BourbonTheatre.com http://bourbontheatre.com Thu, 28 Apr 2016 16:09:22 +0000 en-US hourly 1 Radio Birds http://bourbontheatre.com/2016/04/20/radio-birds-2/ http://bourbontheatre.com/2016/04/20/radio-birds-2/#comments Wed, 20 Apr 2016 20:22:05 +0000 aaron http://bourbontheatre.com/?p=13124 Monday, June 27th
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $7: Advance

Radio Birds

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To see and hear them now, you might never believe that a few short years ago Radio Birds had a completely different lineup, look, and sound. In early 2013, rising united from their earlier musical experiences, these four young men decided to take a risk and start completely over with a new name and sound. They quickly worked up a batch of new songs, and by that summer they had recorded a successful EP and had begun playing extensively, even winning the 2013 Masquerade Musicians Showcase in Atlanta, GA. Within a year of their rechristening, they were booked for The Rock Boat 2014 (and 15!), were featured in a major motion picture (Jason Momoa's Road to Paloma), played SXSW, and attracted the services of indie Atlanta label Brash Music. Things have moved quickly for a reason, and everyone involved points back to two causes: Radio Bird's irresistible character and undeniably unique sound.

That sound is simple: Plain-Old Rock and Roll Music with a distinctly hairy touch. Meaning, it is not clean, it is not easy, (or too difficult), and it is not The Next Logical Revival of a Previously Popular Genre From the Seventies. It is what you get when four guys all write music with the basic beliefs that it must be played live, and it must be played everywhere. Each of their songs is different from the others and is balanced by the web of harmonies that entangles the whole group. Everybody sings, and sometimes, you just can't help but sing along.

Radio Birds has taken their sound out to the world, and their dedicated touring and writing schedule proves one thing: Radio Birds wants you to hear them now more than ever. They are proud to announce an exciting new album, recorded at the world-famous Southern Tracks studio, featuring an impressively diverse set of songs and even additional instrumentation by Will Turpin (Collective Soul) and Mark O'Connor. Equipped with new songs, longer hair, and scruffier beards, they look forward to spending the next several months bringing this music to everyone who will listen.

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Wheeler Walker Jr. http://bourbontheatre.com/2016/04/20/wheeler-walker-jr/ http://bourbontheatre.com/2016/04/20/wheeler-walker-jr/#comments Wed, 20 Apr 2016 16:58:23 +0000 aaron http://bourbontheatre.com/?p=13112 Wednesday, June 1st
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $15: Advance || $18: Day of Show

Wheeler Walker Jr.

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If, as Kinky Friedman once said, “an artist is a man who’s ahead of his time and behind on his rent,” then consider Wheeler Walker, Jr. the Michelangelo of country music. Now, of course I’m biased, being a dear friend of the man’s for going on damn near thirty years now. But keep in mind: I’m an official Colonel of the Great State of Kentucky. They don’t hand that shit out to just anybody.

You can’t begin to talk about Wheeler without first talking about the Bluegrass State. We ain’t talkin’ ‘bout the Ashley Judd, Rosemary Clooney, Billy Ray Cyrus version of Kentucky. Wheeler comes from that special Kentucky dirt, the dirt that brought us Hunter S. Thompson, Loretta Lynn, the Everly Brothers & Johnny Depp (Just his good movies of course. Not that lame Pirates dogshit.)

I still remember the first time I laid eyes on young “Wheels” (as he was known back then). A local talent contest in nineteen-eighty something. The kid had a gift. Singin’ those Hank Jr. and George Strait songs better than the originals. He didn’t win that day, on account o’ him changing the lyrics of “All My Rowdy Friends are Coming Over Tonight” to “All My Rowdy Friends Will Blow Each Other Tonight”. But a friendship was sealed, and in some ways, the Wheeler I met that day hasn’t changed a lick: Pissin’ people off, can’t win for losin’… but making sure nobody who saw him would ever forget the name Wheeler Walker, Jr.

So it came as no surprise to me (or his lovely, supportive parents) that when I went off to the University of Kentucky, Wheeler decided to skip the whole college thing and instead boarded a bus to Nashville. (I graduated with an English degree. Most Colonels do. Diction is the forte of all Kentucky Colonels, and an integral part of what makes us who we are.)

Wheeler got his first breaks early. Famed country A&R man Ronnie Phillips heard him playing at the Bluebird Café and signed him to Capitol Nashville. He was partying with the new “young bloods” in town: Brad Paisley, Blake Shelton, Keith Urban. I remember envying his life in those days: Stayin’ up late, drinkin’ beer, smokin’ grass, knee deep in that sweet Tennessee muff. Wheeler had it all.

Unfortunately Wheeler could never quite get along with “the man”. Wheeler doesn’t like being told what to do. Never has. That’s what his heroes Waylon, Willie, Johnny and Hank taught him.

After refusing to censor his songs, Capitol dropped him. (Wheeler being Wheeler, he broke into the studio to steal back his master tapes – but those studios are dark at night, and he ended up stealing some shitty Lee Greenwood album instead. I’ve still got a framed portrait of the both of us pissing on it while it burned.)

It was the same scenario with RCA, Giant, Arista… and so on and so forth. The stories became the stuff of Nashville legend: Wheeler signs record deal, Wheeler raises all kinds o’ hell, Wheeler threatens to murder the CEO, Wheeler fucks the CEO’s wife… and the cycle repeats itself. Country music’s most talented artist, and not even a damn single to show for it.

And listen, even I’ll admit it’s a hell of a story. But it took the focus away from the music. And that’s a damn shame. Because for all the folklore that surrounded him, everyone knew Wheeler was the best singer-songwriter in Music City. It’s just that the rest of the world didn’t. Because there was no way for them to hear him.

Until now.

Yes, I know that Wheeler’s debut album is already being called “the filthiest country album in history”. But to merely label it as that would be a crime. It’s one of the finest country albums ever put to wax (or files, or whatever). Eleven songs of the most ass-kicking, moving and heartfelt real country you’ll ever hear.

Produced by the great Dave Cobb (who’s produced Jason Isbell, Chris Stapleton, Jamey Johnson & Wheeler’s old pal Sturgill Simpson) and backed up by a crack band of Nashville’s finest players, this is what country music is supposed to be.

Or why not just take it from Wheeler himself, on account of the fact that he’s sitting across from me, yelling at me to get this shit done so we can hit the town and raise some hell: “Booker, this ain’t a fuckin’ joke. This is real music. Real songs. It’s about something. Sure, I talk about clits and farts and shit, but it’s only because I can finally say what the fuck I want, without some old fuckin’ shithead tellin’ me I gotta tone it down. This album just gushed outta me… like a jerk you’ve been holdin’ in for five days.”

So, what happens if the album doesn’t sell? Wheeler paid for it himself (distributing it through the fine folks at Thirty Tigers). And even he’ll admit, it’s all the money he’s got left.

“If the album don’t work, fuck ‘em. Not a big deal. I’ll just move back to my parents’ old place in Kentucky. Be one of those drunk Kentucky shut-ins. You know what they say about playin’ guitars and orgasms: you can do ‘em both by yourself.”

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Tab Benoit http://bourbontheatre.com/2016/04/19/tab-benoit-2/ http://bourbontheatre.com/2016/04/19/tab-benoit-2/#comments Tue, 19 Apr 2016 15:00:48 +0000 aaron http://bourbontheatre.com/?p=13099 Wednesday, July 13th
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $22: Advance || $26: Day of Show || $36: Reserved Seating

Tab Benoit

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Tab Benoit is a Cajun man who’s definitely got the blues. Born November 17, 1967, he grew up in Houma, Louisiana. A guitar player since his teenage years, he hung out at the Blues Box, a ramshackle music club and cultural center in nearby Baton Rouge run by guitarist Tabby Thomas. Playing guitar alongside Thomas, Raful Neal, Henry Gray and other high-profile regulars at the club, Benoit learned the blues first-hand from a faculty of living blues legends.

The nightly impromptu gigs were enough to inspire Benoit to assemble his own band – a stripped down bass-and-drums unit propelled by his solid guitar skills and leathery, Cajun-spiced vocal attack. He took his show on the road in the early ‘90s and hasn’t stopped since.

Benoit landed a recording contract with the tiny, Texas-based Justice Records and released a series of well-received recordings, beginning in 1992 with Nice and Warm, an album that prompted comparisons to blues guitar heavyweights like Albert King, Albert Collins and even Jimi Hendrix. Despite the hype, Benoit has done his best over the years to maintain a commitment to his Cajun roots – a goal that often eluded him when past producers and promoters tried to turn him and his recordings in a rock direction, often against his better instincts. These Blues Are All Mine, released on Vanguard in 1999 after Justice folded, marked a return to the rootsy sound that he’d been steered away from for several years.

That same year, he appeared on Homesick for the Road, a collaborative album on Telarc International, a division of Concord Music Group, with fellow guitarists Kenny Neal and Debbie Davies. Homesick not only served as a showcase for three relatively young but clearly rising stars in the blues constellation, but also launched Benoit’s relationship with Telarc that came to fruition in 2002 with the release of Wetlands – arguably the most authentically Cajun installment in his entire ten-year discography.

Later in 2002, Benoit released Whiskey Store, a collaborative recording with fellow axemaster and Telarc labelmate Jimmy Thackery. Also along for the ride on Whiskey Store are harpist Charlie Musselwhite and Double Trouble – the two-man rhythm section of bassist Tommy Shannon and drummer Chris Layton that backed Stevie Ray Vaughn on his brief but luminous blues career.

After a prolific first year with Telarc, Benoit continued to explore the bayou backbeat in 2003 with the June release of Sea Saint Sessions, a collection of gritty, Cajun-flavored tracks recorded at Big Easy Recording Studio (better known among musicians in the region as Sea Saint Studio) in New Orleans. In addition to Benoit and his regular crew – bassist Carl Dufrene and drummer Darryl White – Sea Saint Sessions includes numerous guest appearances by Big Chief Monk Boudreaux, Cyril Neville, Brian Stoltz and George Porter.

That same year, Benoit and Thackery took their dueling guitar show on the road and recorded a performance at the Unity Centre for Performing Arts in Unity, Maine. The result is Whiskey Store Live, a high-energy guitar fest released in February 2004.

Benoit returned in 2005 with Fever for the Bayou, a straight up Louisiana blues recording that seamlessly merges his own songcraft with that of Elmore James, Buddy Guy and other masters. Fever for the Bayou also includes guest appearances by Cyril Neville (vocals and percussion) and Big Chief Monk Boudreaux (vocals).

Benoit dug further into his roots in 2006 with the release of Brother to the Blues, a recording that encompasses not only his trademark Cajun blues but also traditional country and vintage R&B. Joining him on the project are members of the cult blues/R&B/rock combo Louisiaina LeRoux, veteran country songwriter Billy Joe Shaver, Americana pioneer Jim Lauderdale and Cajun fiddler Waylon Thibodeaux. Brother to the Blues received a GRAMMY® nomination for Best Traditional Blues Album.

Benoit’s Power of the Pontchartrain, released in June 2007, is in many ways a musical tribute to the natural beauty of his homeland and the dedication and perseverance of those who still live there.

An environmental activist as well as a stellar blues musician, Benoit has made the preservation of the endangered delta wetlands his personal crusade. He serves as president of Voice of the Wetlands, an environmental organization he co-founded in 2003, and he appeared prominently in Hurricane on the Bayou, a 2006 documentary by filmmaker McGillivray Freeman that chronicles life in Louisiana after Katrina. Hurricane on the Bayou played in iMax theaters in the U.S., Canada and Europe throughout 2007.

In 2007, Benoit won the dual awards of B.B. King Entertainer of the Year and Best Contemporary Male Performer at the Blues Music Awards (formerly the W.C. Handy Awards) in Memphis.

Benoit’s 2008 release, Night Train to Nashville, was recorded at The Place On Second Street in Nashville in May 2007. The set captures the magic and intensity of Benoit in a live setting, joined by his faithful backup unit and New Orleans mainstay, Louisiana’s LeRoux, and a series of guests representing some of the most talented voices on the current blues, Cajun and country scenes: harpist/vocalist Jimmy Hall (Wet Willie), guitarist/vocalist Jim Lauderdale, harpist/accordionist Johnny Sansone, fiddler/washboard player Waylon Thibodeaux and harpist/vocalist and Fabulous Thunderbirds frontman Kim Wilson.

In 2010, Benoit received the Governor’s Award for Conservationist of the Year for 2009 from the Louisiana Wildlife Federation.

Medicine, Benoit’s latest release on Telarc, successfully joins two gifted guitarists/songwriters in a session that proves greater than the sum of its very talented parts. Set for April 2011, the 11-track recording features seven new Benoit originals co-written with ace songwriter Anders Osborne. Engineered by David Z, Medicine spotlights the work of keyboardist Ivan Neville, drummer Brady Blade and bassist Corey Duplechin. Fiddler/singer Michael Doucet of BeauSoleil makes a special appearance on three tracks.

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Buckwheat Zydeco http://bourbontheatre.com/2016/04/19/buckwheat-zydeco/ http://bourbontheatre.com/2016/04/19/buckwheat-zydeco/#comments Tue, 19 Apr 2016 15:00:36 +0000 aaron http://bourbontheatre.com/?p=13104 Friday, June 3rd
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $22: General Admission || $36: Reserved Balcony Seating

Buckwheat Zydeco

Website | Facebook | Video

If you’ve gotten into Zydeco music, or felt its influence, or watched the world celebrate this great aspect of Louisiana culture over the past 30 years it’s likely been because of Buckwheat Zydeco. The band can claim the three largest selling Zydeco albums of all time. No other Zydeco artist has come close to selling as many records or exposing the music to more people around the world. Bringing the unique sound of Zydeco into the musical mainstream, Buckwheat Zydeco released the first-ever major label Zydeco album in 1987: Island Records’ “On A Night Like This.” Last month Jimmy Fallon asked Buckwheat Zydeco to play that title tune with him and the Roots to kick off his final Late Night show before taking over the Tonight Show.

Over the course of Buckwheat Zydeco’s career, Buck has gigged with everyone from Eric Clapton (with whom Buckwheat also recorded) and U2 to The Boston Pops. The band performed at the closing ceremonies of the 1996 Summer Olympics to a worldwide audience of three billion people. Buckwheat Zydeco even performed at both of President Clinton’s Inaugurals. More national television appearances include PBS’s tribute to Paul Simon, where Buck performed with Lyle Lovett; sitting in with Paul Shaffer on The Late Show With David Letterman (and playing “Hot Tamale Baby” for Martha Stewart); and feting Ozzie Ozbourne among other’s on VH-1’s Rock and Roll Hall of Fame Induction Ceremony. Buck was recently profiled in a ten minute feature by Scott Simon, on National Public Radio’s Weekend Edition Saturday. The band has appeared six times on Letterman, and on CNN, The Today Show, MTV, NBC News, CBS Morning News and many others.

Buckwheat Zydeco tours constantly all over the world.

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ZIGGY MARLEY http://bourbontheatre.com/2016/04/18/ziggy-marley/ http://bourbontheatre.com/2016/04/18/ziggy-marley/#comments Mon, 18 Apr 2016 18:11:24 +0000 aaron http://bourbontheatre.com/?p=13083 Saturday, June 11th
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $36: General Admission* || $75: Reserved Balcony Seating
Tickets On-Sale Friday, April 22nd @ Noon

*General Admission = Standing Room Only

ZIGGY MARLEY

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A six-time Grammy winner, Emmy Winner, humanitarian, singer, songwriter and producer, Ziggy Marley has released twelve albums t much critical acclaim. His early immersion in music came at age ten when he sat in on recording sessions with his father, Bob Marley. As front man to Ziggy Marley and The Melody Makers, the group released eight best-selling albums that garnered three Grammys, with such chart-topping hits as "Look Who’s Dancing," "Tomorrow People" and "Tumbling Down." Ziggy's first solo album, Dragonfly (RCA Records), was released in 2003. His second solo release, Love is My Religion (Tuff Gong Worldwide), won a Grammy in 2006 for “Best Reggae Album.” His third solo album, Family Time (Tuff Gong Worldwide), scored him a 5th Grammy award for “Best Children’s Album.” In 2011, Ziggy released his critically acclaimed 4th studio album Wild And Free, which earned him a Grammy nomination, as well as his first ever comic book entitled MARIJUANAMAN. Ziggy Marley Organics, a GMO-free product line including flavored coconut oils and hemp seed snacks, was started in 2012. The products are distributed throughout the US and are available in over 1000 stores nationwide. His 2012 live album “Ziggy Marley In Concert,” recently earned him his 6th Grammy award for “Best Reggae Album.” To coincide with the release of his latest album “Fly Rasta,” Ziggy is putting out his debut children’s book “I Love You Too,” a coproduction of Akashic Books and Tuff Gong Worldwide on April 15th, 2014. The multicultural picture book is based on one of Ziggy’s most beloved songs of the same title from his Grammy Award-winning album “Family Time,” which explores a child’s relationship with parents, nature and the unstoppable force of love.

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Reverend Horton Heat http://bourbontheatre.com/2016/04/13/reverend-horton-heat-4/ http://bourbontheatre.com/2016/04/13/reverend-horton-heat-4/#comments Wed, 13 Apr 2016 17:37:29 +0000 aaron http://bourbontheatre.com/?p=13073 Sunday, June 26th
w/ Unknown Hinson, Koffin Kats, Lincoln Durham
Doors: 6 p.m. || Show: 7 p.m.
All Ages || $25: Advance || $35: Reserved Seating

Reverend Horton Heat

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The Reverend Horton Heat is perhaps the most popular psychobilly artist of all time, his recognition only rivaled by the esteem generated by the genre's founders, the Cramps. The Reverend (as both the three-man band and its guitar-playing frontman were known) built a strong cult following during the '90s through constant touring, manic showmanship, and a twisted sense of humor. The latter was nothing new in the world of psychobilly, of course, and Heat's music certainly kept the trashy aesthetic of his spiritual forebears. The Reverend's true innovation was updating the psychobilly sound for the alternative rock era. In his hands, it was something more than retro-obsessed kitsch -- it had roaring distorted guitars, it rocked as hard as any punk band, and it didn't look exclusively to pop culture of the past for its style or subject matter. Most of the Reverend's lyrics were gonzo celebrations of sex, drugs, booze, and cars, and true to his name, his concerts often featured mock sermons in the style of a rural revivalist preacher. The band's initial recordings were released by that bastion of indie credibility, Sub Pop, at the height of the grunge craze; after a spell on the major label Interscope, the Reverend Horton Heat returned to the independent world, still a highly profitable draw on the concert circuit.

Reverend Horton Heat -- the man, not the band -- was born James C. Heath in Corpus Christi, Texas. Growing up, he played in local rock cover bands around the area but was more influenced by Sun Records' rockabilly, electric Chicago blues, and country mavericks like Junior Brown, Willie Nelson, and Merle Travis. According to legend, he spent several years in a juvenile correction facility, and at 17 was supporting himself as a street musician and pool shark (according to the Reverend, however, the story was fabricated by Sub Pop to add color to his greaser image). Heath eventually moved to Dallas, where he found work at a club in Deep Ellum. There, he gave his first performance in 1985 as Reverend Horton Heat, christened as such by the club's owner. Heat played the city's blues-club circuit for a while, performing mostly for polite crowds and swing dancing enthusiasts. Craving the excitement of a rock & roll show, and seeking a more financially rewarding avenue to help with his child support payments, Heat revamped his sound and moved into rock and punk venues. In 1989, he added bassist Jimbo Wallace to his band, and drummer Patrick "Taz" Bentley soon completed the lineup.

Smoke 'Em If You Got 'EmReverend Horton Heat were a big hit around the area, and soon began touring extensively all around the country. They ultimately landed a deal with the prominent Seattle-based indie label Sub Pop, and in 1991 issued their debut album, Smoke 'Em If You Got 'Em, which featured fan favorites like "Eat Steak," "Marijuana," "Bad Reputation," and "Love Whip." The band kept building its audience through steady touring, and received considerable media attention for 1993's sophomore effort The Full Custom Gospel Sounds of the Reverend Horton Heat. Produced by the Butthole Surfers' Gibby Haynes, it spawned a minor MTV hit in "Wiggle Stick," and also included Heat staples "400 Bucks" and "Bales of Cocaine."

Liquor in the Front Having amassed a significant underground following, Horton Heat signed a major-label deal with Interscope in 1994, and debuted that year with a joint release between Interscope and Sub Pop, Liquor in the Front (subtitled "Poker in the Rear" for anyone who missed the first double-entendre). This time around, Heat had an even more unlikely producer in Ministry's Al Jourgensen; he also had major-label bucks, which contributed to a ratcheting up of the hell-raising lifestyle he often sang about, and eventually the temporary worsening of a drinking problem. In the meantime, drummer Bentley left the band later in 1994 to join Tenderloin; he was replaced by Scott "Chernobyl" Churilla.

It's Martini TimeHorton Heat returned in 1996 with It's Martini Time, which featured several nods to the swing and lounge revival scenes emerging around that time; as a result, the title track became a minor hit, and the album became their first to chart in the Top 200. That year, Heat made his small-screen acting debut thanks to his on-stage preacher schtick, which earned him a guest spot on the acclaimed drama Homicide: Life on the Street. The following year, he appeared on The Drew Carey Show. The band's final major-label album, Space Heater, arrived in 1998; after its release, the gigantic label mergers of that year resulted in the band being dropped from Interscope. In the wake of their exit, Sub Pop released a 24-song best-of compilation, Holy Roller, in 1999, covering their entire output up to that point.

Spend a Night in the Box Undaunted, they continued to tour, and in 2000 recorded the more straightforward rockabilly album Spend a Night in the Box for the Time Bomb label. This time, Butthole Surfers' Paul Leary manned the production booth. The Reverend next surfaced on Artemis Records with 2002's Lucky 7, his hardest-edged album in quite some time. Its single, "Like a Rocket," was selected as the theme song for that year's Daytona 500 race. Buoyed by the publicity, Heat signed a new deal with Yep Roc in 2003. His first album for the label, Revival, appeared the following year, as did a live DVD. In 2005, he gave the world its first psychobilly holiday album, We Three Kings. Three years later, the frontman unveiled his side project Reverend Organdrum, which explored a wider range of retro sounds with Hi-Fi Stereo. Laughin' & Cryin' with Reverend Horton Heat appeared from Yep Roc in 2009, followed by 2012's 25 to Life, a live documentary/greatest-hits CD/DVD box set released to coincide with the group's 25th anniversary.

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Possessed by Paul James http://bourbontheatre.com/2016/04/12/possessed-by-paul-james/ http://bourbontheatre.com/2016/04/12/possessed-by-paul-james/#comments Tue, 12 Apr 2016 16:37:33 +0000 aaron http://bourbontheatre.com/?p=13067 Wednesday, May 4th
w/ Kevin Chasek of Laughing Falcon
Rye Room
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $10: Advance || $12: Day of Show

*$2 fee for minors at door

Possessed by Paul James

Website | Facebook | Video

Possessed by Paul James is originally from Florida, and was born into a Mennonite family. He gives credit to his parents for instilling the value of service to others that is evidenced in his teaching of students with special needs and when Konrad Wert morphs into the performer Possessed by Paul James, the medium may change, but the desire to make a difference in people’s lives doesn’t. When Possessed by Paul James performs, his passion equals the passion he brings to his class Monday through Friday, with many witnesses to the Possessed By Paul James show referring to it as more of a life-altering experience than a simple one-man music show.

"If I were to make a list of the 20 most important singer/songwriters of our time, Konrad Wert/Possessed by Paul James, would undoubtedly be among those at the very top." - No Depression

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Sole & DJ Pain 1 ‘Nihilismo Tour’ http://bourbontheatre.com/2016/04/06/sole-dj-pain-1-nihilismo-tour/ http://bourbontheatre.com/2016/04/06/sole-dj-pain-1-nihilismo-tour/#comments Wed, 06 Apr 2016 19:03:16 +0000 aaron http://bourbontheatre.com/?p=13058 Saturday, May 28th
w/ Sleep Sinatra, Pariah Princess, Megaherbs
Rye Room
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $8: Advance || $12: Day of Show

Sole

Website | Facebook | Video

In 1998 he founded Anticon Records, the first collectively owned indie Hip-Hop label in the United States. Since then, Sole has played over a thousand shows throughout the U.S., Canada, Europe, the Middle East, and Japan. His music has been featured in major media outlets such as Rolling Stone, Pitchfork, MTV, Huffington Post, Spin, Alternet, and many more. Sole has released eight full length studio albums and over a dozen mixtapes. In 2009, together with award winning visual artist, Ravi Zupa, he published The Pyre, an illustrated epic poem exploring empire, radical philosophy, anti-capitalism, and collapse. Throughout his career sole has been known as one to push the limits in terms of genre and content and is widely heralded as a pioneer of avant garde & experimental rap music. His latest albums present a thorough examination and celebration of resistance happening around the world. Sole’s activism reaches beyond the studio and stage into his everyday life where he is deeply involved material and logistical support to many projects that engage directly in the class struggle.

Sole know runs his own label, Blackbox Tapes, and has released albums on Fake Four with the Skyrider Band in recent years along with self releasing Death Drive with Dj Pain 1 and their sophomore release, scheduled for release this spring.

DJ Pain 1

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Known for his 2008 break-out beat on "Don't do it," for Young Jeezy's platinum-selling album "The Recession," producer DJ Pain 1 stays busy. From touring as a DJ to producing full albums as well as creating original and free content for the producer community, this Hip-Hop musician takes no breaks.

A Wisconsin-native and lifelong Hip-Hop fan, DJ Pain 1 began exploring production in the late 90's. From 2002 until 2007, while still making music, he immersed himself in education and youth services. Just one year after earning his BA in English Education, Pain 1 landed his first major beat placement with Young Jeezy.

Pain 1 continued his education, pursuing a Masters of English while holding down multiple jobs, performing and amassing a catalog of recorded material. In that time, he produced records from artists including 50 Cent, Shyne, Gucci Mane, MC Lyte, Public Enemy, Vado and an additional track for Young Jeezy entitled "CTE or nothing."

Frustrations with the lack of exposure he was receiving for his production efforts led Pain 1 to begin releasing his own projects. He started with a 2010 album "The Waiting Game," which predominantly featured regular collaborators such as I-20, Rain, Money B, Tek and J-Stills. He then decided to interface his DJ'ing with his production and premiered his ongoing mixtape series, "Painkillerz," free digital downloads produced exclusively by him. His mixtapes included hosts MC Lyte, Black Rob, Big Sean and LEP Bogus Boys and were followed by his popular series of instrumental albums, "Undressed Instrumentals."

Currently Pain 1 balances occasional touring with studio work, content creation and rare moments of relaxation.

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MOS GENERATOR http://bourbontheatre.com/2016/04/06/mos-generator/ http://bourbontheatre.com/2016/04/06/mos-generator/#comments Wed, 06 Apr 2016 17:32:32 +0000 aaron http://bourbontheatre.com/?p=13053 Monday, June 20th
w/ Rift, Laughing Falcon, Valley of Shadows
Doors: 7 p.m. || Show: 8 p.m.
18 and up || $6: Advance || $8: Day of Show

*$2 fee for minors at door

MOS GENERATOR

Website | Facebook | Video

Mos Generator formed during the winter of 2000 in Port Orchard, Washington from the ashes of a ten year off & on collaboration between it's three members, all of which are long time veterans of road & studio. The need to strip down to the basics of hard rock was apparent from the start and continues to be the foundation for all the bands recent material. Mos Generator have released 5 studio albums, a retrospective album, and a live album on such labels as Roadburn, Small Stone, Ripple, Nasoni, and Lay Bare. Touring has been just as important to the profile of the band as making records has. Over the years Mos Generator has shared the stage with many great heavy rock bands and in March of 2013 they did a 26 date European tour with Saint Vitus, opening up a whole new fan base to the Mos Generator sound. On stage the band defines the word "chemistry". Revolving their sound around swagger and groove while improvising just enough to keep the songs feeling fresh from night to night...sometimes with interesting results.

Currently Mos Generator are working on a new record to be released in the spring of 2014 on Listenable Records with a European tour to follow in May. So far the new material is stretching the core sound of the band into some new and interesting directions. "We always try and push the heavy rock sound into other areas. Sometimes it's forced and sometimes we are letting natural and honest influences enter the equation. On the new material we are letting ourselves be open to whatever comes along."

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Austin Friesen / Greco / MC Teach http://bourbontheatre.com/2016/04/06/austin-friesen-greco-mc-teach/ http://bourbontheatre.com/2016/04/06/austin-friesen-greco-mc-teach/#comments Wed, 06 Apr 2016 17:14:33 +0000 aaron http://bourbontheatre.com/?p=13050 Thursday, April 28th
w/ Korrupted Kultcha, DJ Dakota Jones
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $5: 21 and up || $7: Under 21

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Ginuwine: Ice Kream Man Tour http://bourbontheatre.com/2016/03/31/ginuwine-ice-kream-man-tour/ http://bourbontheatre.com/2016/03/31/ginuwine-ice-kream-man-tour/#comments Thu, 31 Mar 2016 16:36:12 +0000 aaron http://bourbontheatre.com/?p=13024 Wednesday, May 18th
w/ Karlos Farrar, DJ Fellin
Doors: 7 p.m. || Show: 8 p.m.
18 and up || $30: Advance || $35: Day of Event

Ginuwine

Twitter | Facebook | Video

Ginuwine was one of R&B's preeminent love men during the '90s heyday of hip-hop soul. Initially teamed with Timbaland, the most innovative producer of the late '90s, Ginuwine's sultry, seductive crooning earned him a substantial female following and made him a regular presence on the R&B charts, even after the futuristic production he favored was eclipsed by the more organic, retro-leaning neo-soul movement.

Ginuwine was born in Washington, D.C., on October 15, 1975, with the unlikely name of Elgin Baylor Lumpkin (after D.C.-born Basketball Hall of Famer Elgin Baylor). As a youngster, Lumpkin's interest in music was ignited by Prince and Michael Jackson, especially the latter's legendary moonwalking performance on the Motown 25th anniversary special. At the mere age of 12, he began performing at parties and bars with the local hip-hop group the Finesse Five. He later worked as a Michael Jackson impressionist and sang with another local outfit, Physical Wonder; in the meantime, he earned a paralegal degree from a local community college, in case music didn't work out. In 1996, he adopted the name Ginuwine and was discovered by Jodeci. In New York, he met up with young producer Timbaland and cut the track "Pony," whose slow, halting groove and impassioned vocals helped Ginuwine land a deal with Sony's 550 Music imprint.

Ginuwine...The Bachelor With the strikingly inventive Timbaland behind the boards, Ginuwine cut his debut album, Ginuwine...The Bachelor, and released it later in 1996. "Pony" became a number one R&B smash, also reaching number six on the pop charts, and the album became an eventual double-platinum hit. It spun off several more R&B hits over the next year, including "Tell Me Do U Wanna," "I'll Do Anything/I'm Sorry," "Holler," and "Only When Ur Lonely"; it also featured an homage to one of Ginuwine's main influences in the cover of Prince's "When Doves Cry." In the wake of the album's success, demand for Timbaland's production services exploded, and Ginuwine became a bona fide sex symbol. He toured heavily in support of The Bachelor, and kept his name in the public eye in 1998 with his hit "Same Ol' G," which was featured on the soundtrack to Eddie Murphy's Dr. Doolittle. Late that year, he also made his acting debut on an episode of the CBS series Martial Law.

100% GinuwineGinuwine returned with his second album, 100% Ginuwine, in early 1999. Again produced by Timbaland, it entered the pop charts at number five, gave rise to another significant crossover hit in "So Anxious," and went platinum. "What's So Different?" and "None of Ur Friends Business" were also successful on R&B radio, and there was another cover of a Ginuwine hero, this time Michael Jackson's "She's Out of My Life." He followed it in the spring of 2001 with The Life, despite having to endure the deaths of his father (who committed suicide) and mother (a victim of cancer) within the same year. It was his first album helmed by producers not named Timbaland. Nonetheless, it was another success, debuting at number three on the charts and once again going platinum. Moreover, the ballad "Differences" -- the second single released from the album, after "There It Is" -- became Ginuwine's biggest pop hit yet, climbing to number four later that year.

The Senior In 2002, Ginuwine made his feature film debut in the gender-bending basketball comedy Juwanna Mann, playing (what else?) a slick R&B singer. That summer, Ginuwine returned to the Top Ten courtesy of his duet with P. Diddy on "I Need a Girl, Pt. 2." Around the same time, in a somewhat bizarre incident, police captured a Minnesota man who'd been impersonating the singer for the past few years and bilking money from business contacts. Though he didn't achieve as much success on the singles charts, both The Senior (2003) and Back II da Basics (2005) reached the Top Five of the R&B/Hip-Hop Albums chart. Even an unauthorized bootleg, I Apologize, managed to make a minor impact in 2007. The singer then switched from the Sony family to a distribution deal with Warner Bros. A Man's Thoughts was released in 2009, topped the R&B albums chart, and featured a reunion with Timbaland on "Get Involved." The January 2011 single "Batteries" -- a club track on which he was joined by Trina -- preceded his seventh album, Elgin. He then linked up with Tank and Tyrese for Three Kings, released in 2013 under the name TGT.

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Toke N Joke http://bourbontheatre.com/2016/03/29/toke-n-joke/ http://bourbontheatre.com/2016/03/29/toke-n-joke/#comments Tue, 29 Mar 2016 19:36:19 +0000 aaron http://bourbontheatre.com/?p=13020 Thursday, April 21st
Hosted by Jordan Kleine
Featuring: Brad Stewart, Grant Parsons, Richard Reece, Audrey Farnham, Dave Campbell, Theo Nelson
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up

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In This Moment :SOLD OUT: http://bourbontheatre.com/2016/03/28/in-this-moment/ http://bourbontheatre.com/2016/03/28/in-this-moment/#comments Mon, 28 Mar 2016 17:46:28 +0000 aaron http://bourbontheatre.com/?p=13012 Saturday, August 13th
w/ Nonpoint, Shaman's Harvest, Sunflower Dead
Doors: 6 p.m. || Show: 7 p.m.
All Ages || $29.50: Advance || $35: Day of Show

*Tickets Also Available at CD Warehouse

In This Moment

Website | Facebook | Video

Nature counts the black widow spider amongst its most fascinating and dangerous anomalies. The female arachnid often devours its mate after copulation. It's both a delicate and dangerous predator. In This Moment isn't all that different from this enigmatic beast. Led by frontwoman Maria Brink, the Los Angeles hard rock outfit strikes with a seductive metallic bite on their aptly titled fifth full-length album, Black Widow.

"Black Widow is a metaphor for this innocent young girl who gets infected with life, traumas, experiences, and the balance of light and darkness," explains Maria. "She becomes this poised and powerful creature. That's the album."

"We went into this with the title Black Widow," says lead guitarist Chris Howorth. "It fits the image of Maria as this powerful heroine. If you think of the boys in the audience watching our stage show, she's like the black widow pulling them all in."

The record, the first for the band on Atlantic Records, picks up where the group's 2012 breakthrough, Blood, left off. That album saw In This Moment debut at #15 on the Billboard Top 200, their highest chart position to date, and eventually sold over 250,000 units in the U.S. alone. It also spawned the single "Blood," which rose to #9 on the Mainstream Rock and Active Rock Songs charts. A sold out headline tour, HELLPOP, followed, as well as appearances at the Uproar Festival and Rock On The Range, and jaunts with Shinedown and Papa Roach. After the whirlwind of Blood subsided, Maria and Chris retreated to Las Vegas in February 2014 to begin working on what would become Black Widow with longtime producer Kevin Churko [Ozzy Osbourne, Five Finger Death Punch].

While writing and recording in the studio, Maria and Chris both tapped into the fearless ethos that characterized Blood, inciting their next creative evolution in the process.

"It's almost like I was growing up in this industry," Maria admits. "I swear I went from a girl to a woman. I used to hold myself back, and I had all of these fears. I woke up one day and realized it doesn't matter what anybody thinks. We have to do what we want to do. When I did that, I was freed. We could do this big grandiose show, and we could make the music we wanted. It began with Blood. That's where we started to come alive and figure out who we really are. We let go of any walls and limitations. Black Widow is us doing what's in our hearts."

"Black Widow is a progression from the last record," Chris affirms. "That opened up the floodgates for us. There were no boundaries. We could just go for it. We weren't afraid of any ideas. We didn't worry about anyone's opinion. We approached the music with that attitude."

Their boundless approach shines through in album opener "Sex Metal Barbie." Tempering an industrial crunch and sexually charged synths with gnashing riffs and hauntingly hypnotic vocal delivery, the track instantly transfixes, calling out haters who hide behind keyboards.

"People can be so cruel on the Internet," she sighs. "I actually don't read anything negative about me or the band anymore. I don't let myself get sucked into that. In the end, music comes down to someone's personal perception of what they love. It's not meant for everyone. I wanted to empower myself with that online negativity somehow. I literally went on these sites and read mean things and rumors about me. I wrote them down and transformed them into lyrics for the song. I turned it all around."

"That was the second song we did," the guitarist recalls. "It came from Maria saying, 'What about building a metal song around a cool hip-hop beat?' Everything was constructed piece by piece, and it was very experimental. Once we finished the song, we felt like we had something special. It was a catalyst for more music."

Meanwhile, "Sick Like Me" begins with an eerie buzz before snapping into muscular distortion and a propulsive guitar gallop. Everything explodes on an anthemic sing-a-long hook.

"It's about when somebody loves you for everything you are," she states. "They love you even for what you consider flaws. It's that vision of people who are super eccentric and twisted, but they're perfect like that because that's who they are. They're meant to be."

Then there's "Big Bad Wolf," which bares its teeth with a bludgeoning riff, keyboard swell, and piercing scream. "It was destined to be a faster song," adds Chris. "Maria did this choppy, cool Mike Patton-style verse. It became really intense."

Maria smiles, "I like to say I have the Big Bad Wolf in me and this Little Piggy in me. In my perception, the Big Bad Wolf is the enlightened and loving part of myself, whereas the Little Piggy is the dark side. I have a natural pull towards darker things. It's the internal struggle of those two animals in me, but I realize both are very necessary for all of us. I need to embrace that fire, be wild and primal. That's important too."

In This Moment also teamed up with Shinedown's Brent Smith for the stunning duet "Sexual Hallucination." It’s an elegant electronic-infused piece that drips sexuality and darkness.

"We love Brent and Shinedown," Chris continues. "We didn't think we'd have a shot at getting him, but he instantly said yes. The song is a little different for him, and he jumped at the chance to do it."

One of the album's most powerful moments comes on the piano-driven rumination "The Fighter." Contrasted with the resounding stark keys, Maria's voice proves especially potent. She goes on, "It's embracing and accepting who I am. I used to think something was wrong with me. I've come to learn I'm perfect in how fucked up I am. I wouldn't have these songs to sing or be able to connect with people without that."

Ultimately, that connection with fans is what drives the band. "Their loyalty is incredible," declares Maria. "It comes down to us doing this for ourselves and our fans. We owe it all to them, and we're excited for everybody to experience this. This is who we are, and it's for them."

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4/20 Prankster Party w/ Very Special Guest The Midland Band http://bourbontheatre.com/2016/03/23/jerry-pranksters-3/ http://bourbontheatre.com/2016/03/23/jerry-pranksters-3/#comments Wed, 23 Mar 2016 19:39:07 +0000 aaron http://bourbontheatre.com/?p=13001 Wednesday, April 20th
w/ The Midland Band
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $7: Advance*

*$2 fee for minors at door

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Here Come the Mummies http://bourbontheatre.com/2016/03/23/here-come-the-mummies-2/ http://bourbontheatre.com/2016/03/23/here-come-the-mummies-2/#comments Wed, 23 Mar 2016 18:35:43 +0000 aaron http://bourbontheatre.com/?p=12992 Thursday, May 12th
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $26: Advance || $30: Day of Show
$45: Reserved Balcony Seating (Limited Availability)


 

Website | Facebook | Video

Here Come the Mummies is an eight-piece funk-rock band of 5000 year-old Egyptian Mummies with a one-track mind. Their "Terrifying Funk from Beyond the Grave" is sure to get you into them (and possibly vice versa). A bit of background:

It’s been a long and dusty road since 1922 when, at a dig in the desert south of Tunis, Professor Nigel Quentin Fontanelle Dumblucke IV (1895-) unearthed the ruins of an ancient discotheque to find a dozen undead Egyptian mummies inexplicably throwing down what he dubbed, “Terrifying Funk From Beyond the Grave.”

From these hovering souls, who called themselves Here Come The Mummies, Dumblucke learned of the powerful curse that doomed them to wander the earth, seeking the ultimate riff, the one that may allow their spirits to rest after eons of, as they put it, “banging out solid fly grooves, y’all.” But their story was murky at best...

What is clear is that these saucy specters resurfaced around the turn of the Millennium. Since their discovery (and without so much as a hot bath) Here Come The Mummies has opened for P-Funk, Al Green, and Cheap Trick; rocked Super Bowl Village 2012; become a regular on The Bob and Tom Show; been invited to play Summer Camp 2015, Common Ground 2015, Voodoo Fest 2015, Musikfest, and Summerfest; and made themselves the darlings of sell-out crowds over wide swaths of North America. Maybe that’s why the ladies (and some dudes) can’t stop losing their minds over these mayhem-inducing mavens of mirth.

Some say they were cursed after deflowering a great Pharaoh’s daughter. Others claim they are reincarnated Grammy-Winning studio musicians. Regardless, HCTM’s mysterious personas, cunning song-craft, and unrelenting live show will bend your brain, and melt your face. Get ready, for Here Come The Mummies.

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Goose Island Migration Week – Grit & Grain Premiere (Early Show) http://bourbontheatre.com/2016/03/22/goose-island-migration-week-grit-grain-premiere-early-show/ http://bourbontheatre.com/2016/03/22/goose-island-migration-week-grit-grain-premiere-early-show/#comments Tue, 22 Mar 2016 20:51:51 +0000 aaron http://bourbontheatre.com/?p=12972 Friday, April 8th
Doors: 7 p.m. || Show: 8 p.m.
$10: 21 and up (Donated to The Bay)

Movie Trailer

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Mad Dog and the 20/20s CD Release Show http://bourbontheatre.com/2016/03/22/mad-dog-and-the-2020s-cd-release-show/ http://bourbontheatre.com/2016/03/22/mad-dog-and-the-2020s-cd-release-show/#comments Tue, 22 Mar 2016 20:44:46 +0000 aaron http://bourbontheatre.com/?p=12968 Saturday, May 21st
w/ The Killigans, Risky Clique, The Bishops
Doors: 7 p.m. || Show: 8 p.m.
18 and up || $5: Advance || $8: Day of Show

*$2 fee for minors at door

Mad Dog and the 20/20s

Facebook

A group of talented young musicians that call the Capitol city of Lincoln, Nebraska their home, Mad Dog and the 20/20s strive to bring the party and atmosphere of ska music to their own little slice of the good life. All six members of this group are hard working, like-minded, goal oriented individuals that share a passion for music performance. To us, it's more about bringing people together and ensuring that everyone has a great time.

From bands such as No Doubt to The Mighty Mighty Bosstones, Mad Dog and the 20/20s have been influenced by a variety of amazing artists. We have been working tirelessly since we started this band back in late June 2015 to set an increasingly high level of showmanship, professionalism, as well as productivity. To say the least, Mad Dog and the 20/20s are a cavalcade of charismatic characters that have no intention of slowing down or quitting anytime soon.

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Hope For The Fallen http://bourbontheatre.com/2016/03/22/hope-for-the-fallen/ http://bourbontheatre.com/2016/03/22/hope-for-the-fallen/#comments Tue, 22 Mar 2016 19:12:58 +0000 aaron http://bourbontheatre.com/?p=12963 Thursday, April 14th
w/ Fields of Murder, Eighth Day Broken
Doors: 7 p.m. || Show: 8 p.m.
$5: 21 and up || $7: 18 and up

Hope For The Fallen

Website | Facebook | Video

A band that has formed from the upset of an evening of jamming sounds into rudiments, colliding with the walls of the omniverse.

Beginning with Titus McAllister and Johnny Poptarts soon there after Victor Riada and Matt The Ripper were drafted into crazed illconformity generating that which alone can not be heard...but is eternal impression.

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The Black Lillies http://bourbontheatre.com/2016/03/21/the-black-lillies/ http://bourbontheatre.com/2016/03/21/the-black-lillies/#comments Tue, 22 Mar 2016 04:13:35 +0000 aaron http://bourbontheatre.com/?p=12956 Saturday, April 30th
w/ Wendy & The Lost Boys, Ozark Hutch
Doors: 7 p.m. || Show: 8 p.m.
18 and up || $15: Advance

The Black Lillies

Website | Facebook | Video

At the beginning of 2015, things had never looked better for The Black Lillies. Winning legions of fans through relentless touring and riding a wave of critical acclaim, the band had already successfully surpassed their PledgeMusic fundraising goals, selected a producer and booked studio time to record their new album when frontman Cruz Contreras was hit with unexpected news: two of the group’s five members would be amicably moving on. Contreras contemplated the group’s future and faced down a looming deadline to finish writing the new album for a yet-to-be-determined lineup.

“In the past, I might write a song once a month when I felt inspired, and at a much more leisurely pace,” explains Contreras, “but this time around, I realized I would have to write an entire record in two weeks before we hit the studio. I felt confident I could do it, but I also had no proof.”

The proof is now etched into vinyl with ‘Hard To Please,’ the band’s fourth studio album. It’s an alternately rip-roaring and deeply intimate record, showcasing both Contreras’ lyrical evolution as a writer and a more sonically sophisticated side of the band than we’ve heard before. Whether it was due to the pressure of the ticking clock, the injection of creative energy from recording with new faces, or simply the steadfast desire of a hardworking band to always outdo themselves, the album stands as the finest yet in The Black Lillies’ outstanding catalog.

When it came time to record, the bar had already been set high with the group’s previous releases, which were hailed as “buzzworthy, genre-mashing roots music” by Rolling Stone Country and praised everywhere from Vanity Fair and The Wall Street Journal to CMT and Entertainment Weekly. Their last album, 2013’s ‘Runaway Freeway Blues,’ climbed the Billboard country charts, landed on more than a dozen Best-Of lists, and dominated Americana radio, spending a whopping three months in the Top 5. The sound reflected their raucous live show, which prompted NPR’s Ann Powers to name them a top pick at SXSW, and has earned them festival slots from Bonnaroo to Stagecoach, as well as the honor of playing The Grand Ole Opry more than any other independent band in history.

In addition to the unusually compressed writing timeline, ‘Hard To Please’ is also unique in that it marks the band’s first time recording with an outside producer. Contreras handed the reins over to Grammy-winner Ryan Hewitt (The Avett Brothers, Johnny Cash, Red Hot Chili Peppers), who led the band into the legendary House of Blues Studio D, originally constructed in Memphis in the 1960’s and relocated to Nashville in 2010. The room had hosted everyone from Isaac Hayes to Stevie Ray Vaughan to The Eagles in its storied history, and it was outfitted with a custom API console originally commissioned by Ryan’s father, David Hewitt, for The Record Plant in New York City back in 1978. The list of artists who recorded on the console is a who’s who of music icons: Aretha Franklin, Eric Clapton, The Band, Stevie Wonder, Bruce Springsteen, The Rolling Stones, Ray Charles, David Bowie, Crosby Stills & Nash, Tom Petty, Prince, on and on.

Hewitt invited Band of Horses’ Bill Reynolds to join the sessions on bass, while Contreras brought along pedal steel player Matt Smith (Indigo Girls, Amy Ray) and Daniel Donato, a hotshot guitarist he discovered blowing the roof off of Robert’s Western World one night in Nashville. The new faces joined Contreras, Hewitt, and the band’s remaining members—drummer Bowman Townsend and vocalist Trisha Gene Brady—to craft the ten gripping tracks on ‘Hard To Please.’

None of it—the lineup, the studio, the producer, the console—would have made a lick of difference without the songs, though. Contreras penned part of the album during a bitter winter storm that hit the band’s hometown of Knoxville, TN.

“We got snowed in, so I just set up shop in the basement,” remembers Contreras. “Usually we tour so much that the instruments don’t get out of their cases when we’re home, but I had time there to set everything up in a circle around me and get to work.”

The album opens with the biting title track, one of several tunes written while Contreras was snowed in, which has been called “a funky barn burner shot through with blasts of brass and blues guitar” by Rolling Stone Country. It sets the tone lyrically and musically for a band that can weather any storm and accepts nothing less than their very best (no matter the pressure), as Contreras sings, “We got a long way to go and a short time to get there.” The driving drum intro and catchy guitar hook came out of a collaboration between Contreras and Townsend, which he describes as “a perfect example of sharing the creative process with other people and the band being stronger for it.” That collaborative spirit pays off in spades later on the record, when Contreras hands over lead vocal duties to Brady on the appropriately titled and utterly infectious “The First Time.”

While several songs came out of those snowstorm writing sessions, including the heartfelt, delicate “Desire” and “Dancin'”—a duet that’s sure to indulge audiences’ love of getting on their feet at Black Lillies shows—some of the songs were actually years in the making. “That’s The Way It Goes Down” was penned in a moment of unflinching self-reflection back in 2014, while “Broken Shore,” a solemn, epic rocker, tells the story of Contreras’ grandfather, who fought at Iwo Jima. “Bound To Roam” was written fittingly enough in a van, and the rollicking “40 Days and 40 Nights” recounts the band’s misadventures on their first national tour.

“I gave up my lease and put all my possessions on the sidewalk, and in 45 minutes they were gone,” says Contreras with a laugh. “That was a lot easier than moving. The very first show was actually at the Ryman Auditorium and then we played two other great gigs and it all went downhill after that. We had 40 shows in 40 nights. It’s not too funny when you’re in it, but time heals that way and now that we’re six years out I can joke about it.”

It’s nothing short of remarkable how far the band has come in those six years, both in terms of miles and in terms of personal and musical growth. Through the ups and the downs, they’ve established themselves as one of the hardest-working and most dynamic bands touring today. With a re-imagined six-piece live lineup that includes new additions Sam Quinn (the everybodyfields), Mike Seal (Jeff Sipe Trio, Larkin Poe) and Jonathan Keeney (Robinella), it won’t be hard to please Black Lillies fans, and with a an album this great, they’re sure to bring a whole lot of new ones into the fold, too.

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Hector Anchando Band w/ Dan Tedesco http://bourbontheatre.com/2016/03/17/hector-anchando-band/ http://bourbontheatre.com/2016/03/17/hector-anchando-band/#comments Thu, 17 Mar 2016 19:35:03 +0000 aaron http://bourbontheatre.com/?p=12949 Saturday, April 9th
w/ Dan Tedesco
Doors: 8 p.m. || Show: 9 p.m.
$7: 21 and up || $9: 18 and up

Hector Anchando Band

Website | Facebook | Video

Hector Anchondo doesn’t just play the blues— he lives and breathes the blues. At 16-years-old, the budding musician picked up his first guitar and never looked back. He began an instant love affair with the instrument, especially Fenders. Born in Omaha, but raised seven miles outside of Salem, Missouri, Anchondo was able to take advantage of the tranquil farm life and learn guitar at a steady pace. He was drawn to those artists who played Fender Stratocasters like Jimi Hendrix, Stevie Ray Vaughn and Eric Clapton, but also respected the country greats such as Johnny Cash and Hank Williams Sr. As he got older, his propensity for music only intensified. After playing countless shows at family gatherings and hole-in-the-wall dive bars, Anchondo made the move back to Omaha, Nebraska in 2000. His first official recording, Rookies of the Year, was with his first band, Anchondo, and featured more energetic, Latin-influenced grooves. Recorded by the infamous A.J. Mogis of Presto! Studios (and later Saddle Creek Records), the album funded any touring for the next few years. With a home base in Omaha, it made traveling much easier.

“At the time there was really huge radio support, area wide album distribution, and a huge local music support that I’ve never come across in any other city I’ve ever traveled to,” Anchondo recalls. “Omaha is still a great city to get your legs, but 10 years ago it was unmatched. Omaha has played a huge roll in propelling me forward and I owe a lot to this city.”

In 2002, Anchondo and cousin George Keele released an acoustic rock album, Somewhere in Middle America, and followed up with 2004’s The Audience is Waiting and an EP, 2006’s North of the Border. After years of touring and living on Ramen Noodles, Kings of Nowhere was released in 2008. At the time, Anchondo had gained significant amounts of traction and even without promotion, would sell out shows. However, once the economy crashed, people suddenly stopped going to shows so around 2010, Anchondo made the brave decision to take the solo route. Only this time, his focus was on the blues, which didn’t happen by accident. Friend Tim Convy and owner of the St. Louis-based label, Red Bird Records, contacted Anchondo about recording a blues album. He jumped at the opportunity. In 2012, he released the Kickin’ Up Dust EP and hasn’t looked back. Sharing the stage with notable artists such as Mato Nanji of Indiginous, Magic Slim, Royal Southern Brotherhood, Hamilton Loomis, and Coco Montoya, and getting private guitar lessons from James Brown’s guitarist Damen Wood, gave Anchondo the confidence to pursue his dream. He’s currently writing material for his next album and plans on releasing an EP in 2014. With shows booked until the end of the year, Anchondo is on his way to becoming an established blues vet, and it won’t be long before he’s up there with his heroes.

“I’ve been actively working on guitar to get to the point where I could hang with Jimi or Stevie,” he says. “I want to be able to take the stage with any guitar great and be able to hold my own. It’s things like that that keep me pushing to play better, faster and with style. I knew at a young age that I loved everything about music and I want to do it professionally for the rest of my life.”

Quotes:

Put this in the “If you haven’t yet, you really should” category; join us at The Revue Lounge…Hector Anchondo has been rippin’ the place up.
-Rick Galusha of award nominated Pacific Street Blues Show on KWIR 89.7 The River

Blues Challenge: 
The band receiving the most points at Round Two of the Blues Society of Omaha’s Nebraska Blues Challenge April 7 was Hector Anchondo Band. The final round is April 21 at McKenna’s. The April 21 winner will join Anchondo and Josh Hoyer & The Shadowboxers in the finals May 19, 5 p.m., at The 21st Saloon. –BJ Huchtemann of The Reader

His slide guitar is impeccable and voice, well for a 30-something, it’s mature for a blues singer –Kyle Eustice of The Reader

Omaha’s Hector Anchondo plays the guitar like a boss. –Kevin Krauskopf of Saint Joseph News Press

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Quality Time with Jordan Kleine (Late Show) http://bourbontheatre.com/2016/03/16/late-show-quality-time-with-jordan-kleine/ http://bourbontheatre.com/2016/03/16/late-show-quality-time-with-jordan-kleine/#comments Wed, 16 Mar 2016 14:52:46 +0000 aaron http://bourbontheatre.com/?p=12947 Friday, April 8th
Hosted by Jordan Kleine
Doors: 9 p.m. || Show: 10 p.m.
$5: 21 and up || $7: 18 and up

8 Comedians. 3 Rounds. Single Elimination.
YOU decide who moves on!

1st round: Best 5
2nd round: Character Set
3rd round: Best 8-10

This month's featuring comedians...
Austin Anderson
Don Seager
Bonnie Johnson-Strawn
Cortnry Langer
Zach Revense
Monty Eich
Nio Bradshaw
Brad Stewart

Guest Judges:
David Burdge
Audrey Farnham (Obviously)
3rd THA

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RED SUN RISING http://bourbontheatre.com/2016/03/12/red-sun-rising/ http://bourbontheatre.com/2016/03/12/red-sun-rising/#comments Sat, 12 Mar 2016 16:54:45 +0000 aaron http://bourbontheatre.com/?p=12938 Tuesday, April 12th
w/ Laughing Falcon
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $12: Advance || $15: Day of Show

RED SUN RISING

Website | Facebook | Video

Rock music should be built to last. Since its genesis, the genre has been all about longevity not a “flavor of the month” or a “flash in the pan.” Whether you go back to the seventies or nineties pillars, the goal was to create something that can be lived with for a lifetime. It still can be that way.

Akron, Ohio’s Red Sun Rising—Mike Protich [vocals/guitar], Ryan Williams [guitar], Tyler Valendza [guitar], Ricky Miller [bass/vocals], and Pat Gerasia [drums]. —proudly carry on that tradition with their full-length debut, Polyester Zeal [Razor & Tie].

“It’s not today’s rock, but it’s a new alternative,” declares singer and guitarist Mike Protich. “We want to uphold the foundation with subtle nuances of what’s familiar. It’s fresh because we’re telling our story through that framework.”

Sharing that story has been the goal since first breaking onto the scene in 2012. Akron is no stranger to rock ‘n’ roll, serving as home to everybody from Black Keys and Devo to Chrissie Hynde. That buzzing industrial landscape remains fertile ground for musicians to this day.

“A lot of people don’t realize that Akron’s a really cool, artsy community,” says Mike. “There’s great food, local beers, and culture. Because it’s somewhat off the national grid, there’s a real tightknit music scene. We spawned off of that. There are a lot of factories around and the grit seeps into the music too.”

The work ethic is another trait Red Sun Rising embrace. Through tireless gigging, they built up an impressive local fan base, soon attracting the attention of multiple labels. Razor & Tie rushed to Akron in the Fall of 2014 and signed the band following a sold out hometown show.

“I guess we played well that night,” chuckles Mike.

The band headed to Los Angeles shortly after to cut Polyester Zeal with celebrated producer Bob Marlette [Black Sabbath, Shinedown, Seether]. They managed to siphon the pure, potent, powerful guitar chemistry, towering vocals, and muscular rhythms into the record’s 11 tracks with all of the “grit” intact.

“Bob helped us execute creating the record we wanted to make for a long time,” adds the frontman. “He knew how to achieve it. His philosophy was, ‘You guys have all the colors to paint the perfect picture. I’m just going to show you how to use them.’ That was cool.”

The first single “The Otherside” sees thick clean guitars clash with an unshakable refrain that’s as airy as it is anthemic. Penned by Ryan and Mike, it’s an immediately inviting introduction into the group’s sound.

“You can take it a couple of different ways,” he explains. “While you’re here on earth, it doesn’t matter what troubles you go through—you’re always going to come through on the other side. You could also look at it is just overcoming life’s obstacles because of the support you receive from those around you. It grabs you and shows our vibe.”

“Emotionless” commences with a calculated blues-inspired riff before spiraling out into a macabre fairytale that’s equally heavy and hypnotic.

“I had a nightmare with a really creepy storyline,” recalls Mike. “I vaguely remember it now. This woman I loved was sleeping, but I couldn’t wake her up. She was laying there motionless and emotionless. I linked those two things. I don’t know what’s scarier that or the fact Ryan and I put it together in twenty minutes on an acoustic in his mom’s basement when I told him!”

Album opener “Push” steamrolls ahead on a battering ram of distortion and a slick, sputtering verse, while “Imitation” highlights the inimitable incendiary interplay of six-stringers Ryan and Tyler.

“They went back and forth on the solos in that one,” Mike goes on. “Bob panned it so if you listen to it in stereo it’s like you’re watching on stage. You hear each solo go to the side of the stage where they’d be.”

Elsewhere, “Amnesia” serves as a declaration of carpe diem bolstered by fiery fretwork and another expansive harmony. “It’s about owning every moment that you’re living because each instance defines you as a person,” he exclaims. “You don’t know what’s coming or what will make a difference, so you have to embrace all of it. It won’t be there forever.”

However, Polyester Zeal will be, and it firmly establishes Red Sun Rising’s place in rock.

“The title sums it up,” concludes Mike. “Zeal is something you strive for, while Polyester is obtainable. The juxtaposition is, ‘What’s your obtainable dream?’ Ours is to tell stories through these songs. Hopefully, it makes you feel something. That’s what rock is supposed to do after all.”

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Party Favor & Valentino Khan http://bourbontheatre.com/2016/03/09/party-favor-valentino-khan/ http://bourbontheatre.com/2016/03/09/party-favor-valentino-khan/#comments Wed, 09 Mar 2016 20:24:29 +0000 aaron http://bourbontheatre.com/?p=12932 Saturday, April 16th
Doors & Show: 8 p.m.
All Ages || $10: Early Bird || $15: Advance || $20: Day of Show

Party Favor

Website | Facebook | Video

Few acts have the innovative character and diverse repertoire of Los Angeles’ fastest rising name, Party Favor. Dylan Ragland took the name Party Favor to show how diverse and unexpected his influence on electronic music can be. The result: an effort that helped pioneer the festival trap genre, turning heads across the globe. Party Favor is currently jumping between groundbreaking remixes for Dillon Francis, Diplo, Major Lazer, and Flosstradamus while creating chart topping original records such as “Bap U” (Mad Decent) and “Booty Loose”(Mad Decent).

Party Favor’s “Bap U” has racked up almost 4 million plays on Soundcloud and has made its way into the top 50 iTunes dance charts. It’s success led to the making of a music video featuring cameos by Diplo, ETC! ETC!, Ookay, TJR, Brillz, and Seth Green. Following the successful launch of the video, “BAP U” saw national spotlight when featured in a T-MOBILE commercial as well as Warner Brothers recent movie trailer for ‘Vacation’ (2015). “BAP U” was not the first televised music placement for Party Favor. His remix of Bro Safari and UFO’s “Drama” was used for ESPN’s 2014 NBA Draft commercial.

Party Favor has also been featured on radio station’s like Kiss FM, Power 106 and BBC Radio One, just to name a few. He has performed on some of the biggest stages in North American festivals such as EDC, Ultra, and Tomorroworld! Now, with official work on Spinnin Records, Ultra Records, OWSLA and Mad Decent; Party Favor paves his way into 2015 with booty filled music and everything in between. With international tours through Australia, Brazil, and Japan it is no surprise why Party Favors fan base stretches the world round. Starting in the Fall of 2015 Party Favor will join Cash Cash and Tritonal on an North American tour.

Party Favor’s success abroad and at home is no doubt due to the love and support that his music receives. Superstar talent like Skrillex, Diplo, Borgore, DJ Carnage, GTA, Dillon Francis, RL Grime, Bro Safari, DJ Snake, and Flosstradamus consistently drop Party Favor’s music because of the great production and amazing energy they bring to every crowd!

Valentino Khan

Website | Facebook | Video

Valentino Khan makes everything. From hip hop club anthems to dance music hits, Valentino’s production knows no bounds. He has produced hip hop for multi-platinum and Grammy award-winning artists and continues to create his own sound in the electronic music world as an artist.

Valentino Khan has gained the support of artists like Diplo, Skrillex, Steve Aoki, Dillon Francis, and many more noteworthy musicians. In 2015, he produced his original song “Deep Down Low” which recently was named as “Most played track by DJ’s in 2015” by 1001 Tracklists and Sirius XM Radio’s Number 1 Song of 2015 on Atomic Area. Khan’s 2015 was a big year, performing at Ultra Music Festival, Hard Summer & Hard Day of the Dead and releasing collaborations with Flosstradamus, GTA, remixes for Dillon Francis, Axwell & Ingrosso and Zeds Dead.

He currently has a great deal of new singles lined up for release on OWSLA. So far in 2016 you can find him on tour direct supporting Carnage and Jauz with several big festival announcements coming soon! This year brings about a slew of new shows, music, and collaborations that make 2016 Valentino’s biggest year yet.

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2016 Nebraska Folk & Roots Festival Launch Party http://bourbontheatre.com/2016/03/08/2016-nebraska-folk-roots-festival-launch-party/ http://bourbontheatre.com/2016/03/08/2016-nebraska-folk-roots-festival-launch-party/#comments Tue, 08 Mar 2016 21:30:04 +0000 aaron http://bourbontheatre.com/?p=12910 Saturday, April 2nd
Doors: 7 p.m. || Show: 8 p.m.
$10: Day of Show || $25: Weekend Pass to Festival
$60: VIP Package

VIP package includes:
- All access weekend pass ($30 value)
- Festival t-shirt ($15 value)
- Festival koozie ($5 value)
- Limited edition poster ($10 value)
- 2 drink tickets ($10 value)
- 1 meal ticket ($10 value)

Join us in celebrating the launch of the 2016 Nebraska Folk & Roots Festival, held once again on beautiful Branched Oak Farm on June 10th and 11th of this year! We can't wait to announce the full festival lineup at The Bourbon on April 2nd. We've put together what promises to be a fantastic party.

The night's entertainment will be provided by:
The Bottle Tops
CJ Mills
Evan Bartels and the Stoney Lonesomes
Pleiades & the Bear

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Crown Larks http://bourbontheatre.com/2016/03/02/crown-larks/ http://bourbontheatre.com/2016/03/02/crown-larks/#comments Wed, 02 Mar 2016 20:40:27 +0000 aaron http://bourbontheatre.com/?p=12903 Wednesday, April 6th
w/ Sunleaf, Super Ghost, Multidimensional Cowboy
Doors: 7 p.m. || Show: 8 p.m.
$5: 21 and up || $7: 18 and up

Crown Larks

Website | Facebook | Video

“Crown Larks threw psych-rock, noise music, and free jazz into one album-shaped pot and stirred until the whole thing combusted. “ – Stereogum

Riding waves of noise and flashes of color out of a Chicago basement, Crown Larks distill a century of music into a white light explosion of raw energy, embracing the freedom and experimentation of the DIY community they call home without sacrificing the direct appeal of personal lyrics and melody. After years of burning through venues and warehouses around the country, the band has captured this essence in the form of their debut full-length Blood Dancer, an album that channels both the grinding bleakness and dynamic energy of their native city.

Crown Larks are the rare ‘rock’ band that recalls punk and jazz alike, but rejects the revivalism of banal psych rock in favor of coursing blood, risks, and untamed energy. Hushed whispers, damaged screams, sax, clarinet, trumpet, flute, searing guitar, unhinged drums, bent electronics, volcanic organ and more caravan through dynamic freakouts, hypnotic minimalism, and eccentric songs in which poetic lyrics are soon swallowed by crushing feedback. Both the band’s visceral energy and its intricate arrangements blossom on Blood Dancer.

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