Tue, 24 Nov 2015 20:27:44 +0000 en-US hourly 1 Kampout for Kids featuring Hinder Tue, 24 Nov 2015 19:05:25 +0000 aaron Friday, January 29th
w/ TBA
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $22.50: Advance || $28: Day of Show
$35: VIP || $50: Super VIP

VIP includes:
- Budweiser Keg
- Toppers Pizza
- 2 Drink Tickets

Super VIP includes:
- Bud Keg
- Toppers Pizza
- Seated Table
- 4 Drink Tickets

Please email with any additions questions. Thanks for buying tickets to the show!!


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Hinder, the multi-platinum Oklahoma City rockers, are gearing up for their fifth studio album When the Smoke Clears (set for release via The End Records/ADA this spring).

Singalong anthems, such as “Get Stoned” and “Lips Of An Angel,” shot them to megastardom, establishing Hinder as the next wave in anthemic rock. Now with over a decade-plus career under their belts, and having honed their live chops touring with the likes of Mötley Crüe, Nickelback, Aerosmith, and Papa Roach, Hinder’s upcoming album with their official new lead vocalist Marshal Dutton has breathed new sound, and new air, into the ever-evolving band.

"We've made a really great record," said drummer Cody Hanson. "Once the fans get a hold of it, they will be very happy with it. This band was built around a strong core of hard work and friendship. Like it or not, we're going to be around for a long time."

The band, which released its debut Extreme Behavior in 2005, followed by 2008's Take It to the Limit, 2010's All American Nightmare, and 2012's Welcome to the Freak Show, has every reason to have that kind of unfettered confidence in the new album. They have an unfuckwithable foundation, one that is bolstered by true friendships and proven know-how when it comes to writing and recording songs.

The songs on When the Smoke Clears run the gamut from rowdy rock to subtle country influence to memorable pop hooks, all of which retain the DNA-distinct spirit of Hinder. That ability to walk the tightrope between genres, without a net, is something Hanson is proud of. "We can cross genres whenever we want," he said. "We don't want to be a band that can only do that one thing. We have something for everyone. We've always been that way. Having the ability to do our own production, having our own studio, gives us a chance to experiment and try new things."

"Hit the Ground" is a key song on the album, since the lyrical content is so genuine. "Through the years, we've been known as a party band," Hanson acknowledged. "That is still our thing, but we've lived every lyric in this song. We know what it feels like to have our entire world crash down around us. The song shows fans where we were mentally. And we know how true the last line of the chorus really is." The line he is referencing – the powerful statement that "Falling feels like flying 'til you hit the ground."

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Bummer // Halfwit // Bogusman Wed, 18 Nov 2015 21:26:57 +0000 aaron Friday, January 1st
w/ Bummer, Halfwit, Bogusman
Doors: 7 p.m. || Show: 8 p.m.
$5: 21 and up || $7: 18 and up

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Quality Time with Jordan Kleine Wed, 18 Nov 2015 17:53:27 +0000 aaron Thursday, December 10th
Doors: 8 p.m. || Show: 8:30 p.m.
All Ages || $5: 21 and up || $7: Under 21

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New Year’s Eve Masquerade Ball featuring Josh Hoyer & Soul Colossal Wed, 18 Nov 2015 17:23:46 +0000 aaron Thursday, December 31st
Featuring: Josh Hoyer & Soul Colossal
w/ Mesonjixx
Doors: 9 p.m. || Show: 10 p.m.
21 and up || $8: Advance
$10: Day of Show w/ Mask || $15: Day of Show w/o Mask

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Asking Alexandria Tue, 17 Nov 2015 20:00:01 +0000 aaron Sunday, February 14th
w/ While She Sleeps
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $22: Advance || $25: Day of Show

Website | Facebook | Video

Spanning two continents, three names, and nearly a dozen members, Asking Alexandria are a band whose short career seems to be more about change than anything else. The brainchild of guitarist Ben Bruce, the band was originally formed in Dubai in 2003 under the name Amongst Us, which soon changed to End of Reason before eventually settling on Asking Alexandria in 2006. They cemented the name change with their self-released EP, Tomorrow.Hope.Goodbye. The following year they released their first full-length album, The Irony of Your Perfection, through Hangmans Joke. Shortly afterwards, Bruce left Dubai and returned to England, resulting in the dissolution of the band. In 2008, Bruce formed a new band around the name Asking Alexandria. Unlike its vaguely post-hardcore predecessor, this incarnation of the band was a pretty standard screamo/metalcore act, with chugging guitars and alternating singing/screaming vocals. Finally settling on the lineup of Danny Worsnop (vocals), Camron Liddell (guitar), James Cassells (drums), and Sam Bettley (bass), the band set to work on a touring blitz of the United States with bands like Alesana, the Bled, and Evergreen Terrace. In 2009 they signed with Sumerian Records and released their first album with the new lineup, Stand Up and Scream, in the fall of that year. The band would find mainstream success in 2011 with the release of their sophomore album, Reckless & Relentless, which peaked at number nine on the Billboard charts. They returned in 2013 with a more mature hard rock sound, smoothing off some of the metalcore and electronica influences, resulting in their more focused third album, From Death to Destiny.

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Cody Canada and the Departed & Jason Boland & the Stragglers Tue, 17 Nov 2015 07:33:50 +0000 aaron Sunday, January 10th
Doors: 7 p.m. || Show: 8 p.m.
18 and up || $20: Advance || $25: Day of Show


Cody Canada and the Departed

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The latest, tight incarnation of the Cody Canada-led group The Departed isn’t a reinvention of the group’s sound, or a reimagining of Canada’s musical perspective – it’s a reunion. As with any reunion, the passing years have provided the involved parties with new and unique perspectives, breathing vibrant excitement into their streamlined new environment.

Canada, Jeremy Plato, Chris Doege and Steve Littleton are reopening the doors to a sonic garage where sounds and stories some thought were gone for good are now being unleashed onto an eager public after a few years of fruitful – even risky -- artistic diversion. Being guided by raw emotion and nerves that are often unguarded, Canada hasn’t begun to pluck the opening notes to an increasing number of Cross Canadian Ragweed favorites without some reluctance or painful reminiscence, mind you. But the powerful nature of such visceral connections is what makes his stories stunning while rightfully placing him in a prominent class of modern songwriters occupied by the influential likes of Robert Earl Keen, Bruce and Charlie Robison, Todd Snider, Mike McClure and the men of Reckless Kelly, among only a strict few others.

To be clear, the men of the Departed are not the frat-house faves many of the latest generation of river-tubing popsters are. Ideals and experiences of a person enduring the sometimes-harsh realities of the real world demand space in a Departed concert.

In the wake of Ragweed’s 2010 dissolution, most fans likely expected – and few would’ve blamed – Canada for adhering to the heart-sleeved, Okie-rocker recipe that propelled Canada into a true Rock Star realm. Bolstering his bad-ass bona-fides even more, however, was his decision to choose the dirt road less traveled. By finally partnering up with Seth James, a long-time friend universally admired for his soulful skills, Canada’s words had a different backdrop that certainly represented commercial risk, but offered an unusually fresh outlet where the iconic songs of his past, for a while, stayed in the past. For three years, Canada became a side-man for sections of each concert as the Departed quickly built a reputation as a crack band focused on packing as much expertly-curated song-craft into each show as possible, eschewing the demands for “more Ragweed!”

With the chill of 2014’s winter thawing into the haziness of the spring and the Departed now having played as a powerful four-piece for several months following James’ amicable exit, Canada’s appreciation for the truly remarkable, intensely personal body of work he created as he fronted Ragweed is intact, and indeed, fresh with the passing of time and the healing of emotional wounds. Unsurprisingly, fans are exuberantly responding to the inclusion of classics such as “Alabama,” “Dimebag,” and “17” into set-lists for Departed shows. The refitted outfit is channeling the power chords and raw-bone ballads, whichvaulted Canada into the status as Red Dirt’s biggest name for so long.

This is not a comeback. This isn’t a rebirth.

This is a rock and roll renewal only an artist with Canada’s strength of will and determined vision is capable of. He’s making great use of a rare chance few artists ever receive. He now knows what he only started to understand many years ago, and his words are all the more impactful as a result.

Jason Boland & The Stragglers

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It’s admirable when a musician gets back to his roots, there’s no questioning that. But in a lot of ways, it’s even more admirable when an artist has no need to do that – having never lost touch with those roots in the first place. Jason Boland falls squarely into the latter category, having spent the better part of the last 15 years entrenching himself in the so-called “red dirt” of his native state of Oklahoma and adopted home in Texas and while spreading his musical branches to cover a remarkable amount of territory.

“I’ve always thought it was important to keep one foot in tradition and the other pointed in the direction you want to go,” says Boland. “I didn’t invent the G chord, so I’m standing on the shoulders of the giants that did, and on the shoulders of some great songwriters that have come before me. I’m using an old stencil, but adding my own colors.”

On their new studio album, Dark And Dirty Mile, Boland and his compatriots use a wide array of hues to illustrate 11 songs of rejection and redemption, dark clouds and silver linings, all assembled in the rough-hewn manner that’s earned him an ever-growing fan base – a following that’s snapped up more than a half-million records over the past decade and change.

Dark And Dirty Mile is a song cycle of sorts, one that finds Boland seeking – and finding -- beauty in life’s often-overlooked places, learning tough lessons through experience and overcoming obstacles with the help of others. That’s evident in the title track, which opens the album with a vividly drawn emotional landscape strewn with moments of regret and missed opportunities – but a clear bead on a clear horizon.

A similar dichotomy rolls through “Electric Bill,” a slow burn of a honky-tonk tune that conjures a picture of a man with an overdrawn checkbook in one hand and the hand of a loved one in the other – a sentiment he credits to his wife, who he says, reminded him that, “if everything is taken away tomorrow, there’s still love and hope in the world.”

Boland presents that sentiment without a drop of Hallmark saccharine, however. He doesn’t sweeten these tunes with easy studio tricks or the sort of pop trickery so often heard on Music City productions these days. The surface is anything but slick, and the sinew that runs through songs like the organ-tinged strut “Green Screen” and the high lonesome desert tone of his take on Randy Crouch’s “They Took It Away” lends a tone that’s ragged-but-right, ideal for Boland’s always-incisive lyrics.

“People don’t always expect to have a lot there in terms of lyrics,” he says. “Society says ‘if it sounds like this, you have to do songs about that.’ But if you just try to fit things together in the most simple way possible, you’re just trying to manipulate people, and I’m not interested in doing that.

“I think of myself as being in the Oklahoma tradition in the same way as Woody Guthrie – those of us who came up in Tornado Alley can all trace our lineage back to Woody.”.

Boland has been mining that territory for pretty much his entire career. Bowing in 1999 with the regionally popular Pearl Snaps – a first teaming with Lloyd Maines, who Boland cites as one of several seminal influences on his sonic vision – the Stragglers built a rabid following from the Panhandle to the Gulf Coast. Over the intervening half-decade, the band would team with similar kindred spirits – from Billy Joe Shaver to Dwight Yoakam compadre Pete Anderson to the late Bob Childers – to create an uncompromising body of work, as whip-smart as it is body-moving.

“We’ve always been lucky enough to work with people who feel the same way we do about things,” says Boland. “The world doesn’t always make sense, but you meet people around the campfires who will be there for you. That’s the big secret, 99 percent of people will share and break bread with you when times are hard.”

Boland himself says that he started to figure things out in earnest around the time he and the Stragglers went into the studio to record 2008’s Comal County Blue, a set that, as Country Weekly put it, “vividly chronicle the thoughts of a regular guy trying to make sense of the world and only occasionally succeeding, while keeping one eye on the reasons he keeps trying.”
That disc brought Boland’s songs to a wider audience than anything he had done in the past, but the momentum was slowed a bit by his need to take several months off to recover from surgery to remove a polyp from his vocal cord. He took the setback in stride, and now says, in retrospect, “it was a good thing in some ways, since it helped teach me to really sing and broke me of the habit of yelling – which is an easy habit to develop if you come up singing in Texas honky-tonks.”

By the time 2011’s “palpably redemptive” Rancho Alto (to quote the Austin Chronicle) came around, Boland had a firm rein on his instrument, which had grown into a burnished, evocative baritone, and further honed his pensive-but-not-pedantic writing style – all of which comes to heady fruition on Dark and Dirty Mile, co-produced by Boland and Shooter Jennings.

From the steeliness of “Only One,” with its unflagging belief in love in the face of adversity to the wistful regret of the album closing “See You When I See You,” that strength shines through. It emerges in the two-step friendly rhythms of “Nine Times Out of Ten” and it burrows deep into the soil on the soulful swing of “Lucky I Guess” – songs that evoke the sight, smell and taste of the red dirt of his home territory.

“The t-shirt sellers love that phrase ‘red dirt,’ because it’s so simple,” says Boland. “But it fits. It was coined by the people making the music – rust in the ground, blood in the dirt. It’s real and it’s where I come from – and what I refuse to give up, no matter what.”

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The Inbetweens & Gerardo Meza Band Mon, 09 Nov 2015 23:44:25 +0000 aaron Saturday, November 28th
Featuring: The Inbetweens & Gerardo Meza Band
w/ Bernardus
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up

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Like A Storm Thu, 05 Nov 2015 23:00:14 +0000 aaron Tuesday, December 1st
w/ From Ashes to New, Stitched Up Heart, Failure Anthem
Doors: 6 p.m. || Show: 7 p.m.
All Ages || $12: Advance || $15: Day of Show

Like A Storm

Website | Facebook | Youtube

With their record-breaking new single, "Love the Way You Hate Me", smashing its way onto American airwaves, Kiwi hard rock act Like A Storm have now achieved more successful US Hard Rock singles than any other New Zealand band in history. Hard rock anthem "Love the Way You Hate Me", which features singer Chris Brooks playing the didgeridoo, has made an impact with rock fans all over North America - hitting #1 on satellite giant SiriusXM Octane.

Since their debut album, "The End of the Beginning", in 2009, Like A Storm have created a compelling musical catalogue and earned the reputation as one of rock's hardest working bands. Five years of relentless touring has seen them share American stages with rock giants Creed, Korn, Alter Bridge, Five Finger Death Punch, Shinedown and many others. As a result, the band of Kiwi brothers has developed one of the most loyal fan bases in the country, and are now a headline act in their own right. Like A Storm's diehard fans - many of whom are inked in the band's artwork and lyrics - are widely known to travel huge distances, and show up hours early, to see the band play at some of the most iconic rock venues in the US.

Originally formed a world away in Auckland, New Zealand, Like A Storm was born when musician brothers Chris, Kent and Matt Brooks first jammed together. Growing up playing in separate bands, the combined chemistry was apparent in an instant. "We just felt this amazing musical connection," remembers guitarist Matt Brooks, "We knew that we had to start a band together."

Leaving New Zealand with the dream to play their music on the world stage, Like A Storm's American career was kickstarted in 2009 in a Los Angeles recording studio. Producer and mentor Mike Plotnikoff, with whom the band lived while making their debut album, blasted the first single, "Chemical Infatuation", for Creed/Alter Bridge guitarist Mark Tremonti. As a result, Tremonti offered Like A Storm the opening slot on Creed's nationwide arena tour - an opportunity which won them thousands of fans all over the US, with their debut album, "The End of the Beginning", charging onto the Billboard charts from tour sales alone. Since that explosive entry, Like A Storm have established themselves as one of the most powerful new rock acts on the US tour circuit.

Combining crushing baritone guitar riffs, ambient textures, and their three vocal attack, Like A Storm's sound has been described as dark, yet uplifting. The band's hard-hitting rock anthems can be heard on the radio on both sides of the world - in the USA, Canada and on New Zealand's biggest rock station, The RockFM. The record-breaking new single, "Love the Way You Hate Me", showcases the band's massive musical growth on their recent sophomore effort, "Chaos Theory: Part 1".

"Chaos Theory: Part 1" was initially intended to be recorded in a typical US studio, but due to their insane touring schedule, the band decided to instead make the record while out on the road. As a result, Like A Storm's second album was recorded in backstage rooms and hotels all across the US. "Basically we didn't sleep for two months straight," laughs singer Chris Brooks, "After every show we would wheel two carts full of recording equipment into our hotel rooms… Asking the staff to put us as far away from the other guests as possible."

Whilst initially proving to be something of a logistical nightmare, recording an album while out on a nationwide US tour turned out to be hugely positive for the band. "It was actually a really awesome way to make a record," says Matt, "Walking offstage every night and going straight into making our new album really enabled us to capture all the energy of our live show." Recording outside of the constraints of the regular studio environment also gave Like A Storm the freedom to realize their ambitious vision - an album where hard rock contrasts haunting acoustics, and progressive metal collides with the primal tones of the didgeridoo - all while retaining the powerful, meaningful lyrics that the band are known for. "Chaos Theory: Part 1", produced by the multi-instrumentalist Brooks brothers, has been widely regarded as a huge step forward for the band. The record has already yielded two successful singles - "Never Surrender" (voted "Song of the Year" by Mid-Atlantic Rock Review), and their latest hard rock anthem "Love the Way You Hate Me".

Ironically, the chart-climbing "Love the Way You Hate Me" was never intended to be a single. Surprised by its recent success, Chris says, "We honestly never thought it would be on the radio. It was just this heavy song that we thought would be awesome to play live! We even put this long indulgent didgeridoo breakdown in it, which we thought would probably stop any station from ever playing it." he laughs. But after Michigan station 101.5FM The Banana unexpectedly spun the song one night on their "Cagematch" song competition, listeners responded overwhelmingly. "Love the Way You Hate Me" went on to win every night for over a month until it was retired from the competition - shattering the station's existing record. Radio stations all over North America started taking notice of the song - with its unique musical statement, "Love the Way You Hate Me" has grabbed the attention of rock fans all over North America.

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King of the City: RITTZ Opening Act Auditions Wed, 04 Nov 2015 19:40:54 +0000 aaron Thursday, November 19th
Featuring: The Urban Outlaws, Cartel TZ
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $10: Advance || $12: Day of Show
*$3 fee for minors at the door

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Ugly Sweater Concert Wed, 04 Nov 2015 19:01:44 +0000 aaron Friday, December 18th
w/ Beaver Damage, The Motherfuck'n Saints, That Bastered Bomberger
Doors: 9 p.m. || Show: 10 p.m.
$5: 21 and up || $7: 18 and up

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RITTZ Tue, 03 Nov 2015 17:46:58 +0000 aaron Thursday, December 3rd
w/ Urban Outlaws, Cartel TZ, DJ D-Luv
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $25: GA Advance || $30: GA Day of Show
$40: Balcony Advance || $50: Balcony Day of Show

*Balcony Ticket Includes:
- VIP Balcony Seating
- Appetizers
- 21 and up only


Website | Facebook | Youtube

The Atlanta metropolitan area stretches on for at least 30 miles beyond the Georgia Dome and the World of Coke. Peachtree Street (conspicuously void of actual peach trees) stretches up through several counties, changing its name a number of times, confusing the tourists and the transplants. Furthest to the north of the metro area, sits Gwinnett County; sprawling and well-populated by a mix of out-of-towners hoping to indulge in a slice of that oft-mentioned American Pie: a house in a subdivision with a yard for the kids. After closer observation though, it’s apparent that the suburbs of Gwinnett are the digs to many who don’t fit the cookie cutter, Stepford lifestyle. The county, more frequently being referred to as the Northside, boasts both million dollar homes on golf courses as well as drug hubs in neighborhoods riddled with gang activity. The Northside, essentially, is in stark contradiction to itself. Rapper Rittz is the Northside.

Raised in Gwinnett County, Rittz embodies the same level of irony and self-conflict as his hometown. Born into a musical family, he, his twin sister and their brother had always been exposed to the inner workings of music. The fact that their parents were heavily into rock and roll ensured that the kids were always around instruments or in studios. The family moved from small-town Pennsylvania (Waynesburg) to the Atlanta outskirts when he was eight years old, and once Rittz got to junior high, his musical tastes evolved. Atlanta’s booming bass and rap movement had traveled north on I-85 to get the entire metro area jumping.

”When I moved here, I was introduced to rap music. When I started rapping, I was listening to any early Rap-A-Lot records, like Willie D, Geto Boys… Kilo [Ali] was like the first. So when I started at 12 years old, my early raps, I tried to rap like them,” he explains, “But the early Outkast, and Goodie Mob was really the beginning of me wanting to rap and imitate them in finding my own style. Me and another guy were actually in a group called Ralo and Rittz [1995-2003], we were like the white Outkast, or we tried to be like that. I had a studio in my basement, and we put out a bunch of tapes in Gwinnett. I felt like we were one of the first, if not the first... There were only maybe one or two other people rapping in Gwinnett at the time, from ’95 to 2000.”

During the earlier part of the millennium though, around 2003, Rittz had hit a wall. After eight years, he and Ralo had matured in different directions. His promising buzz had led to countless disappointments. “I won Battlegrounds on Hot 107.9, got retired and shit and felt like I was ‘bout to make it. But, so many industry up and downs, with managers, contracts…” He was dead broke, feeling dejected, and living with friends- ready to resign from the rap game before even taking his rightful place in it. It wasn’t until 2009 when he’d randomly received a call from another flamespitter who was repping an area as under-the-radar as Gwinnett was. “I had some money behind me.” Rittz says, “Everything was going good and then everything fell out, at the same time, I’m getting older, thinking it’s time to hang it up. This isn’t gonna happen and that’s when Yelawolf put me on ‘Box Chevy.’ [on Yelawolf’s Trunk Muzik].”

Nowadays, the rap career of Gwinnett-raised Rittz is rapidly on the rise. From his affliation with one of the hottest new rappers coming out of the South to his first mixtape, Rittz White Jesus (hilariously inspired by a friend’s term of endearment), everything is coming together now, two years after he nearly lost everything. These days he’s booking late night studio sessions, and still clocking in to work early the next day. “I see both sides: the regular, working class type shit and then I’ve also seen a lot of the street shit that goes on here, some people that are blind to that here, may never have seen it.” Rittz says he’s “just a normal guy who raps”- a contradiction if there ever was one- but he makes you believe, with the humility of the everyman and the talent of a superstar.

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Oketo Record Release Show Tue, 03 Nov 2015 17:35:38 +0000 aaron Friday, February 19th
w/ BOTH, I Forgot To Love My Father
Doors: 8 p.m. || Show: 9 p.m.
All Ages || $5: Advance || $6: Day of Show
*$2 Fee for Minors at Door


Website | Facebook | Video

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Eli Young Band Mon, 02 Nov 2015 22:58:13 +0000 aaron Thursday, January 28th
Doors: 7 p.m. || Show: 8 p.m.
18 and up || $25: Advance || $30: Day of Show


Eli Young Band

Website | Facebook | Video

Somewhere in the midst of 10,000 towns, along a lonely highway between packing clubs in their native Texas years ago and more recently performing stadiums on one of country music’s hottest tours, the Eli Young Band became more than a band. They became a brotherhood. Camaraderie and creativity fused into an intoxicating cocktail that has propelled the talented foursome to the vanguard of contemporary country music.

With three No. 1 hits under their belt as well as a Grammy nomination and an Academy of Country Music Award for Song of the Year for their hit “Crazy Girl,” the Eli Young Band approached their second Republic Nashville album, 10,000 Towns, with a sense of confidence and purpose. “We were genuinely excited about making this new record,” says bassist Jon Jones. “People talk about the sophomore record being really tough to make and in a lot of ways this felt like our sophomore record even though it’s technically our fifth record as a band.”

“We learned over the progression of those records our strong points in the studio, and we were confident,” adds drummer Chris Thompson, “We knew what we wanted and how to get what we wanted.” It’s been a long, steady rise for Jones, Thompson, lead vocalist Mike Eli and guitarist James Young, but the same four musicians have been together from the start and are now reaping the rewards. They began performing together in 2000 while attending North Texas State University, and honed their skills on the Lone Star state’s competitive music circuit by building a rabid fan base who appreciated their potent live shows and the edgy, passionate indie albums that preceded their major label ascension.

With the 2011 release of their Republic Nashville debut, Life at Best, the Eli Young Band scored their first No. 1 hit with “Crazy Girl.” The double platinum single became the # 1 most played country song of the year on Billboard’s 2011 year end chart and earned them the ACM Award for Song of the Year. The band’s next single, “Even If It Breaks Your Heart,” became their second No. 1 and was certified platinum. It earned the band Grammy nods for Best Duo/Group Performance and for Best Country Song as well as Single of the Year and Song of the Year nominations from both the CMA and ACM.

After years of paying dues and gaining experience, the Eli Young Band is at the top of their game. While they started playing in tiny clubs, they’ve graduated to packing out theatres and mid-size venues as a headliner. Their road dog reputation helped them to earn an opening slot playing stadiums on the Kenny Chesney tour. All those miles on the road and visits to 10,000 towns coalesce to make their new album the band’s strongest effort yet. “At this point in our personal lives and in our career, we’re all in really good places,” Thompson says. “We’re all happy in our personal lives, so it shows on this record; it’s fun.”

“This record was a lot more upbeat than our previous records,” agrees Young. “We really wanted to record songs that are going to be fun to play live and fun for our fans watching the show. We were thinking about our live show and how these songs are going to translate on the set list. That was a priority in our minds too when we chose songs for this record. We’ve also learned to really follow our gut when it comes to songs and song choices. We’ve always had a good sense of what songs are going to work on the record and which ones aren’t.”

Their meticulous approach to writing and finding the very best songs for the new album paid off quickly as the lead single, “Drunk Last Night,” became the band’s third No. 1 hit. “We loved that song from the first 30 seconds of hearing it,” Eli says of the Josh Osborne/Laura Veltz penned song. “With that title, you read it and you think it’s going to be a certain type of song and then you hear the song and it’s not what you thought it would be at all. The songwriters, Josh and Laura, did a really good job of messing with our brains. People were drawn to the idea that it’s not the same ole same ole drinking song. That was intriguing. They did well, hitting you with two hooky choruses, that’s a tricky thing to write. That’s what drew me as a singer to the song.”

In recording 10,000 Towns, the Eli Young Band gathered songs from Music Row’s top writers, including Craig Wiseman, David Lee Murphy, Jon Randall and Will Hoge, and the band also penned half the songs on the album themselves. “It gets challenging when you’re touring so much to sit down and actually try to write, but we spent a lot of time in 2013 just trying to write however we could,” says Young. “It was fun for us because the four of us all sat down and wrote for this record which was a great experience,” says Eli. “All four of us are on ‘Prayer For The Road,’ ‘Traces’ and ‘Revelations.’ John and James were co-writers on ‘Dust’ while I was co-writer on ‘Angel Like You.’ ‘What Does’ was John, James and I and ‘Last Broken Heart’ was the same. We’ve never had a song on a record where all four of us were songwriters until this album.”

The second single, “Dust,” was the #1 most added song on the chart the first week with a massive 62 stations on board. The song is a rock-tinged number about a girl leaving small town life behind and taking charge of her future. “I feel like I’ve read so much recently about the girls being seen as weak in country music in the way that they are portrayed,” says Jones. “I really love this song because I call it ‘a big girl power song.’ All four of us are married to very strong women who allow us to go out and do what we do and we couldn’t do it without them.”

On 10,000 Towns, the Eli Young Band delivers a diverse collection of songs that explores the complexities of relationships such as the bluesy cheating song “Revelations” and the heartbreaking “What Does,” a poignant examination of a failed relationship. Yet there are several tunes that just revel in the simple pleasures that bring joy to the journey, among them “Just Add Moonlight” and “Let’s Do Something Tonight.” “A Prayer for the Road” is a tender tribute to the love of their families and the prayerful support that goes with them every mile.

There have been many miles over the years for the Eli Young Band and that’s why 10,000 Towns felt like the right title for their new effort. “There’s a general theme between small town America where every town is different, but in some ways, they are the same,” says Young. “We felt like the title encapsulated the best years of us driving all over the country playing music.”

Eli agrees. “We’ve traveled all over the country and to other countries, but at the end of the day we all party the same way no matter what the culture or the town,” he says. “To us, ‘10,000 Towns’ is a great way to sum up this record in that way as well as who we are. We love traveling around the country and seeing all that and being a band of road dogs.”

The Eli Young Band has worked hard to get to this point and is enjoying their current success the same way they earned it---TOGETHER. “We’ve surpassed the friend mark now and it’s more like brothers. It’s really kind of a blood bond between the four of us,” Jones says. “We set out to do this as a career and made the commitment to each other a long time ago and here we are 14 years later. None of us can imagine doing anything else.”

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Eyes for Higher CD Release Show Wed, 28 Oct 2015 19:22:40 +0000 aaron Saturday, November 21st
w/ Frame the Bear, Black Lighthouse
Doors: 6 p.m. || Show: 7 p.m.
All Ages || $6: 21 and up || $8: under 21

Eyes for Higher

Website | Facebook | Video

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Mike Stud Wed, 28 Oct 2015 16:55:29 +0000 aaron Thursday, February 25th
w/ OCD: Moosh & Twist, Futuristic
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $17: Advance || $20: Day of Show || $75: VIP

VIP Includes:
- One general admission ticket
- VIP early entry into the venue
- Exclusive meet & greet with Mike Stud
- Personal photograph with Mike Stud
- Copy of Mike Stud’s new album
- Limited edition poster
- Official meet & greet laminate
- Limited availability
- Heightened possibility of an appearance on NBC’s upcoming Mike Stud television series

Mike Stud

Website | Facebook | Video

Mike Stud’s entry into music started with a crushing, life-changing blow. With dreams of being a major league pitcher, the Rhode Island native was on the fast track to a career in baseball. He earned Louisville Slugger Player of the Year honors in high school, scored a full athletic scholarship to Duke University and was selected as an All-American during his freshman year. And then it was over.

After requiring Tommy John Surgery, his elbow never quite rebounded. “It felt like it never really healed completely. I was pitching and it was clear I just wasn’t as good anymore.”

But while sidelined from the mound, he started tinkering with Garageband. He crafted “College Humor,” a witty ode to undergrad hedonism as a lighthearted distraction from his sluggish recovery in 2010. The song quickly took off.

“We would play it at the baseball parties and our teammates liked it. The bars at school would start to play it. I went into that video thinking it would be the first and last video I ever shot,” he remembered. “But it went viral. It went from nothing at all to 100,000 views in a month.” “College Humor” has since been viewed more than 1.4 million times.

He continued to roll out more YouTube visuals – from his early tunes “In This Life” and “Happy Ending” to a remix of Justin Bieber’s hit “Boyfriend” – that astoundingly logged millions of views.

His first mixtape, 2011’s A Toast To Tommy (a reference to the surgery that ended his career before it began), pulled off a remarkable Top 5 debut on the worldwide and U.S. iTunes Hip-Hop albums charts. In 2012 he launched a sold-out, 20-city tour – another impressive feat for an independent act with zero previous music experience. By the time he dropped his debut effort, 2013’s Relief, he was a rising star pulling the sort of crowds and video views that established acts would envy.

Relief showed Mike trading out frat boy rhymes for meatier substance. The album traced his rise from All-American college pitcher to his career-ending injury and his rebirth as a rapper. It reached No. 1 on iTunes Hip-Hop albums charts and, along with his formidable tour figures, forced labels to ask, “Who is Mike Stud?”

Closer, his newly released sophomore effort released on Electric Feel Music, will undoubtedly change things for Mike Stud, as the rapper launched his #StudSummer Tour just days after the album’s arrival. What’s more, the album’s first single “Closer” made major waves on Rhythmic Top 40 Radio, developing quickly at the format. “I’m somebody who had one door closed, and I found another outlet,” he said. “If I never got hurt, I would have never made a song ... I now look back on something that was such a low point in my life to a turning point for the better. I try to project that in my music.”

Stud will have a new album dropping Fall 2015 and will be embarking on a massive tour at the top of 2016 to support his new release.

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Chili & Cinnamon Roll Cookoff Benefit for Jeanne Cass Mon, 26 Oct 2015 19:47:25 +0000 aaron Tuesday, November 3rd
Event: 6 p.m. - 9 p.m.
Music, Silent Auction, Chili Cookoff
All Ages || Suggested Donation
Donate Here:

Treat yourself, your family, and friends to chili and cinnamon rolls, live music, and a silent auction, to benefit Jeanne Cass. Be sure to enter your own special dish to compete for prizes!

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All That Remains Tue, 20 Oct 2015 16:05:44 +0000 aaron Tuesday, November 17th
w/ Devour the Day, Audiotopsy, Sons of Texas
Doors: 6:30 p.m. || Show: 7:30 p.m.
All Ages || $22.50: Advance || $28: Day of Show
Tickets On-Sale Friday, October 23rd @ 10 a.m.

All That Remains

Website | Facebook | Video

Given the world’s unpredictability, survival requires reaction. With so many factors beyond our control, the focus of life often becomes about how we respond to these outside forces. The same can be said for music. Regardless of how trends ebb and flow, artists must react appropriately in order to thrive and survive. Since 1998, All That Remains continue to progress, while clenching steadfast to the principals that etched their place at the forefront of 21st century hard rock. On their seventh full-length album, The Order of Things [Razor & Tie], the Massachusetts outfit—Phil Labonte [vocals], Oli Herbert [guitar], Mike Martin [guitar], Jeanne Sagan [bass], and Jason Costa [drums]—preserve an ethos of evolution.

“You have to adapt to the world around you as opposed to expecting everything to adapt to your perspective,” claims Labonte. “You can’t really control what goes on in your life, you can only control your reaction. I’ve gotten a certain amount of peace from embracing this truth. That’s the way things go. This is literally The Order of Things.”

It’s been quite a ride for All That Remains. The group reached another landmark with 2012’s A War You Cannot Win. It debuted at #13 on the Billboard Top 200 and yielded two hit singles. “Stand Up” ascended to #1 at Active Rock radio, a first for the band, while “What If I Was Nothing” landed at #2. The group hit the road for sold out shows alongside Volbeat and In This Moment in between incendiary festival appearances at Rock on the Range, Welcome to Rockville, Rocklahoma, and more. It would’ve been easy to simply repeat themselves creatively. However, they decided to bulldoze a new path for The Order of Things.

For the first time, the band tapped Josh Wilbur [Lamb of God, Gojira] for production, cutting the bulk of the record in Massachusetts and fine-tuning vocals in Los Angeles. After four albums with Killswitch Engage’s Adam D behind the board, Wilbur offered not just a breath, but a gust of fresh air.

“It was a good time to try something different with someone new,” affirms Mike. “It was helpful to have a completely new perspective. We had a crazy chemistry working together right away. He made a gigantic difference across the board. I’d love to do more records with him.”

“It was a massive benefit,” Phil agrees. “We didn’t have any expectations about what we were supposed to do other than write quality music. Moreover, Josh brought his own angle on what All That Remains sounds like and could sound like. It’s a mixture of these two elements. That’s what this record is.”

As a result, the group burst out of the gate with their heads held high once more. Commencing with an entrancing piano intro, album opener “This Probably Won’t End Well” tempers an arena-ready beat with an unshakable riff just before Labonte delivers a soaring refrain.

“It just seemed like the obvious opening track,” says Labonte. “The piano bookends the album, and it just fell into place. It’s a strong song, and it flows. The subject matter is self-explanatory and really honest. It’s all in there.”

The infectious “Divide”sees Labonte and Sagan’s voices entwine in a hypnotic harmony, but not before “No Knock” unleashes a brutal and bludgeoning stomp punctuated by searing guitars and the singer’s unmistakable growl. “In our entire history as a band, this is the first time I ever swore on a song,” Labonte chuckles. “I dropped the F-bomb twice, and the track needed that. I’ve never been the kind of guy who throws swears in to fill syllables. It fit the vibe for ‘No Knock’ though. I had to do it.”

“It came together by accident like some of the coolest things we’ve done,” Mike goes on. “We can do anything in this band. Whether it’s a ballad or brutality, it fits within who we are.”

At the same time, “For You” delivers one of the band’s most poignant, potent, and poetic hooks. Augmented by acoustic guitars and a bombastic energy, it’s yet another side of All That Remains. “That’s a personal song,” adds Phil. “It’s pretty straightforward. We were thinking of it a little differently.”

Jeanne’s voice adds another dimension to The Order of Things standouts like “Bite My Tongue.” “We didn’t even know she could sing like that,” admits Mike. “Josh made her comfortable enough to try it, and she delivered. It makes for something very special.”

After the hyper-charged thrashing of “Tru-Kvlt-Metal,” everything ends where it began with a piano during “Criticism and Self-Realization.” It creates a cohesive journey from beginning to end that beckons full attention.

Those dynamics have defined All That Remains since day one. It’s why they’ve not only persevered while the musical landscape morphed and changed, but also why they’ve become veritable hard rock leaders, shaping the scene and then skyrocketing past its confines. Their worldwide album sales exceed over one million, while track sales surpass 1.5 million. Their position at the top of Active Rock radio remains indisputable with six singles going Top 10 at the format, three of which went Top 5 or higher. However, All That Remains continue reacting at every turn, igniting a personal revolution in the process.

“There’s something for everybody,” concludes Mike. “It’s just about writing solid songs. It’s our philosophy and approach.”

“To be flat out honest, all I want is for people to walk away from our shows or records feeling better,” Phil leaves off. “If they’re bummed out, they come to a show, and they leave feeling good, that’s great. I hope someone hears a song and feels even better than they did before it started. That’s who we are.”

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Spirit Caravan & Elder Tue, 13 Oct 2015 18:50:38 +0000 aaron Sunday, November 15th
Featuring: Spirit Caravan & Elder
w/ Megaton
Doors: 6 p.m. || Show: 7 p.m.
All Ages || $15: Advance || $20: Day of Show

Spirit Caravan

Scott "Wino" Weinrich formed Spirit Caravan after the breakup of The Obsessed. The remainder of the band consisted of Dave Shermann (formerly of Wretched) on bass and vocals; and Gary Isom (formerly of Unorthodox) on drums. Weinrich credits them for encouraging him to join the band and become active musically again, after he had abandoned his music career. The band was originally entitled Shine, and they released a demo and 7" under this name. They were forced to change to the band's name when another band of the same name threatened legal action. They changed their name to Spirit Caravan, after an Obsessed song. The band had a lyrical emphasis on spirituality (though not necessarily religion) and global politics. The band split up in 2002 but have reunited for US tour dates and European festival appearances in 2014.

After the band's demise, Weinrich joined Place of Skulls and founded The Hidden Hand. After The Hidden Hand's demise in 2007, Weinrich rejoined the reactivated Saint Vitus. Sherman went on to found the band Earthride. Isom joined Internal Void, Pentagram, Valkyrie and Nitroseed.

Their song "Dove-Tongued Aggressor" was featured on the Tony Hawk's American Wasteland soundtrack.

Numerous songs by Spirit Caravan were also recorded as songs for The Obsessed. "Kill Ugly Naked" from Jug Fulla Sun appears on various demos and live recordings along with the "Incarnate" compilation. "Fear's Machine" from Jug Fulla Sun was originally written for the Obsessed and appears on the "Incarnate" compilation. "Melancholy Grey" from Jug Fulla Sun was written in the same sessions as 1994's "The Church Within" and appears on the 2013 reissue of that album."Higher Power" from Dreamwheel appears on the Obsessed's 1982 demo. "Spirit Caravan" from Elusive Truth appears on "Incarnate". "Lifer City" from Elusive Truth appears on various demos and the unreleased Obsessed LP sent to Metal Blade.

Former Obsessed drummer Ed Gulli will be joining Spirit Caravan on drums for the Maryland Doom Fest in June of 2015.


Elder is a three piece heavy metal band from Boston. The band consists of members: Nick DiSalvo (guitar, keyboard and vocals), Matt Couto (drums), Jack Donovan (bass guitar), and previously Chas Mitchell (bass guitar).[2] Elder have released three full-length albums since 2006 and have also released other demos, EPs and a split album with Queen Elephantine. Nick DiSalvo claims that Colour Haze and Dungen are "the bands that have really influenced the methodology or the philosophy behind the new direction". While Elder's sound is varied, but heavily based around rock and metal, Elder's sound could also be said to have been influenced from such landmark Rock/Metal bands including Black Sabbath, Sleep and Electric Wizard.

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Walk By Sea Tue, 13 Oct 2015 18:17:13 +0000 aaron Saturday, November 7th
w/ Evan Bartels, Powerful Science, Betafauna
Doors: 7 p.m. || Show: 8 p.m.
$5: 21 and up || $7: 18 and up

Walk By Sea

Website | Facebook | Video

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Lincoln Arts Expo 3 Tue, 13 Oct 2015 18:05:53 +0000 aaron Friday, November 6th
Doors: 6 p.m. || Show: 7 p.m.
18 and up || $5: Advance (+$2 fee for 18-20 at door)
Day of Show: $6: 21 and up || $8: 18 and up

Just in time for the holiday season, the Lincoln Arts Expo is a one night showcase of local artists & music.

Artist signup is open right now, lineups will be announced in the near future! Right now let's just spread the word and get excited for ART!

Sign-up is open RIGHT NOW:

*signing up does not guarantee an artist booth

Now - Oct 28st - Artist Signup
Oct 23rd - 1st Wave Artist / Music Lineup revealed
Oct 30th - Final Lineup revealed

♥ Please share this event with your friends! Post photos & stories from your past expos here, let's get excited for ART! ♥

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OPEN DECKS Tue, 13 Oct 2015 17:57:10 +0000 aaron Wednesday, October 21st
hosted by $pencelove
Doors: 8 p.m. || Show: 9 p.m.
FREE: 21 and up || $5: 18 and up

- Franco aka Fran Garcia b2b Tiago
- Rey
- Ryan YungGun F
- Luke Dunwoody
- Dj meño - Emmanuel Delamara

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Mad Dog and the 20/20s Tue, 13 Oct 2015 17:10:43 +0000 aaron Friday, October 23rd
w/ The Kennicks, Koby Blake, Taking the Hourglass
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up

Mad Dog and the 20/20s

Facebook | Twitter

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Laughing Falcon CD Release Show Mon, 12 Oct 2015 19:35:58 +0000 aaron Saturday, October 24th
w/ Beaver Damage, Supermoon, Rift
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up

Laughing Falcon

Website | Facebook | Music

Laughing Falcon plays heavy but accessible rock and roll with a sound that ranges from thick fuzz-laced doom rock to upbeat protopunk.

Members Kevin Chasek (vocals and guitar), Matt Kaminski (lead guitar), Nate Christiancy (drums) and Kyle Gibson (bass) have been part of the Lincoln music scene for nearly two decades each. Their former and current projects include Wasteoid, Creagrutus, Blandine Cosima, Ecorche, and The Ghost Runners.

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Kampout for Kids presents Saving Abel Mon, 12 Oct 2015 15:24:00 +0000 aaron Friday, December 11th
w/ TBA
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $10: Advance

* All tickets already purchased for this date with Hinder will be honored for this show and the newly scheduled Hinder date on January 29th


Saving Abel

Website | Facebook | Video

Since 2008 Saving Abel has embodied the definition of “Southern Rock.” Even before their “Self Titled” debut LP, they were barnstorming the country making fans everywhere they went, just by being themselves. Simple, down home, charming, country-boys with immeasurable talent that was destined to take them straight to the top. The band was signed by A&R wizard Jason Flom to Capitol records and their first single, “Addicted” did just that, reaching number one on several charts and the follow-up singles “18 Days” and “Drowning” helped sell over 750,000 copies of their debut album. They toured heavily in support of this album, playing with Buckcherry and Avenged Sevenfold, and later on Nickelback, in arenas across North America. Night after night, the boys would go back to the bus with their ears ringing from 15,000 fans screaming their lyrics.

Knowing that they would need something great to follow up with, the boys set out to write their sophomore album on Capitol, “Miss America.” Topping the Active Rock and Hard Rock charts yet again with “Sex is Good” and “Stupid Girl” solidified Saving Abel’s place both on the radio and live. Setting out on their own tour this time, Saving Abel headlined theaters around the country for almost 2 years non-stop. They toured with several artists and made a lot of friends along the way, but always kept their focus on the fans, and their eyes toward the future.

Jason Flom left Capitol and the band did as well. The band signed to a new major label and the band didn’t want to fall into a rut of making the third album sound like the first two, Saving Abel returned to their Mississippi origin, adding a depth and soul that could only come from their country roots. Using banjos, mandolins, and a healthy helping of moonshine, Saving Abel went into the studio with a mission to stick with “what they know best,” and wrote an emotional, soulful record that was still rooted in rock-n-roll, but highlighted their classic country roots. Listening to “Bringing Down The Giant” was as reminiscent of Hank Williams as it was of Elvis Presley. In hindsight the album was probably a little self-indulgent and while songs like “Constantly” and “Pictures of Elvis” highlighted their softer side and amazing song writing ability, the label and band had creative differences over what to release as a first single and the label won, the result being a mildly successful rollout and the label all but abandoned the band, leaving them in the unusual predicament of not knowing what to do next.

The next steps were difficult and profound but in the end proved liberating on numerous levels. First the band parted ways with their label and publishing company, those splits were followed by a split with their management, business management and booking agent. The band then hired former Creed, Sevendust, and Paramore manager and Silent Majority Group / ADA label president Jeff Hanson. Hanson brought in new lead singer Scotty Austin and new drummer Steven Pulley, a new booking agent, fan relations manager, business manager, merch company, and radio promotion team and finally enlisted a new producer, former 12 Stones guitarist and songwriter Justin Rimer. “Bringing in new faces wasn’t done because we were unhappy with the previous team’s performance, I just felt like we should surround ourselves with people who wouldn’t be disappointed if we didn’t have a gold or platinum record. Those are benchmarks that are much more difficult to achieve than they were 5 years ago and are honestly unrealistic expectations for anyone.” Says Hanson. Hanson then helped the band form their own label in order to move forward on their own terms. The new label was named Tennessippi Whiskey Records based on the fact that the all of the members of the band are from Tennessee and Mississippi and are known for their moderate but very public Jack Daniels consumption Ditching the tour bus and getting back in a van in order to afford the recording of a new record on off days from their perpetual tour, along with a renewed focus on their live performances and spending time in person and on the internet with their fans, the band saw a resurgence in fan attendance at shows and the number of people following the band on their social media sites.

With the addition of new members Scotty Austin and Steven Pulley to the existing core of Saving Abel Jason Null, Scott Bartlett, and Eric Taylor, the result of this new lineup and independent attitude of the band has been amazing. “There is so much excitement being generated on a nightly basis by the fans based on their love of Scotty Austin, it makes it seem like it is 2008 again and we are about to blow up again, and I can’t believe this level of excitement exists all over again” says founding member and guitarist Jason Null. Null also goes on to say… “Scotty has an autistic child, and seeing the sacrifices he makes every day to make a life for his son makes it a lot easier for me to get back in a van and play smaller venues without complaining after I spent years in arenas on a bus, him being here really has changed the way all of us view what we do.” Scotty Austin… “I spent years playing cover gigs, singing 4 hours a night, this is literally a dream come true for me. Playing every night to fans that came to hear and sing along to songs that these guys and I wrote, I could never get tired of it. It also gives me a small platform to try to draw awareness to Autism, if nothing more comes of this than to make my son’s life just a tiny bit better, it will have been worth it. I can’t thank these guys enough for giving me this chance.” Steven Pulley… “Scotty and I literally quit our day jobs the day we were called about being in this band. We were blown away that a nationally recognized band like Saving Abel, who could have gotten any players in America to replace their leaving members, would actually prefer to have a couple of guys like us mainly because we were guys from a small town (Jackson, TN) with big dreams. We basically left home, went on the road, and loved every minute since. Knowing what’s coming on this record, we are definitely living a dream.”

The new songs from their forthcoming album Blood Stained Revolution mirror the new energy and attitude of the band. The songs themselves are mostly uptempo and upbeat and pay homage to all of the bands we love, Guns and Roses, Tool, and The Allman Brothers. The album is absolutely a continuation of founding member Jason Null’s mainstream southern rock hit writing abilities but with an amazing added energy similar to that of Mick Jagger or Scott Weiland being provided by Scotty Austin. The band is also eager to note that the new album is the first album on which all of the band members were able to participate in the creative process. On the first three albums the creative process was partially controlled by outside factors but on this album it seemed as though the floodgates were open because there were no limitations or interferences and everyone in the band was asked to contribute the ideas that had been percolating among the members for years that they hadn’t always been able to share. Jeff Hanson says… “ I am a huge southern rock fan and Scott Bartlett’s solo album and the Trash the Brand album, Scotty Austin and Steven Pulley’s previous band together, are two of my favorite albums, so having them contribute to the song writing on this album has made a huge difference and in my mind sets it apart from previous Saving Abel records. The fact that there were no time constraints this time and the record was basically written on the road seems to have allowed the band to write when they wanted to as opposed to writing when they had to. It’s fun not forced.”

The upcoming release will be released on November 11, the date was aptly chosen because by the band because it is Veteran’s Day. Individually and collectively Saving Abel and its members have always been incredible supporters of the amazing men and women in the US Armed Forces. “18 Days,” “Drowning", and “Miss America” were all written and dedicated to the US Military. Since 2009, Saving Abel has had the honor of being invited and traveling to play for the troops in some of the most remote and dangerous places in the world. …Iraq, Qatar, Cuba, Japan, and India just to name a few. No matter where they are or what they are doing, no matter if it’s 5 minutes to show time, the boys in Saving Abel will ALWAYS stop what they are doing to acknowledge and thank a Soldier, Sailor, Airman or Marine. Scott Bartlett states “ It’s amazing that we now feel unencumbered by the confines of the traditional music business to the point that we can release our album on a date of our choosing, We were actually told that we were crazy to be releasing a new record in the 4th quarter, but it is actually a statement for us, to release this album on our own terms, when we want and how we want. At the end of the day all that matters is our music and our fans and what time of year it is isn’t really a part of that equation. We’re celebrating Veteran’s Day with a new record and that’s awesome!”

Saving Abel has no plans to slow down and has dates booked into 2015 and further. The band is still in the van and is starting a “Pledge Music” campaign to try to auction off some unique and special VIP experiences in order to be able to get back in a bus again. With the pre sale of the new album, the band will be offering additional add on packages that include fishing and BBQs with the band, guitar lessons, and to allowing fans to perform on their next record.” It’s all about finding that balance between enjoying your fans, family and friends and having a business that allows you to play music for a living, if we can go fishing and have meals with our fans and it helps us be able to stay on the road, we’re all for that, hopefully we can do this forever” says bassist Eric Taylor.

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Nappy Roots Fri, 09 Oct 2015 15:53:23 +0000 aaron Thursday, October 22nd
w/ 40 Akerz, TJ Saddler, Cartel TZ, Ya Boi KT, Bobby Hatfield, Chris.Topher
hosted by DJ D.MIL
Doors: 7:30pm || 18 and up
$20: General Admission || $35: VIP

Nappy Roots

Website | Facebook | Video

After 10 years as independent artists and label owners, Nappy Roots will be releasing their 6th studio album, and their 4th independent release on their very own label Nappy Roots Entertainment Group (NREG). Their latest project, The 40 Akerz Project is produced entirely by Atlanta based outfit SMKA. Coming off working with the legendary production team Organized Noize on 2011’s Nappy Dot Org, Nappy Roots wanted to again partner with those who understand who they are and could provide the sound and direction that 2015 Nappy Roots are in.

“We have had so much respect for the work they have done with other projects and we just vibed, 808 Blake goes with us on the road, he is a part of the group, they are family, it just made sense” says Skinny Deville.

The 40 Akerz Project was born out of celebrating independence- “Reminding people how far we have come. Being independent, still don’t work for no one else, still work for ourselves…. let’s celebrate” says Fishscales.

With that thought, the album opens with the track Party For The Ages which sets the tone, to the electronic breakdown in Doesn’t Matter to the emotional and heart-felt honesty of Window. “Window is a big record for us. When we layed it down, the vibe in the studio was heavy, its like we all new we made something special,” Skinny stated.

By far one of the most underrated Hip-Hop acts to have emerged over the past few years, their accomplishments and the milestones they’ve reached are the stuff of often-referenced Hip-Hop legacies. But theirs remains a legacy that isn’t celebrated nearly as much as it should be… at least not by the “industry.” The fans, on the other hand, recognize just what sets Nappy Roots apart: consistency. In addition to their three independent releases – The Humdinger and Pursuit Of Nappyness, and Nappy Dot Org released in 2008, 2010, and 2011 respectively– Nappy Roots has provided their fans with new music every year since 2004, amassing a total of no less than 11 full-length albums and mixtapes.

The TV and Film industry has been good to the group. 2008’s Good Day has proved to be a licensing dream. Featured in 2014’s Neighbors film staring Seth Rogen and Zach Efron and a recent Kellogg’s Special K commercial among many others. “Licensing is the new music business model money maker. Hope we can continue to create music that can fit into TV and Film needs, ” says Skinny.

The group has also maintained one of the most active touring schedules in Hip-Hop, performing a total of 150 dates in 2014 alone. The heavy touring has not only helped to keep Nappy Roots ever present in the minds of their continually expanding fan base, it has provided them a wider perspective on life, which in turn allows them to create music for a wider audience than most Hip-Hop act have access to.

Of course, throughout their work, Nappy Roots has never abandoned its dedication to service and education. Since it was first proclaimed a statewide holiday in Kentucky in 2002, the group has celebrated “Nappy Roots Day,” on September 16, as an opportunity to share impart the importance of education to younger fans. Of course, this band of brothers, whose friendship was forged on the campus of Western Kentucky University, doesn’t limit their dedication to promoting higher learning to that one day of the year.

Until the May 5th release of The 40 Akerz Project you can keep up with Nappy Roots via Twitter: @NappyRoots @fishscales @ronclutch @KYBuffalo @SkinnyDeville

This Event is Powered By:
Wicked Smoke
SadSon Music Group
The Commission
Luc Belaire
Maybach Music Group

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