Pixiebilly at The Outpost
– ALL AGES- THE OUTPOST (521 AMBOY RD)- FREE / $10 SUGGESTED DONATION AT DOORPIXIEBILLYPixiebilly is a musical duo made up of Miriam Allen on violin, guitar, vocals & percussion and Laura Blackley on guitar and vocals. Blackley, front woman of Laura Blackley & the Wildflowers, and Allen, front woman of Miriam & the Passionistas, started playing together at Farmer’s Markets in and around their hometown of Asheville, NC and soon had people asking them to come play their wineries, breweries, house concerts and rooftop parties. Pixiebilly plays rock, folk, classic country and blues (and we have a weakness for cheesy pop songs too). Strong musicianship and powerful harmonies.
PILE “Dripping” 10 Year Anniversary Tour at French Broad River Brewery
– AT FRENCH BROAD RIVER BREWERY- ALL AGES- STANDING ROOM ONLYPILEPile is from Boston, Massachusetts. Started as a solo project by Rick Maguire back in 2007, Pile released ‘Demonstration,’ a 10 song demo and ‘Jerk Routine’ in 2008 before expanding their line-up. Wanting to be able to tour on the material with a band, Maguire attempted to find some other players. After some shuffling, the band found a cohesive line-up with Kris Kuss (drums), Matt Becker (guitar), Matt Connery (bass) and Maguire (guitar, vocals). In the eight years since, Pile has released several acclaimed albums, ‘Magic isn’t Real’ (2010), ‘Dripping’ (2012), ‘You’re Better Than This’ (2015), and “A Hairshirt of Purpose’ (2017), in addition to two highly sought after EP’s and the ‘Odds and Ends’ (2018) collection. Becker and Connery left the band in 2018 and Chappy Hull (guitar) and Alex Molini (bass) joined. They released their most recent album, “Green and Gray,” in May of 2019. Since coming together as a full band in 2009, Pile have toured as much as their lives collectively allow, playing nearly 1000 shows spread out over the US, Canada, the UK and Europe.MANEKAManeka’s debut LP is a release that attempts to encapsulate the experience of one of the more distinct and multifaceted performers currently making guitar music. That experience is a deep and varied one, and one that is influenced by McKnight’s unique cultural background in a number of ways. Raised in the DC area to a black father and a mother of Chinese and Pakistani descent, McKnight first fell in love with rap and hip hop in his early teens, but was influenced by his older brother, a fan of early ‘90s rock bands like Sonic Youth and Nirvana, and his father’s passion for jazz guitar playing, which McKnight went on to study at Berklee School of Music in Boston. His interests have remained omnivorous, but throughout his life and musical career McKnight has felt as though his musical interests have been consistently policed along racial lines.“If you’re into rock music and you’re black then people on all sides will say you’re trying to be white or you talk white,” McKnight says. “What does that even mean? That will take over your identity in a big way. Suddenly just because I’m interested in something else that erases all of the other stuff that I’m into. It’s an uncomfortable thing that I shouldn’t have to deal with but that I deal with any way. I’m here and I listen to some music that some white people listen to but that doesn’t mean that I don’t know who I am, or that I’ve erased this other part of me.”
Dylan LeBlanc at French Broad River Brewery
– AT FRENCH BROAD RIVER BREWERY- ALL AGES- STANDING ROOM ONLY (SEATING IS FIRST COME FIRST SERVED)DYLAN LEBLANC Dylan LeBlanc is engaging and soft-spoken in person, yet his striking new album Renegade reflects the power of his live show – one that he simply describes as rock ‘n’ roll. While the album was recorded in just 10 days and tracked in three, the intensity of the project marks the culmination of more than a decade on the road. “I like the idea of a renegade — branching off from society or from the structure of the way our world is designed,” he says of Renegade, his first album for ATO Records. “It felt right to call it that. I wanted to write about the crueler, nasty aspects of the world and life.” LeBlanc’s observations are woven through Renegade, though he’s more interested in telling the story than judging the characters for their decisions. The title track, he says, is “about troubled cocky young men charming young women who were intrigued by that way of life, only for it to end in tragedy. I saw this countless times growing up.” Later he writes about his personal efforts to become a stronger person in “Born Again,” after a childhood of being bullied for his long hair and an adolescence marked by insecurity, fear, and anger. LeBlanc considers the new album a departure from his past work, but only because there’s more of an edge to these sessions, recorded with Grammy-winning producer Dave Cobb in Nashville’s Studio A. This time around, LeBlanc primarily stayed plugged in for the sessions, giving Renegade a Tom Petty feel, charged with a streak of ‘80s rock. “I never really played electric guitar live in the studio like that,” he says. “I’m so used to the rhythmic, acoustic thing. It was just like playing in a show.” ANDREW SCOTCHIEThrough consistent heartfelt releases, year round touring and active charity work, Asheville NC native Andrew Scotchie is a celebrated creative force. His unique brand of rock n roll, blues and Americana has an unmatched sense of urgency and unifying social commentary.
Archers of Loaf
– ALL AGES- STANDING ROOM ONLYARCHERS OF LOAFAs sculpted shards of guitar—tumbling, tolling, squalling—shower the jittery bounce of a piano on opener “Human,” it’s obvious that Reason in Decline, Archers of Loaf’s first album in 24 years, will be more than a nostalgic, low-impact reboot. When they emerged from North Carolina’s ’90s indie-punk incubator, the Archers’ hurtling, sly, gloriously dissonant roar was a mythologized touchstone of slacker-era refusal. But this, the distilled shudder of “Human” (as in “It’s hard to be human / When only death can set you free”), is an entirely different noise. In fact, it’s a startling revelation. A few distinctions between 2022 Archers and the Clinton-era crew—whose “South Carolina” could be heard blaring out of Jordan Catalano’s car radio on ABC teen-angst epic My So-Called Life. First, guitarists Eric Bachmann and Eric Johnson, once headstrong smartasses inciting a series of artful pileups on the band’s four studio albums and EP, are now a fluidly complementary, sonically advanced unit. Notably, Johnson’s signature trebly lines peal clearly above the din instead of struggling to be heard. Second, singer-songwriter Bachmann, after throat surgery, relearned how to sing (this time from his diaphragm); as a result, he no longer howls like the angriest head cold on the Eastern Seaboard. And now, his lyrics balance righteous wrath with a complex tangle of adult perspective. He still spits bile, but it’s less likely to concern scene politics, music trends, or shady record labels thwarting the dreams of a young rock band.Bachmann puts it bluntly: “What I really think about going back to the Archers and doing a new record is that the three other members of this band are awesome. It’s not about responding to the past or whatever our bullshit legacy is. I just wanted to work with these guys because I knew the chemistry we had and that we still have. I knew that was rare. I didn’t care what it ended up sounding like.”Archers of Loaf’s first tour of duty ended after 1998’s White Trash Heroes. The album did not raise the band’s once touted commercial roof, and the members—Bachmann, Johnson, bassist Matt Gentling, and drummer Mark Price—were a bedraggled bunch of coulda-beens. Price was unable to play without extreme pain due to carpal tunnel syndrome. Bachmann itched to try a different musical approach. Everyone was tapped out in one way or another. Though the four remained good friends and convened for occasional reunion gigs (to support Merge’s 2011–12 album reissues, for instance), they never worked on new music. Gentling had joined Band of Horses; Johnson, now a criminal defense attorney in Asheville, North Carolina, contributed guitar to projects when he had the time. On his own, Bachmann thrived, releasing 11 albumsof atmospheric, folky rock/pop under his own name or “group” moniker Crooked Fingers. In recent years, he’d toured as a sideman/foil for torch-country star Neko Case. opener: WE HAVE IGNITION
LATE SHOW: Illiterate Light
– ALL AGES- STANDING ROOM ONLYILLITERATE LIGHTIlliterate Light has been stretching boundaries and upending expectations with a captivating blend of soaring indie rock, swirling psychedelia, and atmospheric folk that calls to mind everything from Neil Young and My Morning Jacket to Fleet Foxes and Band of Horses. Recorded with producers Adrian Olsen (Foxygen, Natalie Prass) and Vance Powell (Jack White, Kings Of Leon, Chris Stapleton), the record is blissful andecstatic, with a mix of raw electric guitars, propulsive drums, and shimmering harmonies that showcases the band’s remarkable live setup—Gorman plays guitar with his hands and synth bass with his feet, while his musical partner, Jake Cochran, plays a standup drum kit, which captures the scintillating energy that’s fueled their journey.Gorman and Cochran first met while attending college in Harrisonburg, VA, where they discovered a shared passion for sustainable living and community building. After graduation, they took over a local organic farm, spending their days tending crops and working farmer’s markets and their nights performing anywhere they could land (or make) a gig. Dubbing themselves the Petrol Free Jubilee Carnival Tour, the pair wouldoften tour the region on their bikes, sometimes joined by as many as two-dozen other cyclists and artists, performing at coffee houses, street corners, rock clubs, and off-the-grid communities.Hailed as “a perfect addition to your summertime playlist” by NPR, the band honed in on their distinctive sound and identity over years of relentless touring, earning dates along the way with the likes of Shakey Graves, Rayland Baxter, Mt. Joy, Rainbow Kitten Surprise, Futurebirds, and The Head and The Heart in addition to high-profile festival slots at Bonnaroo, Lollapalooza, Newport Folk, and more.DOGWOOD TALESOut of the Shenandoah Valley blossoms the debut album from Dogwood Tales Too Hard To Tell. Recorded at the Fidelitorium in North Carolina (Wilco, Avett Brothers, Mandolin Orange) on 2 inch analogue tape, this organic Americana/Alt-Country record hits like a contemporary take on Neil Young’s Harvest. In 2016 they released an EP and toured heavily building a strong fan base. This promising debut full-length is sure to expand on the solid foundation they’ve built over the past few years. Benjamin Ryan and Kyle Grim are the duo behind Dogwood Tales. They began playing together in high school and became friends playing in pop-punk bands in bordering towns. Naturally they cultivated a more roots oriented pallet, echoing the classic sounds of their home in the Valley. Their discovery of the great country duos of Gillian Welch and Dave Rawlings, Gram Parsons and Emmy Lou Harris and more recently Mandolin Orange gave them a broader view of the valley music they would set out to create. The Tales’ songs have a spiritual aspect that derives more from the Blue Ridge Mountains than the Church. Their lyricism grows out of a serious commitment to literature and specifically the Southern-Gothic canon. Too Hard To Tell carries the weighted stories and one-liners often found in the songs of American folk music with a special attention to tone and emotion. The songs speak of scenarios and heavy stations of life and death in small town America.
PATIO SHOW: Ivy Eld (Album Release Show)
– ALL AGES- LIMITED PATIO SEATINGIVY ELDIvy Eld’s music dances in the land of paradox. Her voice is simultaneously angelic and rawly human, fiery and red-wine smooth. Her evocative and tender songwriting invites listeners to dive in quickly and deeply, piercing weary hearts and enshrouding them with the fierce love and witnessing they desire and deserve. Her vulnerable, heartfelt lyrics soar through the air on the wings of her transcendent, soulful voice. A mental health professional for over a decade and a half, Ivy has been privy to the sacred inner worlds of thousands of souls (while navigating her own inner hallways, dark attics, and sun-lit living rooms). This rich interpersonal and intrapersonal experience and her curiosity about the internal landscape saturates her songs. She longs for her music to be an oasis of healing and beauty, a call to deeper respect and compassion for ourselves and for humanity, and also just some plain old fun for the ears. As a solo artist, her shows are intimate, playful, and deep. And when accompanied by her band, her songs become even more layered and potent with the backdrop of rich rhythms and moody, electric sounds. Ivy considers her music to be another facet of how she shows up in the world in authentic and passionate service— both as a musician and as a therapist. She hopes her thoughtful, earthy, poetic songs will inspire others to look inside—light, shadows, and all—and come home to their deeply worthy selves.
PATIO SHOW: Corey Parlamento & Claire Hoke
– ALL AGES- LIMITED PATIO SEATINGCOREY PARLAMENTOCorey Parlamento is a solo guitarist and songwriter living in Asheville, NC. His songs blend elements of traditional songwriting with more experimental and neo-classical compositions. Being heavily influenced by film music, Parlamento’s songs and performances are immersive in their instrumentation, allowing a world to be built around personal and abstract narrative.CLAIRE HOKEClaire Hoke is a singer songwriter born and raised on North Carolina land and music. She’s been performing around WNC since 2018 in various groupings and these days finds herself settling into playing her tunes solo. Drawing inspiration from artists like James Taylor, Joni Mitchell, and Sarah Jarosz, Claire weaves her innermost musings into the fabric of her fingerstyle and open tuning driven music. She uses songwriting to express things that are honest, uncomfortable, and sometimes left unsaid
PATIO SHOW: The Trusty Hucksters
– ALL AGES- LIMITED PATIO SEATINGTHE TRUSTY HUCKSTERSThe Trusty Hucksters are from North Carolina, Massachusetts, Florida, the Great Expanse of the Universe, and Under Your Own Bed. They crawl out and they beam down to perform that tasty Tango from Tartarus, that Swing Jazz from Alcatraz, that Mambo from Below. Throw in another dollar and you’ve got that Vaudeville from the Hills, a Rock and Roll Rigamarole that you can’t get at your local vegetable stand. Two for a buck, three for five dollars!
Brent Cobb & Hayes Carll Gettin’ Together
– 7PM DOORS / 8PM SHOW – ALL AGES- STANDING ROOM ONLYBRENT COBB and HAYES CARLL Acclaimed alt-country artists Brent Cobb and Hayes Carll are set to hit the road for a co-headlining tour kicking off at The Basement East in Nashville, touring throughout the Southeast and Northeast, and wrapping up in New York City at City Winery – Pier 57. The two road warriors are bringing a special edge to this run, though, as each artist will hit the stage to perform their own songs, before uniting after both sets to perform a one-of-a-kind collaborative concert during which they’ll swap stories about inspiration and life on the road. For Cobb, the run signifies a chance to link up with one of his favorite musicians on the planet. “Hayes is everything a true artist/songwriter ought to be in my book. Somehow, I’ve had the privilege of playing shows with him here and there over the years, but I’ve always hoped we’d be able to do something a little longer lasting. We’re gettin’ together to give ourselves as well as the crowds something that I believe we’ll all talk about for a while.” Carll concurs, adding, “Every time I listen to Brent, I’m reminded that there’s still some groove, soul, and sanity in this world. His songs hit their mark with a laid-back confidence and invite us to celebrate the good and shake hands after we work through the hard. He’s an extraordinary everyman, and that’s the kind of friend I like gettin’ together with.” Cobb is touring in support of his January 2022 release, And Now, Let’s Turn to Page…, which was made with legendary producer Dave Cobb in RCA Studio A in Nashville. Carll will be performing songs from his whole discography and, in particular, from 2021’s You Get It All. You Get It All — produced by Allison Moorer and guitar legend Kenny Greenberg. Together, the duo will showcase their singular country styles before uniting to prove the unending power of collaboration. Catch them in a city near you.
Ty Segall Solo Acoustic
ALL AGESSTANDING ROOM ONLYTY SEGALL The man in the tree has a guitar, he’s gonna sing. But the sun shining through the branches— are those rays yellow or hazy gray? What day is today? When are you not going to feel this way again? “Hello, Hi”: welcome in to a new room to play the styles and feels that lie under Ty Segall’s fingers, easing fresh air into acoustic space with an assortment of love songs flowering in righteous unconsciousness. Plaintive and wistful, but unafraid. Like rain washing away yesterday, “Hello, Hi” pushes open the door, inviting the new to pass through all the old shades and degrees of hot and cold. Dark paths turn off abruptly into absurd darkness, then wind back through the broken rocks, ecstatic again. Absurdity again. It happens everyday. “Hello, Hi” is expansively rendered by Ty, mostly by himself, at home. The isolation suits the songs: you’re only ever as “at home” as you are with yourself in the mirror. Ty’s acoustic and electric guitars and vocal harmonies layer self upon self, forming a spiny backbone for the album. Textures at once gentle and dissonant root the songs as they make their move: melodic arcs convulsing in doubt and bliss and rage. Busting out of the endless gridlock into open space, these spirits pass on through. “Hello, Hi”’s flickering awakening to this trip: the opening three tracks’ train of sweet and salty reflections, before the abrupt crunch of the title track electrifies the senses. Good morning’s turned to good mourning in nothing flat, but there’s still a way up from the doldrums, to try again. Why can’t it be just as simple as “Hello, Hi”? What to do with yourself when love triggers loathing? How many more times do you have to go back there again? Pulling at the scratchy wool threads of an old sweater favored for warmth, comfort, protection, rejection, denial, blindness etc, Ty Segall dives from a clear, open sky, down through the marine layer and the shimmering waves of all the years. Radiating from the same mind fields as Goodbye Bread and Sleeper, mixed with shard edges of contrast and contradiction from things like Freedom’s Goblin, Manipulator, and First Taste, “Hello, Hi” is Ty’s most relaxed and complete production to date, an ebb-and flow fusion of words and music offering abstraction and acceptance as it wrestles itself through a fucked-up time. Your life and what you make of it — throughout “Hello, Hi,” Ty Segall charts a passage through its enduring tangles honestly, with clarity and confusion. CHARLES MOOTHART Charles Moothart is an American multi-instrumentalist, singer and songwriter. He is best known for his collaborations with the garage rock musicians Ty Segall and Mikal Cronin. Moothart is the drummer for Segall’s current backing band, The Freedom Band. He was previously the guitarist for Segall’s backing band, the Ty Segall Band, and is the guitarist and vocalist in the pair’s hard rock project, Fuzz. Additionally, he is a member of Segall’s collaborative project with Ex-Cult’s Chris Shaw, GØGGS.
