz & classical music, Sarah has developed into a pop/soul artist that writes love songs, songs about loss, and songs that awaken the dreamer within you. This isn’t just feel good music...this is dream fulfillment music.

At every defining moment, you’re faced with fear. The anxiety kicks in and suddenly who you thought you were and what you thought you wanted doesn’t seem so clear any longer. It’s a place of tension where you get to make the choice to follow your heart or follow fear. That’s why Sarah Tilghman makes music. Sarah was raised in a small town outside of Pittsburgh, PA, where dreams were lofty and leaving, was rare. From a very young age, Sarah always knew she wanted to share music with the world.
Sarah and her best friend formed a band in high school, this is where her love of songwriting and performing began to develop. They played local shows and put demos on MySpace when that was still a thing. Sarah received her first singing lessons at the age of 17 at a performing arts charter school. Here she began getting immersed in the rich diversity of music and vocal training. With musical knowledge in theory and piano, Sarah started teaching herself how to play guitar on a loaned Yamaha that never really seemed to stay in tune. Songwriting is something that did not always come easy for her, but with time the melodies got catchier and the lyrics more meaningful.
College came and Sarah knew she wanted to get serious about music. Sarah recorded her first EP “Sanctuary” with Lu Rubino. Soon after the recording was complete, Sarah signed with a small record label. Sarah went on two tours that traveled throughout the east coast and the Midwest. After a trip to Russia, Sarah found love. She always dreamed of living in California, and the dream became a reality when she met Jonathan Tilghman. Sarah moved to San Diego, got married, and started her new life with her husband at the age of 22.
Many changes started taking place in Sarah’s music career, and she decided it was time to take her career in a new way as an independent artist. This decision came with the loss of her EP among other things that she worked hard for. That feeling of fear started becoming a familiar feeling. What once seemed easy for her, became very difficult because of leaving everything she knew with the label and venturing into the unknown. It was like a loss of security in her music career, and she felt lost. After a time of walking through a journey of anxiety & fear that was so consuming, Sarah began songwriting again, but this time the songs had so much more meaning and the “why” behind everything became so much more clear. These songs weren’t just for her, there was a story to share with others.
Sarah recorded a live album with Resurgent Sound. This was an 11 track album titled “Foreign Affair”. These songs shared her story about struggling with anxiety, fear, and feeling hopeless. As her story has unfolded, Sarah is more driven than ever to share this message with the world. “Fear is a liar and it does not have to steal who you are. We all walk through difficulty, but it doesn’t have to overcome us. You owe it to yourself to get back up when you get knocked down because you are full of goodness...exactly what the world needs more of.”
Getting in touch with her roots of influence from jazz & classical music, Sarah has developed into a pop/soul artist that writes love songs, songs about loss, and songs that awaken the dreamer within you. This isn’t just feel good music...this is dream fulfillment music.

(Late Show) Ryan Yingst

Ryan plays his live sets from a mix of covers and original material. He performs as both a solo act and with a mix of talented backing musicians. His recorded video projects feature songs from his set as well as an early recording of a song entitled ‘Don’t Go (So Easily)’ from his upcoming album. Many of Ryan’s audio projects come from recordings made at Duquesne University while he was a student. Ryan also creates electronic/instrumental music.

Ryan plays his live sets from a mix of covers and original material. He performs as both a solo act and with a mix of talented backing musicians. His recorded video projects feature songs from his set as well as an early recording of a song entitled ‘Don’t Go (So Easily)’ from his upcoming album. Many of Ryan’s audio projects come from recordings made at Duquesne University while he was a student. Ryan also creates electronic/instrumental music.

The Abominable Snow Jam 2019 Featuring Identity X (Special Acoustic Performance) with Special Guest Patron Saint

Identity X is a constantly evolving original modern rock/alternative band based out of Pittsburgh Pennsylvania. Priding themselves on a sound thats rich in dynamics, melodies, and aggression, Identity X pulls influence from the writing style of Incubus blended with the hard rock roots of the 80's metal scene, and progressive stylings of bands like Rush and Coheed & Cambria. Identity X recently released their 2nd full-length album titled “Wounds of Our History” on June 16th, 2019.

The album was recorded, engineered, and produced in Long Island, NY by James Miller and mastered by Nathan James of the Vault Mastering Studios out of Phoenix, AZ.

The album “Wounds of Our History” features the modern hard rock sound the band is known for while showcasing maturity in both songwriting and overall production. New listeners and long time fans can expect the signature 4+ octave vocal acrobatics and lyrical storytelling of singer David Toole of Cranberry Township, paired with the lush rock/metal (and at times ambient) instrumental backbone created onstage by guitarist Darin DiNapoli of Pittsburgh, bassist Roman Prokopenko of Penn Hills, drummer David Ardale of Youngstown, OH, and guitarist Albert Park of Beaver. The first single "Wounds of our History" premiered on Pittsburgh rock station 105.9 The X.!

Identity X is a constantly evolving original modern rock/alternative band based out of Pittsburgh Pennsylvania. Priding themselves on a sound thats rich in dynamics, melodies, and aggression, Identity X pulls influence from the writing style of Incubus blended with the hard rock roots of the 80's metal scene, and progressive stylings of bands like Rush and Coheed & Cambria. Identity X recently released their 2nd full-length album titled “Wounds of Our History” on June 16th, 2019.

The album was recorded, engineered, and produced in Long Island, NY by James Miller and mastered by Nathan James of the Vault Mastering Studios out of Phoenix, AZ.

The album “Wounds of Our History” features the modern hard rock sound the band is known for while showcasing maturity in both songwriting and overall production. New listeners and long time fans can expect the signature 4+ octave vocal acrobatics and lyrical storytelling of singer David Toole of Cranberry Township, paired with the lush rock/metal (and at times ambient) instrumental backbone created onstage by guitarist Darin DiNapoli of Pittsburgh, bassist Roman Prokopenko of Penn Hills, drummer David Ardale of Youngstown, OH, and guitarist Albert Park of Beaver. The first single "Wounds of our History" premiered on Pittsburgh rock station 105.9 The X.!

Joe Leytrick (Full Band Performance) with PM Mirror and William Sparks

Joey Leytrick (special full band performance) with special Guests PM Mirror & William Sparks.

Joey Leytrick (special full band performance) with special Guests PM Mirror & William Sparks.

(Late Show) Da Funny Team Presents One Eye, Chrissy Costa , Ian McIntosh, Donald Alston. Hosted by Eric Cruse. Music by DJ Yas The Empress

(Early Show) Acoustic Love Volume One with Inez and Featuring Simone Davis and Clara Kent

(Late Show) Jack Swing with Special Guest Back Alley Sound

When Jack Swing formed in 2016, they quickly became known for their explosive live performances and unique sound. Their debut release, "The Cloud Cover EP", gained positive reviews and received radio play from various local stations. Now, in 2019 Jack Swing has released a new EP titled "Supermoon", a true rock record, packed with guitar solos and fast riffs. Jack Swing has gained recognition locally and nationally, recently being featured in Afropunk, The Pittsburgh Post Gazette, The Pittsburgh City Paper and more. Consisting of guitarist and vocalist Isaiah Ross, bassist Rowdy Kanarek, and drummer Jonathan Lightfoot, Jack Swing has no plans of slowing down in 2020. "Supermoon" is out now, available on all streaming platforms.

When Jack Swing formed in 2016, they quickly became known for their explosive live performances and unique sound. Their debut release, "The Cloud Cover EP", gained positive reviews and received radio play from various local stations. Now, in 2019 Jack Swing has released a new EP titled "Supermoon", a true rock record, packed with guitar solos and fast riffs. Jack Swing has gained recognition locally and nationally, recently being featured in Afropunk, The Pittsburgh Post Gazette, The Pittsburgh City Paper and more. Consisting of guitarist and vocalist Isaiah Ross, bassist Rowdy Kanarek, and drummer Jonathan Lightfoot, Jack Swing has no plans of slowing down in 2020. "Supermoon" is out now, available on all streaming platforms.

Peter Asher: A Musical Memoir Of The 60s and Beyond

PETER ASHER: A MUSICAL MEMOIR OF THE 60S AND BEYOND

"...as Mr. Asher regaled a delighted audience with stories… he conjured history in the making, before it was set in stone." -Stephen Holden, New York Times

"...the exuberant Mr. Asher knew anyone who rocked and everyone who mattered."
-Wall Street Journal

"An all-around charming and delightful fellow - he reminisces about his whole career and it is highly entertaining" – Steve Martin

"Everybody should go and see it - I've seen it myself twice" - Linda Ronstadt

"The Man, The Myth, The Legend! ...and a true friend! Great wit and music. A true storyteller! What more could you possibly want? Don't miss this!"--Hans Zimmer


We first came to know him through the global smash “World Without Love” as one half of the British Invasion duo Peter & Gordon. He returns--now a Commander of the Most Excellent Order of the British Empire-- in “Peter Asher: A Musical Memoir of the 60s and Beyond” which brings a multimedia experience to the stage, hosted by the two-time Grammy winner for Producer of the Year. Peter Asher moved effortlessly from his role with Peter & Gordon to Music Executive with the Beatles’ Apple Records, then famously- (as in cover of Rolling Stone magazine level famous)- to Producer and Manager, handling the careers of James Taylor, Linda Ronstadt and a host of others. Books abound, documentaries with half-truths (and worse) are all too common, but, now, finally, Mr. Asher tells first hand his tales from the eye of the cultural hurricane in this intimate evening.

“Memoir” includes film footage and photos from Peter’s considerable personal archive, brought to life with a storyteller’s gift, transporting audiences back to the heart of 60s popular culture. Icons such as Mick Jagger, John Lennon, Paul McCartney, Marianne Faithful, Yoko Ono, Carole King, James Taylor and Linda Ronstadt are among the cast of characters in this narrative – along (of course) with the greatly missed Gordon Waller. The evening is filled with the music of Peter & Gordon, including “I Go to Pieces,” “True Love Ways,” and “Lady Godiva.” The songs given to Peter & Gordon by Paul McCartney are also front and center: “Woman,” “I Don’t Want to See You Again,” Nobody I Know,” and “World Without Love,” all of which were US Top 40 hits. Peter presents these timeless classics along with other old favourites from that golden era.

The show brings the audience through the earliest days of Peter’s journey all the way to the present day, and projects including his SiriusXM radio show on the Beatles Channel, "From Me to You" . Peter's book based on the show, "The Beatles A to Zed" is being released by MacMillan on October 29, 2019.

Peter remains a sought after producer, and Memoir delves into that part of life as well. The Peter Asher-produced CD by Steve Martin and the Steep Canyon Rangers, "The Long Awaited Album", was released September 22, 2017; it's one of several production efforts Steve Martin has asked Mr. Asher to oversee. including a 2018 PBS TV special with Martin Short and the Steep Canyon Rangers. .Covered as well is Peter’s production of the “Love has Come for You” CD by Steve Martin and Edie Brickell — the title track a Grammy Winner in 2014- and the stage show based on it, “Bright Star,” which garnered 5 Tony nominations in its run on Broadway in 2016. A new project celebrating Elton John’s songwriting partnership with Bernie Taupin saw the light of day in 2018, "Revamped" ; among the highlights was Ed Sheeran's take on Candle in The Wind", produced by Mr. Asher. The celebratory collection was a follow up to the Peter Asher-produced special edition of “Goodbye Yellow Brick Road” -released in March 2014 – which featured Ed Sheeran, Imelda May, Fall Out Boy, and others covering songs from that classic album.

Peter takes you behind the curtain of the Rock and Roll Hall of Fame induction ceremony, where he inducted two old friends, the Rolling Stones’ first manager Andrew Loog Oldham and the Beatles’ Manager Brian Epstein. The PBS special “Buddy Holly: Listen to Me -The Ultimate Buddy Party” is still being aired regularly, and its sister CD, “Listen to Me: Buddy Holly” remains a favorite. His work on soundtracks ("Amazing Spider-Man 2,” “Man Of Steel,” “Rush.”, etc), alongside the legendary Hans Zimmer, is touched on also, as well as the 2017 "Hans Zimmer Live!" tour of the USA and Europe that Mr. Asher Directed.

Now, in its tenth year, “Memoir” continues to thrill, as the reviews attest. On a more personal note, friends such as Liza Minelli, Eric Idle, Paul Shaffer, Ray Davies, Bill Wyman, Ken Follett, Edie Brickell, Billy Connolly, Jeff Lynne, Paul Simon, Bob Balaban, Joan Collins, Steve Martin, Ed Sheeran, Tony Shalhoub, Linda Ronstadt, and Michael Feinstein have been among the audiences in New York, San Francisco, Los Angeles, and London that have given standing ovations to “Peter Asher: A Musical Memoir of the 60s and Beyond.”

PETER ASHER: A MUSICAL MEMOIR OF THE 60S AND BEYOND

"...as Mr. Asher regaled a delighted audience with stories… he conjured history in the making, before it was set in stone." -Stephen Holden, New York Times

"...the exuberant Mr. Asher knew anyone who rocked and everyone who mattered."
-Wall Street Journal

"An all-around charming and delightful fellow - he reminisces about his whole career and it is highly entertaining" – Steve Martin

"Everybody should go and see it - I've seen it myself twice" - Linda Ronstadt

"The Man, The Myth, The Legend! ...and a true friend! Great wit and music. A true storyteller! What more could you possibly want? Don't miss this!"--Hans Zimmer


We first came to know him through the global smash “World Without Love” as one half of the British Invasion duo Peter & Gordon. He returns--now a Commander of the Most Excellent Order of the British Empire-- in “Peter Asher: A Musical Memoir of the 60s and Beyond” which brings a multimedia experience to the stage, hosted by the two-time Grammy winner for Producer of the Year. Peter Asher moved effortlessly from his role with Peter & Gordon to Music Executive with the Beatles’ Apple Records, then famously- (as in cover of Rolling Stone magazine level famous)- to Producer and Manager, handling the careers of James Taylor, Linda Ronstadt and a host of others. Books abound, documentaries with half-truths (and worse) are all too common, but, now, finally, Mr. Asher tells first hand his tales from the eye of the cultural hurricane in this intimate evening.

“Memoir” includes film footage and photos from Peter’s considerable personal archive, brought to life with a storyteller’s gift, transporting audiences back to the heart of 60s popular culture. Icons such as Mick Jagger, John Lennon, Paul McCartney, Marianne Faithful, Yoko Ono, Carole King, James Taylor and Linda Ronstadt are among the cast of characters in this narrative – along (of course) with the greatly missed Gordon Waller. The evening is filled with the music of Peter & Gordon, including “I Go to Pieces,” “True Love Ways,” and “Lady Godiva.” The songs given to Peter & Gordon by Paul McCartney are also front and center: “Woman,” “I Don’t Want to See You Again,” Nobody I Know,” and “World Without Love,” all of which were US Top 40 hits. Peter presents these timeless classics along with other old favourites from that golden era.

The show brings the audience through the earliest days of Peter’s journey all the way to the present day, and projects including his SiriusXM radio show on the Beatles Channel, "From Me to You" . Peter's book based on the show, "The Beatles A to Zed" is being released by MacMillan on October 29, 2019.

Peter remains a sought after producer, and Memoir delves into that part of life as well. The Peter Asher-produced CD by Steve Martin and the Steep Canyon Rangers, "The Long Awaited Album", was released September 22, 2017; it's one of several production efforts Steve Martin has asked Mr. Asher to oversee. including a 2018 PBS TV special with Martin Short and the Steep Canyon Rangers. .Covered as well is Peter’s production of the “Love has Come for You” CD by Steve Martin and Edie Brickell — the title track a Grammy Winner in 2014- and the stage show based on it, “Bright Star,” which garnered 5 Tony nominations in its run on Broadway in 2016. A new project celebrating Elton John’s songwriting partnership with Bernie Taupin saw the light of day in 2018, "Revamped" ; among the highlights was Ed Sheeran's take on Candle in The Wind", produced by Mr. Asher. The celebratory collection was a follow up to the Peter Asher-produced special edition of “Goodbye Yellow Brick Road” -released in March 2014 – which featured Ed Sheeran, Imelda May, Fall Out Boy, and others covering songs from that classic album.

Peter takes you behind the curtain of the Rock and Roll Hall of Fame induction ceremony, where he inducted two old friends, the Rolling Stones’ first manager Andrew Loog Oldham and the Beatles’ Manager Brian Epstein. The PBS special “Buddy Holly: Listen to Me -The Ultimate Buddy Party” is still being aired regularly, and its sister CD, “Listen to Me: Buddy Holly” remains a favorite. His work on soundtracks ("Amazing Spider-Man 2,” “Man Of Steel,” “Rush.”, etc), alongside the legendary Hans Zimmer, is touched on also, as well as the 2017 "Hans Zimmer Live!" tour of the USA and Europe that Mr. Asher Directed.

Now, in its tenth year, “Memoir” continues to thrill, as the reviews attest. On a more personal note, friends such as Liza Minelli, Eric Idle, Paul Shaffer, Ray Davies, Bill Wyman, Ken Follett, Edie Brickell, Billy Connolly, Jeff Lynne, Paul Simon, Bob Balaban, Joan Collins, Steve Martin, Ed Sheeran, Tony Shalhoub, Linda Ronstadt, and Michael Feinstein have been among the audiences in New York, San Francisco, Los Angeles, and London that have given standing ovations to “Peter Asher: A Musical Memoir of the 60s and Beyond.”

(Early Show) Michael Christopher with Special Guest Dawn Savage

Michael Christopher found perseverance and grit during his childhood growing up in rural Pennsylvania, and the lessons he learned along the way would be right at home in the lyrics of today’s most popular country music.

For the last decade, Michael’s focus and passion has been on music: writing, singing, and performing in clubs, amphitheaters, and festivals across the country. While headlining events across the northeast and beyond, Michael has also opened for some major country stars, including Tyler Farr, Sammy Kershaw, Lonestar, Chris Lane, Jamey Johnson, Phil Vassar, William Michael Morgan and Walker Hayes. His guitar-heavy, rock-edged sound intertwines with invocative lyrical virtuosity and positions him with elite company in the country music scene.

In his self-titled album, Michael worked with an exclusive group of hit songwriters and producers including Dennis D’Amico recording at Ronnie’s Place/Black River Entertainment Studios, and Grammy-Award winning engineer Jamie Tate at The Rukkus Room. The result is a twelve-song anecdote of life and love that not only displays Michael’s flexibility and ingenuity as a songwriter, but also expands the boundaries of the country music genre. “There is something for everyone on this record. We really tried to offer a perspective, a sound and a voice that is relatable for everyone…no matter what you’re feeling, no matter what you’ve been through…this record has something for you,” mentions Michael.

To follow up his debut album, Michael decided to do an EP devoted to his favorite season; summer. “Summer Vibes” is an eclectic modern country summer time soundtrack!

With a ton of new music under his belt and a full tour schedule, Michael Christopher continues to excel on his way to the next chapter of his career.

Michael Christopher found perseverance and grit during his childhood growing up in rural Pennsylvania, and the lessons he learned along the way would be right at home in the lyrics of today’s most popular country music.

For the last decade, Michael’s focus and passion has been on music: writing, singing, and performing in clubs, amphitheaters, and festivals across the country. While headlining events across the northeast and beyond, Michael has also opened for some major country stars, including Tyler Farr, Sammy Kershaw, Lonestar, Chris Lane, Jamey Johnson, Phil Vassar, William Michael Morgan and Walker Hayes. His guitar-heavy, rock-edged sound intertwines with invocative lyrical virtuosity and positions him with elite company in the country music scene.

In his self-titled album, Michael worked with an exclusive group of hit songwriters and producers including Dennis D’Amico recording at Ronnie’s Place/Black River Entertainment Studios, and Grammy-Award winning engineer Jamie Tate at The Rukkus Room. The result is a twelve-song anecdote of life and love that not only displays Michael’s flexibility and ingenuity as a songwriter, but also expands the boundaries of the country music genre. “There is something for everyone on this record. We really tried to offer a perspective, a sound and a voice that is relatable for everyone…no matter what you’re feeling, no matter what you’ve been through…this record has something for you,” mentions Michael.

To follow up his debut album, Michael decided to do an EP devoted to his favorite season; summer. “Summer Vibes” is an eclectic modern country summer time soundtrack!

With a ton of new music under his belt and a full tour schedule, Michael Christopher continues to excel on his way to the next chapter of his career.

(Late Show) The 412 District with Special Guest Rob Lightner

The 412 District was formed in 2013 from their common love of music and occupation (Education). Kevin Monaghan (Lead Singer and Rhythm Guitar) started the band for an anti-bullying fundraiser. Rob Furman (Drummer) joined him on his first project, Jon Weisbroad (Bass) and Sean Van Eman (Lead Guitar) were soon added. Six years later , the band is rocking venues throughout Pittsburgh, and still consists of all educators (three principals and a coach all from the same school district). To highlight their summer performances, The 412 District was invited to perform at one of the largest educator conventions in Philadelphia as well performing at Vetfest 2019 for the Wounded Warriors Project and at multiple American Cancer Society events. Other highlighted performances include The Hofbrauhaus' Tenth Anniversary Celebration, along with a rockin' holiday party performance the Crafthouse.

Their music is as eclectic as the famous Heinz 57 sauce. Their covers include most genres of music and range from Johnny Cash to Lynyrd Skynyrd, from CCR to Tom Petty, from Green Day to Walk the Moon.

In the past two years the band has moved to writing and recording original music that is clearly a country rock style. Their first single "Stand" which was written as a tribute to our lead singer's father, was recently endorsed by the Wounded Warriors Project and was highlighted at their 2019 Vetfest. Their songs can be found on all the major streaming music services including Spotify, Apple and Amazon.

The 412 District was formed in 2013 from their common love of music and occupation (Education). Kevin Monaghan (Lead Singer and Rhythm Guitar) started the band for an anti-bullying fundraiser. Rob Furman (Drummer) joined him on his first project, Jon Weisbroad (Bass) and Sean Van Eman (Lead Guitar) were soon added. Six years later , the band is rocking venues throughout Pittsburgh, and still consists of all educators (three principals and a coach all from the same school district). To highlight their summer performances, The 412 District was invited to perform at one of the largest educator conventions in Philadelphia as well performing at Vetfest 2019 for the Wounded Warriors Project and at multiple American Cancer Society events. Other highlighted performances include The Hofbrauhaus' Tenth Anniversary Celebration, along with a rockin' holiday party performance the Crafthouse.

Their music is as eclectic as the famous Heinz 57 sauce. Their covers include most genres of music and range from Johnny Cash to Lynyrd Skynyrd, from CCR to Tom Petty, from Green Day to Walk the Moon.

In the past two years the band has moved to writing and recording original music that is clearly a country rock style. Their first single "Stand" which was written as a tribute to our lead singer's father, was recently endorsed by the Wounded Warriors Project and was highlighted at their 2019 Vetfest. Their songs can be found on all the major streaming music services including Spotify, Apple and Amazon.

Cynimatics / Fubar / The Bleepy Things

Based in Pittsburgh Pennsylvania, Cynimatics is a Ska/Pop Punk hybrid band incorporating various influences and styles in their music. Established in 2013, the band has released 4 albums and numerous EPs delivering a combination of 3rd Wave Ska, Punk Rock, and contemporary Pop Punk.

Based in Pittsburgh Pennsylvania, Cynimatics is a Ska/Pop Punk hybrid band incorporating various influences and styles in their music. Established in 2013, the band has released 4 albums and numerous EPs delivering a combination of 3rd Wave Ska, Punk Rock, and contemporary Pop Punk.

Toth with Special Guest Joanna Sternberg

In July 2016, Alex Toth was recovering from a broken foot and a broken heart, stuck in his fourth-floor apartment in Brooklyn with cast and crutches. This is where Tōth's "achingly beautiful" debut album, Practice Magic and Seek Professional Help When Necessary, was born.

A few months earlier, Alex and his Rubblebucket cofounder and love of more than eleven years had "consciously uncoupled," after a period of helping each other through devastating challenges. Alex was lightning-struck by sadness. "Almost convalescent" at times, in his words, though rarely still. A jazz trumpeter by training, Alex is always, always writing. And that spring, a new kind of music started to come -- raw, stripped-down songs unfurling without agenda, bent over an acoustic guitar. It never occurred to Alex that he was making an album.

The idea sprouted in songwriting sessions with his friend Kimbra, when she heard this new sound and encouraged Alex to make a record. But it didn't solidify until June 2016, when Alex was onstage with his punk project, Alexander F, and broke his foot. Stuck there in his apartment all summer, Tōth came to life.

Practice Magic and Seek Professional Help When Necessary, due May 2019 from Northern Spy Records (worldwide) and Figureight Records (UK/Europe), is a self-help guide unlike any other -- a breakup album before wholeness, but after anger. The album turns as it goes, through "lush, windswept sonics" (Gorilla Vs. Bear), bebop trumpet solos, and spare guitar, recalling the Beach Boys in one bar and Arthur Russell in the next. It's an album for remembering and letting go -- and discovering what magic remains.

In July 2016, Alex Toth was recovering from a broken foot and a broken heart, stuck in his fourth-floor apartment in Brooklyn with cast and crutches. This is where Tōth's "achingly beautiful" debut album, Practice Magic and Seek Professional Help When Necessary, was born.

A few months earlier, Alex and his Rubblebucket cofounder and love of more than eleven years had "consciously uncoupled," after a period of helping each other through devastating challenges. Alex was lightning-struck by sadness. "Almost convalescent" at times, in his words, though rarely still. A jazz trumpeter by training, Alex is always, always writing. And that spring, a new kind of music started to come -- raw, stripped-down songs unfurling without agenda, bent over an acoustic guitar. It never occurred to Alex that he was making an album.

The idea sprouted in songwriting sessions with his friend Kimbra, when she heard this new sound and encouraged Alex to make a record. But it didn't solidify until June 2016, when Alex was onstage with his punk project, Alexander F, and broke his foot. Stuck there in his apartment all summer, Tōth came to life.

Practice Magic and Seek Professional Help When Necessary, due May 2019 from Northern Spy Records (worldwide) and Figureight Records (UK/Europe), is a self-help guide unlike any other -- a breakup album before wholeness, but after anger. The album turns as it goes, through "lush, windswept sonics" (Gorilla Vs. Bear), bebop trumpet solos, and spare guitar, recalling the Beach Boys in one bar and Arthur Russell in the next. It's an album for remembering and letting go -- and discovering what magic remains.

Tas Cru & His Band of Tortured Souls with Special Guest Robin & Bob

Raucous, rowdy, gentle, sweet, eccentric, quirky, and outright irreverent are all words that fittingly describe Tas Cru's songs and testify to his reputation as a one of the most unique of bluesmen plying his trade today. Cru has received wide praise for his songwriting from critics, industry professionals as well as from his fellow musicians. As Downbeat magazine noted, "His songs are blues poetry - crafted with rare verbal flair and his ability to cast a memorable hook is magical!" Alligator Records president, Bruce Iglauer calls him a rare, real writer and many of the top blues musicians of today are eager to join Cru in the studio and on stage to perform his songs.

With three hot albums in the last five years – You Keep the Money, Simmered & Stewed and Memphis Song – Cru is readying another - Drive On, slated for release this coming late fall 2019. In addition to his best-known albums is Tas' 2009 release, Even Bugs Sing the Blues, an album of original blues music for kids based on book characters from the works of acclaimed author-illustrator, Eric Carle. In 2016 he recorded a blues album for dog lovers called Doggone Blues that is now being turned into a three-book series featuring the dog characters from these songs working together to try to form an all dog blues band. The first of this book series, Bad Dog Bubba will be out in late summer.

As a Blues Foundation, Keeping the Blues Alive award recipient (2014), besides performing, Cru brings his Blues Education programs and workshops to festivals, schools, and hospitals everywhere he travels. In 2019, Tas began his affiliation with United By Music North America; a program serving differently challenged young adult musicians. Thus far, Cru has traveled to the Pacific Northwest and Memphis, TN to mentor participants. Tas says, “Working with UBMNA has brought me back to why I began playing music in the first place – for the pure joy of doing so!”

Tas Cru is based out of upstate New York and performs in multiple formats ranging from solo acoustic to a 7 piece-backing band. He sings and plays a wide variety of guitars - at home on either electric, acoustic, resonator or cigar box. Tas is a Delaney Guitars (Austin TX) endorsed artist and is signed to Subcat Records, Syracuse NY.

In his early bands, Tas was introduced to the great Sun Records sound and the country blues that later served as a counterpoint to the rock-blues he idolized as did so many young aspiring guitar players of his time. Cru grew up in a very musical and generally unquirky family (except for him). Unlike his talented brother and sisters, he did not pursue music in school. A brief attempt to play the trombone abruptly ended after being kicked by his 7th grade music teacher who’s name actually was A (alden) Sharpe! Tas says he deserved it. Instead Cru explored and developed his talent by taking up with a rougher crowd of older, self-taught musicians where he was introduced to the songs of the Sun Records legends. His first foray into the blues came after leaving the US Navy when he was asked to join a band formed by a former shipmate named Delray Streeter, an Arkansas-raised bluesman with boundless bravado and attitude but rather limited singing and even lesser harmonica skills. This partnership, though short-lived, proved to be very influential as Streeter's repertoire tended toward the older, rough-hewn country blues. Cru's schooling in country blues later served him well and is heard in his original songs along with the Sun Records and, of course his rock-blues influences.

His latest album, Memphis Song completed a trifecta of Tas Cru’s creativity that began with his breakthrough effort, You Keep the Money (2014) and followed by the Blues Music Award nominated Simmered and Stewed. Released in June 2018, Memphis Song showcases Cru’s talents as an acclaimed songwriter, guitarist and vocalist. This album, as captured in the title track, pays homage to the great music city for the role it has played in bringing blues, soul and rock ‘n roll to audiences world-wide. Memphis Song can be heard on blues radio across the globe. With over six months of charting prowess, including hitting the #1 slot, the album still spins in regular rotation elevated there by its many shining reviews. Memphis Song also brought Cru his second Syracuse Area Music Award (SAMMY) for best Blues album.

You Keep the Money grabbed the attention of blues radio worldwide, debuting on the prestigious Living Blues Radio Chart at #2 and, quite noteworthy, debuting #1 on the Roots Music Report Blues Radio Chart. Simmered & Stewed also enjoyed wide airplay including being featured as a BB King's Bluesville "Pick to Click" on SiriusXM radio. Likewise it made its way on to the highly regarded Living Blues Chart and resided at or near the top of the Roots Music Report’s Blues Chart for most of 2017. Simmered and Stewed earned Cru the first of his two SAMMYs as well as nominations for several prestigious awards including the International Blues Foundation Blues Music Awards and the Independent Blues Awards. On the strength of these two albums Tas has since performed at several major blues festivals and notable venues bringing music from these great albums and Memphis Song to their stages.

Raucous, rowdy, gentle, sweet, eccentric, quirky, and outright irreverent are all words that fittingly describe Tas Cru's songs and testify to his reputation as a one of the most unique of bluesmen plying his trade today. Cru has received wide praise for his songwriting from critics, industry professionals as well as from his fellow musicians. As Downbeat magazine noted, "His songs are blues poetry - crafted with rare verbal flair and his ability to cast a memorable hook is magical!" Alligator Records president, Bruce Iglauer calls him a rare, real writer and many of the top blues musicians of today are eager to join Cru in the studio and on stage to perform his songs.

With three hot albums in the last five years – You Keep the Money, Simmered & Stewed and Memphis Song – Cru is readying another - Drive On, slated for release this coming late fall 2019. In addition to his best-known albums is Tas' 2009 release, Even Bugs Sing the Blues, an album of original blues music for kids based on book characters from the works of acclaimed author-illustrator, Eric Carle. In 2016 he recorded a blues album for dog lovers called Doggone Blues that is now being turned into a three-book series featuring the dog characters from these songs working together to try to form an all dog blues band. The first of this book series, Bad Dog Bubba will be out in late summer.

As a Blues Foundation, Keeping the Blues Alive award recipient (2014), besides performing, Cru brings his Blues Education programs and workshops to festivals, schools, and hospitals everywhere he travels. In 2019, Tas began his affiliation with United By Music North America; a program serving differently challenged young adult musicians. Thus far, Cru has traveled to the Pacific Northwest and Memphis, TN to mentor participants. Tas says, “Working with UBMNA has brought me back to why I began playing music in the first place – for the pure joy of doing so!”

Tas Cru is based out of upstate New York and performs in multiple formats ranging from solo acoustic to a 7 piece-backing band. He sings and plays a wide variety of guitars - at home on either electric, acoustic, resonator or cigar box. Tas is a Delaney Guitars (Austin TX) endorsed artist and is signed to Subcat Records, Syracuse NY.

In his early bands, Tas was introduced to the great Sun Records sound and the country blues that later served as a counterpoint to the rock-blues he idolized as did so many young aspiring guitar players of his time. Cru grew up in a very musical and generally unquirky family (except for him). Unlike his talented brother and sisters, he did not pursue music in school. A brief attempt to play the trombone abruptly ended after being kicked by his 7th grade music teacher who’s name actually was A (alden) Sharpe! Tas says he deserved it. Instead Cru explored and developed his talent by taking up with a rougher crowd of older, self-taught musicians where he was introduced to the songs of the Sun Records legends. His first foray into the blues came after leaving the US Navy when he was asked to join a band formed by a former shipmate named Delray Streeter, an Arkansas-raised bluesman with boundless bravado and attitude but rather limited singing and even lesser harmonica skills. This partnership, though short-lived, proved to be very influential as Streeter's repertoire tended toward the older, rough-hewn country blues. Cru's schooling in country blues later served him well and is heard in his original songs along with the Sun Records and, of course his rock-blues influences.

His latest album, Memphis Song completed a trifecta of Tas Cru’s creativity that began with his breakthrough effort, You Keep the Money (2014) and followed by the Blues Music Award nominated Simmered and Stewed. Released in June 2018, Memphis Song showcases Cru’s talents as an acclaimed songwriter, guitarist and vocalist. This album, as captured in the title track, pays homage to the great music city for the role it has played in bringing blues, soul and rock ‘n roll to audiences world-wide. Memphis Song can be heard on blues radio across the globe. With over six months of charting prowess, including hitting the #1 slot, the album still spins in regular rotation elevated there by its many shining reviews. Memphis Song also brought Cru his second Syracuse Area Music Award (SAMMY) for best Blues album.

You Keep the Money grabbed the attention of blues radio worldwide, debuting on the prestigious Living Blues Radio Chart at #2 and, quite noteworthy, debuting #1 on the Roots Music Report Blues Radio Chart. Simmered & Stewed also enjoyed wide airplay including being featured as a BB King's Bluesville "Pick to Click" on SiriusXM radio. Likewise it made its way on to the highly regarded Living Blues Chart and resided at or near the top of the Roots Music Report’s Blues Chart for most of 2017. Simmered and Stewed earned Cru the first of his two SAMMYs as well as nominations for several prestigious awards including the International Blues Foundation Blues Music Awards and the Independent Blues Awards. On the strength of these two albums Tas has since performed at several major blues festivals and notable venues bringing music from these great albums and Memphis Song to their stages.

(Early Show) Sawyer Fredericks / JD Eicher

Sawyer Fredericks
Singer-songwriter Sawyer Fredericks, hailing from his family's farm in central New York State, is fast establishing himself as an authentic original, Americana artist with an old soul. His deep, beyond-his-years lyrics and melodies, raw, soulful vocals, and powerful live performances have attracted an ever growing number of devoted fans of all ages, selling out shows throughout the US.

As a folk/blues singer-songwriter, who cut his teeth at local farmers markets, open mics, and iconic New York venues like Caffe Lena, the Towne Crier Cafe, and The Bitter End, Sawyer seemed an unlikely match for reality tv, but quickly won over broad audiences with his genuine delivery and unique arrangements of classic songs, going on to win season 8 of NBC's The Voice.

Fresh from that whirlwind, Sawyer went forward with the release of his major label debut, A Good Storm, with Republic Records, an impressive blend of soulful Folk, blues, and rock, entirely written or cowritten by Sawyer. His 2016 A Good Storm Tour included 62 shows across the US.
For 2018, Sawyer has once again gone independent, the highly-anticipated Hide Your Ghost sheds the high gloss major label treatment, and stays true to Frederick’s honest and elegantly stripped down style, a self-described “free range folk”, incorporating elements of blues, roots rock, and jazz with live instrumental arrangements throughout.

JD Eicher
“The music that I’m writing and releasing is really mirroring who I am and where I am at that time in my life. It’s easy to perform songs when they’re very true.” So says JD Eicher, the Youngstown, OH-area born and bred musician who is set to release The Middle Distance via Rock Ridge Music on May 6, 2016. “I’m really glad that my career has taken the longer, ‘scenic’ route, because the music I’m writing now has a certain truth to it that I’m not sure I would have found otherwise.”

The Middle Distance marks the first album Eicher will issue since sunsetting JD Eicher & the Goodnights, the moniker used on the trilogy of titles, The Shape of Things, Shifting, and Into Place, released previously. So why put The Goodnights to bed? Eicher explains: “The truth of the matter is, not a whole lot has changed. There will still be a band. But the name shift felt natural with the very personal nature of this new music and the very strong desire to simplify.”

Eicher has noted that the common themes running through his previous three releases are “love, hope, and acceptance.” Common sense would call for speculating whether there is a common thread that ties together the ten songs found on The Middle Distance. “Not a premeditated one,” he is quick to clarify. “I really wanted to just sit down and write the best songs I could, saying what I needed to say at the time. It’s more of a journal entry/diary-type approach this time around.”

With that as a forward, the first chapter of Eicher’s aural journal begins with nearly one minute of U2-ish guitar that sets the sonic table for the album opener, “This Heart,” in which he sings, “All my fears, all my worries, are alive and well inside this heart.” Eicher expounds, “This whole record - and definitely that song – is moodier, and there’s a lot of internal struggle, internal processing. When you hear the song title, ‘This Heart,’ it sounds like it’s gonna be a love song, but it’s really more about coping and figuring out how to get past whatever you’re dealing with in that moment.”

Songwriting and superb singing are at the center of each track on The Middle Distance, exemplified by the lyric line “Maybe we’ve been trained to wash, rinse, and then repeat” and the heavenly falsetto vocals found on “Be Well,” a song which sounds like it would fit perfectly into Death Cab For Cutie’s catalog. An audio oasis to the overall “moodier” sound of the record is refreshingly felt when the soundscape lightens up for the bouncy “The Little Bit,” which musically and lyrically has a Jason Mraz vibe to it, most notably on the playful line, “I didn’t write any lyrics for this part of the song… everybody relax.” Eicher’s songwriting gravitas shines in the more serious selections - “Not Everybody Runs,” a sonic commitment to, well, commitment; “Not Afraid,” in which abstract fears about our dreams not coming true, relationships going wrong, internal struggles and pressures, letting your guard down and being hurt, and failure are all tackled; and “Man of Faith,” in which Eicher espouses the somewhat ambiguous supplication: “And I’m pretty sure my heaven’s just the answer to my questions.”

Far less ambiguous is how much Eicher’s Rust Belt upbringing seeps into, or serves as, the foundation of his songwriting. “I think it definitely affects the music,” he affirms without hesitation, “even in the way I approach touring and my overall work ethic with songwriting and recording. There’s a world-wariness that comes out of this area that gets into the songs. I think there’s a realism that comes out of

this part of the country, too, and I think that gets in there as well.” It’s no wonder that Pittsburgh, not far from his hometown of Youngstown, has embraced the performer and his music as their own.

With his band, The Goodnights, Eicher’s soaring and graceful pop-rock songcraft garnered favorable comparisons to Coldplay, Keane, The Script, The Killers, and Death Cab for Cutie. Alternative Addiction named the group one of the top 10 unsigned bands. Virgin America Airlines used one of the band’s songs in the teaser for the airline’s movie, Departure Date. Live, JD Eicher & the Goodnights shared the stage with such diverse and respected artists as the Dave Matthews Band, Coldplay, Train, Maroon 5, Hot Chelle Rae, Pete Yorn, Anberlin, Rod Stewart, Bryan Adams, Kelly Clarkson, Cartel, Sister Hazel, and Matt Nathanson, among many others.

Now facing a new morning with the added weight of offering up The Middle Distance with just his name on the album cover, does Eicher like the way the shape of things have shifted into place (to borrow a phrase from past album titles), both personally and professionally?

“Yeah, definitely. I do feel a lot more firmly-rooted. I feel like there’s a lot less doubt. I know who I am a lot better than I used to, and a lot of my life is starting to make more sense. I’m married now. We’ve got a house. The real world stuff has come together in a really meaningful way. And my musical life mirrors those sentiments as well. This was the first time I felt comfortable producing a record on my own. I knew how I wanted it to feel, start to finish.”

For those reasons and more, it’s fair to say The Middle Distance is destined to take JD Eicher even farther than where he’s at today. That prospect makes it a near certainty that his steady pace to the top will likely result in him experiencing the musician’s equivalent of a long distance runner’s high.

Sawyer Fredericks
Singer-songwriter Sawyer Fredericks, hailing from his family's farm in central New York State, is fast establishing himself as an authentic original, Americana artist with an old soul. His deep, beyond-his-years lyrics and melodies, raw, soulful vocals, and powerful live performances have attracted an ever growing number of devoted fans of all ages, selling out shows throughout the US.

As a folk/blues singer-songwriter, who cut his teeth at local farmers markets, open mics, and iconic New York venues like Caffe Lena, the Towne Crier Cafe, and The Bitter End, Sawyer seemed an unlikely match for reality tv, but quickly won over broad audiences with his genuine delivery and unique arrangements of classic songs, going on to win season 8 of NBC's The Voice.

Fresh from that whirlwind, Sawyer went forward with the release of his major label debut, A Good Storm, with Republic Records, an impressive blend of soulful Folk, blues, and rock, entirely written or cowritten by Sawyer. His 2016 A Good Storm Tour included 62 shows across the US.
For 2018, Sawyer has once again gone independent, the highly-anticipated Hide Your Ghost sheds the high gloss major label treatment, and stays true to Frederick’s honest and elegantly stripped down style, a self-described “free range folk”, incorporating elements of blues, roots rock, and jazz with live instrumental arrangements throughout.

JD Eicher
“The music that I’m writing and releasing is really mirroring who I am and where I am at that time in my life. It’s easy to perform songs when they’re very true.” So says JD Eicher, the Youngstown, OH-area born and bred musician who is set to release The Middle Distance via Rock Ridge Music on May 6, 2016. “I’m really glad that my career has taken the longer, ‘scenic’ route, because the music I’m writing now has a certain truth to it that I’m not sure I would have found otherwise.”

The Middle Distance marks the first album Eicher will issue since sunsetting JD Eicher & the Goodnights, the moniker used on the trilogy of titles, The Shape of Things, Shifting, and Into Place, released previously. So why put The Goodnights to bed? Eicher explains: “The truth of the matter is, not a whole lot has changed. There will still be a band. But the name shift felt natural with the very personal nature of this new music and the very strong desire to simplify.”

Eicher has noted that the common themes running through his previous three releases are “love, hope, and acceptance.” Common sense would call for speculating whether there is a common thread that ties together the ten songs found on The Middle Distance. “Not a premeditated one,” he is quick to clarify. “I really wanted to just sit down and write the best songs I could, saying what I needed to say at the time. It’s more of a journal entry/diary-type approach this time around.”

With that as a forward, the first chapter of Eicher’s aural journal begins with nearly one minute of U2-ish guitar that sets the sonic table for the album opener, “This Heart,” in which he sings, “All my fears, all my worries, are alive and well inside this heart.” Eicher expounds, “This whole record - and definitely that song – is moodier, and there’s a lot of internal struggle, internal processing. When you hear the song title, ‘This Heart,’ it sounds like it’s gonna be a love song, but it’s really more about coping and figuring out how to get past whatever you’re dealing with in that moment.”

Songwriting and superb singing are at the center of each track on The Middle Distance, exemplified by the lyric line “Maybe we’ve been trained to wash, rinse, and then repeat” and the heavenly falsetto vocals found on “Be Well,” a song which sounds like it would fit perfectly into Death Cab For Cutie’s catalog. An audio oasis to the overall “moodier” sound of the record is refreshingly felt when the soundscape lightens up for the bouncy “The Little Bit,” which musically and lyrically has a Jason Mraz vibe to it, most notably on the playful line, “I didn’t write any lyrics for this part of the song… everybody relax.” Eicher’s songwriting gravitas shines in the more serious selections - “Not Everybody Runs,” a sonic commitment to, well, commitment; “Not Afraid,” in which abstract fears about our dreams not coming true, relationships going wrong, internal struggles and pressures, letting your guard down and being hurt, and failure are all tackled; and “Man of Faith,” in which Eicher espouses the somewhat ambiguous supplication: “And I’m pretty sure my heaven’s just the answer to my questions.”

Far less ambiguous is how much Eicher’s Rust Belt upbringing seeps into, or serves as, the foundation of his songwriting. “I think it definitely affects the music,” he affirms without hesitation, “even in the way I approach touring and my overall work ethic with songwriting and recording. There’s a world-wariness that comes out of this area that gets into the songs. I think there’s a realism that comes out of

this part of the country, too, and I think that gets in there as well.” It’s no wonder that Pittsburgh, not far from his hometown of Youngstown, has embraced the performer and his music as their own.

With his band, The Goodnights, Eicher’s soaring and graceful pop-rock songcraft garnered favorable comparisons to Coldplay, Keane, The Script, The Killers, and Death Cab for Cutie. Alternative Addiction named the group one of the top 10 unsigned bands. Virgin America Airlines used one of the band’s songs in the teaser for the airline’s movie, Departure Date. Live, JD Eicher & the Goodnights shared the stage with such diverse and respected artists as the Dave Matthews Band, Coldplay, Train, Maroon 5, Hot Chelle Rae, Pete Yorn, Anberlin, Rod Stewart, Bryan Adams, Kelly Clarkson, Cartel, Sister Hazel, and Matt Nathanson, among many others.

Now facing a new morning with the added weight of offering up The Middle Distance with just his name on the album cover, does Eicher like the way the shape of things have shifted into place (to borrow a phrase from past album titles), both personally and professionally?

“Yeah, definitely. I do feel a lot more firmly-rooted. I feel like there’s a lot less doubt. I know who I am a lot better than I used to, and a lot of my life is starting to make more sense. I’m married now. We’ve got a house. The real world stuff has come together in a really meaningful way. And my musical life mirrors those sentiments as well. This was the first time I felt comfortable producing a record on my own. I knew how I wanted it to feel, start to finish.”

For those reasons and more, it’s fair to say The Middle Distance is destined to take JD Eicher even farther than where he’s at today. That prospect makes it a near certainty that his steady pace to the top will likely result in him experiencing the musician’s equivalent of a long distance runner’s high.

The Matt Barranti Band with special guests (opener) Tina Daniels and Tom Lagi

Winners of the Western Pennsylvania Blues Challenge, Matt, Fred, Will and Greg are going to Memphis in January of 2018 to compete in the IBC's

Winners of the Western Pennsylvania Blues Challenge, Matt, Fred, Will and Greg are going to Memphis in January of 2018 to compete in the IBC's

(Late Show) Handsome Jack with Special Guest The Regal Sweet

Hailing from Lockport NY, Handsome Jack plays a powerful and emotional fusion of boogie soul rock n roll that has earned the admiration of fellow rock travelers such as Chris Robinson (CRB, Black Crowes),Zachary Gabbard (Buffalo Killers), and Ben McLeod of All Them Witches, who produced their new record.

On "Everything's Gonna Be Alright" the trio digs deeper into its soulful influences, brilliantly bringing back to life the classic sounds of Chicago, Memphis and Muscle Shoals, all rolled into one timeless record of American rock music for a new generation.

Hailing from Lockport NY, Handsome Jack plays a powerful and emotional fusion of boogie soul rock n roll that has earned the admiration of fellow rock travelers such as Chris Robinson (CRB, Black Crowes),Zachary Gabbard (Buffalo Killers), and Ben McLeod of All Them Witches, who produced their new record.

On "Everything's Gonna Be Alright" the trio digs deeper into its soulful influences, brilliantly bringing back to life the classic sounds of Chicago, Memphis and Muscle Shoals, all rolled into one timeless record of American rock music for a new generation.

Hannah Cohen with Special Guest Uni Ika Ai

Hannah Cohen has arrived home. From the title of her new album to the depth and beauty of the music, the Woodstock, NY-based singer-songwriter's third album for Bella Union, Welcome Home, displays a new level of confidence and comfort with the many creative tools at her disposal. Cohen’s remarkably evocative voice is surrounded by dreamy, swooning incantations, from the rippling 'This Is Your Life' and the slow-burning, forthright statement of 'All I Want,' to the soul swagger of 'Get in Line' and dramatic vocal leaps of 'Wasting My Time.' Produced by Cohen's partner Sam Owens, the producer/writer who performs as Sam Evian, the artist began developing the material that became Welcome Home in 2017. Taking her time with the songs, she wrapped herself in the fulfilling quiet of a new home, and a new creative partnership that supported the clarity in her writing and vocals. Listeners will find echoes of folk and R&B, radiating with vocal-powered pop production, electronic accents, and bursts of pulsing guitar/bass/drums energy. Irresistible echoes of soul enchanters such as Marvin Gaye and Bill Withers and their friend and sometime collaborator Nick Hakim blend with the reflective shadings of singer/writer forebears such as Carole King and Harry Nilsson. As Cohen explains, "A lot of the album is about checking in with reality and taking the wheel, being honest with myself and my intentions. Being transparent as much as possible. They’re about exploring why I’m here. And the songs question love - if it's real or something else, finding love that’s healthy, mature and supportive."

Hannah Cohen has arrived home. From the title of her new album to the depth and beauty of the music, the Woodstock, NY-based singer-songwriter's third album for Bella Union, Welcome Home, displays a new level of confidence and comfort with the many creative tools at her disposal. Cohen’s remarkably evocative voice is surrounded by dreamy, swooning incantations, from the rippling 'This Is Your Life' and the slow-burning, forthright statement of 'All I Want,' to the soul swagger of 'Get in Line' and dramatic vocal leaps of 'Wasting My Time.' Produced by Cohen's partner Sam Owens, the producer/writer who performs as Sam Evian, the artist began developing the material that became Welcome Home in 2017. Taking her time with the songs, she wrapped herself in the fulfilling quiet of a new home, and a new creative partnership that supported the clarity in her writing and vocals. Listeners will find echoes of folk and R&B, radiating with vocal-powered pop production, electronic accents, and bursts of pulsing guitar/bass/drums energy. Irresistible echoes of soul enchanters such as Marvin Gaye and Bill Withers and their friend and sometime collaborator Nick Hakim blend with the reflective shadings of singer/writer forebears such as Carole King and Harry Nilsson. As Cohen explains, "A lot of the album is about checking in with reality and taking the wheel, being honest with myself and my intentions. Being transparent as much as possible. They’re about exploring why I’m here. And the songs question love - if it's real or something else, finding love that’s healthy, mature and supportive."

Emma's Lounge with Viking Guitar & No Man's Jam

Emma's Lounge has the unique ability to morph from rootsy folk to rollicking rock and powerful soul, to head-turning electronic-tinged psychedelic funkiness. Their strange range of creative influence is united by the band's raw energy and audience inclusiveness.

And word is spreading from the band's Asheville, NC hometown across the East Coast.

Emma's Lounge have performed at SweetWater 420 Fest, Shakori Hills Grassroots Festival, The BIG What?, French Broad River Festival, Front Porch Fest, Xpand Fest, Soulshine, Meeting of the Minds, Mustang Spring Jam, Floyd Yoga Jam, and many more.

Their diverse musical style has opened opportunities for the band to share stages with an equally diverse group of artists including BIG Something, Consider The Source, Zach Deputy, The Fritz, Litz, Dr. Bacon, Dangermuffin, Toubab Krewe, The Southern Belles, The Broadcast, Futurebirds, Holy Ghost Tent Revival, Bella's Bartok, and more.

Emma's Lounge has the unique ability to morph from rootsy folk to rollicking rock and powerful soul, to head-turning electronic-tinged psychedelic funkiness. Their strange range of creative influence is united by the band's raw energy and audience inclusiveness.

And word is spreading from the band's Asheville, NC hometown across the East Coast.

Emma's Lounge have performed at SweetWater 420 Fest, Shakori Hills Grassroots Festival, The BIG What?, French Broad River Festival, Front Porch Fest, Xpand Fest, Soulshine, Meeting of the Minds, Mustang Spring Jam, Floyd Yoga Jam, and many more.

Their diverse musical style has opened opportunities for the band to share stages with an equally diverse group of artists including BIG Something, Consider The Source, Zach Deputy, The Fritz, Litz, Dr. Bacon, Dangermuffin, Toubab Krewe, The Southern Belles, The Broadcast, Futurebirds, Holy Ghost Tent Revival, Bella's Bartok, and more.

(Early Show) Doc Brown with Special guests Deadline and Expanding Sounds

Pittsburgh's newest classic rock band!

Pittsburgh's newest classic rock band!

(Early Show) A Celebration of Pittsburgh Jazz Contributions Featuring Kelsey Hillock (Vocals), Brad Fritcher (Trumpet), Ryan Salisbury (Guitar), Pat Spallinger (Bass), Dan Leon (Drums)

On Saturday, January 25th, Club Café will host the first of a semi-regular jazz night for the 2020 year. The theme for the inaugural concert is “A Celebration of Pittsburgh Jazz Contributions,” with select recordings performed live from the catalog of Art Blakey, Billy Strayhorn, Errol Garner, Henry Mancini, George Benson and more! All performing musicians are graduates or attendees of Pittsburgh-area universities, featuring guest vocalist, Kelsey Hillock. The house band for the evening will comprise of Brad Fritcher on trumpet, Ryan Salisbury on guitar, Pat Spallinger on bass, and Dan Leon on drums. Join us as we honor those who have contributed to the robust and longtime history of jazz in the city of Pittsburgh.

On Saturday, January 25th, Club Café will host the first of a semi-regular jazz night for the 2020 year. The theme for the inaugural concert is “A Celebration of Pittsburgh Jazz Contributions,” with select recordings performed live from the catalog of Art Blakey, Billy Strayhorn, Errol Garner, Henry Mancini, George Benson and more! All performing musicians are graduates or attendees of Pittsburgh-area universities, featuring guest vocalist, Kelsey Hillock. The house band for the evening will comprise of Brad Fritcher on trumpet, Ryan Salisbury on guitar, Pat Spallinger on bass, and Dan Leon on drums. Join us as we honor those who have contributed to the robust and longtime history of jazz in the city of Pittsburgh.

Chuck Prophet (Solo)

Since emerging onto the music scene at age 18 as a member of the seminal rock band Green
on Red, Prophet has collaborated with everyone from Warren Zevon and Kelly Willis to Jim
Dickinson and Lucinda Williams among many others. In recent years, Prophet’s music has
been featured in several hit television series including HBO’s “True Blood,” Showtime’s
“Californication” and “Billions,” and FX’s “Sons of Anarchy.” He also co-wrote all the songs on
Alejandro Escovedo’s 2008 critically acclaimed album Real Animal.

Through his live performances with the Mission Express and solo, Prophet has developed a
reputation as an outstanding, entertaining live act and built a loyal fanbase from Albuquerque
to Stockholm. His live solo performances offer fans the opportunity to experience his songs
from a unique perspective.

Chuck Prophet is the best damn songwriter in all of roots rock and I'll stand on Alejandro Escovedo's coffee table
in John Murry's flip-flops and say that.
- Peter Blackstock, No Depression

Prophet does an impressive job of blurring the lines that separate blues, country and roots-rock.
- NPR

In his own good-humored, ramshackle way, Prophet earns his last name.
- Anthony DeCurtis

Since emerging onto the music scene at age 18 as a member of the seminal rock band Green
on Red, Prophet has collaborated with everyone from Warren Zevon and Kelly Willis to Jim
Dickinson and Lucinda Williams among many others. In recent years, Prophet’s music has
been featured in several hit television series including HBO’s “True Blood,” Showtime’s
“Californication” and “Billions,” and FX’s “Sons of Anarchy.” He also co-wrote all the songs on
Alejandro Escovedo’s 2008 critically acclaimed album Real Animal.

Through his live performances with the Mission Express and solo, Prophet has developed a
reputation as an outstanding, entertaining live act and built a loyal fanbase from Albuquerque
to Stockholm. His live solo performances offer fans the opportunity to experience his songs
from a unique perspective.

Chuck Prophet is the best damn songwriter in all of roots rock and I'll stand on Alejandro Escovedo's coffee table
in John Murry's flip-flops and say that.
- Peter Blackstock, No Depression

Prophet does an impressive job of blurring the lines that separate blues, country and roots-rock.
- NPR

In his own good-humored, ramshackle way, Prophet earns his last name.
- Anthony DeCurtis

Wayne Hancock (Full Band Performance)

Wayne Hancock
“Wayne Hancock has more Hank Sr. in him than either I or Hank Williams Jr. He is the real deal.” – Hank III

“Hancock, who tosses out a roots mix of old country, roadhouse blues, western dance swing, boogie bop, and straight-up rockabilly, takes what was once old and makes it seem like it’s always been and always will be.”—allmusic.com

“The country music scene could do with a lot more characters like Wayne, who push the music’s limits while staying truer to its roots than any well-known names associated with the genre today.” – Slug Magazine

Since his stunning debut, Thunderstorms and Neon Signs in 1995, Wayne “The Train” Hancock has been the undisputed king of Juke Joint Swing–that alchemist’s dream of honky-tonk, western swing, blues, Texas rockabilly and big band. Always an anomaly among his country music peers, Wayne’s uncompromising interpretation of the music he loves is in fact what defines him: steeped in traditional but never “retro;” bare bones but bone shaking; hardcore but with a swing. Like the comfortable crackle of a Wurlitzer 45 jukebox, Wayne is the embodiment of genuine, house rocking, hillbilly boogie.

Wayne makes music fit for any road house anywhere. With his unmistakable voice, The Train’s reckless honky-tonk can move the dead. If you see him live (and he is ALWAYS touring), you’ll surely work up some sweat stains on that snazzy Rayon shirt you’re wearing. If you buy his records, you’ll be rolling up your carpets, spreading sawdust on the hardwood, and dancing until the downstairs neighbors are banging their brooms on the ceiling. Call him a throwback if you want, Wayne just wants to ENTERTAIN you, and what’s wrong with that?

Wayne’s disdain for the slick swill that passes for real deal country is well known. Like he’s fond of saying: “Man, I’m like a stab wound in the fabric of country music in Nashville. See that bloodstain slowly spreading? That’s me.”

Little known fact: Wayne is the only Bloodshot artist to have had their CD taken aboard a space shuttle flight.

Wayne Hancock
“Wayne Hancock has more Hank Sr. in him than either I or Hank Williams Jr. He is the real deal.” – Hank III

“Hancock, who tosses out a roots mix of old country, roadhouse blues, western dance swing, boogie bop, and straight-up rockabilly, takes what was once old and makes it seem like it’s always been and always will be.”—allmusic.com

“The country music scene could do with a lot more characters like Wayne, who push the music’s limits while staying truer to its roots than any well-known names associated with the genre today.” – Slug Magazine

Since his stunning debut, Thunderstorms and Neon Signs in 1995, Wayne “The Train” Hancock has been the undisputed king of Juke Joint Swing–that alchemist’s dream of honky-tonk, western swing, blues, Texas rockabilly and big band. Always an anomaly among his country music peers, Wayne’s uncompromising interpretation of the music he loves is in fact what defines him: steeped in traditional but never “retro;” bare bones but bone shaking; hardcore but with a swing. Like the comfortable crackle of a Wurlitzer 45 jukebox, Wayne is the embodiment of genuine, house rocking, hillbilly boogie.

Wayne makes music fit for any road house anywhere. With his unmistakable voice, The Train’s reckless honky-tonk can move the dead. If you see him live (and he is ALWAYS touring), you’ll surely work up some sweat stains on that snazzy Rayon shirt you’re wearing. If you buy his records, you’ll be rolling up your carpets, spreading sawdust on the hardwood, and dancing until the downstairs neighbors are banging their brooms on the ceiling. Call him a throwback if you want, Wayne just wants to ENTERTAIN you, and what’s wrong with that?

Wayne’s disdain for the slick swill that passes for real deal country is well known. Like he’s fond of saying: “Man, I’m like a stab wound in the fabric of country music in Nashville. See that bloodstain slowly spreading? That’s me.”

Little known fact: Wayne is the only Bloodshot artist to have had their CD taken aboard a space shuttle flight.

(Early Show) Tony Lucca - 20/20 X Request Retrospective with Special Guest Justin Fabus

“For me, it all comes down to timing.”

That’s how Tony Lucca summarizes the career milestones that led him to Nashville — and on the brink of his most important album yet.

As a teenager, his time as a “Mouseketeer” on the infamous Mickey Mouse Club came when he was mature enough to understand what the exposure meant for his young career — and more importantly, what it didn’t mean.

In the early 2000s, Lucca found himself at the epicenter of the burgeoning Hotel Café singer-songwriter movement in Los Angeles. A scene that eventually helped craft his critically lauded 2006 album Canyon Songs, which came during not only a creative peak, but after he had built a steady following both as a headlining artist and tour support for his fellow Disney alumni Justin Timberlake and JC Chasez in NSYNC.

In 2012, Lucca burned up The Voice stage, making it all the way to the finals on the back of his electric performances, each time performing as if he had “nothing to lose” — thanks to more than a decade of development and an already passionate fan base. Oh, and Lucca’s season still ranks as the most-watched season of the show by total audience size.

But as monumental as those moments may seem, it was his 2013 move to Nashville that may be the greatest stroke of good timing. Just as many of Lucca’s contemporaries were moving to Nashville to cash in “not on country, but on the community,” as he says, Lucca felt poised for a change. One that included elevating his own songwriting — a personal challenge that is as admirable as it is eyebrow raising to those already familiar with Lucca’s stalwart catalog.

“Truth be told, all roads lead to Nashville,” Lucca sings on his new single, aptly titled “Nashville,” in homage to the town. “You can come and go there as you please. Ain’t nobody waiting on the next big thing to come along if it ain’t a song that brings them to their knees.”

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.

“In Nashville when you visit, people say, ‘Anything I can do for you, just let me know,’” Lucca says. “And then you move here and you realize those arms really are wide open and those people aren’t full of shit. They really do want you to be part of the community here.”

Lucca’s admiration and respect for Nashville’s songwriting community, it turns out, was mutual. He quickly found his calendar consumed with co-writes from old and new friends alike. Those include tour-mate turned co-writer and “Nashville treasure” Gabe Dixon, as well as the Grammy-nominated Billy Montana (“Sage wisdom — bit of a mentor,” Lucca says of Montana).

Lucca brought his same workman-like mentality to songwriting in his new hometown, writing “daily and diligently.” He eventually developed a songwriter residency at Midtown venue The Local, all the while touring the country.

Over those formative years at the beginning of Lucca’s Act II, the songwriter again found himself falling in love with the purity of it all. “It was restorative for me on the creative side,” Lucca says. “It was also educational as I really tuned into the creative community and Nashville rhythm.”

Throughout that process, Lucca began “salting away” the songs that really reached out and grabbed him. “Those songs that make me sit in an empty room with an acoustic guitar and go, ‘Yeah, I’d be playing this song right now even if nobody were listening,’” Lucca says.

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.

After following a long-winding path that led him to Nashville, Lucca spent years honing his craft. In the process, he found the songs that “started to feel like my expression — how I want to channel my creative energy,” as he says. “It took my whole career to get to the point where I just went into the studio and, as Ray Charles said, ‘Make it do what it’s gonna do.’”

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. Talk about good timing.

“For me, it all comes down to timing.”

That’s how Tony Lucca summarizes the career milestones that led him to Nashville — and on the brink of his most important album yet.

As a teenager, his time as a “Mouseketeer” on the infamous Mickey Mouse Club came when he was mature enough to understand what the exposure meant for his young career — and more importantly, what it didn’t mean.

In the early 2000s, Lucca found himself at the epicenter of the burgeoning Hotel Café singer-songwriter movement in Los Angeles. A scene that eventually helped craft his critically lauded 2006 album Canyon Songs, which came during not only a creative peak, but after he had built a steady following both as a headlining artist and tour support for his fellow Disney alumni Justin Timberlake and JC Chasez in NSYNC.

In 2012, Lucca burned up The Voice stage, making it all the way to the finals on the back of his electric performances, each time performing as if he had “nothing to lose” — thanks to more than a decade of development and an already passionate fan base. Oh, and Lucca’s season still ranks as the most-watched season of the show by total audience size.

But as monumental as those moments may seem, it was his 2013 move to Nashville that may be the greatest stroke of good timing. Just as many of Lucca’s contemporaries were moving to Nashville to cash in “not on country, but on the community,” as he says, Lucca felt poised for a change. One that included elevating his own songwriting — a personal challenge that is as admirable as it is eyebrow raising to those already familiar with Lucca’s stalwart catalog.

“Truth be told, all roads lead to Nashville,” Lucca sings on his new single, aptly titled “Nashville,” in homage to the town. “You can come and go there as you please. Ain’t nobody waiting on the next big thing to come along if it ain’t a song that brings them to their knees.”

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.

“In Nashville when you visit, people say, ‘Anything I can do for you, just let me know,’” Lucca says. “And then you move here and you realize those arms really are wide open and those people aren’t full of shit. They really do want you to be part of the community here.”

Lucca’s admiration and respect for Nashville’s songwriting community, it turns out, was mutual. He quickly found his calendar consumed with co-writes from old and new friends alike. Those include tour-mate turned co-writer and “Nashville treasure” Gabe Dixon, as well as the Grammy-nominated Billy Montana (“Sage wisdom — bit of a mentor,” Lucca says of Montana).

Lucca brought his same workman-like mentality to songwriting in his new hometown, writing “daily and diligently.” He eventually developed a songwriter residency at Midtown venue The Local, all the while touring the country.

Over those formative years at the beginning of Lucca’s Act II, the songwriter again found himself falling in love with the purity of it all. “It was restorative for me on the creative side,” Lucca says. “It was also educational as I really tuned into the creative community and Nashville rhythm.”

Throughout that process, Lucca began “salting away” the songs that really reached out and grabbed him. “Those songs that make me sit in an empty room with an acoustic guitar and go, ‘Yeah, I’d be playing this song right now even if nobody were listening,’” Lucca says.

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.

After following a long-winding path that led him to Nashville, Lucca spent years honing his craft. In the process, he found the songs that “started to feel like my expression — how I want to channel my creative energy,” as he says. “It took my whole career to get to the point where I just went into the studio and, as Ray Charles said, ‘Make it do what it’s gonna do.’”

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. Talk about good timing.

(Early Show) Sam Stucky (Full Band Performance) with Jesse Gimbel and Zachary Lee

Sam is a musical artist located in Pittsburgh, PA. His music has been described by himself and his mom as thought-provoking, yet catchy and easy to listen to.

Sam is a musical artist located in Pittsburgh, PA. His music has been described by himself and his mom as thought-provoking, yet catchy and easy to listen to.

(Late Show) Opus One Comedy Presents Late Night Laughs. Hosted by Johnny Smith and Featuring Tim Ross, Trey McDonough, Paige Polesnak, Seneca Stone, Marcus Cox, and Special Guests TBA

Wesley Stace: A Tribute To John Wesley Harding Featuring Robert Lloyd

Contemporary singer-songwriter and Cabinet of Wonders impresario Stace pays tribute to the legendary songwriter John Wesley Harding.

Throughout the '90s and ‘00s, which included his tenures at Sire, Rhino and Hollywood records, John Wesley Harding regularly toured in a duo format with noted mandolin, accordion and keyboard player, Robert Lloyd. This was at the very dawn of Unplugged, before even house concerts. Once described as The Metallica of McCabes, the duo’s performances were acknowledged to be the high watermark of contemporary live performance (in venues that held about one hundred people).

Wesley Stace (Yep Roc) has coaxed Lloyd out of retirement to pay tribute to the legendary songbook of John Wesley Harding. All Harding’s favourites will be represented and painstakingly recreated, from Modern Rock staple The Person You Are to 120 Minutes Video of the Week The Devil In Me; via Kill The Messenger and The Truth, memorably performed on the Tonight Show, to Scared of Guns, recently amended and released on Appleseed Records’ anniversary collection.

Since Stace’s critically lauded debut "Self-Titled" in 2013, he has played many of Harding’s songs live, but here he’s happy to let his own songwriting take a backseat to the master’s: “I feel an extraordinary kinship with these songs. It’s as if I wrote them." Harding himself has endorsed this tribute: “I am deeply honored, and glad to be as far away as possible.”

Contemporary singer-songwriter and Cabinet of Wonders impresario Stace pays tribute to the legendary songwriter John Wesley Harding.

Throughout the '90s and ‘00s, which included his tenures at Sire, Rhino and Hollywood records, John Wesley Harding regularly toured in a duo format with noted mandolin, accordion and keyboard player, Robert Lloyd. This was at the very dawn of Unplugged, before even house concerts. Once described as The Metallica of McCabes, the duo’s performances were acknowledged to be the high watermark of contemporary live performance (in venues that held about one hundred people).

Wesley Stace (Yep Roc) has coaxed Lloyd out of retirement to pay tribute to the legendary songbook of John Wesley Harding. All Harding’s favourites will be represented and painstakingly recreated, from Modern Rock staple The Person You Are to 120 Minutes Video of the Week The Devil In Me; via Kill The Messenger and The Truth, memorably performed on the Tonight Show, to Scared of Guns, recently amended and released on Appleseed Records’ anniversary collection.

Since Stace’s critically lauded debut "Self-Titled" in 2013, he has played many of Harding’s songs live, but here he’s happy to let his own songwriting take a backseat to the master’s: “I feel an extraordinary kinship with these songs. It’s as if I wrote them." Harding himself has endorsed this tribute: “I am deeply honored, and glad to be as far away as possible.”

ESH the Duo with Special Guests Alex Live and Eddy Blanco of The Free Music Party

Kevin Spears and Joseph Callahan, Buffalo and Pittsburgh natives, respectively, have been creating, producing and curating music both separately and jointly for some time now. From early ages, the duo taught themselves in the ways of various musical instruments while eventually switching to electronic production as well.
Combining both, ESH the duo puts on a dual show of real and electronic instruments to cultivate both old and new, and classical and modern.

Kevin Spears and Joseph Callahan, Buffalo and Pittsburgh natives, respectively, have been creating, producing and curating music both separately and jointly for some time now. From early ages, the duo taught themselves in the ways of various musical instruments while eventually switching to electronic production as well.
Combining both, ESH the duo puts on a dual show of real and electronic instruments to cultivate both old and new, and classical and modern.

(Early Show) Opus One Comedy Presents Zach Miller featuring Ian McCall and Friends

Storytime with Uncle Creepy is the official podcast of UFC Flyweight contender Ian McCall. Every week you can expect the unexpected as Ian welcomes his friends from every walk of life. From fighters to celebrities to Playboy Centerfolds and porn starletts, Storytime with Uncle Creepy's Ian McCall will never fail to entertain. “Storytime” is not your everyday podcast. So, grab a beverage, get comfortable, and get ready for a story!

Storytime with Uncle Creepy is the official podcast of UFC Flyweight contender Ian McCall. Every week you can expect the unexpected as Ian welcomes his friends from every walk of life. From fighters to celebrities to Playboy Centerfolds and porn starletts, Storytime with Uncle Creepy's Ian McCall will never fail to entertain. “Storytime” is not your everyday podcast. So, grab a beverage, get comfortable, and get ready for a story!

John Doe, Kristin Hersh, and Grant-Lee Phillips present The Exile Follies

The Exile Follies

Grant-Lee Phillips on Reuniting with John Doe and Kristin Hersh for 2020 Tour.

The Exile Follies sprang from a mutual desire among John Doe, Kristin Hersh and myself to approach a tour in a different kind of way. It was 2002. We had each come from bands, each of us being the songwriters of those bands. All three of us had gone it alone at this point in our careers - a sort of self-imposed exile. Throwing Muses hadn’t officially split but Kristin was well into her fifth solo album and forming a new band. John had released his fourth solo album and there was little hint that X would return, or with such a vibrant second act. I was onto writing my third solo album. A Grant Lee Buffalo reunion just wasn’t on my mind. Kristin, John and myself, although very different from one another, found some interesting musical crossroads. I think we recognized that early on.

I suppose there was a curiosity about pooling our strengths together in such a way that allowed for some creative elbow room. The old tradition of songwriters in the round, where everyone sits in a circle and swaps songs was hard for any one of us to imagine. We came from the sticky clubs, where the speakers were always on the blink and chairs were a liability. We decided to tweak it a bit.

Our show was broken up into individual sets, just one of us onstage until the moment when the next performer would take the mic. As a transition, two of us would perform together. Vaudeville stuff. The running order came down to a coin toss until we settled into a comfortable rhythm. The evening would culminate with all three of us performing together.

These were two incredible artists that I had admired from afar well before we ever met but The Exile Follies established a long friendship. John Doe and I would tour together in the years to come and he invited me to sing and play on his album, (Forever hasn’t Happened Yet).

When Kristin Hersh and I reunited on tour in 2018, the proposition of rekindling The Exile Follies seemed all the more destined. Kristin and I traveled by train a lot, which is my favorite mode of transportation. Hopping trains and catching up on life, a few texts zipped back and forth between the three of us. “Reunion Tour” “I’m in!” Almost twenty years later, we were off and running.

John Doe sums it up in this way, “ The Exile Follies gives folks the best of the Phillips, Hersh & Doe songwriting worlds. You get a solid solo set from each of us, some one of a kind collaborations, plus lots of jokes & fooling around in between. Until we did this we didn't know how funny we could be, especially together. I can't wait. “

Nor can Kristin and or I! Make way for The Exile Follies.

Grant-Lee Phillips
###

The Exile Follies

Grant-Lee Phillips on Reuniting with John Doe and Kristin Hersh for 2020 Tour.

The Exile Follies sprang from a mutual desire among John Doe, Kristin Hersh and myself to approach a tour in a different kind of way. It was 2002. We had each come from bands, each of us being the songwriters of those bands. All three of us had gone it alone at this point in our careers - a sort of self-imposed exile. Throwing Muses hadn’t officially split but Kristin was well into her fifth solo album and forming a new band. John had released his fourth solo album and there was little hint that X would return, or with such a vibrant second act. I was onto writing my third solo album. A Grant Lee Buffalo reunion just wasn’t on my mind. Kristin, John and myself, although very different from one another, found some interesting musical crossroads. I think we recognized that early on.

I suppose there was a curiosity about pooling our strengths together in such a way that allowed for some creative elbow room. The old tradition of songwriters in the round, where everyone sits in a circle and swaps songs was hard for any one of us to imagine. We came from the sticky clubs, where the speakers were always on the blink and chairs were a liability. We decided to tweak it a bit.

Our show was broken up into individual sets, just one of us onstage until the moment when the next performer would take the mic. As a transition, two of us would perform together. Vaudeville stuff. The running order came down to a coin toss until we settled into a comfortable rhythm. The evening would culminate with all three of us performing together.

These were two incredible artists that I had admired from afar well before we ever met but The Exile Follies established a long friendship. John Doe and I would tour together in the years to come and he invited me to sing and play on his album, (Forever hasn’t Happened Yet).

When Kristin Hersh and I reunited on tour in 2018, the proposition of rekindling The Exile Follies seemed all the more destined. Kristin and I traveled by train a lot, which is my favorite mode of transportation. Hopping trains and catching up on life, a few texts zipped back and forth between the three of us. “Reunion Tour” “I’m in!” Almost twenty years later, we were off and running.

John Doe sums it up in this way, “ The Exile Follies gives folks the best of the Phillips, Hersh & Doe songwriting worlds. You get a solid solo set from each of us, some one of a kind collaborations, plus lots of jokes & fooling around in between. Until we did this we didn't know how funny we could be, especially together. I can't wait. “

Nor can Kristin and or I! Make way for The Exile Follies.

Grant-Lee Phillips
###

The Billy Price Band

2016 Blues Music Award Winner Billy Price first attracted national attention during his three-year association with guitarist Roy Buchanan. Price is the vocalist on two of Buchanan's LPs, That's What I'm Here For and Live Stock. Since then, with the Keystone Rhythm Band, the Billy Price Band, and solo projects, Billy Price has recorded and released a total of 16 albums, CDs, and DVDs. In April 2016, he was officially recognized and inducted as a Pittsburgh Rock ’n Roll Legend at an award ceremony. Price’s album This Time for Real, with the late Chicago soul singer Otis Clay, received a 2016 Blues Music Award in the category of Best Soul Blues Album of 2015. His latest album Reckoning, produced by Kid Andersen at Greaseland Studios, was released on June 15, 2018 by Vizztone Label Group. It has been nominated for a 2019 Blues Music Award in the category of Best Soul Blues Album of 2018. His new album Dog Eat Dog, also produced by Andersen, will be released on Gulf Coast Records in August, 2019.

The Pittsburgh-based Billy Price Band consists of Dave Dodd (drums), Tom Valentine (bass), Lenny Smith (guitar), Jim Britton (keyboards), Eric Spaulding (sax), and Joe Herndon (trumpet).

The Billy Price Charm City Rhythm Band, based in Billy’s new hometown of Baltimore, MD, consists of El Torro Gamble (drums), Greg Haughey (bass), Pete Kanaras (guitar), Tam Sullivan (keyboards), Dan Gutwein (sax), and Vince McCool (trumpet).

2016 Blues Music Award Winner Billy Price first attracted national attention during his three-year association with guitarist Roy Buchanan. Price is the vocalist on two of Buchanan's LPs, That's What I'm Here For and Live Stock. Since then, with the Keystone Rhythm Band, the Billy Price Band, and solo projects, Billy Price has recorded and released a total of 16 albums, CDs, and DVDs. In April 2016, he was officially recognized and inducted as a Pittsburgh Rock ’n Roll Legend at an award ceremony. Price’s album This Time for Real, with the late Chicago soul singer Otis Clay, received a 2016 Blues Music Award in the category of Best Soul Blues Album of 2015. His latest album Reckoning, produced by Kid Andersen at Greaseland Studios, was released on June 15, 2018 by Vizztone Label Group. It has been nominated for a 2019 Blues Music Award in the category of Best Soul Blues Album of 2018. His new album Dog Eat Dog, also produced by Andersen, will be released on Gulf Coast Records in August, 2019.

The Pittsburgh-based Billy Price Band consists of Dave Dodd (drums), Tom Valentine (bass), Lenny Smith (guitar), Jim Britton (keyboards), Eric Spaulding (sax), and Joe Herndon (trumpet).

The Billy Price Charm City Rhythm Band, based in Billy’s new hometown of Baltimore, MD, consists of El Torro Gamble (drums), Greg Haughey (bass), Pete Kanaras (guitar), Tam Sullivan (keyboards), Dan Gutwein (sax), and Vince McCool (trumpet).

(Early Show) Erin McKeown with Special Guest JD Eicher

Erin McKeown is a musician, writer, and producer known internationally for her prolific disregard of stylistic boundaries. Her brash and clever electric guitar playing is something to see. Her singing voice is truly unique —clear, cool, and collected. Over the last 20 years, she has performed around the world, released 10 full length albums, and written for film, television, and theater, all the while refining her distinctive and challenging mix of American musical forms.

Her first musical, Miss You Like Hell, written with Pulitzer Prize-winning playwright Quiara Alegría Hudes, opened Off-Broadway at The Public Theater in 2018. It was nominated for 5 Drama Desk Awards, including Best Lyrics, Best Music and Best Orchestrations, and The Wall Street Journal named it Best Musical of 2018.

Leading her own band, she has performed at Bonnaroo, Glastonbury, and the Newport Folk Festivals. A familiar presence on NPR and the BBC, McKeown’s songs have also appeared in numerous commercials and television shows.

While a student at Brown University, Erin was a resident artist at Providence, RI’s revolutionary community arts organization AS220. A 2011-2012 fellow at Harvard’s Berkman Klein Center For Internet & Society, she is also the recipient of a 2016 writing fellowship from The Studios of Key West and a 2018 residency at the Virginia Center for the Creative Arts.

McKeown is the 2020 Professor of the Practice at Brown University.

Performed with: Amos Lee, Anais Mitchell, Ani DiFranco, Andrew Bird, Ben Sollee, Carrie Rodriguez, Jason Isbell, Joan Baez, Josh Ritter, Kris Delmhorst, Lake Street Dive, Mike Doughty, Richard Thompson, Thao & The Get Down Stay Down, The Mountain Goats, and Welcome To Night Vale.

Appeared at: Bonnaroo, Newport Folk, Glastonbury. Beacon Theater, Olympia Theater, Royal Festival Hall, Sidney Opera House. Late Night with Conan O’Brien, Later with Jools Holland, NPR, BBC.

Songs Placed: “The Good Fight”, “Bunheads”, “Desperate Housewives”, “Awkward”, “Gilmore Girls”, “The L Word”, “Nip/Tuck”, “Roswell” , Tesco, Google, Ferraro Praline, Bose.

FUN FACT: She has written a song via text message with her friend Rachel Maddow.

FUN FACT: Erin has made 8 episodes of her acclaimed “Cabin Fever” series of live webcasts streamed from her house in rural western Massachusetts. Described as “Wayne’s World meets the Judy Garland Show”, the series has garnered considerable attention for its entertaining exploration of the intersections of art, technology, and commerce. You can watch the whole series here.

FUN FACT: #mynameiserinfuckingmckeown

“Her operative mood is effortless grace” – LA Weekly

“In several distinctive ways- voice, dynamic subtlety, and sheer songwriting ability- Erin McKeown is in a class of her own.” – Sunday Times (UK)

“Her playing is so muscular, her arrangements so well conceived that she succeeds brilliantly. As with all truly great guitarists, the wonder is less in her chops than her choices.” – Boston Globe

“It’s fun, it’s flirty, it’s morbid, but it also bangs.” – Brightest Young Things for “Pretty Little Cemetery” (2017)

“Her voice slips into the territory of Florence Welch and Elena Tonra with its depth and texture, but stands alone in its complete clarity, a dinner bell ringing through a drafty home until the whole place is warm. She is, more simply, the kind of artist who will give you a varied, confetti-colored pocketful of secrets in return for a smile and some applause. She is easy listening without anything inherently easy about it.”– Lucy Gellman, New Haven Independent

Erin McKeown is a musician, writer, and producer known internationally for her prolific disregard of stylistic boundaries. Her brash and clever electric guitar playing is something to see. Her singing voice is truly unique —clear, cool, and collected. Over the last 20 years, she has performed around the world, released 10 full length albums, and written for film, television, and theater, all the while refining her distinctive and challenging mix of American musical forms.

Her first musical, Miss You Like Hell, written with Pulitzer Prize-winning playwright Quiara Alegría Hudes, opened Off-Broadway at The Public Theater in 2018. It was nominated for 5 Drama Desk Awards, including Best Lyrics, Best Music and Best Orchestrations, and The Wall Street Journal named it Best Musical of 2018.

Leading her own band, she has performed at Bonnaroo, Glastonbury, and the Newport Folk Festivals. A familiar presence on NPR and the BBC, McKeown’s songs have also appeared in numerous commercials and television shows.

While a student at Brown University, Erin was a resident artist at Providence, RI’s revolutionary community arts organization AS220. A 2011-2012 fellow at Harvard’s Berkman Klein Center For Internet & Society, she is also the recipient of a 2016 writing fellowship from The Studios of Key West and a 2018 residency at the Virginia Center for the Creative Arts.

McKeown is the 2020 Professor of the Practice at Brown University.

Performed with: Amos Lee, Anais Mitchell, Ani DiFranco, Andrew Bird, Ben Sollee, Carrie Rodriguez, Jason Isbell, Joan Baez, Josh Ritter, Kris Delmhorst, Lake Street Dive, Mike Doughty, Richard Thompson, Thao & The Get Down Stay Down, The Mountain Goats, and Welcome To Night Vale.

Appeared at: Bonnaroo, Newport Folk, Glastonbury. Beacon Theater, Olympia Theater, Royal Festival Hall, Sidney Opera House. Late Night with Conan O’Brien, Later with Jools Holland, NPR, BBC.

Songs Placed: “The Good Fight”, “Bunheads”, “Desperate Housewives”, “Awkward”, “Gilmore Girls”, “The L Word”, “Nip/Tuck”, “Roswell” , Tesco, Google, Ferraro Praline, Bose.

FUN FACT: She has written a song via text message with her friend Rachel Maddow.

FUN FACT: Erin has made 8 episodes of her acclaimed “Cabin Fever” series of live webcasts streamed from her house in rural western Massachusetts. Described as “Wayne’s World meets the Judy Garland Show”, the series has garnered considerable attention for its entertaining exploration of the intersections of art, technology, and commerce. You can watch the whole series here.

FUN FACT: #mynameiserinfuckingmckeown

“Her operative mood is effortless grace” – LA Weekly

“In several distinctive ways- voice, dynamic subtlety, and sheer songwriting ability- Erin McKeown is in a class of her own.” – Sunday Times (UK)

“Her playing is so muscular, her arrangements so well conceived that she succeeds brilliantly. As with all truly great guitarists, the wonder is less in her chops than her choices.” – Boston Globe

“It’s fun, it’s flirty, it’s morbid, but it also bangs.” – Brightest Young Things for “Pretty Little Cemetery” (2017)

“Her voice slips into the territory of Florence Welch and Elena Tonra with its depth and texture, but stands alone in its complete clarity, a dinner bell ringing through a drafty home until the whole place is warm. She is, more simply, the kind of artist who will give you a varied, confetti-colored pocketful of secrets in return for a smile and some applause. She is easy listening without anything inherently easy about it.”– Lucy Gellman, New Haven Independent

(Late Show) Opus One Comedy Presents The Virzi Triplets

Alex, Mitchell, and Sean Virzi are identical triplets and stand-up comedians born and raised in Los Angeles. Their energetic comedy has been featured on America’s Got Talent, ABC’s The Gong Show, TBS’ 'Angie Tribeca' and Hulu.



The Virzi Triplets are a party on stage as their high-energy, free-flowing set blends act-outs, stories, jokes, and improvisation together for a completely unique performance every night with a chemistry and synchronicity that is unparalleled.



As three man-children in their mid-20's, their old school Italian upbringing tends to clash with their millennial Los Angeles environment. Whether they're joking about ridiculous current trends, their crazy family, their unique experience as triplets, or mocking their own subtle differences, these charming idiots tackle all issues with a warmth and edge that only brothers could get away with. These three are more than happy to unload a lifetime of dirty laundry leaving the audience feeling like they are just part of the family.


They were regulars on the popular "Kill Tony" podcast hosted by Tony Hinchcliffe. Their weekly podcast "Brotocol" tackles a new issue affecting the 21st century, offering a guide for the modern man to live by.

Alex, Mitchell, and Sean Virzi are identical triplets and stand-up comedians born and raised in Los Angeles. Their energetic comedy has been featured on America’s Got Talent, ABC’s The Gong Show, TBS’ 'Angie Tribeca' and Hulu.



The Virzi Triplets are a party on stage as their high-energy, free-flowing set blends act-outs, stories, jokes, and improvisation together for a completely unique performance every night with a chemistry and synchronicity that is unparalleled.



As three man-children in their mid-20's, their old school Italian upbringing tends to clash with their millennial Los Angeles environment. Whether they're joking about ridiculous current trends, their crazy family, their unique experience as triplets, or mocking their own subtle differences, these charming idiots tackle all issues with a warmth and edge that only brothers could get away with. These three are more than happy to unload a lifetime of dirty laundry leaving the audience feeling like they are just part of the family.


They were regulars on the popular "Kill Tony" podcast hosted by Tony Hinchcliffe. Their weekly podcast "Brotocol" tackles a new issue affecting the 21st century, offering a guide for the modern man to live by.

(Early Show) Christopher Paul Stelling

Impassioned singer and virtuosic guitar player Christopher Paul Stelling is announcing his fifth album today. Titled Best of Luck, the Ben Harper produced record will be released on February 7 via ANTI.

Throughout Best of Luck, discontent and self doubt are transformed into messages of resilience and hope. 'Trouble Don't Follow Me' captures this perfectly, with an upbeat almost anthemic rhythm and soulful, gospel tinged vocals. 'It comes as no surprise to me that one of my most optimistic songs could be written in the most difficult hour,' Stelling says. 'When all I needed was a little hope and a song I could play night after night and not get tired of. Something that captured the basic recipe for endurance. A song about marching on, a warning to anything that might stand in your way, and needing to feel strong for the people around you, so you can inspire them to do the same.'

Harper says he instantly recognized a kindred spirit in Stelling's virtuosic finger picking and soulful delivery. 'It was like finding a John Fahey or Leo Kottke that was a really great singer,' he explains.
Best Of Luck is a supremely accessible and finely crafted record that deftly merges genres. Harper, who has previously produced records by Mavis Staples, Rickie Lee Jones, The Blind Boys of Alabama and others, recruited an all star rhythm section with Jimmy Paxson (Stevie Nicks, Dixie Chicks) on drums and upright bass player Mike Valerio (Randy Newman, LA Philharmonic) to lend a versatility and finesse. 'I really believe this record is the intersection where folk and soul meet,' Harper says.

Impassioned singer and virtuosic guitar player Christopher Paul Stelling is announcing his fifth album today. Titled Best of Luck, the Ben Harper produced record will be released on February 7 via ANTI.

Throughout Best of Luck, discontent and self doubt are transformed into messages of resilience and hope. 'Trouble Don't Follow Me' captures this perfectly, with an upbeat almost anthemic rhythm and soulful, gospel tinged vocals. 'It comes as no surprise to me that one of my most optimistic songs could be written in the most difficult hour,' Stelling says. 'When all I needed was a little hope and a song I could play night after night and not get tired of. Something that captured the basic recipe for endurance. A song about marching on, a warning to anything that might stand in your way, and needing to feel strong for the people around you, so you can inspire them to do the same.'

Harper says he instantly recognized a kindred spirit in Stelling's virtuosic finger picking and soulful delivery. 'It was like finding a John Fahey or Leo Kottke that was a really great singer,' he explains.
Best Of Luck is a supremely accessible and finely crafted record that deftly merges genres. Harper, who has previously produced records by Mavis Staples, Rickie Lee Jones, The Blind Boys of Alabama and others, recruited an all star rhythm section with Jimmy Paxson (Stevie Nicks, Dixie Chicks) on drums and upright bass player Mike Valerio (Randy Newman, LA Philharmonic) to lend a versatility and finesse. 'I really believe this record is the intersection where folk and soul meet,' Harper says.

We Are The Weirdos - Live Stories, Told By Women

Join us for a special Happy Hour from 5:30pm - 6:30pm.

We Are The Weirdos is a live, open-mic style, storytelling series focused on giving woman identifying humans a platform to speak about their experiences.


FAQs

Q: Can I tell a story?
A: Anyone of our guests are welcome to sign up to tell a story. When signups open, you fill out a slip with your name and it's placed into a hat to be pulled at random.

Q: Do I need to be a professional storyteller?
A: Nope! We encourage our friends to try new things! We just ask that you keep it under five minutes. If you have any questions on how to develop your story, feel free to e-mail at info@wearetheweirdospgh.com

Q: What kind of women share?
A: We encourage women from all walks of life. Storytelling isn't limited to one group of people and we intend to keep this an open platform.

Q: What kind of stories do people share?
A: Anything! Stories range from hilarious to beautiful to heartbreaking. There is no theme.

Q: Can I use notes?
A: We do allow the use of notes on stage, however we ask that you limit the use. Live storytelling is exciting because it's.. well.. LIVE! Please refrain from reading essays or directly off of your phone.
​(TIP:) Try and practice your story from memory before the show, it really helps. Perhaps try recording a practice run on your phone. The more you tell it from memory, the better you will get. You can do it, we believe in you!

Q: Can only women attend?
A: We welcome an audience of any gender! We would love your support!

Join us for a special Happy Hour from 5:30pm - 6:30pm.

We Are The Weirdos is a live, open-mic style, storytelling series focused on giving woman identifying humans a platform to speak about their experiences.


FAQs

Q: Can I tell a story?
A: Anyone of our guests are welcome to sign up to tell a story. When signups open, you fill out a slip with your name and it's placed into a hat to be pulled at random.

Q: Do I need to be a professional storyteller?
A: Nope! We encourage our friends to try new things! We just ask that you keep it under five minutes. If you have any questions on how to develop your story, feel free to e-mail at info@wearetheweirdospgh.com

Q: What kind of women share?
A: We encourage women from all walks of life. Storytelling isn't limited to one group of people and we intend to keep this an open platform.

Q: What kind of stories do people share?
A: Anything! Stories range from hilarious to beautiful to heartbreaking. There is no theme.

Q: Can I use notes?
A: We do allow the use of notes on stage, however we ask that you limit the use. Live storytelling is exciting because it's.. well.. LIVE! Please refrain from reading essays or directly off of your phone.
​(TIP:) Try and practice your story from memory before the show, it really helps. Perhaps try recording a practice run on your phone. The more you tell it from memory, the better you will get. You can do it, we believe in you!

Q: Can only women attend?
A: We welcome an audience of any gender! We would love your support!

The Toasters - 4 Decades In Ska World Tour with Special Guest iNCO FidO

THE TOASTERS: 4 DECADES IN SKA WORLD TOUR


“In my opinion, The Toasters are to ska in America the 1980s and beyond what The Specials were to ska in the U.K. in the late '70s and early '80s, and what the Skatalites were to ska in Jamaica in the 1960s. The Toasters were innovators, creators, shapers of the music, evolving it in a fresh direction, blending it with the cultural influences in a very American manner, and I mean that in a completely complimentary way. Just as Byron Lee & the Dragonaires brought professionalism and polish to ska, allowing others to benefit from the fruits of their labor, so too did the Toasters' music allow numerous other bands to share in the spotlight of skill and success, many of whom have gone on to great heights. Upon the shoulders of giants.

Oh, yeah, and they kick ass!”

-Heather Augustyn,
Author of SKA , An Oral History

After nearly 4 decades, The Toasters are hitting the gas, not the brakes. With an international all-star line-up their whirlwind global tour continues unabated across the continents. Performances are scheduled in South America, Asia and Russia on top of regular touring in the USA, Europe and Canada.

Formed on the Lower East Side of NYC the band is the longest running US SKA formation. They bridge the gap between England's 2-Tone movement and the American Ska explosion of the 90's which they are rightfully credited with starting. During the 3rd Wave Ska revival The Toasters formed the famous Moon Records label and kick-started the careers of dozens of bands.

The Toasters will release a new single in 2020 titled “Turn Back Time”. Ska Brewing (Durango) will brew a special beer to celebrate the band’s anniversary.

THE TOASTERS: 4 DECADES IN SKA WORLD TOUR


“In my opinion, The Toasters are to ska in America the 1980s and beyond what The Specials were to ska in the U.K. in the late '70s and early '80s, and what the Skatalites were to ska in Jamaica in the 1960s. The Toasters were innovators, creators, shapers of the music, evolving it in a fresh direction, blending it with the cultural influences in a very American manner, and I mean that in a completely complimentary way. Just as Byron Lee & the Dragonaires brought professionalism and polish to ska, allowing others to benefit from the fruits of their labor, so too did the Toasters' music allow numerous other bands to share in the spotlight of skill and success, many of whom have gone on to great heights. Upon the shoulders of giants.

Oh, yeah, and they kick ass!”

-Heather Augustyn,
Author of SKA , An Oral History

After nearly 4 decades, The Toasters are hitting the gas, not the brakes. With an international all-star line-up their whirlwind global tour continues unabated across the continents. Performances are scheduled in South America, Asia and Russia on top of regular touring in the USA, Europe and Canada.

Formed on the Lower East Side of NYC the band is the longest running US SKA formation. They bridge the gap between England's 2-Tone movement and the American Ska explosion of the 90's which they are rightfully credited with starting. During the 3rd Wave Ska revival The Toasters formed the famous Moon Records label and kick-started the careers of dozens of bands.

The Toasters will release a new single in 2020 titled “Turn Back Time”. Ska Brewing (Durango) will brew a special beer to celebrate the band’s anniversary.

(Rescheduled from December 12) Craig Cardiff

Craig Cardiff is a Canadian singer-songwriter. Known throughout Canada, Craig is developing a following throughout North America and into Europe. With guitar in hand, Craig can turn any setting into an intimate affair. Infusing his music and lyrics with an uncompromising humanism rarely seen in today’s production-heavy climate.

Songwriter, troubadour, Craig Cardiff builds landscapes of sound using live digital loops, bringing the room to a hush. Edged, folk, beautiful, melancholy and left leaning, one song breaks your heart, and the next one puts it back together.

Craig makes it a point to keep the relationship with his fans personal, inviting and accepting any opportunity to make his audience as much a part of the performance as he is. Don’t be surprised if one day you find yourself enjoying one of Craig’s renowned performances from the comfort of your own living room.

Craig Cardiff is a Canadian singer-songwriter. Known throughout Canada, Craig is developing a following throughout North America and into Europe. With guitar in hand, Craig can turn any setting into an intimate affair. Infusing his music and lyrics with an uncompromising humanism rarely seen in today’s production-heavy climate.

Songwriter, troubadour, Craig Cardiff builds landscapes of sound using live digital loops, bringing the room to a hush. Edged, folk, beautiful, melancholy and left leaning, one song breaks your heart, and the next one puts it back together.

Craig makes it a point to keep the relationship with his fans personal, inviting and accepting any opportunity to make his audience as much a part of the performance as he is. Don’t be surprised if one day you find yourself enjoying one of Craig’s renowned performances from the comfort of your own living room.

Emily Scott Robinson

North Carolina native Emily Scott Robinson has traveled a quarter million miles and counting, paying her dues along the dusty highways of America’s wild country in the RV she calls home. Along the way, she’s captured the stories of the people she met and expertly crafted them into the songs featured on her gorgeous debut studio release, “Traveling Mercies.” Named one of Rolling Stone’s “10 New Country and Americana Artists to Watch in 2019,” Robinson received critical acclaim from Billboard, No Depression, and American Songwriter for the stories captured on her new album and performed on the main stage of the 2019 Telluride Bluegrass Festival as winner of the Telluride Troubadour Contest.

The diner where the waitress knows everyone by name. The World War Two veteran reflecting on the end of his life. The windswept trailer park where people prefer to keep their curtains closed. As she meditates on human frailty and the power of resilience, Robinson is at times vulnerable, at others, defiant and absolutely free. Rolling Stone called “Traveling Mercies” a collection of “country-folk songs about America in all its pain and glory with the literate, Southern gothic sensibility of Flannery O’Connor.” Robinson is on the rise with her new record— a tour de force from an elegant chronicler of her own existence and those of her fellow humans.

North Carolina native Emily Scott Robinson has traveled a quarter million miles and counting, paying her dues along the dusty highways of America’s wild country in the RV she calls home. Along the way, she’s captured the stories of the people she met and expertly crafted them into the songs featured on her gorgeous debut studio release, “Traveling Mercies.” Named one of Rolling Stone’s “10 New Country and Americana Artists to Watch in 2019,” Robinson received critical acclaim from Billboard, No Depression, and American Songwriter for the stories captured on her new album and performed on the main stage of the 2019 Telluride Bluegrass Festival as winner of the Telluride Troubadour Contest.

The diner where the waitress knows everyone by name. The World War Two veteran reflecting on the end of his life. The windswept trailer park where people prefer to keep their curtains closed. As she meditates on human frailty and the power of resilience, Robinson is at times vulnerable, at others, defiant and absolutely free. Rolling Stone called “Traveling Mercies” a collection of “country-folk songs about America in all its pain and glory with the literate, Southern gothic sensibility of Flannery O’Connor.” Robinson is on the rise with her new record— a tour de force from an elegant chronicler of her own existence and those of her fellow humans.

Clark Beckham: Light Year Tour

Clark's killer vocals and profound music abilities as a multi-instrumentalist has led him on a journey from busking on the streets to performing on national television in front of millions of viewers. On American Idol, Clark's soulful, bluesy voice outsold every other contestant combined on iTunes and placed him as THE fan favorite and runner-up of the 2015 season. Since Idol, Clark has performed with the Nashville Symphony, written with Brian McKnight, been nominated for the Teen Choice award for Music’s Next Big Thing, opened on tour for Jon Bellion, and signed with Quincy Jones for management. Clark’s EP “Year One” debuted at #6 on iTunes Alternative and #22 on Billboard’s R&B Sales chart. “Year One” includes “Must Be Hard Being You”, which was a collaboration with The Shadowboxers, and “I Need”, which was produced by Steve Jordan. Most recently, Clark premiered “I Hurt Too Much” – the first single off his upcoming album. Keep a lookout for Clark’s album releasing in January 2020, and catch Clark’s captivating performances on his 2020 tour at www.clarkbeckham.com.

Clark's killer vocals and profound music abilities as a multi-instrumentalist has led him on a journey from busking on the streets to performing on national television in front of millions of viewers. On American Idol, Clark's soulful, bluesy voice outsold every other contestant combined on iTunes and placed him as THE fan favorite and runner-up of the 2015 season. Since Idol, Clark has performed with the Nashville Symphony, written with Brian McKnight, been nominated for the Teen Choice award for Music’s Next Big Thing, opened on tour for Jon Bellion, and signed with Quincy Jones for management. Clark’s EP “Year One” debuted at #6 on iTunes Alternative and #22 on Billboard’s R&B Sales chart. “Year One” includes “Must Be Hard Being You”, which was a collaboration with The Shadowboxers, and “I Need”, which was produced by Steve Jordan. Most recently, Clark premiered “I Hurt Too Much” – the first single off his upcoming album. Keep a lookout for Clark’s album releasing in January 2020, and catch Clark’s captivating performances on his 2020 tour at www.clarkbeckham.com.

(Early Show) Lucy Wainwright Roche

Those familiar with Lucy Wainwright Roche are aware of her bell tone voice, her unshakable melodies, and her knack for wise, wry lyrics that clench the heart. It’s no surprise that Wainwright Roche is the daughter of Suzzy Roche (The Roches) and Loudon Wainwright III, half sibling to Rufus and Martha Wainwright. She grew up steeped in music.

But Lucy has carved out her own career as a touring singer/songwriter and recording artist, having sold over 50 thousand copies of her four critically acclaimed solo recordings released on her own label: Eight Songs, Eight More, Lucy, and There’s a Last Time for Everything. Other recordings include a collaboration with her sister Martha Wainwright on Songs In the Dark, a collection of lullabies, and two duet recordings with her mother Suzzy Roche: Fairytale and Myth (winner of Vox Pop Independent Music Awards) and most recently Mud and Apples.

For over a decade, as a solo act, armed with a guitar, a deadpan sense of humor, killer songs, and a voice that makes tough guys cry, she’s built a solid following across the US and Europe. As an opening act she has often appeared with such luminaries as the Indigo Girls, Mary Chapin Carpenter, and Neko Case, and she’s one of a few who can step out alone in front of a thousand strangers and play an entire set to a rapt audience.

Now, on her new 2018 release Little Beast (2019 Independent Music Award winner, “Best Album” Singer-Songwriter/Folk category), Lucy ups the ante with a dynamic, emotional recording masterfully and artfully co-produced with Jordan Brooke Hamlin. This collection of songs is an urgent and poetic call to a world gone awry. The journey from song to song is downright cinematic. One minute she eases us in with her flat-footed authenticity, and the next she lets loose with her wild side, and we imagine her howling at the moon. In Heroin, the first single from Little Beast, Lucy Wainwright Roche is hugging hairpin turns on the outside lane and you know it’s true. Sometimes chasing love is dangerous business:

It’s the Million Dollar Highway on a snowy day

It’s why I had to go, it’s why I longed to stay

There are many standouts on Little Beast: Heroin, Quit with Me, In Relation to Disaster, Trouble, Behind the Wheel, and Ohio is for Lovers are a few, but perhaps Soft Line, a wrenching plea to a lost love as it slips away, is the most haunting track. Simply put, the song is a dagger to the heart:

Watch out or the sun will set
On the picture we tried to get
On the story of why we met…

There’s nothing “little “about Lucy Wainwright Roche’s Little Beast. It’s fierce, unflinching, and will undoubtedly place her squarely at the top of her game.

Those familiar with Lucy Wainwright Roche are aware of her bell tone voice, her unshakable melodies, and her knack for wise, wry lyrics that clench the heart. It’s no surprise that Wainwright Roche is the daughter of Suzzy Roche (The Roches) and Loudon Wainwright III, half sibling to Rufus and Martha Wainwright. She grew up steeped in music.

But Lucy has carved out her own career as a touring singer/songwriter and recording artist, having sold over 50 thousand copies of her four critically acclaimed solo recordings released on her own label: Eight Songs, Eight More, Lucy, and There’s a Last Time for Everything. Other recordings include a collaboration with her sister Martha Wainwright on Songs In the Dark, a collection of lullabies, and two duet recordings with her mother Suzzy Roche: Fairytale and Myth (winner of Vox Pop Independent Music Awards) and most recently Mud and Apples.

For over a decade, as a solo act, armed with a guitar, a deadpan sense of humor, killer songs, and a voice that makes tough guys cry, she’s built a solid following across the US and Europe. As an opening act she has often appeared with such luminaries as the Indigo Girls, Mary Chapin Carpenter, and Neko Case, and she’s one of a few who can step out alone in front of a thousand strangers and play an entire set to a rapt audience.

Now, on her new 2018 release Little Beast (2019 Independent Music Award winner, “Best Album” Singer-Songwriter/Folk category), Lucy ups the ante with a dynamic, emotional recording masterfully and artfully co-produced with Jordan Brooke Hamlin. This collection of songs is an urgent and poetic call to a world gone awry. The journey from song to song is downright cinematic. One minute she eases us in with her flat-footed authenticity, and the next she lets loose with her wild side, and we imagine her howling at the moon. In Heroin, the first single from Little Beast, Lucy Wainwright Roche is hugging hairpin turns on the outside lane and you know it’s true. Sometimes chasing love is dangerous business:

It’s the Million Dollar Highway on a snowy day

It’s why I had to go, it’s why I longed to stay

There are many standouts on Little Beast: Heroin, Quit with Me, In Relation to Disaster, Trouble, Behind the Wheel, and Ohio is for Lovers are a few, but perhaps Soft Line, a wrenching plea to a lost love as it slips away, is the most haunting track. Simply put, the song is a dagger to the heart:

Watch out or the sun will set
On the picture we tried to get
On the story of why we met…

There’s nothing “little “about Lucy Wainwright Roche’s Little Beast. It’s fierce, unflinching, and will undoubtedly place her squarely at the top of her game.

(Early Show) An Evening With James McMurtry - Presented by Opus One & 91.3 WYEP

James McMurtry has been working with legendary Los Angeles-based producer Ross Hogarth at Santa Monica's GrooveMasters for his forthcoming album. Liner notes enthusiasts know multiple-Grammy-winning producer/engineer/mixer Hogarth from his work with Gov’t Mule, Roger Waters, The Black Crowes, Shawn Colvin, John Mellencamp, R.E.M.and Jewel, among many others. Hogarth’s wide and varied experience and taste opened up all creative doors and usual and unusual possibilities for all their classics. And no need to explain the incredible GrooveMasters Studio.

Hogarth has never allowed himself to be pigeonholed or trapped in any one musical genre as his studio work runs the gamut from the heavy metal icons Mötley Crüe to the Grammy-winning Americana favorite Keb’ Mo’ to recent releases by Van Halen, Ziggy Marley and the Sick Puppies. Exclusive and particular in its clientele, the semi-private Santa Monica recording studio where McMurtry will be recording has recently opened its doors to Laurel Canyon legends such as David Crosby, Bob Dylan, Warren Zevon, David Bromberg and more. The spiritual vibe and feel of this studio, along with the cast of characters, will most definitely bring out the best in the upcoming McMurtry record.

Other notable players on the album (in addition to his stellar band) include David Grissom (John Mellencamp) and Harmoni Kelley (Kenny Chesney). McMurtry will unleash this latest collection of poignant and timely songs on New West Records this fall! “I first became aware of James McMurtry’s formidable songwriting prowess while working at Bug Music Publishing in the ’90s,” says New West President John Allen. “He’s a true talent. All of us at New West are excited at the prospect of championing the next phase of James’ already successful and respected career.” McMurtry joins New West's singular roster of top-tier roots music all-stars including Steve Earle, Rodney Crowell, John Hiatt, Aaron Lee Tasjan, Buddy Miller, Nikki Lane and dozens more.

James McMurtry has been working with legendary Los Angeles-based producer Ross Hogarth at Santa Monica's GrooveMasters for his forthcoming album. Liner notes enthusiasts know multiple-Grammy-winning producer/engineer/mixer Hogarth from his work with Gov’t Mule, Roger Waters, The Black Crowes, Shawn Colvin, John Mellencamp, R.E.M.and Jewel, among many others. Hogarth’s wide and varied experience and taste opened up all creative doors and usual and unusual possibilities for all their classics. And no need to explain the incredible GrooveMasters Studio.

Hogarth has never allowed himself to be pigeonholed or trapped in any one musical genre as his studio work runs the gamut from the heavy metal icons Mötley Crüe to the Grammy-winning Americana favorite Keb’ Mo’ to recent releases by Van Halen, Ziggy Marley and the Sick Puppies. Exclusive and particular in its clientele, the semi-private Santa Monica recording studio where McMurtry will be recording has recently opened its doors to Laurel Canyon legends such as David Crosby, Bob Dylan, Warren Zevon, David Bromberg and more. The spiritual vibe and feel of this studio, along with the cast of characters, will most definitely bring out the best in the upcoming McMurtry record.

Other notable players on the album (in addition to his stellar band) include David Grissom (John Mellencamp) and Harmoni Kelley (Kenny Chesney). McMurtry will unleash this latest collection of poignant and timely songs on New West Records this fall! “I first became aware of James McMurtry’s formidable songwriting prowess while working at Bug Music Publishing in the ’90s,” says New West President John Allen. “He’s a true talent. All of us at New West are excited at the prospect of championing the next phase of James’ already successful and respected career.” McMurtry joins New West's singular roster of top-tier roots music all-stars including Steve Earle, Rodney Crowell, John Hiatt, Aaron Lee Tasjan, Buddy Miller, Nikki Lane and dozens more.

(Late Show) An Evening With James McMurtry - Presented by Opus One & 91.3 WYEP

James McMurtry has been working with legendary Los Angeles-based producer Ross Hogarth at Santa Monica's GrooveMasters for his forthcoming album. Liner notes enthusiasts know multiple-Grammy-winning producer/engineer/mixer Hogarth from his work with Gov’t Mule, Roger Waters, The Black Crowes, Shawn Colvin, John Mellencamp, R.E.M.and Jewel, among many others. Hogarth’s wide and varied experience and taste opened up all creative doors and usual and unusual possibilities for all their classics. And no need to explain the incredible GrooveMasters Studio.

Hogarth has never allowed himself to be pigeonholed or trapped in any one musical genre as his studio work runs the gamut from the heavy metal icons Mötley Crüe to the Grammy-winning Americana favorite Keb’ Mo’ to recent releases by Van Halen, Ziggy Marley and the Sick Puppies. Exclusive and particular in its clientele, the semi-private Santa Monica recording studio where McMurtry will be recording has recently opened its doors to Laurel Canyon legends such as David Crosby, Bob Dylan, Warren Zevon, David Bromberg and more. The spiritual vibe and feel of this studio, along with the cast of characters, will most definitely bring out the best in the upcoming McMurtry record.

Other notable players on the album (in addition to his stellar band) include David Grissom (John Mellencamp) and Harmoni Kelley (Kenny Chesney). McMurtry will unleash this latest collection of poignant and timely songs on New West Records this fall! “I first became aware of James McMurtry’s formidable songwriting prowess while working at Bug Music Publishing in the ’90s,” says New West President John Allen. “He’s a true talent. All of us at New West are excited at the prospect of championing the next phase of James’ already successful and respected career.” McMurtry joins New West's singular roster of top-tier roots music all-stars including Steve Earle, Rodney Crowell, John Hiatt, Aaron Lee Tasjan, Buddy Miller, Nikki Lane and dozens more.

James McMurtry has been working with legendary Los Angeles-based producer Ross Hogarth at Santa Monica's GrooveMasters for his forthcoming album. Liner notes enthusiasts know multiple-Grammy-winning producer/engineer/mixer Hogarth from his work with Gov’t Mule, Roger Waters, The Black Crowes, Shawn Colvin, John Mellencamp, R.E.M.and Jewel, among many others. Hogarth’s wide and varied experience and taste opened up all creative doors and usual and unusual possibilities for all their classics. And no need to explain the incredible GrooveMasters Studio.

Hogarth has never allowed himself to be pigeonholed or trapped in any one musical genre as his studio work runs the gamut from the heavy metal icons Mötley Crüe to the Grammy-winning Americana favorite Keb’ Mo’ to recent releases by Van Halen, Ziggy Marley and the Sick Puppies. Exclusive and particular in its clientele, the semi-private Santa Monica recording studio where McMurtry will be recording has recently opened its doors to Laurel Canyon legends such as David Crosby, Bob Dylan, Warren Zevon, David Bromberg and more. The spiritual vibe and feel of this studio, along with the cast of characters, will most definitely bring out the best in the upcoming McMurtry record.

Other notable players on the album (in addition to his stellar band) include David Grissom (John Mellencamp) and Harmoni Kelley (Kenny Chesney). McMurtry will unleash this latest collection of poignant and timely songs on New West Records this fall! “I first became aware of James McMurtry’s formidable songwriting prowess while working at Bug Music Publishing in the ’90s,” says New West President John Allen. “He’s a true talent. All of us at New West are excited at the prospect of championing the next phase of James’ already successful and respected career.” McMurtry joins New West's singular roster of top-tier roots music all-stars including Steve Earle, Rodney Crowell, John Hiatt, Aaron Lee Tasjan, Buddy Miller, Nikki Lane and dozens more.

Kat Edmonson: Dreamers Do Tour 2020

Kat Edmonson has played major stages across the United States, Europe and Japan. The Texas native and Brooklyn transplant forged her sound performing in small rooms and clubs before touring worldwide and performing with Lyle Lovett, Chris Isaak, Jaime Cullum and Gary Clark, Jr. In the decade since, Edmonson has emerged as one of the most distinctive performers in contemporary American music.

With a sweetly mellifluous soprano echoing Blossom Dearie’s lighter-than-air approach as well as her gift for evocative songwriting, the 35-year-old is a rare artist who embodies the spirit of the past while remaining resolutely au courant. Her unusually charming and seamless blend of old and new has garnered attention on NPR Tiny Desk concert, Austin City Limits TV, and A Prairie Home Companion. Other notable appearances include one of David Letterman’s final Late Night shows with Western Swing masters Asleep at the Wheel and Woody Allen’s film, Café Society backed up by New York’s premiere jazz ensemble, Vince Giordano and the Nighthawks. In 2018, Edmonson released her cinematically inspired, fourth album, Old Fashioned Gal to warm critical acclaim. The Associated Press describes Edmonson, "Part bashful debutante, part starry-eyed fiancée, part world-wise seductress, her voice possesses a singular expressiveness."

Kat Edmonson has played major stages across the United States, Europe and Japan. The Texas native and Brooklyn transplant forged her sound performing in small rooms and clubs before touring worldwide and performing with Lyle Lovett, Chris Isaak, Jaime Cullum and Gary Clark, Jr. In the decade since, Edmonson has emerged as one of the most distinctive performers in contemporary American music.

With a sweetly mellifluous soprano echoing Blossom Dearie’s lighter-than-air approach as well as her gift for evocative songwriting, the 35-year-old is a rare artist who embodies the spirit of the past while remaining resolutely au courant. Her unusually charming and seamless blend of old and new has garnered attention on NPR Tiny Desk concert, Austin City Limits TV, and A Prairie Home Companion. Other notable appearances include one of David Letterman’s final Late Night shows with Western Swing masters Asleep at the Wheel and Woody Allen’s film, Café Society backed up by New York’s premiere jazz ensemble, Vince Giordano and the Nighthawks. In 2018, Edmonson released her cinematically inspired, fourth album, Old Fashioned Gal to warm critical acclaim. The Associated Press describes Edmonson, "Part bashful debutante, part starry-eyed fiancée, part world-wise seductress, her voice possesses a singular expressiveness."

Chris Renzema - The Boxer & The Bear Tour

Chris Renzema is a dynamic writer and performer, whose combination of accessible - if a bit disheveled - charm, a love for storytelling, and poignant lyricism, can transform an evening concert into a conversation. Growing up in Grand Rapids, Michigan, Chris learned to play and sing in churches, while ingesting a steady diet of early 70’s Folk, Punk Rock, and Wilco. His faith and love for music inseparably interwoven, his personal writing plays out like heartfelt, jagged prayers.

Just as comfortable playing in a living room as he does a theatre, his honest, vulnerable lyrics both encourage and challenge listeners. His song "You're the Only One" is sung in churches across the country.

Chris Renzema is a dynamic writer and performer, whose combination of accessible - if a bit disheveled - charm, a love for storytelling, and poignant lyricism, can transform an evening concert into a conversation. Growing up in Grand Rapids, Michigan, Chris learned to play and sing in churches, while ingesting a steady diet of early 70’s Folk, Punk Rock, and Wilco. His faith and love for music inseparably interwoven, his personal writing plays out like heartfelt, jagged prayers.

Just as comfortable playing in a living room as he does a theatre, his honest, vulnerable lyrics both encourage and challenge listeners. His song "You're the Only One" is sung in churches across the country.

(Rescheduled from Oct 24) An Evening With Larry Campbell & Teresa Williams

This show has been rescheduled from October 24. All tickets purchased for the original date will be honored

Multi-instrumentalist, singer-songwriter Larry Campbell and singer-guitarist Teresa Williams’ acclaimed eponymous 2015 debut, released after seven years of playing in Levon Helm’s band – and frequent guesting with Phil Lesh, Little Feat, Jorma Kaukonen and Jack Casady, brought to the stage the crackling creative energy of a decades-long offstage union. A whirlwind of touring and promo followed, and when the dust cleared, the duo was ready to do it all again. Which brings us to Contraband Love, a riskier slice of Americana.

Larry, who produced Contraband Love, says, “I wanted this record to be a progression, bigger than the first one. That’s all I knew. I wanted the songwriting to be deeper, the arrangements more interesting, the performances more dynamic. Specifically how to get there, I didn’t know. I did know the songs were different. The subject matter was darker than anything else I’ve written.”

“More painful!” Teresa says, and laughs.

“Yeah,” Larry says with a smile. “I’m proud of our debut, but I felt like the songs were lighter than what I’m capable of doing. As a songwriter, I aspire to a sense of uniqueness: this is a great song and it could only have been written by me. I want to get there. It’s a journey, a goal, a pursuit. The mechanics of that pursuit are figuring out what you need to do to surpass your last body of work.”

Although it was not his conscious intent, three of the eight tunes Campbell penned for Contraband Love deal either obliquely or directly with various emotions surrounding addiction. For the blues rocking “Three Days in A Row,” he authoritatively delves into the crucial first seventy-two hours directly following an addict going cold turkey in an effort to get clean. “I was thinking about the things I’ve quit in my life,” he says. “The last time was cigarettes. I remembered the dreams I had in withdrawal.” Vintage-sounding country nugget “Save Me from Myself” (featuring Little Feat’s Bill Payne on piano) explores a troubled soul’s heartrending knowledge that they are hard to love. “I’ve certainly felt both sides of that situation,” Larry says, “and observed it many times.” Delicate waltz “Contraband Love,” a captivating vocal showcase for Teresa, takes on the other side of the story, when a parent (or spouse, or friend, etc.) realizes their only recourse for dealing with an addict is merely to stand “with arms wide open.” Of this remarkable piece, Larry says, “That melody would not leave me alone. It’s one of the more unique songs I’ve ever written.”

“Larry’s writing this stuff,” Teresa says, “and we’re naming off all the people in our lives who are currently going through this (addiction and loss) with a loved one, not to mention the family members and friends we’ve lost in the past from this affliction. That may have driven him. One of my oldest, most intimate friends – a functioning substance abuser since he was a teenager – died on the street in New York while we were in the studio. We dedicated the album to him.”

“The stuff of loss resonates,” Larry says.

Musically, Contraband Love revisits the Americana textures of the duo’s debut, deftly channeling Memphis, Chicago, the Delta, and Appalachia with equal assurance. Larry’s world-famous guitar work – scorching here, funky there, stellar always – punctuates the proceedings with riveting emotion, often like a third voice weighing in on a myriad of emotional states.

The barnburner leadoff single, “Hit and Run Driver,” is a harrowing-but-rocking survivor’s tale, showcasing longtime drummer and engineer/mixer Justin Guip.

To leaven out the darker tunes, Larry and Teresa added a recording of the reassuring Carl Perkins country classic “Turn Around,” with old friend and mentor Levon Helm, captured on drums shortly before his passing. Jaunty folk blues “My Sweetie Went Away,” features new bass player Jesse Murphy doubling on tuba for a distinctly New Orleans feel; traditional gutbucket country blues “Delta Slide,” is spiced with irresistible, harmonized yodeling.

“Stylistically, there’s a lot of different things going on,” Larry says. “So the sequencing was difficult. But I think I got it right.”

Indeed. Contraband Love stands as a new, bolder chapter in a story that arose triumphantly joyous from loss. “When Levon died,” Teresa says, “that put Larry into high gear. He’d already had his head set about making a record, but then it felt like a train took off! We just said, ‘life is short.’”

Another motivator for creating Contraband Love was the experience of taking the Larry Campbell and Teresa Williams show out on the road, as a duo, with a band, and opening for Jackson Browne (who loaned them his band). “It felt fabulous and fantastic,” Larry says. “After I met Teresa (in the mid 80s), I’d be out with Bob Dylan [Larry toured with the Nobel laureate for eight years] and something was missing. I gotta gig, and it’s what I always wanted, but it’s not my stuff, and it’s not with the person I want to be with. And then, when we got a taste of being a performing duo at the Rambles with Levon, the idea that we could expand on that was completely alluring.

“So virtually everything we’ve done musically since I left Dylan’s band, we’ve been asked to do together: Levon, Phil and Friends, Jorma and Jack, Little Feat; we’ve done it all as a unit, a duo, and it’s great. It’s rewarding on a lot of levels. The way I see it, when Teresa and I are together, doing our material for people who come to see us, then everything I ever wanted out of life is pretty well complete.”

This show has been rescheduled from October 24. All tickets purchased for the original date will be honored

Multi-instrumentalist, singer-songwriter Larry Campbell and singer-guitarist Teresa Williams’ acclaimed eponymous 2015 debut, released after seven years of playing in Levon Helm’s band – and frequent guesting with Phil Lesh, Little Feat, Jorma Kaukonen and Jack Casady, brought to the stage the crackling creative energy of a decades-long offstage union. A whirlwind of touring and promo followed, and when the dust cleared, the duo was ready to do it all again. Which brings us to Contraband Love, a riskier slice of Americana.

Larry, who produced Contraband Love, says, “I wanted this record to be a progression, bigger than the first one. That’s all I knew. I wanted the songwriting to be deeper, the arrangements more interesting, the performances more dynamic. Specifically how to get there, I didn’t know. I did know the songs were different. The subject matter was darker than anything else I’ve written.”

“More painful!” Teresa says, and laughs.

“Yeah,” Larry says with a smile. “I’m proud of our debut, but I felt like the songs were lighter than what I’m capable of doing. As a songwriter, I aspire to a sense of uniqueness: this is a great song and it could only have been written by me. I want to get there. It’s a journey, a goal, a pursuit. The mechanics of that pursuit are figuring out what you need to do to surpass your last body of work.”

Although it was not his conscious intent, three of the eight tunes Campbell penned for Contraband Love deal either obliquely or directly with various emotions surrounding addiction. For the blues rocking “Three Days in A Row,” he authoritatively delves into the crucial first seventy-two hours directly following an addict going cold turkey in an effort to get clean. “I was thinking about the things I’ve quit in my life,” he says. “The last time was cigarettes. I remembered the dreams I had in withdrawal.” Vintage-sounding country nugget “Save Me from Myself” (featuring Little Feat’s Bill Payne on piano) explores a troubled soul’s heartrending knowledge that they are hard to love. “I’ve certainly felt both sides of that situation,” Larry says, “and observed it many times.” Delicate waltz “Contraband Love,” a captivating vocal showcase for Teresa, takes on the other side of the story, when a parent (or spouse, or friend, etc.) realizes their only recourse for dealing with an addict is merely to stand “with arms wide open.” Of this remarkable piece, Larry says, “That melody would not leave me alone. It’s one of the more unique songs I’ve ever written.”

“Larry’s writing this stuff,” Teresa says, “and we’re naming off all the people in our lives who are currently going through this (addiction and loss) with a loved one, not to mention the family members and friends we’ve lost in the past from this affliction. That may have driven him. One of my oldest, most intimate friends – a functioning substance abuser since he was a teenager – died on the street in New York while we were in the studio. We dedicated the album to him.”

“The stuff of loss resonates,” Larry says.

Musically, Contraband Love revisits the Americana textures of the duo’s debut, deftly channeling Memphis, Chicago, the Delta, and Appalachia with equal assurance. Larry’s world-famous guitar work – scorching here, funky there, stellar always – punctuates the proceedings with riveting emotion, often like a third voice weighing in on a myriad of emotional states.

The barnburner leadoff single, “Hit and Run Driver,” is a harrowing-but-rocking survivor’s tale, showcasing longtime drummer and engineer/mixer Justin Guip.

To leaven out the darker tunes, Larry and Teresa added a recording of the reassuring Carl Perkins country classic “Turn Around,” with old friend and mentor Levon Helm, captured on drums shortly before his passing. Jaunty folk blues “My Sweetie Went Away,” features new bass player Jesse Murphy doubling on tuba for a distinctly New Orleans feel; traditional gutbucket country blues “Delta Slide,” is spiced with irresistible, harmonized yodeling.

“Stylistically, there’s a lot of different things going on,” Larry says. “So the sequencing was difficult. But I think I got it right.”

Indeed. Contraband Love stands as a new, bolder chapter in a story that arose triumphantly joyous from loss. “When Levon died,” Teresa says, “that put Larry into high gear. He’d already had his head set about making a record, but then it felt like a train took off! We just said, ‘life is short.’”

Another motivator for creating Contraband Love was the experience of taking the Larry Campbell and Teresa Williams show out on the road, as a duo, with a band, and opening for Jackson Browne (who loaned them his band). “It felt fabulous and fantastic,” Larry says. “After I met Teresa (in the mid 80s), I’d be out with Bob Dylan [Larry toured with the Nobel laureate for eight years] and something was missing. I gotta gig, and it’s what I always wanted, but it’s not my stuff, and it’s not with the person I want to be with. And then, when we got a taste of being a performing duo at the Rambles with Levon, the idea that we could expand on that was completely alluring.

“So virtually everything we’ve done musically since I left Dylan’s band, we’ve been asked to do together: Levon, Phil and Friends, Jorma and Jack, Little Feat; we’ve done it all as a unit, a duo, and it’s great. It’s rewarding on a lot of levels. The way I see it, when Teresa and I are together, doing our material for people who come to see us, then everything I ever wanted out of life is pretty well complete.”

Crystal Bowersox

Crystal Bowersox, a northwest Ohio native currently calling Nashville home, has built her life around music. Crystal’s love for music developed at an early age from a need to find peace in a chaotic world. Through art and creation, Crystal was able to direct her energy and emotion, finding a way to mend a mind in turmoil. For her, music was always the most effective form of catharsis, and she would play for anyone, anywhere. In her own words, “my guitar was an appendage. I couldn’t live without it.”

Dead set on a career in music, Crystal moved to Chicago as a teenager, where she spent her days busking on subway platforms in between working odd jobs. While in the big city, she broadened her musical horizons and shared her talents with a variety of venues, ultimately auditioning for the ninth season of American Idol. Crystal’s time on the show proved to be well spent, as she immediately left the the soundstage for the recording studio. Since her introduction to the world through television, Crystal has released 3 LP’s, two EPs, several singles, and is currently developing an autobiographical, theatrical rock concert titled, "Trauma Queen". Additionally, she has used her talents to benefit several causes close to her heart, and has become an advocate and inspiration for people living with Type 1 Diabetes.

Similar to her beginnings, Crystal intends to make music that has healing power, but at this point, she sees far beyond her own troubles. Her live show is a safe space for concertgoers. Attend a Crystal Bowersox show, and you just might see a grown man cry and a child dance simultaneously. You’ll also likely get the chance to meet her personally; Crystal is typically the first one to arrive and the last one to leave the venue. Meeting with the fans and hearing their personal stories is something Crystal considers a blessing in her life.

By reliving her own painful moments in song, Crystal hopes to transcend that pain, lifting herself and her audience to a higher place. In the opening lines of “A Broken Wing” she sings, “I know there’s beauty in the burden / And even on my darkest day that sun will shine.”

Crystal Bowersox, a northwest Ohio native currently calling Nashville home, has built her life around music. Crystal’s love for music developed at an early age from a need to find peace in a chaotic world. Through art and creation, Crystal was able to direct her energy and emotion, finding a way to mend a mind in turmoil. For her, music was always the most effective form of catharsis, and she would play for anyone, anywhere. In her own words, “my guitar was an appendage. I couldn’t live without it.”

Dead set on a career in music, Crystal moved to Chicago as a teenager, where she spent her days busking on subway platforms in between working odd jobs. While in the big city, she broadened her musical horizons and shared her talents with a variety of venues, ultimately auditioning for the ninth season of American Idol. Crystal’s time on the show proved to be well spent, as she immediately left the the soundstage for the recording studio. Since her introduction to the world through television, Crystal has released 3 LP’s, two EPs, several singles, and is currently developing an autobiographical, theatrical rock concert titled, "Trauma Queen". Additionally, she has used her talents to benefit several causes close to her heart, and has become an advocate and inspiration for people living with Type 1 Diabetes.

Similar to her beginnings, Crystal intends to make music that has healing power, but at this point, she sees far beyond her own troubles. Her live show is a safe space for concertgoers. Attend a Crystal Bowersox show, and you just might see a grown man cry and a child dance simultaneously. You’ll also likely get the chance to meet her personally; Crystal is typically the first one to arrive and the last one to leave the venue. Meeting with the fans and hearing their personal stories is something Crystal considers a blessing in her life.

By reliving her own painful moments in song, Crystal hopes to transcend that pain, lifting herself and her audience to a higher place. In the opening lines of “A Broken Wing” she sings, “I know there’s beauty in the burden / And even on my darkest day that sun will shine.”

David Archuleta - OK, All Right Tour 2020

David Archuleta became a star when he was just 16 years old. In 2008, more than 30 million television viewers fell in love with his angelic voice and their 44 million votes made him runner-up in Season 7 of ‘American Idol.’

Soon after, David had his first single, ‘Crush’ debut at No. 2 on the Billboard Hot 100 chart the week of its release. According to Nielsen SoundScan, the track sold 166,000 downloads that first week in the U.S. and subsequently more than 1.92 million digital copies to become double platinum. Three months later, David’s self-titled album, ‘David Archuleta,’ went gold, selling more than 750,000 copies in the U.S., and more than 900,000 copies worldwide.

With a faithful social media following (3.5 million Facebook followers, 1.3 million on Twitter and over 290K on Instagram), David has toured all over the U.S., Canada, Asia and even performed in the Middle East for the U.S. troops. In 2017, he relocated to Nashville and released his seventh album ‘Postcards In The Sky’ featuring all original songs that he had a hand in writing. David says it was an album of finding his own voice and what mattered most to him, and would begin shaping the music to come.

After a 2nd Christmas album release in 2018 with ‘Winter in the Air,’ David has started working on his 9th project for 2020. “There has been a movement with understanding oneself, going to therapy. I’ve been one of those people on that train and been discovering a lot about why I have these battles in my head, and how to separate myself from the negativity that can flood the mind a lot. I wanted to write about those battles, and I’ve been determined to show that we can win when the negativity and anxiety starts telling us we’re not good enough and can’t get through it. I’m determined to walk people through with me to prove we can be the victors of our minds, and that worrying paralyzing thoughts aren’t what define us, though I will say they can help us to become stronger by fighting forward.”

David Archuleta became a star when he was just 16 years old. In 2008, more than 30 million television viewers fell in love with his angelic voice and their 44 million votes made him runner-up in Season 7 of ‘American Idol.’

Soon after, David had his first single, ‘Crush’ debut at No. 2 on the Billboard Hot 100 chart the week of its release. According to Nielsen SoundScan, the track sold 166,000 downloads that first week in the U.S. and subsequently more than 1.92 million digital copies to become double platinum. Three months later, David’s self-titled album, ‘David Archuleta,’ went gold, selling more than 750,000 copies in the U.S., and more than 900,000 copies worldwide.

With a faithful social media following (3.5 million Facebook followers, 1.3 million on Twitter and over 290K on Instagram), David has toured all over the U.S., Canada, Asia and even performed in the Middle East for the U.S. troops. In 2017, he relocated to Nashville and released his seventh album ‘Postcards In The Sky’ featuring all original songs that he had a hand in writing. David says it was an album of finding his own voice and what mattered most to him, and would begin shaping the music to come.

After a 2nd Christmas album release in 2018 with ‘Winter in the Air,’ David has started working on his 9th project for 2020. “There has been a movement with understanding oneself, going to therapy. I’ve been one of those people on that train and been discovering a lot about why I have these battles in my head, and how to separate myself from the negativity that can flood the mind a lot. I wanted to write about those battles, and I’ve been determined to show that we can win when the negativity and anxiety starts telling us we’re not good enough and can’t get through it. I’m determined to walk people through with me to prove we can be the victors of our minds, and that worrying paralyzing thoughts aren’t what define us, though I will say they can help us to become stronger by fighting forward.”

Ratboys with Special Guest Another Michael

Upheaval and change are themes spread throughout the songs on Printer’s Devil, the latest Ratboys LP, out February 28, 2020 via Topshelf Records. But all the while, singer-songwriter Julia Steiner embraces moments of uncertainty as a necessary part of growing. Steiner recalls a David Byrne lyric, “I’m lost, but I’m not afraid” as inspiration for the transformative outlook, considering the line a personal mantra while writing Ratboys’ third full-length record. “There’s definitely a lot of uncertainty about what’s next, but I like to think that, in the midst of creating a lot of vulnerability for ourselves, we’re confident and becoming more self-assured.”

Steiner wrote the record with guitarist Dave Sagan while she was experiencing a dramatic shift in her own foundations, demoing out songs in her Louisville, Kentucky childhood home, which had just been sold and emptied out. “Demoing there was almost too intense,” Steiner says. “I kept writing in my journal that it feels like we shouldn’t be there. I don’t know if that feeling made its way directly into the lyrics, but to me the songs will always be connected to that sense of home and time passing.”

With years of touring under their belts, Steiner and Sagan have welcomed a newly consistent four-piece lineup, after years of shuffling through drummers. The band’s comfortable core -- which sees Steiner and Sagan backed by drummer Marcus Nuccio and bassist Sean Neumann -- is tangible across Printer’s Devil. What started as an acoustic duo has finally transformed into a full-scale indie-rock band with a clear identity. The rhythm section brings the band not only consistency, but a jolt in line with Steiner and Sagan’s growing sonic aspirations: Printer’s Devil was recorded live at Decade Music Studios in Chicago and was produced by the band and engineer Erik Rasmussen. Big-chorus power pop songs like “Alien with a Sleep Mask On” and “Anj” sound massive and larger than life, while the band’s dynamics beautifully thread together intimate folk songs like “A Vision” and devastating alt-country tracks like “Listening,” showcasing a rare range that invites listeners to imagine the band blowing out a 2,000-cap room or playing quietly next to you in the living room.

Building off their previous albums—AOID (2015) and GN (2017), which feature bright, youthful Americana narratives centered around soft vocal cadences and fluid, melodic lead guitars—Ratboys captures the bombastic, electrified fun of their live show in a bottle on Printer’s Devil and showcases their growing chemistry as a tight-knit group. Through all the change that fueled the record, Ratboys’ latest album Printer’s Devil finds a band that’s truly grown into itself and is just getting started.

Upheaval and change are themes spread throughout the songs on Printer’s Devil, the latest Ratboys LP, out February 28, 2020 via Topshelf Records. But all the while, singer-songwriter Julia Steiner embraces moments of uncertainty as a necessary part of growing. Steiner recalls a David Byrne lyric, “I’m lost, but I’m not afraid” as inspiration for the transformative outlook, considering the line a personal mantra while writing Ratboys’ third full-length record. “There’s definitely a lot of uncertainty about what’s next, but I like to think that, in the midst of creating a lot of vulnerability for ourselves, we’re confident and becoming more self-assured.”

Steiner wrote the record with guitarist Dave Sagan while she was experiencing a dramatic shift in her own foundations, demoing out songs in her Louisville, Kentucky childhood home, which had just been sold and emptied out. “Demoing there was almost too intense,” Steiner says. “I kept writing in my journal that it feels like we shouldn’t be there. I don’t know if that feeling made its way directly into the lyrics, but to me the songs will always be connected to that sense of home and time passing.”

With years of touring under their belts, Steiner and Sagan have welcomed a newly consistent four-piece lineup, after years of shuffling through drummers. The band’s comfortable core -- which sees Steiner and Sagan backed by drummer Marcus Nuccio and bassist Sean Neumann -- is tangible across Printer’s Devil. What started as an acoustic duo has finally transformed into a full-scale indie-rock band with a clear identity. The rhythm section brings the band not only consistency, but a jolt in line with Steiner and Sagan’s growing sonic aspirations: Printer’s Devil was recorded live at Decade Music Studios in Chicago and was produced by the band and engineer Erik Rasmussen. Big-chorus power pop songs like “Alien with a Sleep Mask On” and “Anj” sound massive and larger than life, while the band’s dynamics beautifully thread together intimate folk songs like “A Vision” and devastating alt-country tracks like “Listening,” showcasing a rare range that invites listeners to imagine the band blowing out a 2,000-cap room or playing quietly next to you in the living room.

Building off their previous albums—AOID (2015) and GN (2017), which feature bright, youthful Americana narratives centered around soft vocal cadences and fluid, melodic lead guitars—Ratboys captures the bombastic, electrified fun of their live show in a bottle on Printer’s Devil and showcases their growing chemistry as a tight-knit group. Through all the change that fueled the record, Ratboys’ latest album Printer’s Devil finds a band that’s truly grown into itself and is just getting started.

@clubcafelive

56-58 South 12th Street, Pittsburgh PA 15203 (In Pittsburgh’s Historic South Side)