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Kane Brown was born and raised in the Chattanooga, Tennessee area by a single mother, moving from Rossville to Fort Oglethorpe and LaFayette in Georgia, finally settling in Red Bank, Tennessee.
He attended Lakeview-Fort Oglethorpe High School where he sang in the choir with Lauren Alaina, the runner-up on season 10 of American Idol. He also attended Red Bank, Ridgeland, and Soddy Daisy High Schools, at all of which he was a stand out athlete at football, basketball and track.
The singer was exposed to country music from a young age and was encouraged to enter his 11th-grade talent show singing “Gettin’ You Home Tonight” by his favorite singer Chris Young. Kane won the talent show and he began his dream of pursuing a country music career.
Using social media as his platform, Kane posts both cover songs and original material on Facebook and Instagram. The videos have spread virally and Kane’s Facebook following has grown to over 1.5 million loyal and engaged followers.
In 2014, Kane crowdfunded his debut EP Closer. The EP was released on iTunes on June 2, 2015 where it charted at #11. As his online popularity surged, the EP re-charted in October, 2015 at #1 on the iTunes country chart.
On Kane’s 22nd birthday, October 21, 2015, he released the single “Used to Love You Sober” on iTunes where it quickly went to #1 on the country singles chart and #2 overall. Two more singles followed, “Last Minute Late Night” and “Love That I Hate You,” both of which were #1’s on the iTunes Country Chart.
In November, 2015, Kane embarked on his first headline tour and has sold out every show he has played across the country.
Kane is currently in the process of signing a major label record deal, and “Used to Love You Sober” will be a single at country radio in early-spring 2016.
Says Kane of his fans and success, “I am down to earth but I always try to stay positive for my fans because throughout everything they have lifted me up so much.”]]>
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Nate Feuerstein - recording and performing as the Hip-Hop/Alternative artist NF. On his albums, NF tells his story with lyrical vulnerability complimented by raw energy. His music draws from many real life struggles, including being abused as a kid, struggling with anger issues, and losing his mother to a drug overdose.]]>
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When Cody Johnson’s Cowboy Like Me debuted in the Top 10 on the Billboard Country Albums chart in January 2014, jaws dropped in offices all over Nashville.
“I got a lot of ‘Who is this kid?’” Johnson says with a laugh two years later. “I love that. That was a new horizon. And I’m gonna work to make sure people know exactly who I am.”
Johnson does that from the start in Gotta Be Me, a follow-up project that’s loaded with solid country instrumentation and winsome melodies. In the first minute alone, he paints himself as a cowboy, raised on outlaw country, who drinks too much, fights too much and won’t apologize for having an opinion. By the time the 14-track journey is over, he’s shared his rodeo history in “The Only One I Know (Cowboy Life),” demonstrated his woman’s influence in “With You I Am” and paid homage to his gospel heritage in “I Can’t Even Walk.”
Johnson delivers it all with an uncanny confidence. His smoky baritone and ultra-Southern enunciations give him a voice as uniquely identifiable as country kingpins Jason Aldean or Tim McGraw. And he uses it to convey a Texas-proud swagger, a real-man charm and an unwavering honesty about who he is, where he comes from and where he hopes to go.
“I’m a God-fearin’, hard-workin’, beer-drinkin’, fightin’, lovin’ cowboy from Texas,” he grins. “That’s about it.”
The hard-workin’ part is key. The other parts are easily found in his music. It’s intense, focused, sincere. And when he takes the stage, there’s a Garth-like conviction to his performances. Johnson inhabits the songs, recreates their emotions because they’re so familiar. And he’s willing to lay bare those emotions because he’s always been willing to risk. He lives in the moment behind that microphone, the same way he rode bulls in an earlier day.
“That’s a very, very rough sport to be in,” Johnson notes. “It’s very, very rough on your body. It’s very rough on your mind, and it’s scary. I mean there’s not a professional bull rider that won’t tell you it’s not scary. If it wasn’t scary, we wouldn’t do it.”
Johnson pauses for just a beat.
“I’m kind of an adrenaline junkie.”
Needing a fix is part of the attraction in both the rodeo and music. In the former, there’s always another buckle to chase, another bull to conquer for eight seconds. In the latter, there’s always another fan to win over, another song to write. And in some ways, Johnson has been chasing something illusory, indefinable, since he first arrived on planet Earth in Southeast Texas.
Johnson grew up in tiny Sebastapol, an unincorporated community on the eastern shore of the Trinity River that’s never exceeded 500 residents. Even today, it’s more than 30 miles to the nearest Walmart, in Huntsville, Texas, a town best known as the headquarters for the state’s criminal justice department. It’s a rough and tumble area, and it comes through in the music. Willie Nelson, Merle Haggard, George Strait, Billy Joe Shaver – their songs were all essential to the local clubs, and Johnson was exposed to their mysterious allure even before he was old enough to get in.
“You could hear the music from those bars across that lake,” he recalls. “I’d always hear somebody singing ‘Whiskey Bent And Hell Bound’ or something like that, and I always wondered what was going on across that water in those barrooms. It definitely intrigued me. I always wanted to go see what was on the other side of the tracks.”
At a young age, Johnson was given the tools to eventually work in those clubs, though his official education was grounded in the church. His father played drums for their congregation, and that was likewise the first instrument that young Cody picked up.
“Learning drums first taught me about feeling the song – feeling that dynamic of when it’s supposed to be big and when it’s supposed to be soft,” he says. “I think that still sticks with me as a songwriter and as a performer, and in turn it’s helped me shape my band, because I know what I’m looking for on every front.”
Johnson learned guitar next, and when a teacher heard him playing an original song, he convinced Johnson to form a band with a few other students enrolled in the Future Farmers of America. Just a few months later, that first band finished runner-up in a Texas State FFA talent contest, creating an internal buzz that Johnson would continue to chase.
He didn’t necessarily think it would be a career. He briefly went to Angelina College in Lufkin, Texas, but traded that in to become a rodeo pro. Johnson did OK in that sport – the oversized belt buckle he wears today was won fair and square on the back of a bucking bull – but he broke a litany of bones: his right leg, his left arm, two ribs and his right collarbone.
Cody started recording his own music during that phase of his life, beginning with Black And White Label, which featured his dad, Carl, on drums. Johnson sold the CDs, pressed on his own CoJo imprint, from his pickup.
Eventually, Cody took a job at the prison to pay the bills. His band kept hitting the clubs on the weekend, with Johnson kept banging away on the guitar on Fridays and Saturdays while overseeing some very hardened convicts whose crimes had cut them off from humanity.
“There’s a lonely style of music that a lot of those guys listen to,” Johnson says. “I worked in the field for a while, and they sang old prison work songs. Some had kind of lost hope, and I can see now that you have to sing about people that don’t have hope the same way you want to sing to give them hope.”
Meanwhile, his weekend crowds began to grow, and Johnson started landing hits on the Texas music charts. After the release of his third album, he won New Male Vocalist of the Year in the Texas Regional Radio Music Awards.
The music thing started to look like maybe it could be a business, not just a sideline pursuit. He was stunned when his wife, Brandi, agreed.
“It was a moment when I felt like I wasn’t on my own anymore,” Johnson says. “To have my fiancée at the time say ‘I’m behind you, no matter what we have to do,’ it gave me a whole new level of confidence that some people might have thought I already had. But I didn’t.”
Even with her belief, the road wasn’t easy.
“I sacrificed, and I worked my tail,” he says. “I barely slept for years trying to make this thing happen, and me and my wife didn’t have a lot of groceries. We didn’t have a lot of things for a long time.”
Johnson reached a new creative plateau when he enlisted singer/songwriter Trent Willmon, who wrote Montgomery Gentry’s “Lucky Man,” to produce an album in Nashville. That project, A Different Day, raised the bar on Johnson’s barroom ambitions. The studio musicians he worked with challenged his own band. Johnson grew – and his bandmates grew – because they had to stretch themselves to live up to the album on the road. That pattern has continued through three projects as he continues to chase something illusory.
“It’s that always-never-good-enough kind of attitude that gives us that drive,” Johnson says.
When Cowboy Like Me broke onto the Billboard chart, it demonstrated that they had built an audience, but also gave them a little cache to push it even further. The band has broken beyond the red-dirt confines, drawing sizeable audiences in such far-flung destinations as California, Montana, Wisconsin and the Southeast, as Johnson wins over fans with his honest songs and on-stage ferocity.
And Johnson’s built up a Twitter following of 73,000 fans – impressive numbers for a guy who’s marketed and developed his career without the aid of a major label.
He approached Gotta Be Me with two major objectives: to make yet another advance musically, and to provide an authentic self-portrait to that growing fan base still trying to figure out who this Cody Johnson guy really is. He worked with some of Nashville’s best songwriters – including David Lee (“Hello World,” “19 Somethin'”), Terry McBride (“Play Something Country,” “I Keep On Loving You”) and Dan Couch (“Somethin' ‘Bout A Truck,” “Hey Pretty Girl”) – while drawing on his own history, rich with its own compelling subject matter.
“Every Scar” draws a life lesson from all those rodeo bruises and broken bones. “Half A Song” blends his barroom experiences with the melodic and rhythmic sensibilities he picked up at his daddy’s feet. The fiddle-rich “Wild As You” embraces a freedom-loving woman whose sense of adventure is as deep as Johnson’s own. And that spacious gospel closer, featuring his parents on harmony, surrenders some of the rabble-rousing, adrenaline-raising pieces of his past into bigger spiritual hands.
In essence, Gotta Be Me documents the life of a guy who’s lived in the fast lane as a beer-drinkin’, rodeo-ridin’ cowboy, but who’s also seen just enough darkness to temper that wild streak.
“You’re only a couple bad decisions every day from screwing your whole life up,” he reasons.
With a good woman behind him and a whole lot of promise in front of him, that’s enough to keep Cody Johnson in check. The energy he put into his rebel years now goes into his work. He’s not sure what he’s chasing, but he knows it’s paying off The “me” that Cody Johnson is becoming will continue to evolve, and it’s his intent to share that journey in an honest, meaningful way. The same way that Haggard, Strait and Nelson did when they made their marks. When it’s all said and done, the plan is mostly to reach the point where people are no longer asking “Who is this kid?”
“I don’t want to be a blemish on country music,” Cody Johnson says. “I don’t want to be a dot. I’d like to be a mark.”]]>
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Eleven-time Grammy-nominated singer-songwriter Jamey Johnson is “one of the greatest country singers of our time,” according to the Washington Post. He is one of only a few people in the history of country music to win two Song of the Year Awards from both the CMA and ACMs.
His 2008 album, That Lonesome Song, was certified platinum for 1 million in sales, and his 2010 ambitious double album, The Guitar Song, received a gold certification.
In addition, he won two Song of the Year Trophies, for “Give It Away” and “In Color,” both from the Academy of Country Music and the Country Music Association. He has received tremendous praise from The New York Times, Rolling Stone, The Wall Street Journal and other publications, many of which have hailed his albums as masterpieces.
In 2012, the Alabama native released his fifth studio album, a tribute project to late songwriter Hank Cochran. The Grammy-nominated Living for a Song: A Tribute to Hank Cochran paired him with Willie Nelson, Alison Krauss, Emmylou Harris, Ray Price, Elvis Costello, George Strait, Vince Gill and Merle Haggard.
In 2013, the Nashville Scene’s 13th annual Country Music Critics’ Poll named it the year’s best album. (Two years earlier, the same poll named Johnson’s The Guitar Song as the year's best album, and Johnson himself as best male vocalist, best songwriter and artist of the year.)]]>
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Inspiration, dedication, experience, and originality are the hallmarks of Strangetowne. In early 2013, guitarist, Ben Cargo and drummer, Jordon McClain met for the first time with singer-songwriters, Tyler Horning and Lincoln Youree, and within weeks a dozen original tunes were arranged and ready to perform. With the help of legendary venue, The Golden Light Cantina, the band began to rehearse at every opportunity, honing the finer points of their performance.
With vulnerable and serious songwriting, punctuated with driving beats, energetic lead guitar work, and enormous harmonies, the quartet has found a formula that resounds with audiences. With a commitment to writing and performing the best music they can muster, Strangetowne will make their mark on any listeners who come their way.
Recorded at MajorSeven Studios in Amarillo, TX, their debut release, Hard Earned Love, is available now!]]>
Meet & Greet Includes:
- Early Entry
- Picutre with YFN Lucci (After Show)
- Autographed Poster
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Think It’s A Game recording artist YFN Lucci has the Key To The Streets with his anthem and single Key To The Streets f/Trouble and Migos from the YFN Lucci mixtape Wish Me Well 2 released February 16, 2016. Months later the song catapulted to #1 on November 8th on the urban radio national chart. The song has been included in the Hottest 50 Songs of 2016 by Hot New Hip Hop and XXL.
In October 2016 YFN Lucci’s official single Key To The Streets was cited by Forbes as a “5 Rap Singles To Watch On The Billboard Hot 100 Chart”. “Taken from that project, this catchy Migos- featuring single reflects the singing rapper’s radio-ready style well and debuted higher on the Hot 100 than first appearances by fellow 2016 first-timers like Madeintyo and Young Greatness.” The recently released remix featuring 2 Chainz, Lil Wayne and Quevo is also currently in rotation as well helping to drive the song to #38 on Billboard’s US Singles chart.
The Key To The Streets video premiered at the top of BET’s 106 and Park live from the 2016 BET Experience during the BET Awards weekend in Los Angeles. Directed by Marc Diamond, the video debuted on Vevo’s homepage garnering over 200,000 video views in the first 72 hours and now has racked up more than 17 million Vevo views and sits in medium rotation at BET, Revolt and Fuse.
Over the summer of 2016, YFN Lucci completed his first 30-day national tour, “Parental Advisory” with Lil Uzi Vert, 21 Savage and Kap G. The tour started in Oakland, CA and ran Los Angeles to Houston to Miami, Atlanta to Boston, Chicago, Charlotte and beyond. On June 20, 2016, the Atlanta show brought out Future, Migos, Trouble and Marissa to bless the stage with their live performances and solidify the Atlanta show as a moment in history.
Based in Atlanta, Think It’s A Game Records continues its streak of breaking new music after their success with Rich Homie Quan’s Flex as the first independent label to go #1 for more than three consecutive weeks since DJ Unc’s Walk It Out in 2009.
Born and raised in Atlanta, Georgia, YFN Lucci grew up listening to the likes of Tupac, the Hot Boys, Ja Rule, Dipset, Lil’ Wayne and Fabolous. Motivated by his older brother and rapper “K,” YFN Lucci discovered his own musical talent at age 16 and started developing his clever pen game.
A year later, he connected with fellow Atlanta rap artist Johnny Cinco who encouraged Lucci to take his talents seriously and get in the studio. YFN Lucci went on to perfect his craft and develop his sound over the years, eventually landing on two records off of Johnny Cinco’s “John Popi” mixtape in 2014.
The collaboration generated a substantial buzz as YFN Lucci’s undeniable talent gained In the summer of 2014, TIG’s CEO Girvan “Fly” Henry took note of YFN Lucci’s increasing buzz and signed him to Atlanta’s fastest rising indie label.
YFN Lucci’s creative blend of singing and lyricism make for a unique sound with a southern touch. With new music and colorful visuals there was no end in sight for this Hip-Hop star in the making once he released his first mixtape Wish Me Well in December 2014. With YFN Lucci’s second mixtape Wish Me Well 2 UnStoppable (featuring Rich Homie Quan, Migos, Problem and Plies) XXL said, Wish Me Well 2 is a solid mixtape that showcases YFN Lucci’s potential. There is obviously a place for him to rhyme over thundering trap drums but as heard on the handful of deeper cuts, Lucci shines brightest when he goes the untraditional route.”
Upon the sophomore mixtape’s release, YFN Lucci’s social media and viral buzz landed him at #2 on Billboards Trending New Artist chart in February and also on Spotify’s Rap Caviar playlist. As a new artist who has not released his first album as of yet, YFN Lucci has building his fanbase raking up over 45 million Vevo video views and millions of audio streams.
Recently featured on Kayla Brianna’s Work for It, Lil Durk’s Young Forever, the late Bankroll Fresh’s Dirty Game Remix and TK Kravitz’s No Mind, YFN Lucci continues to build upon his buzz with his half a million+ InstaGram followers, touring and creating new music in the studio for his yet to be titled 2017 debut album release upon the release of the his new single Everyday We Lit f/PnB Rock in late 2016.]]>
Get lean to the Earth-quakin’ hip-shakin’ sound of classic soul music and get green by signing the Recycle Lincoln petition! By signing, you help ensure that the Recycle Lincoln ordinance gets on the ballot for a public vote in the city’s spring 2017 election. The ordinance seeks to double Lincoln’s recycling rate by diverting cardboard, newsprint and paper away from the city’s landfills.
Through the night, Lincoln’s heavyweight haulers of retro soul – DJ Old Moaner, DJ Relic, DJ Spence and Polar Bear – will restyle dusty old vinyl into uplifting, infectious jams. Doors open at 7 p.m. The needle drops at 8 p.m. and dancing goes till the wee hour of 1 a.m. Recycled Soul is free, but donations are suggested. All proceeds go toward the Recycle Lincoln initiative.]]>
Take Cover is back! In Lincoln, we'll be at the Bourbon Theatre on Friday, January 27th with 12 Lincoln bands covering their favorite Nebraska songs.
FREE admittance this year with a $10 suggested donation.
Stay tuned as more details are announced!]]>
VIP MEET & GREET TICKETS INCLUDE:
-1 General Admission Ticket
-1 merchandise item
-1 Meet & Greet + photo with Hippie Sabotage
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Meet and Greet Includes:
-1 General Admission ticket
- Priority Early Entry Into Venue
-1 Meet and Greet with Sammy (includes one photo on your personal camera or phone)
-1 Exclusive Tour Poster & VIP Laminate
* Please arrive @ 6 p.m. day of show for the meet and greet.
Crew Pass Includes:
-1 VIP Crew Pass
-1 Sammy Adams 2016 Crew T-Shirt
-Private Meet and Greet with Sammy Adams
-Behind the scene look at show prep.
-Meet the crew
-Private tour of the venue, including backstage and Sammy's private green room.
-Watch the show from the VIP area
-1 Exclusive Tour Poster & VIP Laminate
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Boston's Sammy Adams caused quite a stir in 2010 when his debut album topped the online hip-hop charts the week of its release. Samuel Adams Wisner was a senior at Trinity College in Hartford when he decided to inject some attitude into Asher Roth's hit "I Love College." With the results posted online under the name Sam Adams, his answer song, "I Hate College," made the rapper an Internet star in 2009.
On the strength of his independently released album "Boston's Boy," and mixtapes like "Party Records" and "Into the Wild," Sammy built through touring colleges and clubs across the country, and signed with RCA Records in 2012. Since then, the singer, songwriter, and producer has been in the studio with such collaborators as Pharrell Williams, Ryan Tedder, Mike Posner, Bei Maejor, Supa Dups, Afrojack, Matty Trump, and Vinylz, and others, working on his debut album.
"Pharrell gave me the best advice about making an album," Adams says. "He said, 'Just be in the moment with your songs because if you try to write a song to be a hit two months from now, the culture can change.' I'm really just trying to be true to myself and carve out my own lane. That's what all my favorite artists have done."
It's with that joy and energy that Adams approaches his career as a pop artist. "I want to make music that's universal, that anyone can relate to," he says. "I've had my biggest success so far with pop songs and it has inspired me to write super-catchy hooks that people can jump up and down to. It feels authentic to where I am creatively at this point and I'm excited to continue to explore and play with this kind of music."]]>
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Kehlani tells it like it is. Whether in conversation or on stage, the Oakland-born R&B singer and songwriter gives the straight truth about her life, pain, passion, love, triumph, and everything in between with collected calm and confidence. It’s that type of honesty that makes her music resonate with the depth of classic Motown and a vividly confessional lyricism reminiscent of Neo Soul. At the same time, her 2015 mixtape, You Should Be Here, tells a story that distinctly belongs to her.
It all starts on the East Bay…
Born a unique blend of ethnicities including African American, Caucasian, Native American, Spanish, and Filipino Native American Kehlani will casually tell you “You’re lucky if you make it out of Oakland.” However, in her case, talent usurped luck. Months after her birth, Kehlani lost her father, never properly meeting him. Mired in drug addiction, her mom shuffled her to an aunt. She initially found solace in dance—ballet in particular—but a knee injury sidelined her what might’ve been a budding career as ballerina.
“That’s when I started singing,” she recalls. “When I was living with my aunt, she played me all of these powerful women and love songs. It was that Neo Soul-R&B, and I couldn’t get enough of it. It felt right to sing from the moment I began.”
In eighth grade, she became a member of the group Poplyfe produced by D’wayne Wiggins of Tony! Toni! Toné! fame. With Kehlani front and center, Poplyfe ended up becoming a finalist on America’s Got Talent—even performing with her idol Stevie Wonder during the final round. They didn’t win the competition, but she made an invaluable ally in Nick Cannon. A few industry pitfalls and detours derailed her musical momentum for six months until she decided to pick up the mic again. Without a home, she moved from couch to couch until Cannon got back in touch wanting to help however he could. Kehlani wanted one thing: studio time.
Kehlani’s 2014 mixtape, Cloud 19, introduced her to the world. Immediately, tastemakers and audiences alike wholeheartedly embraced her. Complex showcased the songstress in a piece entitled “How R&B Saved 2014,” Pitchfork dubbed the mixtape one of the “Overlooked mixtapes of 2014,” Vice proclaimed her an “R&B Artist on the Verge of Blowing Up,” BuzzFeed pegged her at #4 on their “41 SXSW 2015 Artists You Need In Your Life,” and she ended up being one of SXSW’s “Top 5 Most Tweeted Artists.”
In late April she shared You Should Be Here with the world, which earned Kehlani her very first GRAMMY nomination at the 58th GRAMMY Awards for “Best Urban Contemporary Album.” Upon its release Billboard immediately called this project “The year’s first great R&B album”. Amongst their great review, You Should Be Here has seen quite a bit of success on the charts. Aside from being the top R&B debut of the week, it also came in at #1 on the iTunes R&B/Soul chart and #2 on both the Overall R&B Albums and Current R&B Albums chart.
Signing to Atlantic Records in early 2015 and releasing You Should Be Here, Kehlani possesses the power to make an impact because she’s so unwaveringly honest.
“I am one-hundred percent music,” she’ll assure.
That’s because it’s the truth.]]>
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When the Randy Rogers Band’s last project debuted as the most-downloaded country album on iTunes, plenty of the industry “insiders” on Music Row were left scratching their heads: Who are these guys?
The Nashville elite may not have known about the five-piece band, but much of America already did. Rolling Stone magazine ranked them alongside such artists as U2 and the Stones in its list of Top 10 Must-See Artists in the summer of 2007. They earned $2.5 million—a staggering total for a still-developing act—on the tour circuit in a single year. Willie Nelson, the Eagles, Gary Allan and Dierks Bentley all picked them as opening acts for their concerts. And more than 2,200 people showed up and bought the bands album at an appearance at Wherehouse Music.
The fans’ exuberance was shared by USA Today, which praised the band for having “loads of grit, swagger and heart.”
The Randy Rogers Band built its audience by combining forces: It’s a dynamic live act centered around songs that fit the rowdy, party vibe of the concert circuit, but their songs also say something.
That’s particularly true in the new album, The Randy Rogers Band, in which a dozen persuasive tracks give the listener plenty of reasons to want to down a celebratory brewski. But the songs also maintain a depth that makes them powerful and provocative even beyond their edgy arrangements and tough-guy sound.
Invariably, the songs are about people making choices and dealing with the consequences they bring. That’s the case in the opening “Wicked Ways,” in which a string of wild endeavors leaves an out-of-control adult in need of redemption. It’s true in “When The Circus Leaves Town,” where a performer comes to terms with the emotional crash that accompanies the conclusion of a pumped-up show. It’s even a tenet in “One Woman,” a ballad that finds a former playboy recognizing his old choices and behaviors were a shallow pursuit next to the promise and solidity that stand before him.
“These songs are definitely true, and they’re relatable to many different life situations that I’ve either gone through in the past or will go through in the future,” Rogers, the lead singer and primary songwriter, says. “I just tried to create believable characters and relatable characters. I hear from fans that we really have helped them in real-life situations when they’ve applied the songs to their everyday life. That’s what I strive for in the songs that I write.”
“We’re not old, but we are getting a little bit more mature,” bass player Jon Richardson asserts, drawing laughter from the rest of the band. “We’re trying to be more mature, anyway. And that’s something that we can write about a little more naturally now instead of ‘Here’s a song about how much fun I had’ or ‘Here’s a song about a girl.’ That’s probably just a natural progression of our own lives being reflected in our songs.”
Indeed, the Randy Rogers Band is confronting the same questions about relationships and identity that face many of the college students and young adults that form the centerpiece of the group’s audience. The balancing act between work, home and recreation is a difficult one—even tougher for an ensemble that spends more than 200 days annually on the road.
“All the guys, except for Jon, are married or soon to be married,” guitarist Geoffrey Hill observes. “Les [drummer] and I both have kids. So sometimes it feels like you’ve really gotta struggle to fit all that into your life, I guess, but it’s kinda part of the game. I always said that I play music for free, and I get paid to leave the family behind and go on the road.”
That requires a constant rededication to the group, a commitment the five members have repeatedly made since the current lineup coalesced in 2003.]]>
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Part of the Atlanta trap wave, Rich the Kid emerged in 2013 with his debut mixtape Been About the Benjamins. Born Dimitri Roger in New York City, he moved to Atlanta as a teenager and got his start performing as "Black Boy the Kid" before changing his moniker. Influenced in equal measure by the two cities that shaped him, he owed much of his style to influences like Nas, Tupac, and Notorious B.I.G., as well as T.I. and Jeezy. After his first mixtape, he joined forces with fellow Atlanteans Migos. Along with the trio, Rich released a multi-year, three-part mixtape called Streets on Lock (a fourth collaboration, Still on Locks, was issued in 2015). His solo follow-up, Feels Good to Be Rich, arrived in 2014. The collection included multiple collaborations with the likes of Young Thug, Kirko Bangz, Soulja Boy, Riff Raff, French Montana, Kodak Black, and Yo Gotti. As his presence grew on the Atlanta scene, he recorded a single with Fetty Wap, the Zaytoven-produced "Keep It 100," which amassed over two-million streams. In 2016, Rich started his own label, Rich Forever Music, releasing no less than four mixtapes, including a pair of compilations highlighting Rich Forever artists. That summer, he signed a deal with 300 Entertainment and released a single with labelmate Young Thug, "Ran It Up."]]>
VIP Dance Floor Seating Includes:
- Dance floor seats: table and chair
- Signed Poster
- 10% Discount at Merch Booth
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This gaudy bawdy variety show is a unique blend of circus, sideshow, burlesque and variety arts. Each one of their skilled entertainers is just a as tantalizing as they are talented. Their acts include knife sword swallowing, naughty puppets, quick change magic, bed of nails, fire eating, burlesque, ladder of swords, chinese execution blade box, singing comedy magic and more. You won’t want to miss this one of a kind non stop thrill ride of a show!]]>
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If Turnpike Troubadours are playing in your town, you’ll know it. A block or two from the venue, you’ll see the crowds lining up. Get closer and you’ll start to hear the music -- rockin’ hard, lashed by burnin’ fiddle and guitar, maybe a little rough on the edges but with a deep-rooted soul that's impossible to resist.
And if you make it through the door, you’ll witness one of the best shows you'll ever see.
Audiences in their home state of Oklahoma and down in Texas have known this for years. It's no longer news when they draw 5,000-plus at Billy Bob's in Fort Worth, sell out three nights in a row at Gruene Hall or turn several hundred away at the Legendary Stubb's Bar-B-Q in Austin.
Word has spread, though: Their shows in Chicago, St. Louis and elsewhere have pulled in more than 1,000 fans. And they’ve drawn full houses at Joe’s Pub in New York and The Troubadour in L.A., among many other nightspots from coast to coast.
They’ve even been picked by Playboy as one of three acts to watch in 2015 -- a distinction lead singer/guitarist/songwriter Evan Felker admits is “pretty bizarre” but impressive nonetheless.
So is that the story? “The Turnpike Troubadours Tear It Up Night After Night”?
Actually, no. There’s another side to singer/guitarist Felker, bassist RC Edwards, fiddler Kyle Nix, steel and electric guitarist Ryan Engleman and drummer Gabe Pearson. Maybe you don’t notice it as much at their shows, where their blazing performances tend to obliterate detached reflection.
But you’ll definitely notice it on their new album, The Turnpike Troubadours, to be released September 18th on their Bossier City imprint. Away from the intensities of their show, the music speaks more intimately. Details of their arrangements clarify. Above all, the lyrics become the center of attention, spinning stories so compelling that you realize you’d almost forgotten how powerful the message of a song could be.
There’s “7 Oaks”, recounting a life made desperate by poverty, made more vivid by an incongruous hoedown accompaniment ... “Bossier City”, focused on a sad mill worker who blows his pay regularly on gambling and booze ... “The Bird Hunters”, a short story set to a Cajun waltz about friendship, love and coming home ... “Down Here”, a conversation between one guy who has lost all he had and another who assures him life "down here" really isn’t so bad ... “How Do You Fall Out Of Love”, a melancholy meditation on lost love.
Dig deeper into the words and bits of brilliant craftsmanship gleam: “Hillbilly girl, as sweet as wine, grew up in the thicket like a muscadine.” ... “Robbie’s got a brand new girlfriend. She’s got to strip for pills.” ... “I left my heart in Tulsa on the corner of Easton & Main on the Cains Ballroom floor, soaking up a bourbon stain.” ... “You bet your heart on a diamond and I played the clubs and the spades. We gambled and lost. Yes, we both paid the cost. Look what a mess I have made.”
“Human beings like stories,” Felker insists. “It doesn’t matter what form, whether it be a song or a movie or a poem. And they’ve always been drawn to characters. Our songs are real life applied to stories applied back to real life. I might get a plot line from several short stories I’ve read. Then I’ll build fallible characters into the midst of all that. They’re never archetypes. They’re real. It’s all about the character.”
In fact, characters are so central to the Turnpike Troubadours that they often turn up in more than one song. On The Turnpike Troubadours, for instance, the narrator in “Down Here”, Danny, turns up again in “The Bird Hunters”.
“Stephen King has this canon of characters and any of them can walk into one of his stories at any time,” Felker says. “You have all these characters living in the same universe. I haven’t ever seen that applied to songwriting, but that’s what I’m doing.”
This universe feels real on The Turnpike Troubadours because the band resolved to let the album happen on its own time. Moving out to the Prairie Sun recording complex in the desert country of Cotati, California, setting up in former chicken coops converted into studios, they metaphorically unplugged the clock and worked studiously through 12-hour sessions, wrapping up only when each story and every note rang true.
"This album sounds like us at our best," Edwards says. "We weren't going for being overproduced. What we got was exactly what we wanted because we didn't have that time factor problem."
And this is the paradox of the Turnpike Troubadours: Do they sound their best when they're delivering another electrifying live show or when they've crafted an artful album, enriched by a narrative tradition that traces back to their fellow Oklahoman Woody Guthrie, in which every nuance tells a story unto itself?
Honestly, the band doesn't worry much about that.
"The show is about people having fun," Felker says. "The more fun they have, the more fun we have and the better off everybody is. The record is about understanding the poetry in a real way. I figure it's like people sitting around in their house, maybe drinking a beer. That's more the place for poetry." "Our sound comes from playing country music, punk rock and anything else we liked in honky-tonks and beer joints," Edwards adds. "You've got to give the crowd something to dance to and have a good time. But songwriters are the most important thing. So I think everything we've done says that you can have it both ways."
The proof is on The Turnpike Troubadours and at whatever place they're playing down the road near you. Think of them as a two-headed silver dollar; on both sides, you've got a winner.]]>
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For an artist who has achieved so much – the most robust touring regimen in rap, more than a decade owning the most successful independent rap label, an independently released gold single, and recurring placement on Forbes’ Hip-Hop Cash Kings list, among them – Tech N9ne wanted his new album to transport him and his listeners to new levels of musical expression. With Special Effects, the Strange Music mogul has delivered.
“We’re playing with music, letting people know that we got this,” Tech N9ne says. “What it turned into, after my mom passed June 6, 2014, we still kept the same thing of affecting the music and the beats, but it got real serious, man.” Tech N9ne gets serious in each section of Special Effects, which is broken into 10 portions (each of which has its own subdivision), starting with “Sunday Morning” and running through the entire week before concluding with another “Sunday” installment and an “Encore.” The “Wednesday” section is dedicated to lyricism and features a collaboration Tech N9ne’s been working on since 1999. Eminem appears with Tech N9ne and Krizz Kaliko on “Speedom (WWC2),” one of the best rap exercises ever recorded. Each rapper flows at breakneck speed while clearly articulating each word of their mind-blowing raps.
Even though having Eminem on Special Effects may bring Tech N9ne extra attention, he didn’t secure the appearance for name recognition. “I got Eminem on the album because I love what he does and he’s on the top of his game,” Tech N9ne explains. “I always felt like I was one of those guys, too, that really took time with lyrics, that really took time to create material that people have to study.”
Longtime Tech N9ne fans have been studying Tech N9ne’s story raps for years. One of his most legendary series reaches its dramatic finale with “Pyscho B**ch III.” Given that the Kansas City rapper no longer has the psycho female element in his life, he wanted to conclude the installments with a chilling ending based on a real-life experience.
“When I heard the beat, it was so massive and so eerie that I wanted to talk about a crime of passion,” Tech N9ne explains of the song, which features Hopsin. “My best friend Brian Dennis, he was killed through a crime of passion, so I know it’s about a woman dating two dudes, usually. So, I made the song with two rappers dating the same chick. She got busted with one of them and they both knew each other. They don’t like each other much and they’re fighting over this girl.”
Switching gears, Tech N9ne gets serious about making music for the clubs with “Hood Go Crazy.” The song features 2 Chainz and B.o.B, and harkens back to Tech N9ne’s roots as a dancer.
“I know what makes people move,” he explains. “Just like I did ‘Planet Rock 2K,’ ‘Let’s Get Fucked Up’ and a lot of the party songs I’ve done, being three-dimensional. It’s 2015 now, so what’s Tech N9ne’s ‘Caribou Lou’ going to sound like in the future? It’s ‘Hood Go Crazy.’”
As much as Tech N9ne focuses on other pursuits, Special Effects is dominated by darkness, the pain and confusion that enveloped him upon the death of his mother. While he was reflecting upon her passing, he thought about the artwork of his K.O.D., Seepage and Boiling Point projects. Each featured black tar covering a portion of Tech N9ne’s body. As Tech N9ne revisited his artwork, he and producer Seven realized he was now metaphorically covered by this film.
The results were “Shroud,” one of Special Effects’ most emotional songs. “It has a need to be angelic, to be good, to take all that madness and let it explode and shake the masses and put it back on the evil people,” Tech N9ne explains. “I spit out everything I felt. I was really angry with people’s evilness and was dealing with my confusion about my mom, about why she was so tormented. She was such a God-fearing person, loving person. It’s just me talking to God and really letting the darkness take over me, but still turn it on the evil. It’s all in me, bu then I turn it back on them, the evil that they made.”
As the album heads into its final sections, Tech explains how people have turned on him with “A Certain Comfort,” discusses losing longtime friends to disagreements on “Burn It Down” and details bringing people together on “Life Sentence.” With “Dyin’ Flyin’,” he addresses people’s claims that he’s selling out, while “Worldly Angel” sums Tech N9ne up as a human: the good and the bad, the confusion and the joy.
These are hallmarks of Tech N9ne’s work, key ingredients that have helped the Missouri mastermind grow from one of rap’s best-kept secrets into one of its most successful acts. With a tireless work ethic, he became rap’s marquee double-threat: a rapper whose musical magnificence was matched by his impeccable live show. He and partner Travis O’Guin launched Strange Music in 1999 and have methodically built it into an independent powerhouse, a label that releases high-quality, chart-topping music and whose artists, Tech N9ne chief among them, tour throughout the world virtually year-round.
It all adds up to one of rap’s best success stories. But, as Tech N9ne has found, succes doesn’t always shield you from loss, setbacks and jealousy. “It’s messed up that money changes everybody around you and not necessarily you,” Tech N9ne says. “I’m still me. Money changes everything. Fame changes everything and it’s a shame. That’s one thing about Special Effects.
Two is that I’m totally messed up about my mom’s death because I felt like she was such an angel and she was cheated spiritually, to me, in this life, so I’m frustrated. But in the midst of all that sadness and upset and madness, I’m still going to find a way to celebrate, to say thank you to my fans. We’re going to party the pain away.”
And Special Effects is the perfect elixir – for Tech N9ne and for the rest of us.]]>
On top of your donation through paid admission, we ask that anyone who is willing and able, to please bring an item or two(or however many you can comfortably provide) from the list of materials needed for water protectors continued sustainability through the winter months.
Supplies include but aren't limited to;
Filled propane tanks
Carhartt or similar insulated clothing
Milk of magnesia
Cigarettes/tobacco(for prayer practices)
Every donation and contribution made will be directly given to water protectors in Standing Rock by way of local community members who have frequently been traveling back and forth in recent months, providing efforts of their own to the Standing Rock Sioux Nation and the rest of their supporters.
This is an opportunity to show we stand in solidarity and support the Sioux Nation against the DAPL and any environmental contamination that could result from its manufacturing. This effects many people. Including us. We must take it upon ourselves to activate in some way. Here's a chance.
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