Fri, 26 Jun 2015 18:10:46 +0000 en-US hourly 1 Linear Symmetry CD Release Show Wed, 24 Jun 2015 21:19:25 +0000 aaron Saturday, July 25th
Rye Room
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up

Linear Symmetry

Website | Facebook | Music

Chris Story (Keyboards) and Andy Alback (Drums) combined forces in 2013 to form the live-electronica group Linear Symmetry. The duo from Omaha has been on a direct path since their inception and continue to progress to new heights with every performance. They have quickly become known for their tight, energetic live shows which feature moving audible dynamics in the form of organic dance music. Pair this with their brilliant visual package and it’s no surprise they have become festival favorites and late night staples.

After just one experience with this duo, it is clear there is no lack of symmetry between Chris and Ando. The two work together on stage and in studio with a common goal to send the listener on a sonic journey through their ever expanding catalogue of original dance music. Due to their unrestricted sound and raucous live show, they have the unique capability to perform for both rock and electronic audiences. Linear Symmetry has performed alongside EOTO, Shpongle, Twiddle & The Floozies; while also packing dance floors at festivals such as Dancefestopia, 515 Alive and BloomTown. Their linear path to new heights is not slowing, so be on the ready to get down when Linear Symmetry arrives in your area in 2015 and beyond. #LSduo #YearofLinear

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Producers of the Word & Red Francis Wed, 24 Jun 2015 20:18:34 +0000 aaron Saturday, August 1st
w/ Levi Bradis, The Riverfront Boys (ft. Kalin Krohe, Jeremy Fifield)
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up

Producers of the Word

Website | Facebook

Red Francis

Website | Facebook

Based out of Chicago, Red Francis captures a rich array of psychedelic soul and folk rock into a consistent vibe with ever changing moods.

Red Francis offers diversity with consistency, as each track becomes a part of the whole effort. The result is a fulfilling piece that never wears out its welcome. - Midwest Action

There's something for everyone to love on "When on High." - Independent Clauses

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Jackyl Wed, 24 Jun 2015 19:19:59 +0000 aaron Friday, September 4th
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $18: Advance || $22: Day of Show
Tickets On-Sale Friday, June 26th


Website | Facebook | Video

It's been nearly 20 years since Jackyl shot out of Georgia with its wild, untamed and uncouth approach to rock 'n' roll. Equal parts hard rock, heavy metal and Southern rock, Jackyl formed in 1991 and brought back rock 'n' roll back -- back to its down-to-earth, wild, fun-loving origins. Full of spit and swagger -- and a "dirty" sense of humor to boot -- Jackyl quickly earned a deal with Geffen Records. Jackyl's live shows were already legendary before the ink dried on the Geffen contract.

The 1992 self-titled debut album went platinum and featured notable rock radio hits like "Down On Me," "When Will It Rain," "I Stand Alone" and, most notably, "The Lumberjack," during which vocalist Jesse James Dupree performed a chain-saw solo. Dupree's chain-saw escapades on album and in concert became one of many Jackyl trademarks. With the release of 'Jackyl' hit the road and barely left it since. Just long enough to record new albums. Touring mates in those early days included Aerosmith, Kiss, ZZ Top, Ted Nugent and Damn Yankees. 1993 saw "Mental *@%.!" featured on 'The Beavis & Butt-head Experience,' a compilation album of songs tied in with MTV's hit cartoon series; it was eventually certified triple platinum. 1994 was one of the most important years in the band's career. The second album, 'Push Comes To Shove,' hit the streets and went gold. That August, Jackyl turned in one of the most acclaimed performances at Woodstock '94 in Saugerties, NY, and the resulting double album 'Woodstock 94' went platinum and included "Headed For Destruction" (a track from 'Push Comes To Shove'). The live recording 'Night Of The Living Dead' was released exclusively in Europe on Mayhem Records in 1996.

It wasn't long before Jackyl followed A&R legend John Kalodner (who had signed them to Geffen) to Sony Music's imprint Epic Records. 'Cut the Crap' was released in 1997 and benefited from two industry heavyweights overseeing its recording: producer Mike Fraser (AC/DC, Metallica) and mixer Kevin Shirley (silverchair, Aerosmith). This album spawned the rock radio hit "Locked and Loaded," which included guest vocals by AC/DC's Brian Johnson. It was the first time Johnson had ever recorded with any artist but AC/DC since he joined the band 17 years earlier. A collection of B-sides titled 'Stayin' Alive' appeared on Shimmering Tone Records in 1998 but the biggest highlight of the year was Geffen's release of the best-of collection 'Choice Cuts' and the related promotional events Jackyl did to help promote it.

The band earned two Guinness Book of World Records citations and the designation "The Hardest Working Band in Rock 'N' Roll" for performing 100 shows in 50 days as well as 21 shows in 24 hours. Dupree says the most grueling of the two was 21 shows in 24 hours; Jackyl completed that task in Texas, and the shows were all done with full lights and sound. The daytime sets were 45 minutes long whereas the ones done at nighttime were between 90 and 120 minutes long. Jackyl released 'Relentless' on Humidity Records in 2002. It contained the second collaboration with Brian Johnson, "Kill the Sunshine." Universal Music/Geffen Records also issued a Jackyl volume as part of its acclaimed '20th Century Masters - The Millennium Collection' best-of series in 2003. For a band that built its reputation as road warriors, it's surprising that a full-length live album meant for worldwide release did not appear until 2004 with the separate release of the 'Live at the Full Throttle Saloon' CD and DVD on Sanctuary Records. 'Live at the Full Throttle Saloon' was recorded and filmed in summer 2003 in Sturgis, South Dakota, as part of the legendary annual biker rally festivities held there.

Staying true to their working band roots, 2008 and 2009 saw Jackyl on the road playing the summer festival circuit. The band is currently in the studio completing a 2010 release titled “My Moonshine Kicks Your Cocaine’s Ass.”

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Los Lonely Boys Wed, 24 Jun 2015 15:00:12 +0000 aaron Thursday, October 8th
Doors: 7 p.m. || Show: 8 p.m.
$30: Advance GA || $35: Day of Show GA || $45: Reserved Seating
Tickets On-Sale Friday, June 26th @ 10 a.m.

GA = Standing Room Only
Reserved Seating = Seated Spot

Los Lonely Boys

Website | Facebook | Video

Beloved Texan brother trio bounces back from adversity with adventurous album, Revelation, came out Jan. 21, 2014

AUSTIN, Texas—“We decided to call this album Revelation because we want to make music that reveals something to people about their lives and their world,” says Jojo Garza. He’s talking about the new release by Los Lonely Boys, the close-knit Texas trio that the bassist/vocalist shares with his brothers Henry (vocals, guitar) and Ringo (drums, vocals). “As musicians and artists, we’re here to connect with people, and to share our view of things.”

Revelation — to be released on the band’s own LonelyTone imprint Jan. 21, 2014, in association with the respected Austin-based indie Playing in Traffic — is a landmark release for the siblings. While maintaining the infectiously melodic mix of bluesy rock ’n’ roll and rootsy brown-eyed soul that’s long endeared Los Lonely Boys to its fiercely loyal fan base, Revelation adds an expansive range of new sonic elements, e.g. the conjunto touches of “Blame It On Love,” the reggae groove of “Give A Little More,” the rustic acoustic textures of “It’s Just My Heart Talkin’ and the baroque pop elements of “There’s Always Tomorrow.”

“We’re always trying to broaden our horizons and advance musically, and that’s something that we were very conscious of in making this record,” Jojo states. “We’re always looking for new ways to communicate and reach people, so we experimented with a lot of different sounds and production approaches.”

Toward that end, the brothers also collaborated with an eclectic cast of co-writers in assembling the dozen new original songs that comprise Revelation, including alt-country icon Radney Foster, in-demand pop tunesmiths Matthew Gerrard and David Quiñones, Black-Eyed Peas collaborators George Pajon Jr. and Keith Harris, and Raul Pacheco of Ozomatli.

Revelation also marks Los Lonely Boys’ first recording work since Henry Garza sustained serious injuries in a fall from the stage during a February 2013 performance in Los Angeles, necessitating a lengthy and ongoing recovery period.

“We nearly lost Henry, man, and that was a big change for us,” Jojo acknowledges. “The whole experience was a wake-up call for us. It made us rethink every aspect of our lives and our careers, and it reminded us of what’s really important to us.”

The abiding sense of family unity and creative rapport that allowed the band to weather such a potentially devastating event has been built into Los Lonely Boys from the beginning. Indeed, Henry, Jojo and Ringo have been making music together for their entire lives. Their father, Ringo Garza Sr., was a member of another sibling band, the Falcones, which played throughout southern Texas in the ’70s and ’80s. When that group disbanded, Ringo Sr. went solo, and recruited his three young sons to back him. The family relocated to Nashville in the ’90s, and soon Henry, Jojo and Ringo Jr. began writing and performing their own material as a trio.

After moving back to Texas, the brothers recorded their eponymous debut album in 2003 at Willie Nelson’s Pedernales studio in Austin, with Willie himself guesting on the sessions. Although originally released on small Or Music label, Epic Records picked up Los Lonely Boys for major-label distribution in early 2004. The album quickly won the band a large national audience. Its lead single “Heaven” became a Top 20 pop hit, reached the #1 spot on Billboard’s Adult Contemporary chart, and eventually won a Grammy Award for Best Pop Performance by a Duo or Group with Vocal.

After a prominent guest appearance on the 2005 Santana album All That I Am, Los Lonely Boys solidified their success with 2006’s Sacred, which brought two more Grammy nominations, and 2008’s Forgiven, as well as the holiday-themed Christmas Spirit. Meanwhile, the band continued to build its reputation as a singularly powerful live act.

In early 2009, Los Lonely Boys made their LonelyTone/Playing in Traffic debut with the all-covers EP 1969, followed by the unplugged Keep On Giving: Acoustic Live! Those releases set the stage for the band’s acclaimed 2011 album Rockpango, and for the creative leap forward that Revelation represents.

“We want to make music that brings people together, not music that divides people,” Jojo states. “We’re all about having a good time, but we also make an effort to write about things that really matter. A lot of people write songs about superficial things, like how you look and what kind of car you drive and how much money you have, but we’re not interested in that. We want to create music that’s about the love and the energy and the spirit that we all carry as people.”

“We’re very thankful that God blessed our family with a drummer, a guitar player and a bass player, and that the three of us get to make music together,” Jojo concludes. “There’s been a few bumps in the road here and there, but that happens in any family and in any band. The main thing is that we stick together, and that we’re trying to pass on that feeling of brotherhood, of familia, in the music that we make.”

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The Wyldz Fri, 19 Jun 2015 19:01:39 +0000 aaron Saturday, August 22nd
w/ TBA
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $8: Advance || $10: Day of Show

The Wyldz

Website | Facebook | Video

“Like a punch in the face, or a gift from the rock ’n’ roll gods, prepare to be blown away by the up and coming three piece, The Wyldz,” raves Beyond magazine. From Paris and now residing in Austin, TX, the group plays its own distinctive and engaging brand of neo-classic rock ’n’ roll that draws inspiration from some of the greatest musical artists of the 1960s and ’70s yet does so with a contemporary flair that feels utterly invigorating.

All of that can be heard within the 11 potent tracks on the band’s debut American album, Human Rise, produced by Gordie Johnson – whose production credits include Govt. Mule, North Mississippi Allstars, Warren Haynes, Taj Mahal and others – and recorded at Austin’s legendary Arlyn Studios.
The three musicians first met while studying at the college of contemporary music in Paris, L’École Atla. They had all played with one another in various outfits before uniting as The Wyldz in 2010 with the shared dream of creating a truly world-class rock ’n’ roll and the mutual determination to take their music to as many people as possible.

The trio cut two albums in France, the second of which has “a repertoire worthy of Led Zeppelin, Jimi Hendrix, Pink Floyd and others,” declares Hard Rock magazine. On tours following both releases, they took rock ’n’ roll throughout a nation where such sounds are in short supply.

“We always wanted to go to America,” notes Mitch. “It’s the biggest country for rock ’n’ roll.”

A woman they met in Paris invited the band to come stay with her in the Dallas, TX area, where they soon met their manager, Haven Eskind. She offered her Austin house to the band as a place to reside and rehearse daily, booked them on some unofficial South By Southwest 2013 showcases, and the US buzz on The Wyldz began.

Soon after they cut Human Rise, and are now ready to take their music to the rest of the nation and the world. On Human Rise, the band’s atomic-powered rhythm section drives each song to its fullest energy while Alex chords, riffs and delivers searing leads like a true guitar star and Mitch’s strong and sumptuous voice resonates with genuine emotion.

The songs abound with themes of true human connection as the balm for loneliness and alienation, the power of love, striving to reach one’s greatest potential, transcendence and other essential elements of life, woven into poetic tales to soar into the stratosphere and beyond.

In the great French tradition, “We are revolutionaries,” Oliv declares. Their cause is inspiring mankind to be at our best and restoring genuine greatness to rock ’n’ roll. The group’s ambitions for high achievement aren’t driven by material desires or an urge for stardom. “For us, music is about sharing,” explains Mitch. “We like to share the riches we feel from playing rock ’n’ roll with our listeners.”

“Something we have said from the start is if we can fill our fridges doing what we love, we are the happiest people in the world,” says Oliv. “We don’t want fancy cars or whatever. We just want to live doing what we love.”

“It is obvious that these guys are the real deal,” declares Beyond. “The Wyldz are a breath of fresh air and are genuinely devoted to soon become the next big thing.” Given how quickly they’ve already begun making their mark in America, the stage is set for The Wyldz to ascend to some of the world’s biggest venues and beyond, and make their indelible mark on today’s popular music.

Let the revolution begin….

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Reverend Horton Heat Wed, 17 Jun 2015 18:29:46 +0000 aaron Friday, September 25th
w/ Old Salt Union, The Killigans
Doors: 7 p.m. || Show: 8 p.m.
$20: Advance || $25: Day of Show || $32: Reserved Seating
Tickets On-Sale Friday, June 19th @ 10 a.m.

Reverend Horton Heat

Website | Facebook | Video

The Reverend Horton Heat is perhaps the most popular psychobilly artist of all time, really rivaled only by genre 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, 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. First performing as The Reverend Horton Heat in 1985, his backing band solidified around 1989 with bassist Jimbo Wallace and drummer Patrick "Taz" Bentley. Their initial recordings were released by that bastion of indie credibility, Sub Pop, at the height of the grunge craze; both 1991's Smoke 'Em If You Got 'Em and 1993's The Full Custom Gospel Sounds of the Reverend Horton Heat helped build an enthusiastic underground audience. That resulted in a spell on major label Interscope, starting with 1994's Liquor in the Front (Bentley was subsequently replaced by Scott Churilla). After two more for Interscope, 1996's It's Martini Time and 1998's Space Heater, Heat returned to recording for independents, still a highly profitable draw on the concert circuit.

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Briner Tue, 16 Jun 2015 19:38:25 +0000 aaron Friday, June 26th
w/ Shaun Sparks, Commander Kilroy
Rye Room
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up


Website | Facebook

Briner (previously known as Zach Attach) is a rock band from Nebraska.

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Jamey Johnson Mon, 15 Jun 2015 15:00:06 +0000 aaron Wednesday, September 30th
w/ TBA
Doors: 7 p.m. || Show: 8 p.m.
18 and up || $32: Advance || $36: Day of Show
Tickets On-Sale Friday, June 19th @ 10 a.m.

Jamey Johnson

Website | Facebook | Video

Acclaimed singer-songwriter Jamey Johnson has been showered with plaques, trophies and award statuettes, but they aren’t the answer to his dreams.

“My dream already came true,” says the Alabama native who has rocketed to Nashville stardom. “All I ever wanted was to get to just ride around and sing country music. It’s cool when things happen along the way, because those are things I never thought I could achieve. But whatever happens, I’ll just keep on doing what I do. I wake up every day and go play some more country music.”

The things that have happened along the way include songwriter awards for 2005’s “Honky Tonk Badonkadonk,” which Jamey co-wrote for Trace Adkins. In the spring of 2007, the Academy of Country Music gave Jamey a Song of the Year award for co-writing the George Strait hit “Give It Away,” and the Country Music Association did the same later that year.

Mercury Records issued his album That Lonesome Song in the summer of 2008, and the collection was universally hailed as a masterwork. Rolling Stone, The New York Times, The Wall Street Journal, The Washington Post, Esquire and The Los Angeles Times are just a few of the major publications that sang its praises.

The disc led to invitations from Willie Nelson to play Farm Aid and to appear on Letterman and Leno. In April 2009, the album earned Jamey a Gold Record. The set’s “In Color” was named the Song of the Year by both the ACM and the CMA. During 2009 and 2010, Jamey collected five Grammy Award nominations. He toured with country titan Hank Williams Jr. and was one of the few country acts asked to play the massive Bonnaroo festival in June 2010.

In the midst of all of this, Jamey Johnson worked little by little on the landmark project that has become The Guitar Song. It is a 25-song, double album with thematically linked sets of songs dubbed the “Black Album” and the “White Album.”

“The original idea was always to do a double album,” says Jamey. “It is an album that is a tale. The first part of it is a very dark and sordid story. And then everything after that is progressively more positive, reassuring and redemptive.”

The “Black” songs include the menacing, partly spoken “Poor Man Blues,” the intensely defiant “Can’t Cash My Checks,” the sighing and bluesy “Even the Skies Are Blue” and the chillingly aggressive “Heartache.” The lighter, “White” songs are highlighted by the strongly autobiographical “That’s Why I Write Songs,” the languidly relaxing “Front Porch Swing Afternoon,” the rocking “Good Times Ain’t What They Used to Be” and the easy-going groove tune “Macon.”

The ambitious project’s textures are many and varied. “Baby Don’t Cry” is a lullaby. “I Remember You” is a gospel song. “That’s How I Don’t Love You” is a deeply sad power ballad. “By the Seat of Your Pants” tells of life’s lessons. The title tune, “The Guitar Song,” is told from the point of view of two forgotten guitars hanging on a pawn shop wall. “Playing the Part” and “California Riots” come from feeling out of place as a country boy in Hollywood.

Jamey Johnson is a lover of classic country sounds, and he regularly performs oldies in his stage shows. The Guitar Song contains his versions of Kris Kristofferson’s “For the Good Times,” Vern Gosdin’s “Set ‘Em Up Joe” and Mel Tillis’s “Mental Revenge.” “Lonely at the Top” is a previously undiscovered gem co-written by the late Keith Whitley.

“Picking the songs for it was easy,” says Jamey. “They pretty much picked themselves. We just had to decide which album each one went on and at which point on the record should each one occur. Once we decided where each fit, it was a done deal.

“When I did That Lonesome Song, I was in town all the time. It was just a drive to the studio. But this album here, we’ve had to record things on the fly, on the road, in studios here and there, wherever we were. I think we went around the country five or six times while we were making The Guitar Song.”

Recording sessions for the two-hour music collection were held in Los Angeles, Nashville and at Jimmy Buffett’s Shrimp Boat Studio in Key West, Florida. The singer-songwriter began working on it in early 2007 and concluded the project by delivering it to surprised staffers at the Universal Music Group offices in downtown Nashville via an armored car and a guard squad of 40 men in April 2010.

That’s a typically unorthodox gesture from an artist who has always marched to the beat of a different drummer. He was raised outside Montgomery, Alabama in a family that was poor but highly musical. Like many country artists, Jamey first performed gospel music in churches. Unlike most, he is a formally trained musician who understood music theory as early as his junior-high years.

Jamey Johnson is a study in contrasts. He was raised in a devout household, yet he spent part of his youth drinking beer and playing songs at night on the Montgomery tombstone of Hank Williams. He is deadly serious about his music, yet has a wry and witty sense of humor. With his piercing pale-blue eyes and biker beard, he looks like a hell raiser, but he has the heart of a poet. He seems like a rebel, but Jamey Johnson spent eight years as a member of the highly disciplined U.S. Marine Corps Reserves.

Jamey arrived in Nashville on Jan. 1, 2000, spending every dime he had to make the move. In 2001-2004 he ran his own construction company. Performing in Nashville nightspots led to work singing songwriters’ “demo” tapes on Music Row. Word of his talent got around. In 2005, he landed his first recording contract and had a hit with his song “The Dollar.”

But when his record-company lost interest, and he went through a painful divorce, Jamey Johnson came to the darkest place in his life. The bright side of this time period was the creation of many of the compositions that became That Lonesome Song.

At first, he intended to put that record out himself. But when UMG Nashville’s chairman and CEO Luke Lewis promised complete creative freedom, Jamey Johnson brought his distinctive sound to Mercury Records. In the two years since then, he has been burning up America’s highways with his Kent Hardly Playboys band.

“The road is where it’s at. I love it. That’s where you take country music. You don’t get the message out there by sitting at the house. I go out there and meet the people. When I come back home to make an album, I don’t want you to second-guess me. I’m telling you what is the right thing, because I’m the guy out there shaking their hands every night.”

“Everything comes from God. So when I write, it is my gift to Him. It is my interpretation of what He gave me, the circumstances that I drew the material from. So when I get done with a song, it’s not for my fans. It’s certainly not for the industry, the trophies, the accolades and the plaques. It is straight from me to God.”

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Better Friend CD Release Show Mon, 15 Jun 2015 00:36:35 +0000 aaron Friday, July 24th
w/ See Through Dresses, Once A Pawn
Rye Room
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $5: 21 and up || $7: under 21

Better Friend


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23rd Vibration & RMV Mon, 15 Jun 2015 00:31:50 +0000 aaron Sunday, July 12th
Rye Room
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up

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Primal Waters Album Release Show Mon, 15 Jun 2015 00:20:07 +0000 aaron Saturday, July 11th
w/ Tendead, Slantpiece, Mr. Smith Acoustic
Rye Room
Doors: 8 p.m. || Show: 9 p.m.

Facebook | Sounds

Primal Waters emerged in the year of the Mesonychoteuthis Hamiltoni when the stars were perfectly aligned and the Schoenberg brothers' specialized vibrational incantations truly began to bloom. With Chris hailing from the Faith Buried In Flames camp along with Dan, also associated with the American Gunfight tribe and Merritt sailing in from unknown lands a fellowship was formed.

After many years and many prospects the hunt for the right battle companions came to an end and these warriors began to trudge on manipulating the perfect storm and leaving only the fiends to writhe in their aftermath.

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BLUEPRINT + SUPASTITION + DJ RARE GROOVE Tue, 09 Jun 2015 19:28:42 +0000 aaron Thursday, July 16th
w/ Sleep Sinatra
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $8: Advance || $10: Day of Show

With his fourth studio album, King No Crown, critically acclaimed mc/producer Blueprint has continued his constant evolution by combining the soulful sample chops of his 2014 project Respect the Architect (Weightless Recordings) with the genre-defying aesthetic of his 2011 album Adventures in Counter-Culture (Rhymesayers Entertainment). The end result is 60-minutes of uninterrupted music that effortlessly transitions from song to song without a single moment of pause or silence. Lyrically, Blueprint provides his trademark honesty - paying tribute to hip-hop, lost loved ones, and the legacy of fallen artists Eyedea and J. Dilla - making King No Crown his most personal and conceptual project to date.

Blueprint's new album King No Crown will be available Tuesday April 28th on Weightless Recordings.

After emerging from a virtually unrecognized state at the time, North Carolina’s Supastition has singlehandedly built an extensive career in hip hop and slowly become one of the elite emcees in the industry today. Born in the small town of Greenville, NC, Supastition quickly made a name for himself through radio and street battles after relocating to Charlotte, NC in the late 90’s.

After a shocking departure from the music industry in 2010, Supastition returned in early 2013 with the critically acclaimed The Blackboard EP. The music video for his Marco Polo-produced single, Yada Yada, reached over 10,000 views in one week on YouTube. Artists such as DJ Premier, Bumpy Knuckles, Beatminerz, and countless others have shown support by playing tracks from The Blackboard on their radio shows. 2014 marked the release of the Honest Living EP which was inspired by North Carolina's decision to eliminate federal unemployment benefits for over 70,000 citizens. The project was produced entirely by German producer, Croup, who has worked extensively with Supastition throughout his career. The current single, Eardrum, shows the NC native returning to true form once again with a boom bap backdrop to compliment the raw vocals.

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Turnpike Troubadours Tue, 09 Jun 2015 17:37:27 +0000 aaron Friday, August 21st
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $23: Advance || $25: Day of Show
Tickets On-Sale Friday, June 12th @ 10 a.m.

Turnpike Troubadours

Website | Facebook | Video

Times are tough for just about everyone these days, especially for those who live in what is often referred to as the “flyover states,” in the heart of the country. People have become tougher, their skins have grown thicker and they have become much harder to win over. That especially holds true when it comes to the music that rolls into the bars, music halls and honky tonks of their towns. The overwhelming success that Turnpike Troubadours have had on the so-called Red Dirt circuit of those states says a lot about the quintet’s authenticity and fire, particularly because their music is not exactly what that scene in known for producing.

“When we first started playing, people couldn’t have cared less that we were there,” recalls Troubadours’ frontman Evan Felker. “They were there to drink beer and raise hell and they didn’t really care what music was playing while they did it. But as we went on and as we got better, they started to listen. I mean, they were still drinkin’ plenty of beer, but before too long, they were actually coming to hear us and asking us to play our songs, and not just covers of traditional favorites and all the other stuff we’d been doing.”

Not only did the crowds get more attentive, they kept getting bigger. As time went on, and the Troubadours broadened their touring circle, they moved on from tiny clubs in the more obscure corners of the Sooner state and started hitting – and selling out – prestigious venues like Cain’s Ballroom in Tulsa, the Firehouse Saloon in Houston and Antone’s in Austin.

Over the course of the past five years, Felker, bassist RC Edwards, fiddle player Kyle Nix, guitarist Ryan Engleman and drummer Gabe Pearson, have honed the rowdy, quick-witted sound that’s brought folks of all stripes together in front of those stages. And on Goodbye Normal Street, the Troubadours’ third full-length album, the band takes that blend of nice and easy and nice and rough and distills it into a 43-minute ride that takes in the scenery of America’s Heartland and the inner workings of a group of 20-somethings on a quest for something better.

“This time around, we tried to balance things out,” says bassist Edwards, who shelved a steady gig as a pharmacist in late 2011 to concentrate on the band. “We wanted to combine the idea of getting something perfect, the way you can only do in a proper studio, with the energy of playing in front of a thousand people jumping around and screaming.”

They attack that goal with gusto on Goodbye Normal Street, putting the pedal to the metal on “Before the Devil Knows We’re Dead” (a breakneck romp about regular folks who lived hard and died in a blaze of glory) and dialing back to a sensual closing-time waltz on “Call a Spade a Spade” (a cheater’s lament on which Felker duets with Jamie Wilson of the Trishas).

Felker, who writes the majority of the lyrics – with an assist from Edwards, who penned the semi-autobiographical “Morgan Street,” about the band’s hardscrabble early days – has a knack for capturing slices of life in vivid detail. He can hit hard emotionally with a song like “Blue Star” (a bittersweet tale of a veteran returning from war) or tweak the listener with something like “Gin, Smoke and Lies” (on which he contrasts his own romantic plight with that of a rooster who manages to satisfy 20 partners, and not just one).

“All the songs are about people we know,” he says. “And yeah, some of them are probably about me to some degree – the guy who ticks off the wrong girl from Arkansas, and the guy who doesn’t always like what he sees himself becoming. Mostly though, I think they’re just honest.”

The band – which took its name from the Indian Nation Turnpike that connected so many of the smaller towns where they cut their teeth – gradually evolved from offering acoustic explorations of tunes by Townes Van Zandt and Jerry Jeff Walker to kicking out three or four sets a night of full-throttle roadhouse country – tinged with the punk rock attitude that was in the air during the members’ teen years.

“We all pretty much grew up with hardcore country music around us,” says Felker. “I mean, sure, there was rock stuff in there, but the real old-school stuff, plus exposure to folks like Jason Boland and Cross Canadian Ragweed, really affected what we were playing. We’re really a product of both our influences and our environment. It wasn’t something that we sat in a room and dreamed up in one day.”

That’s clear. The raw-boned energy of their 2007 debut, Bossier City, cut on a shoestring budget and aimed squarely at getting boots on the dance floor earned raves from many corners, including No Depression, which dubbed it “a testament to the small towns in which they were raised ... with stories of longing, humor, tragedy and general life in rural America.” The quintet broadened its horizons on its sophomore outing, Diamonds and Gasoline, which spawned the Americana favorite “Every Girl” and brought them to the attention of folks throughout the country, and overseas.

And with Goodbye Normal Street – the name a reference to another longtime band residence as well as a state of mind that they left behind long ago – they set their sights on conquering even more expansive territories. With songs like the blue-collar anthem “Southeastern Son” and the universally understandable breakup plaint “Wrecked,” they look pretty likely to conquer them.

“This music, at its best, can put into words what we have been thinking for our entire lives,” says Felker, “and even at its worst, it gets people drinking beer and makes people happy. Either of those is fine with me.”

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Marriages Tue, 09 Jun 2015 17:15:02 +0000 aaron Saturday, July 18th
w/ Creepoid
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $8: Advance || $10: Day of Show


Website | Facebook | Video

Marriages are a moody, experimental rock trio based out of Los Angeles, California. Formed in 2011 by singer/guitarist Emma Ruth Rundle (Nocturnes) and bassist Greg Burns, both of whom play in the post-rock ensemble Red Sparowes, the band also features drummer Andrew Clinco. Blending together atmospheric textures and heavy, dark rock, they made their debut in 2012 with the six-song EP Kitsune on the Sargent House label. Following a solo release by Rundle in 2014, Marriages reconvened to deliver their first full-length, Salome, in early 2015.

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Universe Contest Free Show Sun, 07 Jun 2015 19:54:00 +0000 aaron Friday, July 3rd
w/ Red Cites, Laughing Falcon
Doors: 8 p.m. || Show: 9 p.m.
FREE: 18 and up

Universe Contest

Website | Facebook | Video

We started after the demise of another band or two back in the fall of 2010 or 2011. Can't remember. We've always kind of had a revolving door policy of people in the band but the last two years saw a pretty steady line up until recently. Now with a new cast of some more of our best friends, we are excited to be having fun playing music and recording again. see ya soon.
-Timothy Perry Carr

Press Reviews:

"Lincoln’s Universe Contest is a spastic indie rock band that has been threatening to break out into a full-scale indie music phenomenon for the last year. The question is more when will it happen rather than if it will. The band perfects theatricality in their live sets, while still delivering melodic precision. Modest Mouse is the usual comparison thrown Universe Contest’s way but there’s elements of the last decade’s best, messy indie pop acts in here. If you’re already inclined to liking acts like Tapes N Tapes or the Dismemberment Plan, you’ll find lots to like in Universe Contest." - Tim McMahan, Omaha Reader

" The search for the 'next big thing' is a frustrating exercise as old as rock music itself. Who will 'break through' to the 'next level' and make a 'big splash' on the national scene? Molded in a prog rock sound reminiscent of early Modest Mouse- and driven by a rabid fan base emanating from the Star City- Universe Contest is poised to be the next big thing. Let's leave it at that." -

"The best new find of the night was at The Bourbon Theater Rye Room where Universe Contest was playing. The band (which I am told are former members of Gooses) were exciting, interesting and explosive sonically. They were appealing and catchy though they did not color within any lines or play nicely with the formula for current indie music that has been thoroughly mapped out. This was one of those moments where people were crawling over each other to see the band play with a ferocious energy only to drop down to more somber moments at the stop of a drumstick. I had to climb up some stairs (also full of people) and hold on to a bar with one hand just to catch glimpses of the group. I have listened to their album online three times today ( and this is one of the most interesting and exciting bands I have heard out of the area in a long time. I would travel to Lincoln again just to see them, though I hope we will be seeing many more Omaha appearances in the future." - Marq Manner, Shout! Magazine

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Crobot Thu, 04 Jun 2015 16:40:50 +0000 aaron Friday, August 7th
w/ Mothership, A Different Breed
Doors: 8 p.m. || Show: 9 p.m.
$9: Early Bird || $12: Advance || $15: Day of Show


Website | Facebook | Video

Dirty. Groove. Rock.

There was a time when rock radio was dominated by great riffs. From Deep Purple’s “Smoke On the Water” and Derek And The Dominoes’ “Layla” to Soundgarden’s “Black Hole Sun” and Rage Against The Machine’s “Killing In The Name Of” it was all about that unmistakable guitar sound that instantly identified a band or song.

The four members of Crobot — Brandon Yeagley (lead vocals), Chris Bishop (guitar), Jake Figueroa (bass) and Paul Figueroa (drums) — have united to bring that back.

Blending funk, blues, metal and good old-fashioned rock and roll into a howling vortex of Yeagley’s vocals, Bishop’s guitar and the Figueroa’s backbone, Crobot have crafted an album of endless good time rock hooks that sound as inspired today as they would have on AOR radio in 1974.

“We grew up with the same riff rock and it’s seemingly lacking in today’s music. We really seem to like the rock of old and felt that was missing,” Yeagley says.

“It seems like once we started jamming we didn’t try to find a certain sound or didn’t try to write a certain style, that’s just the stuff that came out cause that’s the shit that we like, the stuff that we listen to. It was much more of a subconscious effort. Crobot defined itself,” Jake adds.

That seamless chemistry between the quartet is evident throughout their eponymous four-song EP, which serves as an introduction to the band’s upcoming Something Supernatural album, due out this October. Before getting to the, well, mystical bond, first a little back story: Yeagley and Bishop were playing together in Crobot with two other members, while Jake and Paul were in other bands. “We played shows together and we realized we wanted Jake and Paul in the band for it to work and we got them,” Bishop says. “Just jamming together it was natural and clicked right off the bat. With Jake and Paul we were on the same train going the same direction, from the beginning.”

With the Figueroa brothers in the fold, Crobot found its voice. “Once Jake and Paul came into the band a little over a year ago everything started coming a lot easier just because they were already in a band that was similar to Crobot,” Bishop says. “We all played on shows together so it was nice to have an idea and then someone to expand off of that idea. So once that started happening we realized, ‘This is what Crobot is.’”

Crobot is a band that can rock at all tempos. Whether it’s the slow-building groove of “Skull Of Geronimo,” a methodical sludge-rocker that calls to mind Soundgarden in the chorus or the more up-tempo funkified “Nowhere To Hide,” a track that sounds like the Black Crowes driving a Camaro, Crobot display stellar musicianship and lyrical depth.

For example, on “Queen Of The Light,” the powerful closing track of Something Supernatural, Yeagley sings the story of a girl yearning for a new life. “She lives the darkest life/but all she wants to be is the queen of the light,” he sings against the plaintive wailing of the slow-moving melody. It’s one of the songs destined to strike a deep chord with fans in the same way the single “Nowhere To Hide” has become a good-time anthem.

“’Nowhere To Hide,’ was another one of the first songs we had written. We were jamming ideas and pulling ideas from other songs that we had jammed on and it came together,” Paul says. “It was organic.”

“Nowhere To Hide” is one of the songs Yeagley cites as getting his feet wiggling. And he promises that on Something Supernatural there will be plenty more grooves to get fans moving, as those who’ve experienced Crobot live have already seen.

“’Night Of The Sacrifice’ is one that’s coming out off the full length and that always gets me excited to play,” he says. “It’s usually the introduction to the funkier side of what we do in our set, it’s usually the first funky track that we play. So it’s really exciting to switch that mode from more riff based stuff towards to the classic metal sounding stuff with the heavier side of things and to flip flop and see people’s reactions when we totally hit the other end of the spectrum with the funky stuff.”

Musically, “Skull Of Geronimo” is one Yeagley sees as being undeniably representative of Crobot. “That’s a little on the heavier end of the spectrum, but it’s still got that funkiness to it,” he says. And lyrically, “Wizards” might be the Crobot statement song.

“It’s an epic tale of two wizards. One is on the side of wizardry and technology while the other is the side of natural spiritual wizardry and it’s a clash of funkiness and classic metal too in the same sense. So it’s a battle of epic proportions on all sides,” he says. “It’s just a song that fulfills all the ends of the spectrum of what Crobot is.”

Then there is the storytelling ability they show on a song like “La Mano De Lucifer,” a Biblical tale that starts off, “A failed rebellion/against the one creator/exiled to the fire.”

To show all sides of Crobot takes a lot. This is a band that displays their pot-smoking proudly, like on the humorous Twitter post, “Warning, Crobot’s music has been known to turn you to stoned.”

As another side of the band, Yeagley is a devout sci-fi buff. Asked what one film Crobot does the score for, he replies without hesitation, “2001: A Space Odyssey. That movie has its own special place amongst the sci-fi world.” And for contemporary sci-fi he picks Ender’s Game. “I’m such a huge fan of that series and to see that come to life on film was really cool. It’s got battles of epic proportions and everything you love about sci-fi, just nails it,” he says.

In a recent interview with a popular Chicago website the band was asked about the four-song CROBOT EP first, then waiting on the album. Their response: “We are gentlemen so we wanted to ease the tip in first.”

And asked if they were born in the wrong era musically Jake nailed it. “I thought about it but then I realized the weed is WAYYYY better now.”

A modern rock band with a sense of humor, as well as their own hot sauce, CROBOT has already been making their mark among peers with their wild live performances. But for Crobot, at the end of the day, it is all about the sound.

“All I care about is that people walk away after hearing the album thinking, ‘Man, Crobot is the funkiest, heaviest band I’ve ever heard,’” Bishop says.

Mission accomplished.

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Wayland Tue, 02 Jun 2015 19:40:53 +0000 aaron Wednesday, July 1st
w/ Faded Black, Framing The Red, Leighton
Doors: 7 p.m. || Show: 8 p.m.
All Ages || FREE SHOW


Website | Facebook | Youtube

Wayland is a four-piece rock and roll band from Michigan who, thinking it was the right thing to do, pooled their money and made the leap to pack up the van and move to Los Angeles. While living in LA, the band was hammering away playing any gig they could book until they were introduced to Jude Cole who quickly identified that this is a band that belonged in the Midwest. Jude challenged them to get back to their roots in the heart of Middle America where people love their rock and roll.

After some convincing, the band agreed and picked up again and moved straight back to their namesake hometown, Wayland, Michigan where everything started falling into place. The band made fast friends with the nationally syndicated morning show Free Beer And Hot Wings by bringing them breakfast in exchange for airplay. One of the morning DJ’s found Wayland an easy target for reaching out in this way but after just one spin of “Welcome To My Head,” listeners fell in love with the song immediately and stood up for the guys. The Program Director at WGRD, JT, agreed that it was a hit and added it to the rotation. JT offers, “The talent this band possesses is unreal and they have the #1 most requested song on our airwaves and sold out shows all over Michigan to back it up!”

Enjoying giant local success, Wayland wasted no time in hitting the road in a donated RV from a local camper supply house and they haven’t looked back. After performing live on WJJO, WXRX, WBUZ, KQRC, and WFTK, the band has been added to the airwaves across the country and has been invited to participate in some of the most recognizable summer festivals in 2012.

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Pop Evil Mon, 01 Jun 2015 16:25:01 +0000 aaron Sunday, August 2nd
w/ Red Sun Rising
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $15: Advance || $17: Day of Show
Tickets On-Sale Friday, June 5th @ 10 a.m.

Pop Evil

Website | Facebook | Video

Even as the music business was dismantled and reconfigured, large chain stores shuttered, cable TV abandoned music videos as a format, radio playlists tightened, and thick-headedly bubblegum anthems celebrated, hard rock music has actually thrived, increasing in size and championed by an elite vanguard of ambitious bands.

POP EVIL smashes through the odds like a battering ram, weathering the trials and tribulations of paying dues with a steadfast resilience owing much to their blue collar and middle class backgrounds, and building a worldwide audience one fan at a time. As the moniker promises when emblazoned on a CD or radio dial, POP EVIL conjures aggressive riffs and hard charging sing-a-longs with emotional heft and melodic power in equal measure. It’s music by the people, for the people.

There’s a reason Billboard named POP EVIL the #4 Mainstream Rock Artist of 2014, and it’s not just because of those three(!) consecutive #1 Rock Radio Singles from the last album (and a fourth that cracked the Top 10), the Top 10 Independent debut and Top 40 Billboard 200 debut of ONYX, or that album’s subsequent 180,000 in domestic sales. All of which being undoubtedly rare feats to accomplish as independent artists in any genre of music.

Simply put, POP EVIL is a larger-than-life true rock n’ roll band blending the earnestness of Pearl Jam and Soundgarden with the celebratory showmanship of Motley Crue and KISS, capable of empathizing with the daily struggles of their fans while simultaneously offering the escapism a truly bombastic concert provides. It’s an attitude and a way of life POP EVIL has put proudly on display on tour with Godsmack (as part of Rockstar Uproar), Five Finger Death Punch, Three Doors Down, Papa Roach, Stone Sour, Three Days Grace, Theory Of A Deadman, Black Stone Cherry and more.

Purposefully assembled at Studio Litho and London Bridge Studios with producer Adam Kasper (Pearl Jam, Soundgarden, Foo Fighters), UP is the sound of a rock band cementing a powerful identity that’s steadily materialized over the course of three prior full-length slabs. The inspirational soon to be live staple “Footsteps,” the swaggering “Take It All” – POP EVIL prove their burgeoning success is no accident.

“There were many more highs than lows in the wake of ONYX,” summarizes band frontman LEIGH KAKATY. “The only real low was that it was hard to be gone from our families for another year. But the highs were amazing. We experienced our first #1 record with ‘Trenches,’ followed by ‘Deal with the Devil,’ and then again with ‘Torn to Pieces,’ which was a song about my father, who passed in 2011. Having that song go to #1 was a nice tribute to my pops, and closure for my personal journey.”

“Then came ‘Beautiful.’ Having four singles at radio from any album these days is a huge honor itself. We were just grateful. It humbled us,” he says. “We tasted the fruits from all of the previous years, from when we felt like nobody was listening.”

After a self-released record and EP kicked up a buzz, the first proper POP EVIL album, Lipstick on the Mirror found its way to listeners via a major label re-release, despite the business trouble that resulted in Pop Evil tearing up their major label contract on stage, in what Spin Magazine called one of the Ten Best Moments of Rock on the Range. The band’s pristine follow-up, War of Angels, brought Pop Evil to a worldwide audience, driven by the strength of radio ready tracks “Last Man Standing,” “Monster You Made,” and the Mick Mars collaboration, “Boss’s Daughter.”

Produced by Johnny K (Disturbed, 3 Doors Down, Megadeth), ONYX represented a bold new creative achievement, and provided several career milestones, including a triumphant return to Rock On The Range where the band played “Trenches” with Rock and Roll Hall Of Famer Darryl “D.M.C.” McDaniels as 13 U.S. Marines (showcasing the Lima Company Eyes of Freedom Memorial) stood behind them.

“People ask me all the time, ‘What it's like to hear your song on the radio?’ It never gets old!” Kakaty declares. “It's a reminder of hard work, and of having that dream sitting in your garage, trying to write a song that someone would love one day. That dream happened for our band and it's something that we don't want to take lightly.

“Now it's time to step up our game and let people know we can back it all up,” he adds. “We want to prove we aren’t a one hit wonder. We didn’t just get lucky.”

UP is a bold reintroduction and step forward, with guitarists NICK FUELLING and DAVEY GRAHS, bassist MATT DIRITO, drummer CHACHI RIOT and Kakaty at the top of their game. It’s always a bit cliché, not to mention questionable, when a band says their new album is the best one yet. But in the case of POP EVIL, it’s an absolute fact.

“When I listen rock radio today, I think, ‘Where’s the fun?’” Kakaty explains. “Where’s that release that gets people away from their everyday stress? The more we toured on ONYX, we realized we wanted more of that element in our set. ‘Some songs have a lot of discipline, anger and angst to it, which is one side of the band. It’s do or die. Other songs deal with temptations, or loss. ONYX came from a dark place, so with this album, UP, we wanted to remind ourselves to have fun, too. That attitude has led to a rebirth, a growth we haven’t seen before. We’re excited about it.”

POP EVIL sees each of their records as a time capsule, a testament to who they were and where they were at in their lives when they made it. Having conquered Rock Radio with three consecutive number one singles on the last album, the question became, “Where to from here?” They’ve been careful not to repeat themselves. The band constantly pushes forward, evolves, experiments and adapts, while staying true to their core.

It’s with this attitude that POP EVIL succeeded in building a lasting bond with their fans. It’s the type of environment created by the groups who listeners treat like family, and the bands celebrate the same way in return. Fans bring bands into their lives, they make the songs a part of them. Music doesn’t belong solely to the songwriters who create it. It’s a shared experience, a community possession, the moment it’s unleashed across the airwaves and strikes a chord with someone else.

It’s why powerhouse sports teams like the Anaheim Ducks, New Jersey Devils, Boston Bruins, and the band’s very own Detroit Red Wings, Tigers and Michigan Wolverines bang their anthems over the loudspeakers. POP EVIL’s music brings people together, energizing listeners with power; on the radio, on ESPN, FOX, ABC, and anywhere.

POP EVIL won’t criticize the wide variety of tools at the disposal of artists these days, finding nothing inherently wrong with programming, loops, samples, or studio enhancements. Nevertheless, POP EVIL champions the special magic found when a rock n’ roll band strips it back down to drums, bass, guitars and a microphone. “One of my greatest accomplishments in life was learning how to play that guitar,” says Kakaty. “At first, it’s intimidating. You don’t even want to touch that thing! But once you learn, anytime you walk by one, you’re like, ‘Give me that damn thing.’ It’s a gift.”

That spirit, that motivation, that nearly indescribable feeling that unites people across cultural, economic, religious, and all other divides – it’s Zeppelin. It’s Sabbath. It’s Aerosmith. It’s James Brown. It’s Woodstock. It’s transcendent purity.


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Lincoln Modern Music: On the Edge Tue, 26 May 2015 19:26:42 +0000 aaron Wednesday, June 17th
w/ Justin Lepard, Dave Hall, Evan Bartels, Kurt Knecht, Myles Jasnowski, JP Davis, Masa Ishikawa, Clay, Ian McCollum, Masayoshi Ishikawa, Mark Germer, Marina Kushner, John Kosch, Sam Loeck, Whit Noble, Jared Hiskock, Helen Dowd, Lexi Raygor, Alexis Nachtigal.
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $5: 21 and up || $7: Under 21

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The Dead Woods Tue, 26 May 2015 18:45:02 +0000 aaron Friday, July 10th
w/ Tie These Hands, This Machine Kills Vibes
Doors: 7 p.m. || Show: 8 p.m.
$5: 21 and up || $7: Under 21

The Dead Woods

Website | Facebook | Video

“As the curtains slowly opened, the stage lights peaked out over the audience. Reminiscent of legendary Led Zeppelin, slow melodic guitar tones begin to radiate throughout the venue, followed by vocals “You Know I haven’t been good, but this is what you wanted girl”. Quickly the music erupted into full rock ensemble of guitar, bass, drums and vocals, known as The Dead Woods.” - Front Row Music News

In early 2014, Mark Wendell, on guitar and vocals, Austin Getz, on drums and vocals, and Sean Fagan, on bass and vocals, formed the lo-fi rock band called, The Dead Woods and released their first album, “Seventy Cedar”. 2014 was an amazing year for the band with two appearances at The House of Blues. The first was in January when they opened for the sold out show of the Crosses. The second HOB show was in November, when they supported the 101.1 Queued Up performance of The Eeries.

Also, Chicago’s Alternative radio station, 101.1, took notice with Walt Flakus spinning The Dead Woods on numerous occasions on his Sunday night, 101.1 Queued Up series, as well as regular rotation spins during the week. To start out the 2015 year, The Dead Woods, returned to the House of Blues on January 10 to headline a five artist line-up.

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Meadow Rave & The Revenues Tue, 26 May 2015 17:38:23 +0000 aaron Friday, June 12th
w/ White Tuxedo
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $5: 21 and up || $7: Under 21


Meadow Rave formed on January 12th, 2012 as Closed For Repairs. CFR became Meadow Rave on November 30th, 2013. Since forming, we have played around 50 shows and have opened for bands such as Black Oak Arkansas, Preacher Stone, Vaudeville, and Count to Four. Our style consists of a wide range of songs inspired by our countless influences. Our very first EP, "Play It Loud!" was released on July 13, 2013! Meadow Rave is made up of Josh Decker on vocals and guitar, Alex Carroll on guitar, Daniel Casburn on bass, and Brett Lowe on drums. We look forward to making more music and seeing you at our shows!


The Revenues was formed in early 2014 with the founding members being Caleb Bowers, Andrew Hartzell and Mathiew Meals. Emerging from North Central Kansas, The Revenues blend a verity of Hard Rock with a Southern Blues twist that is melodic and energized that gives a new feel to Rock as the world knows it.

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Common Vision Tour 2015: Every Time I Die Tue, 26 May 2015 16:47:00 +0000 aaron Saturday, August 8th
w/ Real Friends, Counterparts, Gnarwolves, Brigades, Gatherers
Doors: 5 p.m. || Show: 5:30 p.m.
All Ages || $18: Advance || $20: Day of Show
Tickets On-Sale Friday, May 29th @ 10 a.m.

Website | Facebook | Video

Every Time I Die have never been an easy act to categorize and that’s one of the key reasons why the band’s fans have never turned their back on this innovative act’s unique brand of music. While the band started out in the late ’90s hardcore scene, over the past decade they’ve continued to evolve and push the boundaries of heavy music, a process that’s culminating with their sixth full-length Ex Lives. Recorded by Joe Barresi (Tool, Queens Of The Stone Age) Ex Lives sees the band—vocalist Keith Buckley, guitarists Jordan Buckley and Andy Williams, drummer Ryan Leger—coming together to create the most forward-thinking album of their career.

“Everything about this record was new,” Keith explains. “Normally I’m in a comfort zone when I write lyrics because I’m just holed up in my apartment but this time I was finding little corners of clubs in Europe with [side-project] the Damned Things trying to squeeze in a couple of hours of writing and I think that process really affected the way this album came together.”

Keith adds that although Every Time I Die’s party vibe has been well-documented in the past, Ex Lives saw the band approaching the album from a more serious perspective. “There’s no song like ‘We’rewolf’ on this album,” Keith explains. “I was pretty angry when we were writing these songs which isn’t a good spot for a human being but is good if you’re a guy singing in a band,” he continues with a laugh. “I was just really angry and disappointed with a lot of things in my life at the time and I think that definitely comes through on a lot of these songs; I was wondering if it was all karma because I was a horrible person in a past life and that’s where the album title came from.”

From the syncopated chaos of the opening salvo “Underwater Bimbos From Outer Space” to the progressive mosh anthem “A Wild, Shameless Plain” and relentless metal riffage of “The Low Road Has No Exits,” Ex Lives sees Every Time I Die further tempering their aggression while also implementing new instrumentation such as banjo (see the sinister intro of “Partying Is Such Sweet Sorrow”) and, yes, flute (see the end of “Indian Giver”) in order to recontextualize exactly what it means to be a heavy band, which is something that has endeared them to fans for thirteen years.

“I don’t think us doing anything different is a surprise to Every Time I Die fans because one of the main reasons why a lot of people have stuck by us for so long is because they know they can expect the unexpected with each release,” Keith explains, adding that if you listen close enough you’ll take note of plenty of sonic subtleties on Ex Lives. “There are a lot of little weird things that I think people will start noticing more as they listen to the album,” he elaborates. “I’d never added any keyboard or synthesizer elements to an Every Time I Die song before so it was a really cool opportunity to expand the sound on this disc.”

Similarly Ex Lives also sees Keith pushing his limits on songs like “I Suck (Blood),” which proves how versatile the band’s vocalist has become whether he’s cathartically screaming or crooning an upper register melody. “On albums like [2007's] The Big Dirty no one heard my vocals until the album was totally done but on this one everyone had their input on what I was doing vocally and they could give me suggestions to improve them,” Keith says, adding that this disc was more collaborative for the band. “I think I was also more energetic because I was nervous to sing in front of everyone.”

It’s impossible to deny that in an increasingly stagnant musical climate Every Time I Die are still pushing the limits of their own sound—and Ex Lives is aural evidence that after over a decade together they’re anything but complacent. “I had to prove myself 100 percent from the beginning like I did when we put out our first record to show the other guys in Every Time I Die as well as myself that I could do this and I couldn’t be happier with the end result,” Keith summarizes when asked to describe Ex Lives. “This feels like a new band in a way… it’s just its own thing and that feels really, really good.”

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MudJam Festival @ Abbott Sports Complex Fri, 22 May 2015 17:49:11 +0000 aaron Saturday, June 27th
$8: Advance || $10: Day of Event
*FREE: Children Under 5

More Info At:

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The Ragbirds Tue, 19 May 2015 21:19:47 +0000 aaron Tuesday, June 9th
w/ Katie Jane
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $8: Advance || $10: Day of Show

The Ragbirds

Website | Facebook | Video

Led by dynamic, energetic front woman and multi-instrumentalist Erin Zindle, The Ragbirds utilize an arsenal of instruments from around the world. The Ragbirds are a fusion of folk rock and pop hooks over danceable world rhythms stirred with a Celtic fiddler's bow.

Surrounding Zindle's earthy-sweet voice is the whirlwind of guitarist T.J. Zindle and dynamic bassist Dan Jones, spinning over the world-beat grooves of drummer Jon Brown and percussionist Randall Moore. Zindle skillfully switches between violin, mandolin, banjo, accordion, and percussion, all while dancing around the stage, drawing the awe of audiences across the country.

The Ragbirds albums have received local and national praise, hailed "Highly impressive!" by USA Today and touted as "Astounding international eclecticism" by Reveal Arts. The Ragbirds were formed in 2005 with the release of "Yes Nearby." 2007's world-travel themed "Wanderlove" was Homegrown Music Network's #1 selling album in the fall of 2008. The 2009 international release of "Finally Almost Ready" saw the band invade Japan with the single "Book of Matches" reaching #1 on the charts in Osaka. In 2010 The Ragbirds reached yet another milestone in their young careers when they independently marketed and sold their 10,000th album.

The Ragbirds have performed in over 45 states to a tune of 150+ shows a year. Crisscrossing the nation in their converted diesel bus that runs on recycled waste vegetable oil, these festival favorites have performed at Rothbury, 10,000 Lakes, Summer Camp, Ann Arbor Folk Festival, Hookahville, and more, and have shared the stage with Rusted Root, Railroad Earth, Toubab Krewe, Hot Buttered Rum, The Duhks, and many others.

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Coal Chamber Tue, 19 May 2015 17:08:49 +0000 aaron Tuesday, August 18th
w/ Fear Factory, Devil You Know, Saint Ridley, Madlife
Doors: 5:30 p.m. || Show: 6:30 p.m.
All Ages || $20: Advance || $25: Day of Show

Coal Chamber

Website | Facebook | Twitter

Coal Chamber broke out of the Los Angeles alternative metal scene in 1997 with a sound often compared to Korn, although both bands formed around the same time and are quality representations of the scene's overall sound -- the heavy, detuned guitars of the murkiest Black Sabbath; grungy, noisy textures reminiscent of White Zombie or Tool; the white-knuckle intensity of Pantera and hardcore punk; and perhaps a few hip-hop-influenced beats à la Biohazard.

Coal Chamber were formed in 1994 by vocalist/lyricist B. Dez Fafara and guitarist Miguel "Meegs" Rascon, who met through a classified ad; the two added drummer Mike "Mikee" Cox and bassist Rayna Foss, the latter of whom heard about auditions through her roommate, Fafara's future wife. A huge local buzz following gigs at the Roxy and the Whisky a Go Go, along with a demo tape championed by Fear Factory's Dino Cazares, got the band an opportunity to sign with Roadrunner Records late in 1994, but Fafara suddenly quit due to disagreements with his wife over the band. By the spring of 1995, Fafara changed his mind and returned, a decision that ultimately cost him his marriage, but a renewed sense of energy helped Coal Chamber regain their Roadrunner deal by the end of the year.

Chamber Music Their self-titled debut was released in 1997; Chamber Music followed two years later. The album was a minor success but its mixture of goth rock imagery and nu metal thuggery made for an uneven album. They toured heavily behind it but by the time it came time to record the next album, bassist Rayna Foss-Rose was gone to raise her daughter, leaving the band with Nadja Peulen. Nadja took Foss-Rose's place during her pregnancy between the first two albums, but she accepted the invitation to come back as a full-time member during the recording of the next record. The resulting album, Dark Days, was released in the spring of 2002.

Giving the Devil His Due By May of that same year, the band had begun to fall apart, sparked by an on-stage altercation between Fafara and Rascon. The following year, after issuing a remix and rarities compilation called Giving the Devil His Due, the bandmembers announced that they had officially broken up, with Fafara continuing on with his new band, Devildriver, with whom he would go on to release six studio albums. In 2011 Coal Chamber began hinting at a possible re-formation, and by 2013 they made it official, performing at Download 2013 and hitting the road with Sevendust, Lacuna Coil, and Stolen Babies. Rivals, the band's first studio recording in 13 years, arrived in early 2015 via Napalm Records.

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