upcoming live events

VTP & 1988 Entertainment Presents:

The Widdler

Friday, June 7th 2024
Volcanic Theatre 
Doors 8:00 PM
18+

The Widdler:

Born in Tel Aviv and living in Austin, TX, The Widdler is widely recognized as an innovator and originator of dub sound. Constantly practicing, The Widdler incorporates mix sessions into his daily routine, which translates to his flawless performances at shows; Taking influence from various genres of music and lifestyle, his tunes come in all shapes and colors. From the chilled reggae dubs and blue mood atmospheres to the mean menacing throbs of bass and percussion, The Widdler knows how to weave his musical roots with his production that makes each set entirely special. Sit back, light a spliff, and enjoy the sounds of The Widdler.

"Everyone knows that you can sing…”

For The White Buffalo – aka singer / songwriter / guitarist Jake Smith, Oregon-born, Southern California-raised – it was time to take the less travelled path; to assemble notions for studio album Number 8, the follow-up to ‘On The Widow’s Walk’ (Snakefarm, 2020), and embark on a voyage of discovery.

Out with the old, the organic, the expected, the tried; in with the new – new producer, new studio, new location, no distractions, no looking back…

Enter ‘Year Of The Dark Horse’…

“You think we’re a country band? A folk band? Americana? Rock? What the fuck are you gonna say now?!” laughs Jake. “With this album, I wanted something outside of what I’ve ever done. I wanted to open up. Do something dangerous. I’m hard to put into a singular genre as it is, but now I really wanted to take away any kind of preconception or pigeon-holing.

“And don’t ask me, cos I don’t know what it is! It’s a genre-bending thing – there’s elements and influences from ELO, Daniel Lanois, Tom Waits, The Boss, circus, pirate music, yacht rock, and I’m driving and pushing some of these numbers in a way I’ve never done before.

“At the top of the pandemic, I put the acoustic guitar on its stand, got a synthesizer and began writing on it, not really knowing how to play keys, just exploring the different sounds and landscapes. In the not knowing, it allowed me to expand my vocal melodies and compositions in ways the guitar had possibly limited.” 

When Jake, flanked by regular touring / recording compadres, bassist / keyboard player / guitarist Christopher Hoffee and drummer Matt Lynott, crossed the threshold of East Nashville’s Neon Cross Studio, a converted Southern Baptist Church, he wasn’t chapter an’ verse prepared, as usual.

The time before recording had been a crazy one, so there were a bunch of loose ends to be tied (“I’m a perpetual procrastinator” – Jake), plus only three of the 12 songs had been completely written. Jake had maps in his head, but most were mere bones of compositions with only a few key lyrics penned. This allowed producer / studio owner Jay Joyce – plus trusted assistant, Jason Hall – the wiggle room to really get involved, to guide and explore new frontiers …

“It was a whirlwind of creativity,” recalls Jake. “We tracked 12 songs in 11 days; no over-thinking, no looking for perfection, no egos, no playing it safe, just feel, and I’ve never had a producer act so much like a producer… twisting, elevating and contorting our talents!”

With an impressive clientele numbering Eric Church, Brothers Osborne, Fidlar, Ashley McBryde, Halestorm, Little Big Town, Cage The Elephant, to name just a few, multi-instrumentalist Joyce has a reputation for working at an intense level.

He’s a Grammy Award-winning Producer of the Year (2018), has 4 CMA and 5 ACM Awards, and when it comes to making music, the Ohio native is never one to take the obvious route – perfect for an album featuring a dozen musical vignettes, individual yet constant in flow; an album loosely based around the shifting of the seasons and the shifting of a relationship; an album showing off the complete scope of Jake’s song-writing craft, from the stripped back to the fully loaded…

“Jake is fierce, he basically wrote a whole movie,” says Jay. “We holed up in an old church, in the midst of the pandemic. It was just the four of us, making the soundtrack to his movie, and I have to say, it was inspirational.”

To keep the storyline as clear as possible, the 12 songs were recorded in sequence, with every square inch of Neon Cross brought into play; a new sonic palette was required, a unique set of sounds, and if it meant pushing the musicians into new, sometimes uncomfortable, areas, well, that was the price to pay…

“Oh, he would break at least one of us on the daily!” exclaims Jake. “At some point, we all questioned if we could even sing or play! We’d start at 11, have lunch at one or two, be done by seven, and we felt like we’d gone to war!! Exhausted, our heads spinning. Like, what did we even do today?!

“A lot of stuff was tracked on the fly, and Jay would help guide arrangements, bridges, links, all sorts of things, then he ended up adding other elements in the mix to bind it all together. He’s an insane musician and he would change things on a dime. We’d spend an hour getting a drum tone, then he’d say, ‘Sounds amazing, but any fool can make a drum kit sound good’. So he’d abandon all of that, and end up using a 50 dollar child’s kit mic’d with a singular microphone and pump it through a tiny Marshall amp. His mind works in a manner I’ve never witnessed in anyone else!”

But what about the vocal recording? Surely Jake’s signature baritone, a much-revered calling card, required nothing more elaborate than a candle-lit corner, some honey, cigarettes and coffee…

“Not reallyl!” laughs Jake, “he kept putting me in strange and awkward positions – on two or three of the songs, he sat me down on a low-profile couch, with the mic a foot off the ground, so I’m hunched over singing with my knees higher than my head. He was taking away my body, my power. He’d say, ‘Everyone knows that you can sing, bro, what else is there…?’ He was looking for a vibe, a cool factor, not vocal acrobatics. 

“And he’s meticulous about trimming the fat, and about syncopation, where the words are landing. He would also sense if something wasn’t quite working, or if it was getting repetitive; on ‘Love Will Never Come’ he forced me to abandon the vocal melody and lyrics I had prepared, nearing a hundred words, saying it sounded like, ‘Hickory Dickory Dock… I’m bored after hearing that melody twice’. He made me take an entirely different approach, on the spot, like, ‘Make up something cool. Now! GO! GO!’ I’ve never been challenged like that before! The first thing that spilled out of me was the map for that performance. 

“He’s a fucking genius with a splash of bullying ex-wife. You know he’s right, you trust him, and he will push you beyond what you think you’re capable of.” 

For ‘Year Of The Dark Horse’ to achieve its full potential, Jake knew the experience had to be immersive, which is why the Nashville location proved crucial. Not only were the three musicians away from the lures of home, but the house they all stayed in was just a block from the studio, and filled with a variety of instruments. Wherever they were, they could hone in on the project, and some of the songs came together while the clock was ticking… 

“I wrote ‘Love Song #3’ eight days into recording,” remembers Jake. “I knew the story and the scope of the album needed a true love song, so I wrote one from a melody I had swimming around in my head. 

“I work strangely well under desperate conditions,” he continues, making sure to give credit to his fellow musicians, his ‘band of brothers’; they hadn’t heard the songs at all prior to entering the studio, “coming in blind”, but they collectively stepped up to the plate, and beyond, sometimes getting a tune out of instruments they’d never even heard of!

As for Jake, he was happy to embrace a project where new boxes were being ticked on a daily, sometimes hourly, basis. This time around, it was all about building on glories past, adding fresh, exciting, more left-field moments to a style and a sound that has seen his music growing in stature worldwide, supported by key placements in the worlds of TV and film (‘Sons Of Anarchy’, ‘Californication’, ‘The Punisher’, ‘The Terminal List’, etc.).

Over the years, Jake has built a second-to-none reputation for the emotional weight of his music, and here this core element dramatically underpins a body of work that allows the imagination of the listener to play an important part throughout, building on a tale of debauchery (of the drunken variety) and blame, of love and loss, a life lived against the odds, the whole thing set in one lunar year, following our anti-hero through the highs and lows of the seasons. 

And who is this mysterious Donna? And what was she doing in the bar? And in the bathroom?!  (‘She Don’t Know That I Lie’). She’s right there at the heart of the action, and the song that bears her name is probably the most propulsive on the album – an open display of Jake’s deep regard for the great Jeff Lynne…

“During the pandemic, I would ride around on my bike with a speaker on the back, tripping balls, and listening to ELO,” he recollects. “I love Jeff Lynne!”

Hard on the stiletto’d heels of ‘Donna’ comes album closer ‘Life Goes On’, which bring things to a conclusion in gentle, reflective tones. Jake felt his way through the song in the studio, then when he stepped up to do it for real, was told by Joyce that his first take was ‘the one’…

“He wouldn’t let me have another crack! ‘You can’t beat that!’ One single imperfect take when I wasn’t even aware we were recording. Pure, honest, true...”

Which effectively sums up ‘YOTDH’ as a whole, The White Buffalo’s most unpredictable and inventive work to date, the most well-rounded, too – surprising, spontaneous and spectacularly genre resistant.

‘Year Of The Dark Horse’, coming soon via Snakefarm: normal rules do not apply.

Volcanic Theatre Pub Presents: 

Cole Chaney

colechaneymusic.com

Sunday, June 9th 2024

At Volcanic Theatre Pub

Cole Chaney -

"Originally from Boyd County, KY, Chaney has since relocated to Lexington and is sure to be the next big thing coming out of Kentucky. At only 21 years old, Chaney’s catalog may be small, but he already boasts an absolute masterpiece of an album in which he proves wise beyond his years.

Mercy, his debut album released in 2021, is a 12-song showcase of Eastern Kentucky, blue collar anthems highlighted by Chaney’s deft lyricism and storytelling. An unknown musician prior to the album’s release, Chaney has since experienced a meteoric rise in popularity and has quickly amassed a growing and dedicated fan base, already thirsty for new music."

-Whiskey Riff

Eli Howard - 

ELI HOWARD has an alternative country rock sound that has not only created a dedicated fan base in the Northwest and beyond but allowed him to share the stage with artists including the Steel Woods, Whiskey Myers, Shane Smith and the Saints and William Clark Green. Their new single “Wildfire” is rapidly gaining popularity on Spotify.

Lioneer -

Based now in San Diego, Lioneer is the new & improved chapter of Mike Liorti's musical journey formerly known as Rosedale (from Toronto, Canada). His catchy, anthemic power-pop carries on the nostalgic pop-punk/emo movement of the early 2000s but in a new, futuristic, cosmically-uplifting light. Currently performing as a three-piece, Lioneer's energetic live show has an immaculate production incorporating synced-up lighting and visuals to match each song uniquely. New singles such as "Don't Wait For Tomorrow" and "The Mood" are sure to reignite your passion and get you on the dance floor.

Lioneer on Spotify

Catching Flies -

Catching Flies — aka multi-instrumentalist, producer and DJ George King — released his debut album 'Silver Linings' in July 2019. Containing shades of everything from hip-hop to house, from soul to jazz, it was hailed as 'a soundtrack to Summertime' by the 405 — and was awarded album of the month by Future Music who described it as 'a brilliantly eclectic record… a moving journey that will last long in the memory.' Clash Magazine praised the LP's 'killer beats' and 'artfully orchestrated introspection,' whilst London In Stereo praised it's 'exceptional production.' Other press coverage for the album included The Guardian, Complex, Nowness, Mixmag, iD Magazine, Dazed & Confused, The Line of Best Fit and more. He has received radio support from the likes of Gilles Peterson, Pete Tong, Annie Mac, Lauren Laverne, Mary Anne Hobbes & Huw Stephens. Artist support for 'Silver Linings' has come from the likes of Bonobo, Jungle, Caribou, Loyle Carner, Nils Frahm, The Blessed Madonna, George Fitzgerald and Lane 8. He toured the album performing headline Live shows throughout the UK, Europe, Asia and North America, as well as DJ shows at Bonobo's 'OUTLIER' event series in Europe and North America. He was also recently nominated for a BAFTA ('Best Music' category) for his soundtrack work on a video game.

Silver Linings was followed by 'Silver Linings Remixed,' a remix album featuring versions of tracks from his debut album reimagined by DJ Seinfeld, Andhim, Soundbwoy Killah, Laurence Guy, Ron Basejam, Grandbrothers, Trim and more. Typically wide ranging on genre, the mood progresses from ambient soundscapes to hip hop beats, deep disco and house to breakbeats and emotive techno. Linking the album together includes a new Catching Flies track 'Daymarks,' a "Part 2" version of 'Yu' which features a transatlantic rap collaboration between the UK's Jehst and US's Blu (of Blu and Exile fame) and Catching Flies' own "Ambient Reprise" of 'Satisfied.' Speaking on air on BBC6 Music, Lauren Laverne said — 'Remix albums — sometimes they're great, sometimes they're not so good with lots of filler… This is not one of those. This is one of the really great ones where every track is different and diverse and interesting. You never quite know where it's going to go, and I've put aside so many tracks to play on the show from this remix album. I would heartily recommend it. It works brilliantly well.'

Catching Flies then released an EP with Anjunadeep, as well as hit single 'GLY,' which has received over 20 million streams to date and came with remixes by revered British dance/pop band Hot Chip, and Ninja Tune's DJ Boring. GLY was shortly followed by a Cercle live session performance of a new track called 'Orsay,' filmed at the iconic Musee D'Orsay in Paris. Next came dancefloor banger 'Oi,' which was subsequently remixed by Sofia Kourtesis. He has recently hit 2 million monthly listeners on Spotify (no mean feat given he releases all his music independently on his own imprint Indigo Soul). He is currently finishing his second album, scheduled to be announced and released later this year.

F.Y - 

Michael Palascak is a comedian who grew up in Indiana and now lives in LA. He
performed on both The Late Late Show with James Corden and The Late Show with
Stephen Colbert in the same year. He has over 1 million views on YouTube . In
addition, his resume includes A Little Late with Lilly Singh , The Tonight
Show,  Letterman ,  Craig Ferguson ,  Conan , has a Comedy Central Half Hour special, and
was a  Top 5 Finalist on Last Comic Standing  where one judge claimed, “My first
impression of Michael was a great likability.  This is a guy that could star in a sitcom.”
Michael’s likability allows him to relate to his audiences in a real way which sets up the
huge laughs he gets from his sharp, personal material. Consistently writing and
performing, this summer Michael released both a new album— The Internet Live
through 800 Pound Gorilla and a new stand-up special on the Dry Bar app— 1984 .
Available for free streaming. Drew Hunt of The Chicago Reader wrote about Michael, “In
a lot of ways, he represents the ideal antidote to the sort of unbridled cynicism that
pervades much of contemporary stand-up.” Michael’s optimism continues in the new
National Lampoon series — The Bright Side where he takes a positive stance on a
negative topic streaming on YouTube. www.michaelpalascak.com

Manic Focus + The Sponges

Manic Focus -

Denver-based producer Manic Focus is an artist of many talents. As a magician, he uses sleight of hand to pull objects out of thin air. As an electronic artist, he executes similarly impossible sonic acts with his vibrant, genre-defying music. But his strengths lie not only in the musical and magical: what also makes Manic Focus stand apart is his mental triumphs. 

Manic Focus’ unique style - defined by a hybrid of electronic, funk, soul, and hip-hop - has helped the producer cultivate a fervent fanbase captivated by his immersive studio trickery and vibrant creative spirit - a combination that has led him to performances at festivals such as Lollapalooza, Bonnaroo, Hulaween, North Coast Music Festival, High Sierra Music Festival, Camp Bisco, Wakaan Festival, Summer Camp Music Festival, and multiple opening slots at Red Rocks in support of Zhu, Emancipator, Pretty Lights, and more.

Now, Manic Focus releases his 7th studio album, Never Not Blue, a new full-length project that showcases the producer’s vast growth as a multi-genre artist, including songs with the blues-infected electronic style of his earlier work as well as a wide range of modern bass music influences. Having consistently evolved over the past decade, fleshing out his sound to incorporate new approaches to genre, songwriting, and composition, Manic Focus’ new album is an amalgamation of the various styles and sounds he’s explored over the years. In many ways, Never Not Blue is a career retrospective - a look back at where Manic Focus began, and just how far he’s come.

The Sponges -

From the deepest and darkest soul-snatching pits of the
inescapable swampy hellscape known as Florida, arose an
unlikely glimmer of light… The Sponges. Blending classic
scrunchy-faced funk with next level bass house production,
The Sponges have carved their own lane in electronic music.
Having gained support from artists such as GRiZ, Zeds Dead,
Tchami, AC Slater, The Floozies, Manic Focus and Jauz, it’s
clear that their infectious sound is the perfect addition to
peak party hours.
Due to their deep-rooted love for hippie fests and nightclub
debauchery, the duo’s mission has always been to blend
sounds, bend bodies, and deliver the most fun and energetic
listening experiences to audiences everywhere. After FIVE
#1 records on Beatport, The Sponges are well on their way
to establishing themselves as one of the greatest acts to ever
grace the sonic wasteland known as the electronic music
industry. Prepare your playlists for the dukes of disco, the
future of funk, the lords of the low-end, the czars of certified
bangers, the emperors of ecstasy, the rulers of the rave, the
bassline bastards, and the gods of groove as they gear up for
an explosive year in 2022!

James McMurtry w/ Support from BettySoo -

James McMurtry - James McMurtry's new effort, The Horses and the Hounds, the acclaimed songwriter backs personal narratives with effortless elegance ("Canola Fields") and endless energy ("If It Don't Bleed"). This first collection in seven years, due August 20 on New West Records, spotlights a seasoned tunesmith in peak form as he turns toward reflection ("Vaquero") and revelation ( closer "Blackberry Winter"). Familiar foundations guide the journey. "There's a definite Los Angeles vibe to this record," McMurtry says. "The ghost of Warren Zevon seems to be stomping around among the guitar tracks. Don't know how he got in there. He never signed on for work for hire."

The Horses and the Hounds is a reunion of sorts. McMurtry recorded the new album with legendary producer Ross Hogarth (Ozzy Osbourne, John Fogerty, Van Halen, Keb' Mo') at Jackson Browne's Groovemaster's in Santa Monica, California, a world class studio that has housed such legends as Bob Dylan (2012's Tempest) and David Crosby (2016's Lighthouse) as well as Browne himself for I'm Alive (1993) and New Found Glory, Coming Home (2006). McMurtry and Hogarth first worked together 30 years ago, when Hogarth was a recording engineer in the employ of John Mellencamp at Mellencamp's own Belmont Studios near Bloomington, Indiana. Hogarth recorded McMurtry's first two albums, Too Long in the Wasteland and Candyland, for Columbia Records and later mixed McMurtry's first self-produced album, Saint Mary of the Woods, for Sugar Hill Records. Another veteran of those three releases, guitarist David Grissom (Joe Ely, John Mellencamp, Dixie Chicks), returns with some of his finest work.

Accordingly, the new collection marks another upward trajectory: The Horses and the Hounds will be McMurtry's debut album on genre-defining Americana record label New West Records (Steve Earle, Rodney Crowell, Lucinda Williams, John Hiatt, Aaron Lee Tasjan, Buddy Miller, dozens more).

"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 perfectly fits a label housing "artists who perform real music for real people." After all, No Depression says of the literate songwriter's most recent collection, Complicated Game: "Lyrically, the album is wise and adventurous, with McMurtry — who's not prone to autobiographical tales — credibly inhabiting characters from all walks of life." "[McMurtry] fuses wry, literate observations about the world with the snarl of barroom rock," National Public Radio says. "The result is at times sardonic, subversive and funny, but often vulnerable and always poignant."

His lauded storytelling — check out songs such as "Operation Never Mind" and "Ft. Walton Wake-Up Call" on The Horse and the Hounds— consistently has turned heads for decades now. "James writes like he's lived a lifetime," said John Mellencamp back in 1989, when Too Long in the Wasteland hit the Billboard 200. "James McMurtry is one of my very few favorite songwriters on Earth and these days he's working at the top of his game," says Americana all-star Jason Isbell. "He has that rare gift of being able to make a listener laugh out loud at one line and choke up at the next. I don't think anybody writes better lyrics." McMurtry's albums Just Us Kids (2008) and Childish Things (2005) back the claim, each scoring endless critical praise. The former earned McMurtry his highest Billboard 200 chart position in two decades (since eclipsed by Complicated Game) and notched Americana Music Award nominations. Childish Things spent six full weeks topping the Americana Music Radio chart in 2005 and 2006, and won the Americana Music Association's Album of the Year, with "We Can't Make It Here" named the organization's Song of the Year.

Other accolades include a 1996 Grammy nomination for Long Form Music Video for Where'd You Hide the Body and an American Indie Award for Best Americana Album for It Had to Happen (1997).

McMurtry tours year-round and consistently throws down unparalleled powerhouse performances, reflected in the release of two live discs: the universally lauded Live in Aught-Three on Compadre Records, and 2009's Live in Europe, which captured the McMurtry band's first European tour and extraordinary live set. Along with seasoned band members Ronnie Johnson, Daren Hess, and Tim Holt, Live in Europe features special guests Ian McLagan (Faces) and Jon Dee Graham (True Believers, Skunks). (Video of the performance is available on the included DVD.)

BettySoo -

BettySoo may well have the most gorgeous voice in Texas ...if notin all contemporary folk – its purity and strength can be downrightdevastating.”– Acoustic GuitarBettySoo’s vocal prowess is a thing of wonder. A world-classinstrument of deft phrasing and purity, a voice that knows whento hold back and when to dive in. At her own live shows, takinga verse on stage with friends or singing harmonies in sessionswith Austin’s finest, BettySoo sings with consummate lovelinessand self-assurance. A voice that knows the roots of Americanmusic inside and out; coming from a most unexpected place –a diminutive Korean-American with a deceptively girl-next-doordemeanor.Then the performance reels you in.“Truly remarkable. BettySoo’s sharp, often self-deprecating humorskillfully wove the songs together. Her clear, evocative voice andpoignant lyrics recall Patty Griffin and Joni Mitchell, and did Imention she’s a hell of a guitar player?”– No Depression, live concert reviewTouring the unforgiving circuit of listening rooms, clubs andfestivals, BettySoo has mastered the art of performance.A funny anecdote sets up a song of heartbreak and need;a witty rejoinder belies the dark truths that underpin much ofher work.

NOT.GREENDAY -

The worlds most dangerous tribute to the band we are NOT. 

A live Green Day experience by fans for fans. 

Performing "dookie" in its entirety along with hits and deep cuts from every era of Green Day's iconic catalog that spans over four decades, NOT.GREENDAY delivers a high energy 90+ min set of pure nostalgia. 

Join us in celebrating Pop Punk legends, Rock and Roll Hall of Fame Inductees, and 20 time Grammy Nominees, GREEN DAY, with the nation's premiere tribute act, NOT.GREENDAY. Performing hits and deep cuts from every era of Green Day's catalog spanning over four decades, including songs from; 39/Smooth, Kerplunk, Dookie, Insomniac, Nimrod, Warning, American Idiot, 21st Century Breakdown, ¡UNO!/¡DOS!/¡TRÉ!, and Revolution Radio! As 4 die-hard, lifelong Green Day fans, NOT.GREENDAY brings a high energy, non-stop performance that is guaranteed to have you dancing and singing along in a sea of nostalgia. 

NOT.GREENDAY is:

CAMERON SCOTT MOORE - LEAD VOCALS & GUITAR

MARK BROWN - BASS & VOCALS

ASHTON ADAMS - DRUMS

SAMMY DIAZ - LEAD GUITAR

The Mountain Grass Unit -

The Mountain Grass Unit consists of three Birmingham pickers: Drury Anderson (mandolin and vocals), Luke Black (acoustic guitar and banjo), and Sam Wilson (upright bass). The Mountain Grass Unit has played music festivals, private functions and multiple music venues, playing bluegrass tunes and adding a bluegrass touch to country, jazz, funk, rock, and even metal. With the addition of Luke Black and Sam Wilson on harmonies, The Mountain Grass Unit has established the firm foundation to take on not only the vocal harmonies of traditional bluegrass tunes, but also the freedom to adapt songs from various genres to an all-acoustic format. Aside from their original songs, all three are equally comfortable restyling a Tony Rice number, a classic Grateful Dead tune, or covering contemporary acoustic masters like Billy Strings. The youthful exuberance and energy they bring to the stage is always remarkable.  Their competency at what they do was best described by Birmingham music promoter Steve Masterson when the boys performed at his Acoustic Café festival: “They don’t just play good for their age, they play good. Period”.  Sam, Luke, and Drury are excited to share with their audiences this new and exciting musical chapter.

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.

Volcanic Theatre Pub Presents:

• Vincent Neil Emerson
• At Volcanic Theatre Pub, Tuesday, June 25th
• Doors @8PM - Show Starts @ 9PM

Vincent Neil Emerson has become a staple among folk and country music fans nationwide, celebrated for his honest tales of life on the road, heartbreak, and struggles of all sorts. His first LP, Fried Chicken & Evil Women, from 2019, established him as a refreshing voice in the modern country music landscape. The songs from that first album were charming and playful songs, but didn't reveal the entirety of Emerson's story.

On his brilliant new album, The Golden Crystal Kingdom, Emerson transcends the role of a honky-tonk country singer and becomes a chronicler of his history. The album is a bold continuation of the story he tells on Vincent Neil Emerson, with songs like the title track exploring the feelings he was left with after his days spent playing in Texas honky-tonks and dancehalls, and the track "The Time of The Rambler," inspired by the early days of living in his car and busking on the streets.

He was born and partly raised in East Texas, around his Choctaw-Apache family, and spent most of his life moving around the state. Raised by a single mother, he lost his father to suicide when he was nine. Emerson dealt with those feelings of abandonment and loss on his self-titled album, with the track "Learning to Drown" in particular.

His grandmother and grandfather brought the family to Texas when Emerson's mother was a child, leaving their ancestral Choctaw-Apache homelands in Louisiana behind to try and build a better life for themselves and their children. Emerson always identified with his Native American roots, but it wasn't until 2021's self-titled album that he examined and tried to shed light on the devastating history of his tribe with the song "Ballad of the Choctaw Apache."

Sonically, The Golden Crystal Kingdomfinds Emerson expanding his scope into rock and roll territory, tapping into the storied sounds of folk music gone electric, and following in the footsteps of artists like Bob Dylan and Neil Young. On the album, Emerson retains his diamond-sharp storytelling while imbuing the work with a freewheeling rock and roll aesthetic, creating an album as fun as his live shows and as cathartic as his previous work.

With production from Shooter Jennings, Emerson wanted to establish some sounds as touchstones but emphasized following his own intuition for the aesthetics of his record. "I didn't really want to model this record after anybody else's music, but I've been heavily influenced by a lot of old rock and roll music from the sixties and seventies singer-songwriter music," Emerson explains.

The album wasn't necessarily created as an opposing force to the country and folk sounds his fans have come to expect, but he did want to make a record that showcased another side of himself as a writer. He also leaned on friends and collaborators like Jennings, Steve Earle, and Rodney Crowell to help him flesh out this album.

Emerson has been able to call these one-time heroes friends and mentors, and it is these relationships that have helped the songwriter find his confidence in writing about his personal history and standing up for the causes he believes in. Emerson wrote "Man From Uvalde" after the horrific and tragic mass shooting in the city of Uvalde, Texas, and he was initially hesitant to include the track on The Golden Crystal Kingdom. "It's a daunting thing to try to dive into social issues in songwriting because I wasn't sure how people would really take it," Emerson says. "I recorded a rough demo version of the song, and I sent it to Steve [Earle]. I just wanted to get his thoughts on it and see if it was worth anything. He got back to me, and he said he really liked the song and thought it was great. He gave me a few ideas and ways to look at the subject differently, and it really helped me finish the song. That encouragement gave me the confidence to include it on the album."

The Golden Crystal Kingdom also pays tribute to some of the peers Emerson cut his teeth with in the music scene. He covers the Charley Crockett song, "Time of the Cottonwood Trees," and is quick to pay tribute to his labelmate and dear friend Colter Wall. "Those two had my back since day one. They've been some of my biggest supporters, and they've always inspired me to write better songs and encouraged me to pursue this," Emerson reflects. "Especially at a time when I was starting out and I didn't really have a lot of encouragement or even self-confidence to do this, they were always there for me."

As a kid who grew up in a trailer with a single mother, went through bouts of homelessness as a young man, and grinded through countless shows to get where he's at, Vincent Neil Emerson is never quick to praise his own work ethic. He always refers to the friends, family members, and collaborators who have shown their faith in his vision.

But humility doesn't mean Emerson isn't one of the hardest working, most talented songwriters to emerge from the alt-country underground in years. His style is one of a kind, and his ability to blend tales of the everyman with tributes to his past, present, and future make him a peerless songwriter. On The Golden Crystal Kingdom, Vincent Neil Emerson carries on the torch of his singer-songwriter forebears while infusing the legacy with his unique and thrilling point of view.

Volcanic Theatre Pub Presents:

Joseph Konty in the Pub

Wednesday, June 26th 2024

Doors @ 7:30 PM - Show Starts @ 8PM

Joseph Konty -

In 1997 Joseph started his music and art career in Eastern Oregon moving operations to Portland, OR in 2002. His father and mother personally managed their son. Since then he has an amassed body of work, studio albums, singles, live albums, tours, videos. While working with independent labels, managers, booking agencies and distribution companies throughout the U.S. and overseas. His primary markets being Portland, OR & metro, The Pacific Northwest and Denver, CO.

After graduating college in 2005 with a degree in counseling Joseph expanded his music further with his Father and Mother. In 2012 after years working together Joseph's father passed away from a 4 year battle with systemic scleroderma. In 2013 with his experience and training Joseph worked with charter schools and in 2015 opened his own art school to train, educate and produce music artists after the birth of his son Isley. His first artist he produced was Josephine Relli. He now is her guitarist. He was a music director at a church in Sherwood, OR and since has been working on his own albums, singles, shows and educational work in music. Still working with artists, students, the community & seniors with dementia, Alzheimer's and memory loss. He teaches at Youth Music Project in West Linn, OR a non profit

He still keeps all operations family with his wife Rachel and son Isley, mother Sharon and all their animals in West Linn.

Definitely Dead -

Definitely Dead is a dynamic Grateful Dead tribute band from Woodlake, CA, whose members skillfully breathe new life into the iconic band's timeless legacy. With nearly 200 years of professional musical experience between them, each member of Definitely Dead brings their unique talents and experiences to every room they play, resulting in a powerful synergy that captivates audiences and keeps the spirit of the Grateful Dead alive.

Band Members:
Marshall Kipp - Guitar, Vocals, The BEAM
Don Boomer - Drums, Vocals
Brian Beal - Bass, Vocals
Darrell Devaurs - Keys
Keith Hamm - Guitar

With a simply magical lighting & video setup and plenty of historically accurate gear, Definitely Dead seamlessly combines the love and unique skill sets of these five extraordinary musicians to create an unforgettable experience for old Heads and new fans alike. Definitely Dead is more than just a group of musicians in a tribute band – they're ambassadors of the Grateful Dead's enduring legacy, hoping to provide multiple generations with the chance to embrace the magic of the Dead's music by faithfully recreating the band's iconic vibe and improvisational spirit.

Cliche & Twirl! 

Ezra Bell -

Ezra Bell was founded by Benjamin Wuamett and friends late in the summer of 2013. It was warm enough to sit on the porch into the evening and learn a couple of songs. A lap drum, a banjo and an out-of-tune guitar. Since then the cast of characters involved have moved around a bit. Having just finished their eighth studio album, they’ll wander around a bit and see if anyone likes it.

The current cast of characters:
Jeremy Asay- piano, mandolin
Dave Asay- guitar, banjo
Elizabeth Anderson- Strings
Aaron Mattison- Horns
Tommy Mortenson- Upright Bass
John Myers- Drums
Benjamin Wuamett- Vocals

Good Country in the Courtyard of Volcanic Theatre Pub

The Shining Dimes -

The Shining Dimes bring a fresh take to classic country music, leaving you feeling nostalgic and remembering what real country music is. Influenced by the greats like Patsy, The Flying Burrito Brothers, Dolly, The Everly Brothers, and Waylon Jennings, they'll bring you back to another time. The Shining Dimes appeal to a wide age range: older generations remembering the music they grew up with, and young generations' recent re-discovery of the magic of American country. Bri, the frontwoman on lead vocals and rhythm guitar brings her fun energy to the stage drawing from her second generation country upbringing. You never know where her quirky, charming antics will take you during the show. Her husband Dylan holds down the low end on bass and singing backup with experience after attending Berkeley College of Music in Boston. KC on lead guitar brings energetic licks and tasty texture to the band. When KC isn't giving someone an American traditional tattoo, he's probably writing a new song. Andrew is our man ticklin' the ivories and resident multi-instrumentalist. When he's not playing the keys, you can find him rippin' a horn solo and rounding out the 3 part harmony. Did we mention KC and Andrew are brothers? In true country form, we're lucky to have pedal steel aka the sad machine. The man behind the steel sits Jason. Don't let his stoic cowboy demeanor fool you, this man has a heart of gold. His playing will leave you in a puddle on the dance floor. Last but certainly not least is the heartbeat of the band, Dayne, on drums. Owner and operator of the Firing Room recording studio, Dayne pushes the envelope in trying new, creative rhythms that aren't always synonymous with country -- an expert in his craft.

Shining Dimes on Spotify

Country Risqué -

"America's Riskiest Country Band," helmed by singer-songwriters Miles Gordon and Daniel Bromfield, lives by a direct and pure mission statement: “classic honky-tonk, modern values.” The songwriters met in Eugene, Oregon in 2012 and upon finding themselves both in San Francisco, recruited Richard Moog (lead guitar) and Tomas Georgiou (drums) to round out the band. Their first official single is due out December 1, 2023 with their debut album to be released in early 2024 on Rocks in Your Head Records. Defined by the coffee-and-chocolate contrast of Miles Gordon’s rich, formally trained vocals and romantic lyrics with Bromfield’s dark humor and deadpan singing style, Country Risqué explores queer love and latter-day disillusionment in the language of classic tear-in-my-beer honky-tonk music.

Country Risque on Spotify

Jackrat -

Jackrat is an independent band based in Bend, Oregon. The 3-piece band combines driving bluegrass, punk and rockabilly rhythm, with soulful vocals and resonant lyrics written by Reid Bower. Kevin Scoggins' melodic and aggressive bass delivers thrashing power, while his voice sweetly harmonizes. Spazzing out on the drum kit in the back is Eric Niziol.

Jackrat Music

Volcanic Theatre Pub and SoMuchHouse Presents:

SoMuchHouse - Featuering Donald Glaude, Val Verra, and MStarkDJ

At Volcanic Theatre Pub, Saturday July 6th 2024 

Doors at 8PM - Show Starts at 8PM

Donald Glaude -

Confident. Exuberant. Raw. Innovative. These are just a few of the words industry insiders and fans have used to describe the talent behind one of America’s favorite house DJs, Donald Glaude. Ranked #68 on DJMag.com’s Top 100 DJs List in 2005, Donald skyrocketed to #48 this year and his genius keeps on growing…

Born in Tacoma, Washington, Donald’s love for music began at an early age. Originally a disciplined student of classical music, he was well-versed in the upright bass and violin. Any aspirations Donald had to continue in the classical vein vanished once he heard his first house record. With an ear for blending music already under his belt, and a love for the energy and soul of musical prodigies like George Clinton and Funkadelic, Donald began to amass a collection of house records which he taught himself to mix with a pair of mismatched turntables and a Radio Shack mixer.

Before Donald few DJs had attempted to spin house records. Donald’s fine ear helped him give birth to a new style. After mastering his craft, Donald began DJing in various clubs around Tacoma and Seattle. During that time he made several important connections which would launch his music to the forefront of what was quickly becoming one of the largest underground movements since New Wave in the late-70s. Perhaps the greatest connection Donald made was with another aspiring DJ and friend, DJ Dan.

Together Donald & DJ Dan sparked the rave scene in Seattle and developed large followings. Knowing that Donald possessed an energy and ability to work the crowd that was unparalleled to anyone else on the circuit, Dan convinced San Francisco’s legendary Funky Tekno Tribe to bring down his good friend Donald to play at one of their parties. Donald’s talents quickly made him a permanent fixture on F.T.T.’s roster. 

Some DJs seek commercial acceptance. Donald, on the other hand, has always preferred an emotional connection with his audience. For Donald, house music is not simply a mixed bag of sound, but rather an experience that provokes the soul. Apart from his mastery on the decks, Donald is best known for his dynamic showmanship. He enjoys his music as much as his audience does. Embracing their energy, it is not uncommon to find Donald pumping his hands in the air, jumping up and down and shouting back his love to the crowd. It is this powerful signature style which has led fellow DJ and musical producer, Dave Aude, to call Donald the “James Brown of DJs.”  Donald also caused some stir in 2005 and 2006 with his residency at ICE Nightclub in Las Vegas.

Donald’s uncompromising style and innovation show no sign of slowing down any time soon. With the credit of 5 full-length CDs and numerous remixes under his belt, Donald has focused much of his time to production work. Producing such dance floor hits as “Get Up” and “Soul Cha Cha”.  As such, Donald has launched two record labels in which are causing rumblings in the industry. Eden Recordings, started with fellow DJ Rick V, and Durty Records, a collaboration with good friend Vince Lombardi.

Donald’s 2005 release, “This is Me” (Moist Music), is a 35-track double CD that defines his creativity, sound and vibrant style. Since its release, Donald’s fans have been eager to hear what’s next from their favorite DJ. Fans will be pleased to know that Donald’s hard at work on another double CD, “For the People” (Moist Music), a live recording and original tracks produced by Donald himself. With the completion of this latest project, the world should be prepared to experience all sides of Donald Glaude: DJ. Producer. ARTIST.

MStarkDJ -

Continuing to be “The Hardest Working American Dj” Donald has many new projects planned for this upcoming year.  He has a tour scheduled with “America’s Most Beloved Dj” Dj Dan and he also has another new CD releasing in 2007.  Also expect new release from both of his labels Eden Recordings and Durty Records.  You have seen him use his musical talents from bring his experience in playing bass, percussion, violin and then moving on to the turntable just show us his grasp on music.  To mastering the turntable and then on to recently turned Serato user always expect the unexpected when you come see Donald Glaude……

Loving, dancing and living to the groove since I was 12 years old, having found my first "House Party" DJ'd by my man Ethan Allen while skateboarding down some random alley, they welcomed me in then and for life.

Michael has been DJing for some of the best crowds all over the WestCoast of the United States since the early 2000's. Originally a vinyl DJ seamlessly mixing up tunes for Raves and Clubs including as a resident at the legendary venue The Grove in Oregon.

From this rave and progressive house/trance influence comes MStarkDJ's unique sound in everything from true downtempo sets, to sexy head bopping deep house, to the main stage bringing down the roof with pumping tribal, tech progressive and even disco house.  MStarkDJ is truly the dance floor's DJ's constantly in tune with what the dancers need and pushing the boundaries of deep, organic, hard, or melodic in every circumstance for the ultimate journey in underground dance music sounds.

Currently MStarkDJ regularly plays LIVE at the monthly phenomenon SoMuchHouse a serious community event bringing the best of house music to the hungry dancing masses.  MStarkDJ is a weekly resident on Beach Radio along with such well known names as Carl Cox, Tiesto, Darude and more ( https://www.beach-radio.co.uk/ ), long with his own deep house event started in 2024 called Element DEEP and first Fridays winter Downtempo night - Cabin Cuts.

For everyone's favorite season Summer Time :  MStarkDJ is resident at the now legendary Pool Parties sets at Campfire Hotel and Canteen in addition to appearances at No Requests and Buddha House in Portland, House Revolution in NorCal and various other stellar local and regional events throughout the United States.