The Local Honeys
ALL AGESSEATED SHOWLIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLETHE LOCAL HONEYS Though many artists are defined by place, only a handful of artists come to define the places they’re from. The Local Honeys are Kentucky and Kentucky runs through their veins like an unbridled racehorse. When a master songsmith like Tom T Hall calls an artist “a great credit to a wonderful Kentucky tradition” it’s time to pull up a chair and pay attention. As it pertains to The Local Honeys he was right on the money. For almost a decade the duo (Montana Hobbs and Linda Jean Stokley) have been an integral part of the Kentucky musicscape. They’ve paid their dues, garnering countless accolades and accomplishments (tours with Tyler Childers, Colter Wall, praise from the New York Times) and have become the defining sound of real deal, honest-to-god Kentucky music. With their self-titled debut on La Honda Records, (home of some of today’s most gifted songwriters; Colter Wall, Riddy Arman, Vincent Neil Emerson) the duo have set forth on a journey to create something true to themselves while pushing the envelope within the traditions they hold dear. Carefully crafted vignettes of rural Kentucky soar above layers of deep grooves and rich tones masterfully curated by longtime mentor Jesse Wells, Grammy nominated producer and musician (Assistant Director at the Kentucky Center for Traditional Music at Morehead State). “Jesse grew up with sisters. He was cut from the same cloth as us and we knew he would understand what we wanted to do.” What they ended up with is the most nuanced, moody, deep-holler sound they have captured to date. “This is the first time we’ve actively gotten to express who we are and where we’re from” says Linda Jean, “The songs on the album speak for us,” adds Montana “they’re about what we know, reflections of us as people. We realized we have the power to add our own narrative into Kentucky music.” Through that realization the two were able to uncover and dissect themes unique to Central Appalachia and in turn their own lives, capturing small moments in time that deliver thunderous results. Throughout The Local Honeys, the duo demand to be interpreted as creators and storytellers, not just purveyors of tradition. Similarly, the sounds captured within the project cement their place as innovators and rule breakers. Rollicking banjo meets overdriven guitar hooks and blue collar rural grit is met with lush melodies and nimble harmonies; it’s a project filled with juxtaposition and it isn’t by accident. It’s reflective of who they are and who they run with. Wells along with The Food Stamps rhythm section – Rod Elkins (percussion) Craig Burletic (bass) and Clay City, KY’s irreplaceably one-of-a-kind Josh Nolan (guitar) all lent their expertise and signature groove as collaborators during the session creating a fluidity, warmth and cohesion that can only be created through friendship. The project was engineered in Louisville at Lalaland by Grammy winner Anne Gauthier. PLANEFOLKJESSE LANGLAISBROTHERS GILLESPIE
Jeremy Pinnell
ALL AGESSTANDING ROOM ONLYJEREMY PINNELL When Jeremy Pinnell released OH/KY in the summer of 2015 to stunned acclaim, it felt like an entire career compressed into one knock-out album. Hailed as, a “Mind-blowingly good” (Greg Vandy/KEXP) “ ”tutorial on classic country music” (Popmatters), Pinnell’s debut immediately differentiated as authentic and unflinching. Dogged touring through Europe and the States and celebrated radio sessions followed, cementing Pinnell’s position as a no-fuss master of his craft. His 2017 album, Ties of Blood and Affection presented a canny lateral move. Instead of doubling down on the stark themes and values of his debut, the sophomore album found Pinnell finding comfort in his own skin, achieving the redemption only hinted at in his previous batch of haunted songs. If the third time’s a charm, Pinnell is all shine and sparkle on Goodbye LA. Produced by Texan Jonathan Tyler, the tunes buff the wax and polish the chrome on Country music’s deeper roots. Rooted in his steady acoustic guitar, Pinnell’s songs are shot through with honest and classic elements. The rhythm section, all snap and shuffle, finds purpose in well-worn paths. The pedal steel and Telecaster stingers arrive perfectly on cue, winking at JP’s world-wise couplets . Here slippery organ insinuates gospel into the conversation. You can feel the room breathe and get a sense of these musicians eyeballing each other as their performances are committed to tape. And through it all comes this oaken identity, the devastating centerpiece of his work. Honest and careworn, Jeremy’s voice can touch on wry, jubilant, and debauched – all in a single line. At his best, Jeremy Pinnell chronicles the joy and sorrow of being human, which is the best that anyone could do. TIME SAWYER Time Sawyer’s name reflects the pull between the past and the future. The character Tom Sawyer evokes the rural background and love of home that the band shares. Time is a muse for songwriting; it’s the thread that runs through life, bringing new experiences and giving us a sense of urgency, while still connecting us with our past. The folk-rock band has performed on the stages of some of the Southeast’s most iconic festivals, including Merlefest, Floydfest, Bristol Rhythm and Roots Reunion, Albino Skunk Music Festival, and Carolina in the Fall. They’ve shared bills with American Aquarium, John Craigie, Hiss Golden Messenger, Langhorne Slim, John Moreland, Steep Canyon Rangers, The Wood Brothers, Susto, and many more.
PATIO: The Mallett Brothers Band
ALL AGES LIMITED PATIO SEATING IS FIRST COME FIRST SERVETHE MALLETT BROTHERS BAND “FOUNDED IN 2009, THE MALLETT BROTHERS BAND HAVE HAD MULTIPLE LINEUP CHANGES AND STYLISTIC SHIFTS OVER THE YEARS, BUT THEY’VE REMAINED STEADFAST IN DELIVERING HEARTFELT SONGS WITH EMOTIONAL LYRICISM, VIVID IMAGERY, AND DYNAMIC MUSICAL TONES…” – NO DEPRESSION The Mallett Brothers Band is an independent rock and roll / Americana / country band from Maine. Their busy tour schedule since forming in 2009 has helped them to build a dedicated fanbase across the U.S. and beyond while still calling the state of Maine their home. With a style that ranges from alt-country to Americana, country, jam and roots rock, theirs is a musical melting pot that’s influenced equally by the singer/songwriter tradition as by harder rock, classic country and psychedelic sounds.
John Craigie
ALL AGESSTANDING ROOM ONLYJOHN CRAIGIE Much like community, music nourishes us mentally, emotionally, and spiritually. It also invites us to come together under the same roof and in a shared moment. In similar fashion, John Craigie rallies a closeness around music anchored by his expressive and stirring songcraft, emotionally charged vocals, lively soundscapes, and uncontainable spirit. The Portland, OR-based singer, songwriter, and producer invites everyone into this space on his 2024 full-length album, Pagan Church. Following tens of millions of streams, sold out shows everywhere, and praise from Rolling Stone and more, he continues to captivate. “The music is always evolving and devolving with each new record,” he observes. “With my last album Mermaid Salt, I really wanted to explore the sound of isolation and solitude as everyone was heading inside. With this record, I wanted to record the sound of everyone coming back out.” In order to capture that, he didn’t go about it alone… Instead, he joined forces with some local friends. At the time, TK & The Holy Know-Nothings booked a slew of outdoor gigs in Portland and they invited Craigie to sit in for a handful of shows. The musicians instinctively identified an unspoken, yet seamless chemistry with each other. Joined by three of the five members, Craigie cut “Laurie Rolled Me a J” and kickstarted the process. With the full band in tow, they hunkered down in an old schoolhouse TK & The Holy Know-Nothings had converted into a de facto headquarters and studio, and recorded the eleven tracks on Pagan Church.TAYLOR KINGMAN In a time drenched in escapism, where an unceasing barrage of synthetic shine promises comfort and relief from facing the complexity of our natures, Taylor Kingman’s new album Hollow Sound is an antithetical long night in a solitary cave, with nothing but a small fire and a hard look inward to keep you company. Between his work fronting TK & The Holy Know-Nothings and his 2017 solo debut Wannabe, Kingman is no stranger to the darkness. But here he transcends the desolate rock bottom, as Hollow Sound whispers, then howls us into that place beyond brokenness where breathing begins again. To listen deeply to these songs is to lay down naked on the wet, unforgiving earth, pushing the ground through your fingers; it is to be soothed by the wholeness of who we are, filth and all. Kingman pulls no punches with his writing, and requires us to listen with the same honesty.
Jon McLaughlin: Coast to Coast Tour
ALL AGES SEATED SHOWLIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLEJON McLAUGHLIN Everything in Jon McLaughlin’s life makes its way into his music, whether he’s conscious of it or not. The artist, raised in Indiana and based in Nashville, brings all of his experiences and beliefs into each song he creates, something that is especially true now that he’s the father of two young girls. Jon released his debut album, Indiana, in 2007 on Island Def Jam, attracting fans with his heartfelt, hook-laden songwriting and impassioned delivery. He’s released six full-lengths in the years since and revealed a true evolution in both his piano playing and singing. He’s played shows with Billy Joel, Kelly Clarkson and Adele, collaborated with longtime friend Sara Bareilles, co-written with Demi Lovato and even performed at the Academy Awards in 2008. Jon’s album, Like Us, dropped in October of 2015 via Razor & Tie, and he spent the past few years touring extensively before heading back into his Nashville studio to work on new music. Jon released a Christmas EP in 2017 titled Red & Green with two originals and his take on a few holiday classics. In November of 2018 Jon released his album Angst & Grace which features “Still My Girl” written for his youngest daughter. In the fall of 2022 Jon hit the road with his band in celebration of the 15 year anniversary of his Indiana album which will be remastered and re released on vinyl spotlighting a new acapella version of the title track “Indiana” featuring Straight No Chaser as well as never-before-released b-sides. As with everything he does, Jon’s goal is to create connections. He wants to translate his experiences and ideas into music that reaches fans everywhere. His passion for music and playing is evident in each note he plays. LEO SAWIKINLeo Sawikin is a NYC-born and bred singer/songwriter, who debuted as a solo recording artist with his 2021 album, Row Me Away. While Leo often records from his home studio in New York’s Little Italy, over the last year he traveled to Seattle to work with the legendary Phil Ek, who produced breakthrough albums by Built to Spill, Modest Mouse, The Shins, and Fleet Foxes.
Mikaela Davis
– ALL AGES- STANDING ROOM ONLYMIKAELA DAVIS Five years since her debut album Delivery, Mikaela Davis has moved away from her hometown of Rochester, shared the stage with the likes of Bob Weir, Phil Lesh, Christian McBride, Bon Iver, Lake Street Dive and Circles Around the Sun and entered a new decade. But it’s the ever-evolving relationships between her closest friends and bandmates that has propelled the Hudson Valley-based artist onto her new album And Southern Star––a truly collaborative effort that ruminates on the choices we make, and the people we always come back to. Davis earned her degree in harp performance at the Crane School of Music, and has molded her classical music training to create an original and genre-bending catalog that weaves together 60s pop-soaked melodies, psychedelia and driving folk rock. She met her bandmates at pivotal moments in her life––drummer Alex Coté in childhood, guitarist Cian McCarthy and bassist Shane McCarthy in college, and steel guitarist Kurt Johnson in her early twenties. It’s the band’s collective step into adulthood that has informed much of And Southern Star’s thematic landscape. Navigating the periphery of past selves, the coexistence of isolation and excitement in a new environment and the tension of growing away from what we thought we wanted is tackled with a luscious, kaleidoscopic grace. And Southern Star picks apart the reflection we used to recognise, while trying to build a new one. “I finally feel like this album is more me than anything else that’s been released,” Davis says, adding that producing the album along with her four bandmates allowed them to carve out their own ideas, rather than someone else’s. Despite playing together for over a decade, it’s the first time the five-piece have appeared on a full length album together. The bones of And Southern Star was recorded at Old Soul Studios with Kenny Siegal, a person who was an integral part of Davis’ move to the area. The rest was recorded by Cian McCarthy at Horehound Mansion, adding to the album’s intimate nature. The album was mixed by Mike Fridmann at Tarbox Road Studios, who is lovingly nicknamed as the ‘silent sixth member of the band.’ Davis describes the band’s bond as “meditative and telepathic,” adding that although many of the songs were written individually across the past few years, something instantly clicked once they were together. Opener “Cinderella,” written by Coté and Davis, begins with Davis’ distinctive harp plucks and ethereal vocals. It’s a sonic choice that directly points to Davis’ solo beginnings, before blossoming into the textural patchwork of the band’s contributions. The fairytale wanderings of the song peel back in the album’s dream-like canopy, where tracks offer an otherworldly escape from the constraints of reality.
LowDown Brass Band
ALL AGESSTANDING ROOM ONLYTHE LOWDOWN BRASS BAND The LowDown Brass Band is a uniquely strong representation of Chicago Music culture. Providing a modern take on soul, funk, hip hop, and jazz, this multifaceted all-horn band boasts freedom through the art of their craft, whilst gaining critical acclaim from The Gazette, Fame Magazine, The Chicago Reader and more. LowDown kick started 2023 with the release of the sun-drenched soul and jazz-infused single Call Me. It was followed by the summer release of Take Me Away, which is a club inspired dance floor lover’s track. This next single So Long mellows the atmosphere and is a classic hip hop heartbreaker. So Long uses 808, horns, and the story telling of MC Billa Camp and singer Shane Jonas. Let’s take a pause on the dance floor and reflect on the long winter ahead. There is warmth in the flow. LowDown maintains a constant performing and touring schedule, blessing every venue with their unique blend across multiple genres, and showcasing their ability to amplify the energy of any room with their positive and infectious spirit.LowDown Brass Band has built a highly-impressive discography, accumulating over 1.1 million streams across Spotify alone with notable performances at Cotai Jazz Fest, The Montreal Jazz Festival, Winnipeg Folk Fest, SummerCamp, Vancouver Jazz Fest, Folk Alliance, Green River Fest, Chicago Jazz Fest, Aspen Jazz Fest, Mile of Music, Alaska’s infamous Salmon Fest, and opening runs with Galactic, Rebirth Brass, Bon Jovi, and others. LowDown’s next record will be released in February 2024 and is titled Citizens of the World. LowDown is repped by the Fata Booking Agency (USA and International), Paquin Booking (Canada), and Liberty Music PR (UK). Their music has been featured on Hulu’s Cruel Summer and is also on the Nintendo Switch’s Dec 2023 release Super Crazy Rhythm Castle. So long adaptation. BIG FURBIG FUR is a slick, versatile animal of a band that pounces between genres and sounds through elaborate compositions and intense improvisation. The band cultivates an original sound that takes southern rock, country, and bluegrass to its highest dynamic peaks, and most electrifying, psychedelic edges.
Eddie 9V
– ALL AGES- STANDING ROOM ONLYEDDIE 9VAs far back as he can remember, Capricorn Studios was calling Eddie 9V. As a kid scanning the sleeves of his favorite vinyl records, this fabled facility in Macon, Georgia, was always the secret ingredient, adding a little grit and honey to every song born on its floor. Capricorn and the bands who blew through it urged the Atlanta guitarist to ditch school at 15, play his fingers bloody throughout the south, and turn apathy into acclaim for early albums Left My Soul in Memphis (2019) and Little Black Flies (2021).Eddie spent his first quarter-century admiring Capricorn from afar. But in December 2021, the 26-year-old finally put his thumbprint on the studio’s mythology, corralling an eleven-strong group of the American South’s best roots musicians to track his third album. “There was overwhelming excitement at being in such a legendary studio,” he says. “But we hugged and got right to work. Everyone was joyous, loving, and flat-out playing their asses off.”You don’t come to Capricorn Studios for polish. Frozen in time since its opening day in 1969, the mojo from sessions by giants like the Allman Brothers and Bonnie Bramlett still hangs in the air, while the recording philosophy remains gloriously raw. That suited Eddie, whose output has been celebrated for its warts-and-all snapshot of what went down. “In a world where everyone is trying to sound the best, I’m trying to sound like me,” he reasons. “I always want the listener to feel like they’re in the room with us. So I’d leave it in if a drum pedal squeaked or someone laughed during a take on the Capricorn album. It’s our way of putting a stamp on the song.”Eddie’s old-school ethos goes way back. Born Brooks Mason in June 1996, he acquired his first guitar aged six, “One of those with the speaker in it – the most bang for your buck, y’know?”, ignored the prevailing pop scene at Oak Grove High School in favor of local heroes like Sean Costello and studied “older cats” like Muddy Waters, Howlin’ Wolf, Freddie King, and Rory Gallagher “to see what made them groove and tick.” His shoot-from-the-lip lyrics adds Eddie came from family fish fries, where his Uncle Brian “taught me to make people laugh, how to hold an audience’s attention.”When Eddie infiltrated his home state’s live circuit – first with covers band The Smokin’ Frogs, then its more adept blues-rock offshoot, The Georgia Flood – he quickly pricked up ears everywhere he played. His artistic vision became full realized when he killed Brooks Mason and adopted the solo moniker that promises an electrifying night out, “Eddie 9 Volt”. “There are too many Joe Schmo r&b bands,” he reasons. “I was on the road with another band, and we were talking like mobsters. So we gave each other names – mine was Eddie.”Already, there has been massive acclaim for his early output, with Left My Soul in Memphis dubbed “fresh and life-affirming” by Rock & Blues Muse and Little Black Flies praised by Classic Rock as “the most instinctive blues you’ll hear all year.” But as the Capricorn sessions ticked closer, Eddie fused the nervous energy into his best songs yet. “Coming off a straight blues record, I wanted to show people we’re more than that,” he reflects. “I was listening to Muscle Shoals and soul, a lot of music recorded at Capricorn in the late-’60s too. So we spent way more time crafting the new tunes. Each song took a week to write, instead of five in one night like Little Black Flies.”
Ruston Kelly – The Too Chill to Kill Tour
– ALL AGES- STANDING ROOM ONLY- ACOUSTIC SHOW- LIMITED NUMBER OF VIP TICKETS AVAILABLE (click here for 237Global legal disclaimer)RUSTON KELLY In the past few years alone, Ruston Kelly has established himself as an essential songwriting voice, capable of transforming his unsparing and often-painful self- examination into moments of sublime catharsis. With a lyrical sensibility that constantly shifts from candid to poetic, the South Carolina-born singer/songwriter/guitarist imbues his songs with equal parts nuanced confession and punk-rock irreverence, mining inspiration from such eclectic sources as the Carter Family, transcendentalist philosopher Ralph Waldo Emerson, and seminal emo act Dashboard Confessional. His third full-length album The Weakness – his most personal and intimate collection of songs to date — was released to tremendous critical acclaim in early 2023. The New York Times hailed it as his “most assured and expansive studio album.” NPR Music noted, “Ruston Kelly’s torn it all down on his new album, The Weakness, so he could build something better,” while Rolling Stone lauded it as an “emotionally daring statement.” Based in Nashville, TN, Kelly first started playing guitar under the guidance of his dad, Tim “TK” Kelly, a pedal-steel guitarist who frequently performs and records with his son. Because his father worked for a paper mill and often changed job locations, Kelly grew up moving nearly every two years, residing everywhere from Alabama to Belgium. At 17, he took off for Nashville to live with his sister, and in 2013 landed a publishing deal with BMG Nashville. Along with penning songs for artists like Tim McGraw and Josh Abbott Band, he continued working on his own music and later made his debut with the widely praised EP Halloween (a 2017 effort produced by Mike Mogis, who’s also worked with Bright Eyes, First Aid Kit, and Jenny Lewis). Soon after signing with Rounder Records, Kelly released Dying Star: an album that closely details his experience with addiction—including time in rehab and a 2016 overdose—and ultimately captures all the chaos and heartbreak on the way to redemption. The follow-up to Dying Star, 2020’s Shape & Destroy arrived as an up-close look at his experience in getting sober and finally facing the demons that led him to drug abuse in the first place, each revelation presented with an unvarnished honesty. Kelly’s most full-realized work to date, The Weakness is a blisteringly honest but profoundly hopeful album revealing our vast potential to create strength and beauty from the most trying of experiences. Made with producer/songwriter/multi-instrumentalist Nate Mercereau (Sharon Van Etten, Leon Bridges, Maggie Rogers), Kelly’s third full-length album emerged as he began processing a number of life-altering changes he’d endured over the previous year, including a very public divorce as well as immense upheaval in his immediate family. A bold departure from the elegant simplicity of his first two albums, the resulting body of work matches its kaleidoscopic sound with some of Kelly’s most illuminating material to date. Buoyed by recent stints opening for Maren Morris and Noah Kahan, Kelly is looking ahead to his headline acoustic tour in support of Weakness, Etc, an all-new EP collecting seven songs recorded in tandem with Kelly’s much-admired third studio album, 2023’s The Weakness. Weakness, Etc arrives via Rounder Records on Friday, March 22.
An Evening With Chris Smither
ALL AGESSEATED SHOWLIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLECHRIS SMITHERThe sound and imagery of the 20th release by Chris Smither, All About the Bones, (release date: May 3, 2024 on Signature Sounds/Mighty Albert, distributed by Redeye) is as elemental as the inky black shadows cast by a shockingly bright moon. The listener is welcomed into some gothic mansion on an imaginary New Orleans street, and there in the lamplit parlor confronts the band, a minimalist skeleton crew: Smither’s inimitable propulsive guitar and rumbling baritone are joined seamlessly to producer David Goodrich’s carpetbag of instruments, Zak Trojano’s rock-steady, primal drumming, BettySoo’s diaphanous harmony vocals, and the flat, mournful flood of Jazz legend Chris Cheek’s saxophone. Recorded at Sonelab Studios in Easthampton MA by Justin Pizzoferrato (Sonic Youth, Dinosaur Jr., the Hold Steady) All About the Bones has a feel that is somehow baroque and austere at once. Smither and his longtime producer David Goodrich have been refining their musical conversation for decades, both in the studio and onstage, and by now, their bond verges on the telepathic. Goodrich plays on nearly every track. His sound is by now so translucent that it seems to function as a swath of silence, allowing the songs to burn like ciphers in the crackling air. And oh, the songs on All About the Bones. Chris Smither, after six decades of sharpening his knife as a songwriter, can at this point open damn near anything with a flick of his wrist. God and the Devil are opened here. Mortality is too. Politics, consciousness, renewal, family, vulnerability, surrender… Smither has sat with these topics like so many Zen koans, for so long, that every line is a pearl. The title track, “All About the Bones,” kicks the record off with “Consider your high station/ think about your fame. All of your creation depended on your frame.” Irony, wit, the double meaning of “depended”… each verse is a master class in songwriting. Yet the stark, elemental sage always has a twinkle in his eye, a light touch at your elbow as he guides you along. From the wickedly funny defense of the Adversary in “If Not for the Devil” to the unsentimental open-heartedness of “Still Believe in You,” he is as human as we all long to be. The disjointed imagery of “In the Bardo” and the dystopian mirror of “Close the Deal” find Smither unflinchingly staring down the mortality of both individuals and republics, and yet he is at peace, among loved ones in his cover of Eliza Gilkyson’s “Calm Before the Storm,” and turning his gaze to the future in “Completion”. He sends us on our merry way, startled, dazzled, unsettled and then comforted, with Tom Petty’s “Time to Move On.”
