Upcoming Shows

First To Eleven, Daytona Beach 2000, Brooke Surgener

TodayApril 20, 20248:00pm $20 adv / $25 door / $70 VIP Meet & Greet

First To Eleven is a YouTube band that takes your favorite songs and puts a fun spin on them, fronted by Audra Miller, with Matt Yost on guitar, Sam Gilman on drums, and Ryan Krysiak on bass.

HomeBrewed

TomorrowApril 21, 20244:00pm $15.00

Fundraiser for MADACC (Milwaukee Area Domestic Animal Control Commission). HomeBrewed is "Music with a Mission"--a fun filled, multi-generational group, based in Iowa City, playing a mix of originals and covers in a Bluesy Rock'n Roll style. Our "mission" is to play music in support of non-profit organizations who are....

Jesse Dayton

MondayApril 22, 20248:00pm $20.00

Jesse Dayton, unsung hero of American music, has defied categorization in his decades-spanning career. His chart-topping album with Samantha Fish, "Death Wish Blues," marked a global hit and earnedthe duoa 2024 Grammynomination. Dayton, who has worked with legends as diverse as Johnny Cash, X,and Rob Zombie, is set to....

Recently Added Shows

Sawyer Hill, Red Leather

WednesdayMay 1, 20248:00pm $15.00

Sawyer Hill's soaring baritone voice halts you in your tracks and will one day shake the rafters of the most iconic venues. The diamond-in-the-rough rocker hailing from Fayetteville, Arkansas is cutting through with Gen Z listeners on Instagram and TikTok where he's amassed an audience of nearly 400k followers thanks to an....

Bones Owens

TuesdayMay 28, 20248:00pm $15.00

On sophomore album Love Out of Lemons, Bones Owens continues to evolve his cultured rock songwriting while capturing the energy of his renowned live shows. Releasing on July 12 by Black Ranch Records, Love Out of Lemons collects deeply grooving snapshots of carefree times and top-down drives with subtleties that linger....

Venturer, Bunny Blues, Triptych

FridayMay 31, 20248:00pm $10.00

Venturer is a Milwaukee-based story alternative project consisting of keytar, bass, drums, guitar, and harmonies. With influences of 70s rock and funk, and modern indie and r&b, they combine the sound of decades to weave myths and legends surrounding the characters of their songs.

The Panoptics, Torcado, Sheebie and The Lovemakers

FridayJune 7, 20248:00pm $10 advance / $15 door

The Panoptics are Roots Rock band formed out of Milwaukee, WI in 2018. The band aims to provide an original and eclectic set of music, and gives praise to their influences through classic covers.

Puppeteers For Fears presents: Cthulhu: the Musical!

SundayJune 16, 20247:00pm $20 adv / $25 door

Puppeteers for Fears is an Oregon-based comedy troupe, specializing in original horror and science fiction rock'n'roll musicals performed with puppets. The company was founded as a one-night-only cabaret show for Halloween 2015, but was so popular that its various members kept going and never looked back. In the time....

Eric Johanson

FridayJuly 12, 20248:00pm $20.00

Jennifer Knapp

SundayJuly 28, 20248:00pm $20.00

Jennifer Knapp is a Grammy-nominated singer-songwriter, author, speaker and advocate. Her impressive history includes selling over one million albums with her first three releases Kansas (debut 1998, Gold-certified), Lay It Down (2000), and The Way I Am (2001). She has earned four Dove Awards and two Grammy nominations.....

Post Sex Nachos

WednesdayJuly 31, 20248:00pm $15 advance / $18 door

Post Sex Nachos started in the back of a 2003 Toyota Sienna Minivan named Jolene. From the depths of the Midwest alt rock scene arises a soulful and passionate quintet ready to bend genres and produce tunes that'll make you jump, shake, and move: Post Sex Nachos. Charging into battle for the love of the groove, these....

Midge Ure

TuesdayAugust 20, 20248:00pm $30.00

Having celebrated his 70th birthday with a sold out show at the historic Royal Albert Hall in October 2023, Midge is keen to continue the celebration of his life in music by announcing a new North American tour for August and September 2024. The tour will give Midge the opportunity to showcase the musical breadth and....

The Two Tracks

WednesdaySeptember 18, 20248:00pm $15.00

Husband and wife team of The Two Tracks, Julie and Dave Huebner write songs that traverse the male and female perspective, drawing inspiration from the rural surroundings of their home in the foothills of the Bighorn Mountains of Wyoming. Julie's driving guitar playing and Dave's spellbinding cello playing merge perfectly....

Hot Rod Huey and The B Sides, Brett and The Dandys

FridaySeptember 20, 20247:30pm $15.00

Travel back in time and experience a tribute to Huey Lewis and the News with a twist! This 9-piece project combines traditional pop/rock melodies and reminds us of love, loss, and life through music that touches our hearts and brings back memories from past decades. With its powerful lead vocals (You feel like Huey is....

Gong

WednesdayOctober 2, 20248:00pm $30.00

The Supertramp Tribute

SaturdayNovember 23, 20248:00pm $25.00

A tribute to the music of Supertramp featuring the biggest hits.

Alternative Concert Group Presents

Gregorian Pure Chants Tour 2023

SundayMay 19, 20248:00pm

At South Milwaukee Performing Arts Center, Milwaukee, WI.

Tickets on sale online, at the South Milwaukee Performing Arts Center box office or by phone at 414-766-5049.

Saxon, Uriah Heep

WednesdayMay 22, 2024

Pabst Theater, Milwaukee, WI

Get tickets

Daniel O'Donnell

WednesdaySeptember 18, 20247:00pm

Pabst Theater, Milwaukee, WI

Get tickets

Hoodoo Gurus

ThursdaySeptember 19, 20247:30pm

At the Barrymore Theatre, Madison, WI.

Tickets on sale at barrymorelive.com or by phone at 608-241-8633 (Mon-Fri noon-5pm).

Daniel O'Donnell

ThursdaySeptember 19, 20247:00pm $45, $56.50, $67.50, $79

The Weidner, Green Bay, WI

Get tickets

Quick Calendar

You may know Riley Downing from his work with acclaimed New Orleans combo the Deslondes, or perhaps from his similarly rootsy and wide-ranging catalog of songs with the Tumbleweeds -- indeed, the Missouri-based singer-songwriter's ability to set gripping, evocative narratives within soundscapes that weave together country, blues, folk, r&b, bluegrass, rock, soul and whatever else catches his ear is something that, once you hear it, is hard to shake free from. Same goes for that voice -- deep, dusty and drawling, it's an instrument that can stop you in your tracks with its character and expressiveness, as well as through Downing's knack for laying out complex emotions in plainspoken, direct language.

For Downing, it all stems from an organic and intuitive approach to songwriting and playing. "I just try to write and sing about life as I live it," he says simply. All those little bits of life are on full display on Start It Over, his first-ever solo album. From the protagonist in the opening country-soul jam "I'm Not Ready" ("Everybody's rushin' / I'm movin' at my own speed"), to the cratedigger in the breezy "Start It Over" who seems as enamored of his old records as he is with his girl ("She was a 45 woman and I'm a 45 man") to the overworked nine-to-five-er caught in a cycle of long days at work, late nights at home, followed by hungover mornings ("Long line of trouble / Troubles old and new / Once I was happy / But those days are through") in the psych-folk lament "Crazy," the 12 tracks collected on Start It Over unravel in a way that feels instantly relatable, as if Downing could be talking about you, me, or any one of us and doing it with the ease and empathy of a man who's clearly been there, done that, and lived to play another day.

Following his last record with the Deslondes, Downing returned home to Missouri, helping out his brother with his plumbing business, embarking on some short solo runs and otherwise playing "mostly for old friends and old dogs and whatever other critters were within earshot," he says. At some point, Downing and his Deslondes band mate, John James Tourville decided it might be fun to collaborate and release a 45 rpm single.

And so Downing and John James (that's JJ to you) began a long-distance collaboration, adding longtime Deslondes producer Andrija Tokic (that's Dre to you) into the musical chain as well. The three hashed out songwriting, arrangement and production ideas by passing demos back and forth from their respective homes -- Downing in Missouri, JJ in North Carolina and Dre in Nashville -- during the months of lockdown. As far as approach, everything was on the table. Downing recalls one of his demos being met with the suggestion that it needed a "Lou Reed/Fats Domino sound." He laughs. "I couldn't even imagine what that sounded like, but I had fun trying my best to imagine it."

By the time the three met up, at Dre's Bomb Shelter Studios in Nashville, everyone had been quarantined at home for two months, with nary a gig or jam session to be had. What they did have, however, was songs. And also, courtesy of Dre, a crack team of musicians. Who was along for the ride? Meg Coleman (Yola) and Jimmy Lester (Los Straightjackets, Blaze Foley) on drums, Dennis Crouch (Johnny Cash, Dolly Parton, co-founder of The Time Jumpers with Vince Gill) on upright bass, Jack Lawrence (The Raconteurs) on electric bass, Jeff Taylor (George Strait, Elvis Costello, The Time Jumpers) on keys, Peter Keys (P-Funk, Lynyrd Skynyrd) on Mellotron, Billy Contreras (George Jones) on strings, Derry DeBorja (John Prine, Jason Isbell and the 400 Unit) on Farfisa, and a host of backup singers, including Kyshona Armstrong, Maureen Murphy, Nickie Conley, Eric Brown and Vaughn Walters.

"The musicians that Dre picked out were just phenomenal," Downing says. "They have endless amazing credits, they've all done great things and they were 110% in it." So much so, he continues that "some of these songs on the record were first takes. And if they weren't, then it was maybe take two or three."

That first batch of tunes -- five recorded in three days -- included "I'm Not Ready" and "Start It Over," as well as the strutting "Deep Breath," the road-dog anthem "Never Coming Home," and "Hey! Mister." From there, the floodgates opened.

The trio continued to work together closely (but once again, from afar -- there was a pandemic going on, after all) staying in constant communication to craft the next set of tunes, with Downing handling the writing and JJ and Dre working unwaveringly to bring his songs to life within vibrant and unique soundscapes. Over the summer, an impromptu road trip between JJ and Dre to transport a Hammond organ and speaker cabinet from Denver to the Bomb Shelter allowed the two to spend some additional time together doing pre-production, and they even made a quick stop in Missouri on the way back to Nashville for a quick check-in with Downing.

A month later, the three reconvened at the Bomb Shelter -- this time for a relatively extravagant six days -- to lay down the seven remaining songs. "I've known and worked with both of these guys for more than 10 years and have also lived with each at one point or another," Downing explains of his connection with JJ and Dre. "We're all old friends, so it was easy to get along and keep moving forward."

Once again, the trio, along with the stellar backing musicians, captured inspiration in the moment, with JJ and Dre embellishing the tracks with all manner of instrumentation, from pedal steel, mandolin and fiddle to Mellotron, Farfisa and even guzheng (that's traditional Chinese zither to you).

The end result reflects the mingling of past and present, traditional and unusual, that has long characterized Downing's musical makeup. "I might be old-fashioned, but I'm not old-timey enough to not live in the modern world," he says. Regarding his influences, Downing continues, "It's a little bit of everything -- I could probably make a long list and it'd be all over the place. I grew up going to country shows with my grandparents, but I was also angsty and played punk rock in high school. And then at the same time, I was getting into old folk and blues and stuff like that. So I never think in terms of a song having to be in 'this' genre or 'that' genre -- I'm open to doing anything. I just enjoy writing and playing music."

That joy comes through loud and clear on Start It Over, which, even in its most serious and somber moments -- and also given the fact that it was recorded during a pandemic -- radiates with a sincere appreciation for life and living in the here and now. As Downing puts it in "Deep Breath": "Try to get your head screwed back on tight / Take a deep breath -- it's gonna be all right."

This attitude, Downing says, was intentional. "There was so much going on in the world socially, politically and health-wise while we were making this record that I didn't really know what kind of music people would even want to hear. But I knew I didn't want to write a bunch of sad songs where you just stare at the fire and feel bad for yourself. I wanted the record to be about looking at things up on the upside -- you know, 'take a deep breath and we'll all get through this.' "

As for Downing, while he may be through the recording of his first solo album, he assures that it's certainly not his last. "I'm just going to keep working like I've been doing and communicating with Dre and JJ," he says.

There's a plan to get started on a new Deslondes record, "and hopefully by the time that's done," he says, "I'll have another solo album ready to go as well."

"Here's to life!" Fans around the world can be found singing the chorus of the Roger Clyne-penned fan favorite "Mekong" and toasting their glasses in unison to celebrate life through rock-n-roll. But the inspiration for the song dates back to the time Roger went to Taipei, Taiwan, as a college student to teach English during the day and busk with his guitar at night for money.

Today, as Clyne prepares to record his 11th studio album, he continues to transform his life experiences, inspirations, observations and his own muses into timeless music. And whether he's wearing his Converse high tops, boots or sandals, Clyne's blend of punk rock, country-western and mariachi influences have made him, drummer PH Naffah, guitarist Jim Dalton and bassist Nick Scropos -- collectively known as Roger Clyne & The Peacemakers -- one of America's best live rock-n-roll bands.

Starting with the seminal Tempe quartet, The Refreshments, Clyne and Naffah put the fun in rock during the 90s grunge era with a sense of humor. They also started what would become a trademark sound on all future albums by adding mariachi horns, something Clyne was influenced by while in college studying Cultural Anthropology with an ethnography study of mariachis during a three month immersion stay with a local family in Ensenada, Mexico.

The Refreshments' debut album, "Fizzy, Fuzzy, Big & Buzzy," became a cult classic. It produced the alternative radio hit "Banditos" which also had significant airplay on MTV and earned The Freshies an appearance on The Conan O'Brien Show. Clyne then penned and performed the theme song for the Mike Judge animated TV series, King of Hill. In 2017, Here's to Life: The story of The Refreshments, was released. The feature-length documentary was a hit with fans and critics alike.

Changes within their record label and internal band issues resulted in Clyne and Naffah going on a vision quest of sorts in the Whetstone Mountains near the Clyne Ranch in Southeastern Arizona. It was there that Clyne found inspiration in the rolling hills and the jukeboxes of small town taverns that still played Marty Robbins and Johnny Cash -- music he had shed from his youth in favor of bands like Camper Van Beethoven & They Might Be Giants. But after reconnecting with those old country records, Clyne and Naffah wrote and recorded under a new moniker what would become Roger Clyne & The Peacemakers' debut album, "Honky Tonk Union."

The album was the perfect combination of classic rock and twang, and fans immediately connected with it. Their independent release, "Honky Tonk Union," debuted at No. 1 on Billboard's internet sales chart in 1999 prompting a call from a Billboard exec to their Manager demanding, " Who the hell is Roger Clyne and why is he #1 on my chart?!" beating out much better known artists

RCPM released eight more albums that landed in the top ten of Billboard's Internet Sales Chart, including a No. 1 debut for their third album, "Americano!" -- all without the backing of a major record label and while flying under the radar of commercial radio.

In 2019, Roger Clyne & The Peacemakers were inducted into the Arizona Music and Entertainment Hall of Fame, joining the likes of fellow Arizona legends Alice Cooper, Buck Owens, Glen Campbell, Stevie Nicks, Linda Ronstadt and Waylon Jennings.

Later that fall, RCPM was invited by a man who, like Roger, also knows a little something about tequila and throwing big parties in Mexico. The band headlined Sammy Hagar's Cabo Wabo Cantina on the eve of Hagar's weekend birthday celebration.

Roger Clyne & The Peacemakers have curated their own annual music festival, Circus Mexicus, in the sleepy beach town of Puerto Peñasco, Mexico, which draws thousands of fans from around the world. The festival not only has a major impact on the local economy, but charity events hosted by the band and fans alike help raise money for a local orphanage, support local youth sports and help feed shelter animals.

Clyne not only sings about life in the border-lands, he also produces his own ultra-premium spirit, Mexican Moonshine Tequila (soon to be re-named Canción Tequila). Owned by the entire band, it was the official tequila at the Arizona Diamondbacks Chase stadium in 2016, 2017 and 2018. Started in 2011, the award-winning spirit is distributed in multiple states as well as Sonora, Mexico.

Roger Clyne & The Peacemakers have toured all over the US and achieved a faithful following through hard work and great music. They have done this all while being independent, without the safety net of a label or a label's radio promotion department. Dubbed "The Springsteen of the Southwest," by the Asbury Park Press. The band delivers exciting live performances that garner declarations like the one from emcee Jay Peterman of the Seinfeld TV show at Alice Cooper's annual Christmas Pudding event, "Young man, you light that stage a-flame!"

Rockford, IL-based Miles Nielsen has spent nearly a decade enthralling audiences with music that draws force from the prime years of Western-influenced rock music and classic '60s soul. Claiming influences as diverse as Otis Redding's classic soul and Jellyfish's cult power pop recordings.

On a small corner lot in southeast Portland, Oregon, Jeffrey Martin holed up through the winter recording his quietly potent new album Thank God We Left The Garden. Long nights bled into mornings in the tiny shack he built in the backyard, eight feet by ten feet. What began as demos meant for a later visit to a proper studio became the album itself, spare and intimate and true. Recorded live and alone around two microphones, Jeffrey often held his breath to wait for the low diesel hum of a truck to pass one block over on the busy thoroughfare. During the coldest nights, he timed recording between the clicks of the oil coil heater cycling on and off.

Martin's fourth full length album, Thank God We Left The Garden comes out on Portland's beloved Fluff and Gravy Records Nov __. He produced and engineered it himself, recalling, "There was a magic quality to the sounds I was getting in the shack with these two cheap microphones, some lucky recipe of time and place that allowed my voice and the way I play guitar and the shape of these new songs to come together with the kind of honesty I was craving."

So much has happened in the world since the release of his previous album One Go Around (heralded by No Depression as 'the poetry of America'), and Jeffrey has filled the time doggedly, but happily, touring the US and Europe, watching it all unfold in a stream of small town conversations and city sprawl. In a moment where depth is so often traded for the instantaneous, where tech billionaires are building rockets to escape the planet, where the dead-eyed stare of artificial intelligence is promising to existentially upend our world, and where divisiveness in our culture is breeding delusional levels of certainty, Jeffrey Martin's new record feels like a hopeful and fully human antidote.

There are holes in all the side walls where the wind it brings the rain in
And the gold crowns have been found out to be brass that has been painted
There are holes in all our bibles where we make secret compartments
To hide the broken treasures we smuggled out of the garden -Quiet Man

The sounds feel warm, close, and refreshingly real, all held up by the richness and rare candor of Jeffrey's voice. Production is restrained mostly to his guitar and vocals, with flashes of classical guitar for a tumbling wash of melody and low end color. Martin's voice sits high above everything, reaching into new melodic territory that goes beyond his earlier work. "I feel like I've only just learned how to sing," Martin said. "Like I've been chasing this record since my very first recordings. I wanted to really see what I could do, just my guitar and my voice and little else. I don't think it was conscious. I think maybe it was a reaction to the pace of life these days. The churning news and entertainment and politics and violence of it all. I needed to know that even in this day and age, just a few simple ingredients still hold up."

Beloved Portland-based guitarist Jon Neufeld added electric guitar to three tracks. Sticking to the same less-ismore approach, his playing skillfully and subtly elevates the lyrical intention. Neufeld's touch is best displayed on Red Station Wagon, a searing story about one man's transformation from a narrow-minded bigot into a person who feels deep remorse for the ugliness of his youth. In his transformation he discovers the clarity of empathy and compassion. The devastating and redemptive four minute song contains the emotional arch of an entire film, and each turn is beautifully punctuated by Neufeld's guitar. In addition to his guitar work, Neufeld mixed and mastered the album, and was such a crucial part of the final feel of the record that Martin also credited him as a producer.

"Jon and I really produced this album together," he said. "Me in the shack, and then him in his studio working with what I brought him as he mixed and mastered. It was such a treat to work with him. I brought this pile of rough songs and he was able to dial it in and make up for my complete lack of recording know-how. I love the performances I got, but Jon's magic is what helped them breathe and truly come to life."

No less lyrically weighty than his previous work, Thank God We Left The Garden holds a new kindness and easy solace that feels timeless and full of generosity. The title is a paradoxical nod to Martin's own spiritual conclusions, a theme that is subtly woven throughout the album. The son of a pastor, he touches on his religious upbringing then carries us well beyond his past where the weight of his deepest questions are free to unfold.

"It's always bothered me how uptight religion gets around the messiness of our human natures, always trying to tell people they're broken and flawed from the get go. The only God I can imagine is one who is overjoyed with the mess. Who revels in the edgeless mystery. I imagine hanging around with angels all day gets boring pretty fast. So maybe we got the story wrong. Maybe we were supposed to leave the Garden all along. Maybe that was the first good thing we ever did. After all, I can't think of anything that has an ounce of meaning or dimension that doesn't come from failure."

This is an album that craves your full attention, best experienced as a whole. Each song further illuminates the scene until you find yourself resting in the strangely comforting tangle of aliveness and meaning (and full spectrum of being alive./what it means to be alive.). At its core Thank God We Left The Garden is an album made of questions, humble and nuanced, a reverent celebration of the asking.

In my mind there's a garden, full of beauty and darkness
Full of sorrow and sweet things where my heart can be honest
In that garden there's a fruit tree and I eat from it daily
The same that Adam and Eve ate / what does that make me? -Garden

Whether singing about his own internal landscape, telling a story of someone else's, or reflecting on the elusive relationship between scarcity and contentment, Martin's writing never pushes the listener away, never points a finger. He sings of things we can all pin a memory on, holding the rough shorn gem of human experience up to the light.

There's a treasure that we all know but we can't have it / It's a place beyond the measure of our minds
It is where we go when we forget we're living / It is where we go when we forget we die . . .
And all the tools we use to feel important / they are useless as a sailboat in the sky
Where old bones and heart aches are forgotten / It's a place we don't have words to describe
The sun will rise like it always does on the day that I die
The world will spin, the sun will go on burning
Never even knowing I was alive
-There Is A Treasure

Thank God We Left the Garden will be released on Fluff and Gravy Records in the fall of 2023. Subsequent touring will carry Jeffrey Martin through all of the US, Canada, and Europe.

Employing a dazzling mix of glam rock, hard rock, and progressive rock, Angel's outrageous, white-satin-heavy image and equally over-the-top stage shows, made them one of the more colorful arena rock bands of the mid-'70s and early '80s. Discovered by Kiss bass player Gene Simmons, the group issued their eponymous debut album in 1975, which hewed closer to prog rock than the glam pop that would inform future endeavors like On Earth as It Is in Heaven (1977) and Sinful (1979). The group went their separate ways in 1981, but re-formed in the late '90s with a new lineup, and released two studio albums (1999's In the Beginning and 2019's Risen) and numerous compilations.

Formed in Washington, D.C., the group's self-titled 1975 debut was recorded for the flamboyant Casablanca Records label -- home to Kiss -- with a line-up comprising Frank DiMino (vocals), Punky Meadows (guitar, ex-BUX), Gregg Giuffria (keyboards), Mickie Jones (bass, ex-BUX), and Barry Brandt (drums). A heady slab of heavy pomp rock with lengthy songs swathed in Giuffria's atmospheric keyboards and featuring the longtime stage favorite "Tower," it was followed in 1976 by Helluva Band, which continued in a similar vein, with the group's famous white satin stage clothing making its debut on the album sleeve. On Earth as It Is in Heaven saw a distinct change in musical direction, as the band adopted a a more pop/rock-oriented sound, and introduced a clever logo that read identically when upside down.

1978's White Hot, with Felix Robinson replacing Jones, was helped by Eddie Leonetti's sympathetic production, and produced minor U.S. hits in "I Ain't Gonna Eat Out My Heart Anymore" and "The Winter Song." Leonetti subsequently produced Sinful and the in-concert set Live Without a Net. Angel's record sales never quite reflected their popularity as a live act, and a legal dispute with PolyGram prompted the band's breakup in 1981. Giuffria attempted to revive the band in 1984, but the abortive reunion led to the formation of the more successful House of Lords. Robinson, meanwhile, appeared in an early White Lion line-up and played with 707. Brandt and DiMino re-formed Angel in the late '90s to record In the Beginning, with the help of guitarist and songwriter Richard Marcello. They staged an Angel reunion of sorts by persuading former colleagues Robinson and Meadows to play on the track "Set Me Free."

The group performed off and on during the early 2000s and issued a handful of compilation albums. Bassist and founding member Mickie Jones passed away in 2009 after battling liver cancer. Punky Meadows released a solo LP, Fallen Angel, in 2016, and in 2018, Meadows and DiMino toured under the name Frank DiMino & Punky Meadows of Angel. The band officially re-formed the following year with Meadows and DiMino joined by Danny Farrow, Steve E. Ojane, Billy Orrico, and Charlie Calv. The newly reactivated Angel released their seventh studio effort, Risen, later that October.

IN THEORY is a Muscle Shoals-style Led Zeppelin. A swampy gritty version of Soundgarden, all laced with powerhouse hard-rock vocals and an attitude that screams rock n roll. With In Theory you get a new style and sound unto itself that captures you in a way that leaves you wanting much more. IN THEORY is bringing something exciting to the table for listeners to engage with. As a band they are not typical or easy to put in a box, they are unique and diverse. Combining the musical ingredients from their pasts, In Theory is a band to easily get excited about. Over the years they have worked with many of the top musicians in the world from Victor Wooten, Vinnie Appice, Rob Morgenstein, Jared James Nichols and more. IN THEORY currently released new single and video "World's On Fire" on The Orchard and planning on releasing a new EP at the end of Feb on MosCov records. They are currently adding new show dates for World's On Fire Tour.

Backwoods bravado, patriot's pride, country soul, keg-thumping beats -- these are the qualities that Moonshine Bandits have championed since they began their journey. Armed with a hybrid arsenal of country and hip hop fusion, the California duo of Dusty 'Tex' Dahlgren and Brett 'Bird' Brooks are back with the grittiest, spirited and distinctly grass-roots release of their sixteen year campaign of musical badassery -- "Gold Rush."

If you ain't about this life then you ain't about shit." -- From the Track 'Mud Money' on the Moonshine Bandits latest release 'Gold Rush"'

Since their formation in Los Banos California in 2003 the Moonshine Bandits have continued a campaign of crossover genre-bending musical mayhem that appeals to the eclectic, color-outside-the-lines tastes of listeners, aka The Shiners, and they fiercely refuse to have their tastes confined and filed into categories. "Our musical style has always been full throttle and in your face," says Moonshine Bandit Tex. Just like the rumrunners, bootleggers, smugglers and outlaws of old -- the Moonshine Bandits provide a supply of the goods for the demand, defying the mandates and trends of mainstream pop culture.

The course of their career has seen ups and downs, hard partying and self-reflection. The Moonshine Bandits have crisscrossed the country performing hundreds of shows a year, ventured into branding their own beef jerky and moonshine, collaborated with some of the music business's most prolific artists, outshined in the face of record industry roadblocks, earned a fiercely loyal fan following, and embrace the unconventional. Hell, they've even had the honor of friend and adult film legend Tera Patrick spicing up a music video! It's all part of a journey filled with good, bad and even some ugly, but ultimately the Moonshine Bandit philosophy is summed up by Tex and Bird's joint statement -- "We always felt there aren't stops or boundaries if you pave your own lane."

And now the Moonshine Bandits have hit the proverbial motherlode with the release of Gold Rush on their very own record label MSB. Taking its inspiration from all that embodied the struggles and successes of America's extraordinary era when dreams were being made while hunting for that elusive precious gem. It wasn't entirely about the dollar sign though. The Gold Rush was far more dynamic in terms of the greater meaning and effect it had on all those who took part. Big or small, bust or windfall, for many people the Gold Rush ultimately provided the experience of building a new life in a wild place that had a code of its own.

"Our Gold Rush wasn't always about the glitter because we took the long haul," Tex says, and just like many of the hopeful dreamers who panned the creeks of the old west's badlands, the Moonshine Bandits encountered their share of setbacks but never quit. "We got in the trenches," Tex continues, "learned and got burned." The group's Gold Rush reflects on a career that wasn't about following some set of rules; this is about living by a code. Now with the debut of their own label, the group can fully exercise that code. "There's a right way, a wrong way, and now there's our way." Characterize it as rebellion, call it anti-establishment, or perhaps it's a little bit of symbolic of an elusive time when there actually was Honor among thieves, but the Bandits simply see it as lessons learned from experience.

Thematically, Tex and Bird describe the Gold Rush album as homage not only to the band's career journey but also, and profoundly, "a journey about the people we have come in contact with. The people that inspire our songs." This is especially true of the track "Two Bar Town" which speaks volumes of the brick and mortar, mom and pop's, local friends and corner watering holes that truly provided the foundation of everyday life, culture and economics in America. Tex says the theme is all about the 'small town' and despite the fact that 'small towns' have naturally changed with time that "doesn't mean you have to, you can still be proud of where you came from and keep those memories forever."

Long before people figured out country and rap had a lot in common, the Moonshine Bandits released their genre-blending album, "Whiskey & Women," and took the world of outlaw music by storm. The group's blue-collar work ethic and unwavering persistence has led to over 60 million views on the ShinerTV YouTube channel -- collectively over 80 million views on YouTube -- while their video for "My Kind of Country" peaked at #1 on CMT Pure. The Bandits also charted Billboard simultaneously with a top 10 in Rap and a top 20 in Country Music and have been Recognized by Rolling Stone Magazine, CMT, Youtube Honors, MTV, AOL THE BOOT, YAHOO, and the list goes on. Connecting with fans on all levels, Moonshine Bandits have built a solid "Shiner Nation" of loyal fans, started their own 501 (c) 3 non-profit organization known as Operation Packing Company, Inc. that specializes in sending supplies to our Troops Overseas, Beef Jerky and legal Moonshine. The Bandits earned a 2018 Telly Award for their "Take This Job" music video featuring David Allan Coe.

There is a cult-like fascination growing around Kassi Valazza following the self-release of her 2019 debut album Dear Dead Days and her surprise 2022 EP Highway Sounds. She is seated squarely at the vanguard of new American songwriters strengthening and broadening the sound of country music as she tours with celebrated acts such as Melissa Carper and Riddy Arman. The Southwestern native resides in Portland, a hotbed of songwriters producing albums that both bear the torch and bend the arc of American roots music, where she recently signed with Fluff & Gravy Records -- a label known for launching Anna Tivel and Margo Cilker.

Valazza's forthcoming new album Kassi Valazza Knows Nothing is a spellbinding collection of songs that dangle like protective magic talismans, catching dreams and glinting light. She hypnotizes listeners with a sturdy, yet gentle, voice and painterly songwriting imbued with an independent spirit. Though her music plays country cousin to British folk, calling to mind greats like Sandy Denny (Fairport Convention) and Karen Dalton, a Southwestern American streak carves its way through these solemn, sweetly sung melodies like a canyon.

On the upcoming 10-song set, multi-instrumentalists from Portland's TK & the Holy Know-Nothings appear in varying roles as Valazza's backing band: Taylor Kingman (guitars, bass, vocals), Jay Cobb Anderson (harmonica, guitars, pedal steel, bass), Lewi Longmire (pedal steel, piano, bass, trumpet), Sydney Nash (organ, Farfisa, cornet, Wurlitzer), and Tyler Thompson (drums). The group's swirling psychedelia combines with Valazza's gutsy and graceful vocal poetry for a singular sound that washes over the listener like a flash flood, heavy and without warning.

Album opener "Room In The City" introduces Valazza's high-lonesome, but never lonely world with sharp harmonica and reeling organ. She sings of a touring musician's longing for home, and a distant lover, with lyrical imagery of open skies, whistling winds, and sepia-toned rock formations: "Did you think I'd be out here feeling lonely? / If I said I thought so too it'd be a lie / When I talk to you it's hard to be withholding / And I was born to chase this blue out of my eyes. / In the still, I often wonder about your breathing / I rise and fall to its rhythm late at night / Clay canyons turn to plaster in my grieving / And our ceiling overtakes the sky."

Using the physical world around her to paint metaphors from the soul, Valazza carries us through her mind and heart, ever the effortless narrator. "Watching Planes Go By" spins a cautionary tale about the dangers of standing still in life and accepting one's own fate. The song sets a curious and cosmic atmosphere of psychedelic folk-rock as Valazza reflects on the struggles of moving on, "Autumn leaves turn to yellow / and green turns to jealousy / Watching days go by."

On "Corners," fingerpicked acoustic guitar dances with bounding bass and twinkling piano, as twanging telecaster and a gentle backing choir flow behind Valazza like a stream through a lonesome vista. "The clouds move slower than they ever seemed to / Still, they find a way to pass me by," she sings on her breezy lament about the longing that comes with an unhealthy love, "My friends, though, they wonder what I'm used to / To love a man who never treats me right."

"Smile" opens with a familiar telecaster honky-tonk squawk and a half-time trot, but Valazza sings in deference to traditional bar-room tales. Hers is about acceptance when love is not enough, about being satisfied having met someone at all, and keeping only a farewell note as a souvenir. "I guess I could have left the light on / Or stayed awake to see you home / But good intentions go unnoticed / And I fare better on my own." In her careful hands, the typical loved-and-lost tale becomes an ode to self-realization and the liberating feeling of going it alone.

As her journey winds down to "Welcome Song" -- the album's final Valazza-original preceding a perfect closing cover of Michael Hurley's "Wildegeeses" -- tension from her nearly behind-the-beat band pushes and pulls the listener into a whirlwind of stream-of-consciousness lyricism. The opening verse, "As I was laying on my floor / Hiding dreams from the t.v. / I heard a knocking at my door / While my eyes faked sleeping," paints an immaculate mental picture of both the physical surroundings of the narrator and what she's feeling and thinking at the time. It's clear that every line Valazza writes carries extreme weight, every simple word is carefully chosen and placed with intention.

Kassi Valazza Knows Nothing captures the romanticism of country crooners with the intuition of a realist poet. Exploring themes of love and longing through metaphors from the natural world, Valazza manages to cut straight to the heart of the human experience, her lucid songs full of delightfully languid characters that haunt the hallucinatory soundscapes her band creates.

Eric Johanson stands at the forefront of modern blues music with his groundbreaking album, The Deep and the Dirty. Released in July 2023 on Ruf Records, his album skyrocketed to the top of the Billboard Blues charts, cementing Johanson's status as a trailblazing force in contemporary blues.

As Johanson embarks on his headlining tour in 2024, following an electrifying run on the Death Wish Blues tour with Samantha Fish and Jesse Dayton, his innovative approach and unwavering commitment to musical authenticity continue to captivate audiences nationwide. He stands as a beacon of modern blues, redefining the genre's boundaries while staying true to its soulful essence.

His musical journey began at an early age when he received his first guitar at five, quickly becoming a self-taught prodigy. Embracing blues legends like Freddie King and Robert Johnson, he honed his craft on regional blues stages, sharing space with seasoned musicians from New Orleans to Memphis' Beale Street. Yet, his musical influences extended beyond traditional blues, drawing inspiration from diverse genres such as rock acts like Tool, Soundgarden, and Nine Inch Nails.

Time living abroad further broadened Eric's musical horizons, shaping his eclectic approach. Settling back in New Orleans, he fused his myriad influences into a distinctive musical style that defied conventional genre boundaries. His solo albums, notably 2017's Burn It Down, introduced audiences to this unique amalgamation of blues, rock, and funk elements while his work as a sideman for acts like Cyril Neville kept his guitar skills razor-sharp.

The Deep and the Dirty, produced by Jesse Dayton, exemplifies Johanson's musical evolution. This album showcases sharp songwriting and incendiary guitar work, earning critical acclaim for its boundary-pushing style. Guitar Player lauded his "electric whiz" persona, praising his prowess on both acoustic and electric fronts, while American Songwriter drew parallels between Johanson and Hendrix, acknowledging his ability to push the blues/rock boundaries with compelling melodies and lyrics.

The album's tracks offer a diverse sonic landscape, from the fuzz-laden energy of "Don't Hold Back" to the raw, Delta blues-infused sounds of "Just Like New." It seamlessly weaves together roadhouse roots-rock in "Undertow" and introspective, bluesy Americana in "Familiar Sound." Each song resonates with Johanson's commitment to authenticity and self-expression, a testament to his refusal to be confined by musical norms.

Eric Johanson's philosophy reflects his dedication to genuine musical expression: "Music is a way for me to try and make sense of my world and myself." His latest release, "The Deep and the Dirty," encapsulates this ethos, representing a dynamic fusion of his myriad influences. It's an album that embraces the rawness and humanity of blues while fearlessly venturing into new sonic territories.

In the realm where the raw power of rock collides with the soulful depth of blues, there emerges a force of nature known as Melody Angel. Melody Angel stands as a unique and formidable artist, ready to ignite stages and captivate audiences around the world.

From the very first chords she strums on her guitar, it's evident that Melody Angel is a force to be reckoned with. Born and raised in the vibrant musical landscape of Chicago, she absorbed the city's rich blues heritage while growing up. However, it was the ethereal spirit of Jimi Hendrix that truly sparked her musical journey. Channeling Hendrix's innovative guitar techniques, Melody carved out her own sonic path, blending the bluesy roots of her hometown with the fiery energy of rock.

Melody's stage presence is nothing short of iconic, drawing comparisons to legends like Jimi Hendrix, Prince, and Tina Turner. Her performances are a testament to her dynamic vocal range, magnetic charisma, and an infectious energy that electrifies every corner of the venue. Whether she's belting out soul- stirring blues or unleashing a torrent of rock riffs, Melody Angel commands the stage with a rare combination of grace and power, leaving audiences awe-struck and hungry for more.

The echoes of Hendrix's influence are unmistakable in Melody's self-titled album, set to release on June 7th, 2024. The album is a sonic journey that pays homage to her roots while pushing the boundaries of genres, showcasing Melody's versatility as an artist. Each track is a testament to her ability to seamlessly weave between soulful blues melodies and electrifying rock anthems. With soul-stirring lyrics and guitar solos that mirror the magic of Hendrix himself, the album promises to be a defining moment in Melody Angel's career.

As a guitarist, Melody possesses a rare gift that transcends the ordinary. Her fingers dance across the strings with a finesse reminiscent of Hendrix's heyday, creating a sonic landscape that is both intricate and emotionally charged. It's a tribute to the countless hours she has dedicated to mastering her craft and an ode to the everlasting influence of the guitar maestro who paved the way for her. Beyond the music, Melody Angel is a symbol of resilience and determination. Her journey through the competitive music industry has been marked by unwavering passion and an unyielding commitment to her art. As she prepares to unleash her self-titled album to the world, Melody stands at the precipice of a new chapter in her career, ready to make waves and redefine the boundaries of rock and blues.

In the spirit of her influences and the rich musical tapestry of Chicago, Melody Angel is set to leave an indelible mark on the world of music. With a guitar in hand and a voice that can move mountains, she invites audiences to join her on a sonic adventure where the blues and rock collide, creating a symphony that is uniquely and unmistakably Melody Angel.

CHUCK MEAD is a Country singer with a rock n roll heart. He's also a renowned songwriter, producer, music director, musicologist and architect behind the rebirth of Lower Broadway and the Global Neo Traditional Country music movement.

This Kansas native, has been at the forefront of what has come to be known as Americana Music for the better part of 25 years. Perhaps best known for co-founding the famed '90s Alternative Country quintet, BR5-49, whos 7 albums garnered a CMA Award for Best International Touring Act and three Grammy nominations, helped build an indelible bridge between authentic American Roots music and millions of fans worldwide.

Since then he's toured the globe, entertained thousands on the high seas, released 4 solo albums, made 137 appearances on the Grand Ole Opry, co-produced critically acclaimed tribute albums to Johnny Cash & Waylon Jennings, acted as Musical Director/Supervisor/Producer of the Broadway hit musical Million Dollar Quartet AND the companion CMT television show Sun Records.

With a deep connection to Memphis and a burning desire to keep building musical bridges, Chuck packed up the band and took time out of his crazy schedule last summer to record his fourth solo album with Matt Ross-Spang (Margo Price/John Prine/Jason Isbell/Al Green) at legendary Sam Phillips Recording Studios, the result of which, 'Close To Home', was released June 21, 2019 on Plowboy Records.

Since 2019 Chuck has also hosted a radio show on 650AM WSM Radio in Nashville called "Face the Music with Chuck Mead."

Renowned music critic Peter Cooper once said, "Jason Ringenberg is Nashville's greatest 20th-century rock 'n' roll frontman." With statements like that, you would think Jason might rest on his laurels now that he is in his 60s. Not so. His new record Rhinestoned once again sets Ringenberg on a collision course with people's souls. It reaffirms the claim that not only is he one of rock 'n' roll's greatest frontmen but also one of the preeminent singer-songwriters of his generation.

His journey started in the 1960s Midwest, a place straight out of Norman Rockwell's America. He was born and raised on an Illinois hog farm that bordered the Rock Island Line Railroad. At an early age he heard classic country artists on his dad's truck radio but also was exposed to the 1960s singer-songwriters like Bob Dylan and Neil Young by his older siblings. He attended college at Southern Illinois University, studying history and music. He played banjo in a bluegrass band called Gary, Jason, and Chico. After seeing The Ramones in a dorm basement cafeteria, he immediately quit the bluegrass band and formed his own punk rock group, Shakespeare's Riot, gaining notoriety around Southern Illinois as one of the first regional bands to combine classic country with raw punk rock.

By 1981 he realized he had taken that musical journey as far as he could in Southern Illinois. On July 4 he loaded up his '71 Econoline van and headed to that musical Mecca of all Meccas: Nashville, Tennessee. He didn't know a soul nor had ever even set boots in the town. He jumped in feet first, jamming at every dive or party that would let him have the mic. Within a few weeks he formed Jason and the Nashville Scorchers and never looked back. Widely considered one of most influential Americana/Outlaw country bands in history, Jason and the Scorchers tore up stages across the planet. One UK journalist called their 1984 show at the Marquee "one of the Top Five gigs of all time."

By the late 80s their legendary luster began to dim, although they continued to tour and make records. In 1991 Ringenberg snagged a record contract with Capitol Nashville. He began to build his solo brand, touring as a solo artist and eventually releasing a series of critically acclaimed records. In 2002 he launched a children's music character called Farmer Jason, winning an Emmy Award in 2009 for his PBS music video program. He would often perform a Farmer Jason show in the daytime and then a solo Jason Ringenberg concert that night in the same city. From 2000 to 2015 he performed an average of 200 shows a year all over Europe and North America.

In 2017 he saw yet another renaissance in his career. The U.S. National Park Service approached him to be their Artist-in-Residence at the Sequoia/Kings Canyon National Park. He spent a month hiking those pristine mountains, doing concerts in the campgrounds, and writing songs. He experienced an explosion of creative energy not seen since his salad days with Jason and the Scorchers. The resulting songs form the basis for two defining records: Stand Tall, released in 2018, and now Rhinestoned. Rhinestoned is heavily influenced by the ethos and energy of mid-1960s Nashville. The record is populated by forgotten ghosts and old souls. There is a song about one of Crazy Horse's close Lakota friends and another about the Freedom Riders. He even tackles a love affair gone wrong in World War I Flanders. He covers Hank Williams, The Carter Family, and the classic Easter hymn Christ the Lord Is Risen Today, all the while making each track sound uniquely his own. The record was recorded by George Bradfute, whose studio is located in the basement of the 1950's country superstar Jim Reeves. The old tile floor and pine paneling are still there, conjuring up old memories and soaking up new ones.

So his journey winds on. As Ringenberg says in Rhinestoned: "A song can be a lover or a true best friend and it will not forsake you when you reach the end..."

Born in Miami, during World War II, Chris Smither grew up in New Orleans where he first started playing music as a child. The son of a Tulane University professor, he was taught the rudiments of instrumentation by his uncle on his mother's ukulele. "Uncle Howard," Smither says, "showed me that if you knew three chords, you could play a lot of the songs you heard on the radio. And if you knew four chords, you could pretty much rule the world." With that bit of knowledge under his belt, he was hooked. "I'd loved acoustic music -- specifically the blues -- ever since I first heard Lightnin' Hopkins' Blues In My Bottle album. I couldn't believe the sound Hopkins got. At first I thought it was two guys playing guitar. My style, to a degree, came out of trying to imitate that sound I heard."

In his early twenties, Smither turned his back on his anthropology studies and headed to Boston at the urging of legendary folk singer Eric von Schmidt. It was the mid-'60s and acoustic music thrived in the streets and coffeehouses there. Smither forged lifelong friendships with many musicians, including Bonnie Raitt who went on to record his songs, "Love You Like A Man" and "I Feel the Same. (Their friendship has endured as their career paths intertwined over the years.) What quickly evolved from his New Orleans and Cambridge musical experiences is his enduring, singular guitar sound -- a beat-driven finger-picking, strongly influenced by the playing of Mississippi John Hurt and Lightnin' Hopkins, layered over the ever-present backbeat of his rhythmic, tapping feet (always mic'd in performance).

Smither's first albums, I'm A Stranger, Too! (1971) and Don't It Drag On (1972) were released on Poppy Records, home of kindred spirit Townes Van Zandt. By the time Smither recorded his third album, Honeysuckle Dog with Lowell George and Dr. John helping out, United Artists had absorbed Poppy and ultimately dropped much of their roster, including Smither. Smither made his next record in 1985, when the spare It Ain't Easy on Adelphi Records marked his return to the studio.

By the early '90s, Smither's steady nationwide touring and regular release of consistently acclaimed albums cemented his reputation as one of the finest acoustic musicians in the country. His 1991 album, Another Way to Find You, was recorded live in front of an in-studio audience with no overdubs or second takes. This would be the first of two albums with Flying Fish Records. His next recording, Happier Blue, was embraced by Triple A radio and received the NAIRD (now AFIM) award as Best Folk Recording of 1993. Up On The Lowdown (1995) marked the first of a trio of albums to be recorded with producer Stephen Bruton at The Hit Shack in Austin and his first of five albums with roots label HighTone Records. Up On the Lowdown rode the crest of the newly formed Americana radio format wave and sparked considerable interest abroad. A tour of Australia with Dave Alvin and extensive solo touring in Europe led to an expanding global interest in Smither. His song, "I Am the Ride," from this album inspired the independent film, The Ride, for which Smither also composed the original score.

In early 1997 Smither released Small Revelations. It climbed the Americana and Triple A radio charts and led to concert dates with B.B. King, Bonnie Raitt, Nanci Griffith, and the hugely successful, original Monsters of Folk' tour with Ramblin' Jack Elliott, Dave Alvin and Tom Russell. Small Revelations also generated several film projects for Smither. Emmylou Harris recorded his song, "Slow Surprise," for the The Horse Whisperer soundtrack on MCA. And his recording of "Hold On" was used in the indie feature film Love From Ground Zero. Smither also shared insight into his guitar style and technique on two instructional DVDs, available from Homespun Video.

His CD, Drive You Home Again (1999), garnered four-stars from Rolling Stone. And with it, Smither continued to tour world-wide. Shortly after, in 2000, Smither released his one-man-tour-de-force, Live As I'll Ever Be. Recorded in-concert at various clubs and concert halls in California, Dublin, Galway, Boston, and Washington DC, it has proven to be a fan favorite, capturing Smither at what he loves to do: performing in front of an audience.

Train Home (2003) was Smither's last record for HighTone and his first with producer David Goodrich. Over a six-week period, basic tracks for Train Home were recorded in the relaxed environment of Smither's home near Boston. Working with new session musicians, the record is simultaneously sparse and assured. Bonnie Raitt graciously provided backing vocals and slide guitar on Smither's cover of Bob Dylan's "Desolation Row." And Smither's "Seems So Real" from the CD earned a Folk Alliance Award as "Song of the Year."

In 2005, jazz great Diana Krall covered "Love Me Like A Man," introducing what is now a blues standard to a whole world of jazz fans. Shortly after, Smither's song "Slow Surprise" was included in the independent film, Brother's Shadow. In addition, Smither narrated a two-CD audio book recording of "Will Rogers' Greatest Hits." Continuing to expand his creative horizon, Smither was invited to contribute an essay to Sixty Things to Do When You Turn Sixty, a 2006 collection of essays by American luminaries on reaching that milestone. In 2009, Melville House published Amplified, a book featuring 16 short stories by notable American performing songwriters. Smither's story Leroy Purcell about a touring musician's encounter with a Texas State Patrolman leads off the collection.

With the release of his 12th recording Leave The Light On (2006) on his own imprint, Mighty Albert, Smither began a new label relationship with the renowned acoustic and modern folk label, Signature Sounds. For the recording, Smither reunited with producer David Goodrich and session musicians Mike Piehl, Lou Ulrich and Anita Suhanin. As an added treat, Smither invited good friend and Grammy Award-winning multi- instrumentalist, Tim O'Brien, along with rising American roots stars, Ollabelle, to add their distinctive talents on several tracks. Smither followed this with Time Stands Still (2009), his most stripped down recording in some time, working with just two accompanists after the same trio had played a rare band performance -- a non-solo setup required in order to play a Netherlands festival.

About the recording Smither says, "We're the only three guys on this record, and most of the songs only have three parts going on. We had a freewheeling feeling at that festival gig, and we managed to make a lot of that same feeling happen in this record." In 2011 Smither put out two fan projects: a collection of live tracks from newly discovered concert recordings from the 1980s-1990s titled Lost and Found and the rollicking EP, What I Learned in School, on which Smither covered six classic rock and roll songs.

Smither followed these fan-projects with Hundred Dollar Valentine (2012), a ????? (MOJO) studio record of all Smither-penned songs. With longtime producer David "Goody" Goodrich at the helm, this collection sported Smither's trademark acoustic guitar sound and evocative sonic textures meshed with spare, brilliant songs, delivered in a bone-wise, hard-won voice.

In 2014 Smither released Still on the Levee (2014) -- a double-CD retrospective. Recorded in New Orleans at the Music Shed, this career-spanning project features fresh new takes on 24 iconic songs from his vast career and some very special guests including the legendary Allen Toussaint and Loudon Wainwright III.

The coffee table style book Chris Smither Lyrics 1966-2012 and Signature Sounds' Link of Chain -- an all-star tribute record including a stellar list of artists offering their takes on some Smither favorites including Josh Ritter, Bonnie Raitt, Loudon Wainwright III, Dave Alvin, Peter Case, Tim O'Brien, Patty Larkin, and many others were fan-favorite accompaniments to the retrospective CD .

In March 2018, Smither released his eighteenth record, Call Me Lucky (Signature Sounds/Mighty Albert) once again teaming up with producer and multi-instrumentalist David Goodrich. Also joined by Billy Conway (Morphine) and Matt Lorenz (The Suitcase Junket), Smither recorded eight new originals along with some very special and surprising covers at the Blue Rock studios in the Texas hills in June 2017.

In October 2020, More From The Levee, the followup to the 50-year career retrospective Still on the Levee, was released.

Acoustic Guitar: Smither sings about "the big things -- life, love, loss -- in a penetrating and poetic yet unpretentious way."

Raised outside Houston by first-generation Korean immigrant parents, BettySoo grew up listening to the Great American songbook and country radio. Older sisters led her to the world of singer/songwriters, and nights spent at The Cactus Café and Hole In The Wall turned her on to the legacy of Texas song.

Her 2007 solo disc, Little Tiny Secrets, garnered heavy regional airplay; 2009's Heat Sin Water Sin produced by Gurf Morlix (Lucinda Williams, Ray Wylie Hubbard), provided building blocks to a national (and international) audience. In 2014, When We're Gone, co-produced with cellist Brian Standefer (Alejandro Escovedo, Terry Allen) placed her firmly in the first rank of songwriters working today.

She's won the requisite awards: Kerrville NewFolk, Big Top Chautauqua Songwriter of the Year, Dave Carter Songwriting Award at Sisters Folk Festival, Mountain Stage NewSong Competition. She's played the festivals: multiple SXSW's, Kerrville, Calgary, and more. And the radio shows: E-Town, Mountain Stage, WoodSongs, BBC 2 with Bob Harris.

BettySoo tours nonstop, these days either as a solo headliner or as dedicated support for James McMurtry and Chris Smither. Along with her agile guitar playing, her intelligent, tightly-constructed lyrics and captivating melodies keep audiences entranced, and if you're lucky, you'll also find her onstage demonstrating her other super-power when she is singing harmonies with various luminaries.

In the Time of COVID-19, BettySoo was found cutting a unique path through the broad streaming landscape with her weekly Nobody's Happy Hour zoom shows, often praised as the most creative online residency in the songwriter world. As with everything she does, she approached it in a way that invites authentic connection, encourages compassion, and merits listening.

Michael McDermott burst onto the scene in his early 20s with his exceptional debut, 620 W. Surf and subsequently found himself touted as Rock's 'Next Big Thing'. MTV, Rolling Stone, The New York Times and even author, Stephen King added their appreciative nods and having the backing of Giant Records and prestigious producers like, Brian Koppelman and Don Gehman, seemed to go a long way towards assuring his success - overnight success.

The missteps and failures that followed, the collapse of an industry that once embraced him as its next sensation, are troubles and travails that either ruin a person completely, or they force a change of attitude and staunch determination to gather one's resolve to not only survive, but overcome. McDermott vowed to do both. Ten albums in, it's resulted in Willow Springs (Pauper Sky, June 17, 2016), one of the most honest, daring and defiant recordings of McDermott's career. Named for the small town where he now resides with his wife and young daughter, it reflects a certain circumspect about his life, the situations he's encountered, while realizing that ultimately, his fate resided in his own hands.

"This is an album of reckoning I suppose," McDermott reflects. "There was a real cacophony of change going on in my life at the time... being a new father, losing my own father, leaving the city for the country, dealing with sobriety, grief, death, mortality, shame and forgiveness. It was a veritable emotional tsunami and yet somehow I had to navigate through it all. That journey is reflected in these songs. Willow Springs is the name of the place where I took refuge and had to confront a lot of things".

Recorded at his home in the country and fan-funded, Willow Springs finds McDermott behind the boards as producer for the first time with longtime producer and collaborator, Lex Price doing the mix. Having enlisted a stellar support group of musicians -- including multi-instrumentalist, Price; guitarist, Will Kimbrough; keyboard player, John Deaderick ; sax player Rich Parenteau; and McDermott's wife, Heather Horton on backing vocals - McDermott found himself able to craft the unassuming yet cutting sound he envisioned.

Indeed, the results bear out the fact that Willow Springs is the most honest and expressive album of McDermott's extraordinary 25 year career. Songs such as, 'These Last Few Days', 'Getaway Car', 'Half Empty Kinda Guy', 'One Minus One' and the title track, convey all at once, a sound that's both reflective and confessional - borne by stark emotion and a tattered, battered delivery that's both sobering and sublime. McDermott remains more determined than ever, and Willow Springs is the result. "My enthusiasm is only matched by my desire to continue to evolve as an artist" he insists.

Accolades and kudos can be accumulated one minute and quickly dissipate the next. After all, the music biz is a fickle beast and it doesn't matter how much you pleased the masses last year, last month or even last week, but rather, about what you offer today.

Today, McDermott has offered his best.

Kudos to Michael McDermott - overnight success.

The ever metamorphosing entity that is Gong launches, as ever, into unknown -- and unknowing -- territory with a new album and tour, destined to be talked about, discussed, and argued over, up and down the land.

From its beginnings in a French commune in 1967, through the Virgin Records years, mismanagement, court cases, break-ups and rejoinings, deaths and rebirths -- there has always been a continuous thread of beautiful, dangerous and extraordinary music.

The current holders of the flame have come together over the last seven years; sinuous bass player Dave Sturt joined just as the album 2032 was shown to the world; Ian 'Eastwinds' East was the next to blow in through the portal; Fabio Golfetti brought his guitars from Brazil (after working with Daevid for many years); Kavus Torabi appeared to Daevid in a vision; Cheb Nettles just sort of turned up.

Gong's musically diverse world includes shades of psychedelia, space rock, jazz, avant-garde, krautrock and surreal soundscapes.

Signed-up members of the precariat, Gong have never played it safe.

Australian beatnik poet Daevid Allen (ex-Soft Machine) began making music with his partner Gilli Smyth in the late 1960s, along with a constantly evolving community of creative musicians. Albums from this period include Magick Brother, Mystic Sister (1969) and the influential Bananamoon (1971) -- one of David Bowie's favourite 20 albums.

A stable line-up of the band, now named Gong, eventually materialised featuring Didier Malherbe (sax and reeds), Christian Tritsch (bass), and Pip Pyle (drums), along with Allen (glissando guitar, vocals) and Smyth (space whisper, vocals). This band released the album Camembert Electrique in late 1971, as well as providing the soundtrack to the iconic biker film Continental Circus and music for the album Obsolete by French poet Dashiel Hedayat.

Gong's next three albums, released on Virgin Records, became known as the known as the Radio Gnome Trilogy, consisting of Flying Teapot (1973), Angel's Egg (1974), and You (1975). Over the course of the Trilogy, Tritsch and Pyle left and were replaced by Mike Howlett (bass) and Pierre Moerlen (drums). New members Steve Hillage (guitar) and Tim Blake (synthesizers) also joined.

After You, Allen, Hillage, Blake and Smyth left the group, guitarist Allan Holdsworth joined, and the band moved into a virtuosic jazz fusion style. Nevertheless the trilogy lineup reunited for a few one-off concerts including a 1977 French concert, documented on the Gong Est Mort, Vive Gong album. Allen also reunited with Malherbe and Pyle for 1992's Shapeshifter album and the Gong 25th Birthday Party in 1994.

A great gathering of the Gong family took place in Amsterdam at the Unconvention in 2006 featuring many previous members and related bands. This event reinvigorated the band, leading to the release of the album 2032 in 2009 and the subsequent tour saw the arrival of Dave Sturt (bass) and Ian East (saxophone).

In 2012, Daevid Allen also enlisted Fabio Golfetti (guitar) and Orlando Allen (drums) for a tour of Europe, UK, Japan and Brazil. By 2013 Kavus Torabi (guitar) had also joined the group and the line-up of Allen, Sturt, East, Golfetti, Allen and Torabi then recorded the album I See You (2014). That year, Daevid Allen was diagnosed with cancer and was unable to perform whilst undergoing treatment. Fulfilling his wishes, the band continued the Gong tradition without him and toured to promote the album, bringing in Cheb Nettles (drums).

In 2015, Daevid Allen passed away. His influence and legacy were honoured on the band's subsequent album, Rejoice! I'm Dead! (2016).

The band have continued to tour all around the UK and Europe since that time including visits to China, Japan, Brazil and The Cruise To The Edge in the Caribbean. They released the album The Universe Also Collapses, on Kscope music in May 2019.

Unending Ascending is the new studio album released on Kscope music in November 2023. The band is touring extensively in 2024.

A German heavy metal outfit founded and fronted by powerhouse vocalist , U.D.O. emerged in the late '80s after exited the popular power metal group . Beginning with 1987's Animal House, and a rotating cast of players carved out a huge swath of heavy metal real estate, averaging a full-length LP every year or so (2021's Game Over was the group's 17th full-length effort) and touring on the strength of an impressive catalog of European power metal that also included classics like "Balls to the Wall" and "Fast as a Shark."

Following his departure from in 1987, formed U.D.O. with guitarists Peter Szigeti and Mathias Dieth, bassist Frank Rittel, and drummer Tomas Franke. The group's debut album, Animal House, was in fact written by 's former bandmates in , and by the time of its 1988 follow-up Mean Machine, Szigeti, Rittel, and had all been dismissed, replaced by guitarist , bassist Thomas Smuszynski, and drummer Stefan Schwarzmann. himself was out of U.D.O. for 1990's Faceless World, replaced by guitarist Wolla Böhm; the same roster who recorded 1991's Time Bomb, although the band split in the wake of a subsequent tour, with rejoining from 1992 to 1996. He re-formed U.D.O. with Dieth, Schwarzmann, guitarist Stefan Kaufmann, and bassist Michael Voss to contribute a track to the tribute album Legends of Metal; only Schwarzmann and Kaufmann remained on board for 1997's full-length Solid, which featured new guitarist Jürgen Graf-Biardi and bassist Fitty Wienhold. No Limits followed a year later, and in 1999 U.D.O. resurfaced with the punishing Holy, which saw the group delivering their most visceral LP in years. 2002's Man and Machine featured the hit "Dancing with an Angel," a duet with vocalist Doro Pesch, and was followed by a string of hard-hitting studio albums: Thunderball (2004), Mission No. X (2005), Mastercutor (2007), Dominator (2009), and Rev-Raptor (2011). The following year saw the departure of guitarist Stefan Kaufmann, who had to leave the fold for health reasons. He was replaced by Andrey Smirnov, who made his first studio appearance with the group on 2013's Steelhammer. Decadent, the band's 15th long-player, arrived in a timely fashion in early 2015. Later that year, announced that he would be embarking on a massive tour comprising only songs, with the intention of retiring the material. A double-live LP, Back to the Roots: Accepted, chronicled the tour in 2017. U.D.O. returned with their 16th studio long-player Steelfactory in 2018. Two years later they released the follow-up We Are One, an orchestral album written and recorded in collaboration with the Concert Band of the German Armed Forces, followed in 2021 by Game Over.

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