Richmond Concert Tickets

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Tickets on sale 3/31 at 10am

Ever since 2010, when Gary Clark Jr. wowed audiences with electrifying live sets everywhere from the Crossroads Festival to Hollywood’s historic Hotel Café, his modus operandi has remained crystal clear: “I listen to everything…so I want to play everything.” The revelation that is the Austin-born virtuoso guitarist, vocalist and songwriter finds him just as much an amalgamation of his myriad influences and inspirations. Anyone who gravitated towards Clark’s, 2011’s Bright Lights EP, heard both the evolution of rock and roll and a savior of blues. The following year’s full-length debut, Blak And Blu, illuminated Clark’s vast spectrum – “Please Come Home” is reminiscent of Smokey Robinson, while “Ain’t Messin’ Around” recalls Sly and the Family Stone. 2014’s double disc Gary Clark Jr–Live projected Clark into 3D by adding palpable dimension and transcendent power –– songs soared and drifted from the epic, psychedelic-blues of “When My Train Comes In” to his anthemic, hip-hop, rock-crunch calling card, “Bright Lights”, all the way down to the deep, dark, muddy water of “When The Sun Goes Down”.

There are a handful of folks who have informed for the mélange of genres and styles, which comprise the genius of Clark. One is Michael Jackson. It was on Denver stop of MJ’s Bad Tour where a four-year-old Gary’s life was altered after witnessing The King of Pop. By the sixth grade, Clark would own his first set of strings (Ibanez RX20).

As a teen, Clark began making a local name by jamming with adult musicians around nearby clubs. He struck a balance by singing in the church choir with his sisters. That gritty & sweet combination imbues the honey-thick soul that oozes from his vocals today. The eclectic Texas circuit, though, was Clark greatest university, where another culprit in the GCJ genesis lives: Clifford Antone, ambassador of the Austin music scene. Antone’s nightclub granted Clark the honor of sharing the stage with local blues heroes like Jimmie Vaughn, Hubert Sumlin Jr, and Pinetop Perkins. This on-the-job training, combined with studying licks by literal Kings like BB, Albert and Freddie, observing the mastery of Curtis Mayfield, Miles Davis, Hendrix, Marvin Gaye, Parliament-Funkadelic, and digesting the fresh edge of Tupac and Biggie, lifted the guitar prodigy up into a multi-instrumentalist, adept scribe, and undisputed music festival champ.

Now, after spending the last five years transforming audiences from the California desert to the London metropolis, acquiring fans like Barack Obama, Keith Richards, Alicia Keys and Beyoncé along the way, the 6’4 Texan needs to spread his musical wings and spectrum hues wider. This exhibition will be Clark’s second full-length worldwide album, The Story of Sonny Boy Slim due from Warner Bros. Records on September 11th. The title’s inspiration is one half Clark’s Southern roots––those singers and local musicians who saw the future in this young man ––and other half, his acting debut in John Sayles’ 2007 film Honeydripper. A 23-year-old Clark played the fictitious Sonny, (in fact, already his family-given nick-name), a young musician who transformed the blues and R&B into rock and roll. On his latest, Clark isn’t trying to reinvent any wheel. He’d rather deploy as many wheels as possible in order to lead music fans toward his favorite destinations.

“The Healing” mashes blues and hip-hop into the 21st century with a Marleyesque message of hope and faith. This journey of the soul hits Mississippi on the Delta jam of “Shake,” before pulling into the spiritual station of “Church,” serving gospel made with the purist folk elements: hypnotic strum, sweet harmonica, and aloud prayers as painful as they are beautiful (dare we say, Dylan-esque). “Grinder” makes musical graffiti out of fierce, freeform wah-wah screaming that spars with rap-tough urban tension. The code is completed once Clark’s chordophone wails a salute to all guitar gods.

“Our Love” could’ve easily been a standard in any decade past or present; “Down To Ride”, an avant-garde, soul love letter with its sensual falsetto, classic Casio synths, and outer-space guitar fade, fits into fresh unexplored sonic territories. The trippy flight “Wings” is Clark’s most modern flip as the Outkast fan is heard in his lyrical prime: “We got issues and people get misused/and girl I miss you/but I know that we’ll get through what we go through.”

Sterling songwriting is where Mr. Clark’s evolution is arrayed best. Never has his pen’s moonshine been so in tune with the times. The Lone Star diamond gleams brightest when he’s sketching then voicing his country’s current and evergreen socio-economic tensions simultaneously. When he’s progressing the art of blues by replacing hopeless conclusion with empathy and strength. When he’s reintroducing and redefining red, white, and blue music. “Hold On,” impressively captures the struggle of being African-American in any era by stirring a pungent punch of Curtis Mayfield, Gil Scott-Heron and Buddy Guy influence over some serious (and visual) commentary. “Seems like new news is the old news from a different angle/another mother on TV crying cause her boy didn’t make it/She said, What am I gon’ do? What I’m gon’ tell these babies?”

A 2015 reply is offered on the all-consuming space-age funk of “Star.” “I am devoted to seeing you shine on,” could be a message in falsetto from Clark to those babies, his country, his family, and his innermost self. With a musical palette as gracious and glorious as Gary Clark Jr’s, the target is most likely all of the above. As Clark put his mojo in full motion on the album’s opening track, “The Healing”, he eloquently states his subtle and underlying theme that “this music” is our hope, faith and ultimate healing.

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Tickets on sale 3/24 at 10am

Lee Brice

Lee Brice is a craftsman, the kind whose boundless desire to hone his skills and relentless pursuit of
perfection are matched only by his humility about the entire process. His new album, I Don’t Dance, is
a showcase for his painstaking approach to writing and recording, with his distinctive fingerprints
clearly emblazoned on every element of the album. While Brice is now known as reliable charttopping
Nashville hit-maker whose 2014 performance on the Academy of Country Music telecast —
where he picked up the trophy for “Song of the Year”— “stole the show” (USA Today), there was a
time when he was only recognized for his work behind the scenes.
“I had success as a writer before I had success as an artist,” says Brice, “so there’s a misconception
that I was a songwriter first and then started to sing my own songs later. But all along, I’ve really
always been writing for myself. When I started writing songs at ten years old, it was because I wanted
to sing them, and when I came to Nashville, I came to be a songwriter and a singer. It’s all one thing
to me.”
After relocating from his native South Carolina to Music City, the former Clemson lineman dove
headfirst into his craft, writing on his own and with a slew of talented musicians he fell in with. He
found early success, with songs picked up by established artists like Jason Aldean and Keith Gattis.
Though they may have been sung by other artists, those songs were stories from deep within Lee’s
own heart.
“‘More Than A Memory’ was a very personal song for me,” he says of his breakout 2007 track. “I was
thinking about keeping it for myself when Garth Brooks called, and that changed the whole dynamic.”
It changed a whole lot of things. Brooks’ recording of the track was the first single in the history of the
Billboard Hot Country Songs Chart to debut at #1. Lee’s stock skyrocketed in Nashville, and that
same year, he signed with Curb Records and began laying the groundwork for his inexorable rise as
a solo artist.
He released his debut album, Love Like Crazy, in 2009. The title track reached #3 on the Billboard
Country chart and set a record as the longest-charting song in that chart’s history. In 2012, he topped
his own success with Hard 2 Love, an album that went Gold and featured three #1 Country singles,
including “I Drive Your Truck,” which won Song of the Year at both the CMA and ACM Awards. The
record earned raves from NPR to Country Weekly and found the New York Times hailing him as “a
sensitive macho man,” a compliment that perfectly encapsulates both sides of Brice’s persona. Hard
2 Love also garnered Lee his late-night debut, a stirring performance of “I Drive Your Truck” on
NBC’s “The Tonight Show.”
“On my first record, I had all these ideas and sounds I didn’t know how to get out of me,” Brice
remembers, crediting frequent collaborator Doug Johnson with helping him learn some of the early
ropes of recording. “On Hard 2 Love, I figured out that I could really step out and try things in the
studio, and if they don’t work they don’t work, but sometimes those ideas become the basis of how
you record some tracks.”
Brice took it a step further on I Don’t Dance, relishing the role of producer with a flair for
experimentation as yet another way to mold and shape his songs to match the sounds he’d been
chasing in his head.
“I wanted to have control over every drumbeat, every lick of the bass part,” he explains of his
meticulous approach in the studio. “It was a lot of really sitting down and thinking about every little
piece that goes into it.”
Rather than approach the record as a whole entity, Brice listened to what each song called for and
played to its strengths, allowing the warmth and presence of his personality to form the cohesive
thread that binds them all together. On the lighthearted summer anthem “Girls In Bikinis,” he built the
track entirely from the ground up, playing every single instrument himself. The searing “Sirens,” on
the other hand, was cut live and loud in the studio, with raw electric guitars and a banjo part that
captured Brice’s first time playing the instrument. Other tracks grew out of drum loops and studio
experiments, inspired in part by his love of recent albums from Bruno Mars and Eminem. Live-showmoment
“Drinking Class,” one of three songs on the album not written by Brice, taught him a valuable
lesson about hearing what the music calls for.
“We had ideas to put a lot of electronic sounds in it,” he explains, “but after we cut it, I had a feeling
that this is really a song about the working class, and it needed those sounds, like chain gang stomps
and claps and hums, and now I have a sledgehammer hitting a railroad tie on there. I changed
everything about it to get it back to its roots. Sometimes you gotta go to a lot of the wrong places to
get to the right places, and that’s not wasted time. It takes that trip to get to where you’re going.”
“Panama City” is another track that took a circuitous journey to its final destination on the new album.
Written by his good friend Chris Thompkins, the track first caught Brice’s ear a decade ago when he
heard a stripped-down arrangement of it on one of Thompkins’ work tapes.
“I couldn’t imagine it being any different than what I heard on the work tape,” says Brice. “I said we
had to do it live because I didn’t want to give myself the option of redoing vocals or piano or bringing
in background singers later. They brought the piano out into the main room of Ocean Way Studios [in
Nashville], which is an old church, and we took our headphones off, had no click tracks, no drums. It’s
like they did 50 years ago. We played it four times and the last time was perfect. I took it off the board
exactly the way we recorded it and mastered it, and it’s my favorite track on the record by far.”
Perhaps the most personal song on the album, though, is the title track, which Brice wrote for the first
dance at his May 2013 wedding. As with so much of his work, the lyrics are inspired by his undying
love for his wife, Sara, but they resonate with a huge audience. Top wedding website The Knot
recently selected it for the “Dream Wedding” they threw for a pair of Boston Marathon bombing
survivors.
“It’s my favorite song I’ve ever written in my life,” says Lee, “and I don’t know that that’ll ever change.”

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GA in Advance (Limited tickets available): $10 (early bird price for 7 days)-$20. Gate $25

Tickets on sale 3/17 at 10am

Dark Star Orchestra

Performing to critical acclaim worldwide for nearly 19 years and over 2600 shows, Dark Star Orchestra continues the Grateful Dead concert experience. Their shows are built off the Dead’s extensive catalog and the talent of these seven fine musicians. On any given night the band will perform a show based on a set list from the Grateful Dead’s 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra’s members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations creating a sound that truly encapsulate the energy and the experience.

Band Members: Rob Barraco Rob Eaton Dino English Rob Koritz Lisa Mackey Jeff Mattson Skip Vangelas

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GA in Advance (No Seat Provided) (Limited tickets available): $15 (early bird price for 7 days)-$25. Gate $30.

Tickets on sale 3/17 at 10am

311 was formed in 1990 in Omaha, Nebraska by singer/guitarist Nick Hexum, singer S.A. Martinez, guitarist Tim Mahoney, drummer Chad Sexton and bassist P-Nut. The band now resides in Los Angeles, California.

311 mix rock, reggae, hip-hop and funk into their own unique sound. After years of consistent touring, 311 have developed a reputation as one of the most influential and most entertaining live bands in the U.S.

311 have released eleven studio albums, one live album, one greatest hits album and three dvd’s – and have sold over 9 million albums in the U.S. Nine of their albums have reached the Top 10 on Billboard’s Top 200 Sales Chart…and nine of their singles have reached the Top 10 on Billboard’s Alternative Rock Radio Chart (including the #1 singles Down, Love Song & Don’t Tread On Me; along with Amber, All Mixed Up, Come Original, Creatures For Awhile, Hey You and Sunset in July).

311 recorded their 11th studio album, STEREOLITHIC, for a March 11, 2014 release, which debuted at #6 on the Top 200 Album Chart.

The band’s celebratory live shows & incessant touring schedule have earned them a massive grassroots following nationwide. Since its inception in 2004, 311’s annual summer headlining amphitheatre run, Unity Tour, has become one of the largest modern rock concerts of the summer. Support acts on previous Unity Tours have included Sublime with Rome, Cypress Hill, The Offspring, Slightly Stoopid, Snoop Dogg, The Roots, Papa Roach, The Wailers, O.A.R., Matisyahu, and Ziggy Marley.

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New Politics

Rambunctious Danish indie rockers New Politics formed in the late 2000s around the talents of vocalist David Boyd, guitarist/vocalist/keyboard player Søren Hansen, and drummer Poul Amaliel. The band’s high-energy, guitar-driven blend of punk, pop, and electronically induced dance-rock (Boyd specializes in wildly unpredictable stage posturing) eventually caught the ears (and eyes) of RCA, who signed the group in 2009. Fearing American anonymity, the band relocated to Brooklyn, New York, where they released their self-titled debut full-length in July of 2010. Their sophomore effort, A Bad Girl in Harlem, followed in 2013 and their single “Harlem” received a number of prominent placements, among them a Taco Bell commercial, several trailers for the film Frozen, and the Guitar Hero Live video game. After switching over to Warner Bros.-affiliated label DCD2 Records, New Politics released their third LP, Vikings, in late 2015. ~ James Christopher Monger & Timothy Monger, Rovi

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Slightly Stoopid

Slightly Stoopid, the Ocean Beach, California based group led by co-founders and multi-instrumentalists Kyle McDonald and Miles Doughty, along with drummer Ryan “Rymo” Moran; percussionist Oguer “OG” Ocon; saxophonist Daniel “Dela” Delacruz; keyboardist Paul Wolstencroft; trumpet and trombone player Andy Geib; plus special guest and “unofficial 8th member” Karl Denson (The Rolling Stones/Greyboy Allstars) on saxophone unveiled their latest musical experiment Meanwhile… Back at the Lab through the band’s own Stoopid Records on June 30th.

The sessions for Meanwhile… Back at the Lab began in late 2013, shortly following the band’s seventh studio release Top Of The World. The forthcoming album was recorded at the band’s studio, as well as at Platinum Sound, NYC; Rivas Studios, L.A.; Mixdown Town LBC, Long Beach, CA; and was self-produced by the band along with The Lab’s in-house audio engineering maestro James Wisner with the help of Jerry Wonda (The Fugees, Wyclef Jean) engineered an impromptu late night/early morning session at Platinum Sound, yielding the collaborative “Come Around.” Back home, Kyle and Miles also called on their long-time friends and Southern California music icons, Michael “Miguel” Happoldt and Marshall “Ras MG” Goodman, to produce standout tracks “Life Rolls On” and “The Prophet.”

“We’re a touring act, and we’ve been on the road pretty much non-stop over the last decade,” explains Doughty, offering that the band’s own local recording studio and rehearsal clubhouse “The Lab at Stoopid Studios” (within the warehouse district of Mission Valley just inland of Ocean Beach), is a key ingredient of what keeps the band’s sound fresh. In fact, the title and album cover reference the band’s collective escape from touring where they have been working on numerous creative and collaborative projects.

“Over the last several years we started our own studio and invested into innovations and equipment, upgrades in a quest to capture and progress our ideal signature sound. Having our own studio really enables us to make records at our own pace and to make the right records, hopefully (with a grin) at various stages of our career,” Doughty continues. “What’s nice about having our own environment to record in, and analyze the music, is it really lets us keep an organic feel. For Slightly Stoopid, I feel like it’s a step into the next level, as far as understanding the process of recording, understanding the process of songwriting. We took everything that we’ve learned over the years and really put it into this place and into our music.” The property also houses the creative loft space that has become the official offices Stoopid Records, which issued the band’s third album in 2000, Acoustic Roots, and has continued to be their preferred method of distributing the band’s recorded material.

“We started Stoopid Records around 1999,” Doughty clarifies. “At that time, we were in transition as far as what we were doing with our records, and we thought it would be good to have our own independent label—like Sublime showed us back in the day with Skunk Records. What’s nice is we’ve had a following with the fans, where people understand that Stoopid Records is Slightly Stoopid, as well as other bands we want to help break out.”

“For us, it was a big turning point as far as having complete creative control over everything we do. That’s something big for this band—we want to make the music for ourselves and for our fans. We don’t really make music for someone in an office that tells us something needs to be there. We’ve always had a very organic, do-it-yourself attitude. I think it’s paid off in dividends.”

Nearly two decades into their artistry, Slightly Stoopid continues to progress into new musical territory, defining their signature sound while creating a contagious feel-good vibe that has its own lifestyle and subculture… and it’s been done entirely on their own terms.

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Every story has two sides, and that adage is certainly true for Kaleo, the four-piece band from Iceland who now call the US home. Call it a split upbringing: the isolated heritage that results from coming of age in Iceland has paired with the fresh inspiration of moving to America, and the band has built a sound to match the disparate landscapes. A gorgeous and raucous blend of rock, folk and blues, Kaleo’s debut LP embodies that very spirit of duality: titled A/B, the album showcases the band’s multi-layered dynamics and ability to play different genres with equal skill.

Best friends since attending elementary school outside of Reykjavik, bandleader JJ Julius Son, drummer David Antonsson, and bassist Daniel Kristjansson began playing together at the age of 17 before adding guitarist Rubin Pollock to the mix in 2012. They named the band Kaleo, which means “the sound” in Hawaiian, and started their career in with a handful of well-received shows at the 2012 Iceland Airwaves music festival. The band signed to Elektra/Atlantic and moved to the States in early 2015, choosing Austin as their new base.

“It has obviously been a big change coming from a small country of 300 thousand people in Iceland to the USA with over 300 million people,” says JJ Julius Son. “We’ve learned a lot, and we are more experienced now than when we first came. Overall it’s been a great adventure.” The past year has been a busy one for the band, as they’ve played nearly nonstop—including over 45 US states—as well as notching a spot on the soundtrack to HBO’s hit show Vinyl and recording a full length album with the producer Jacquire King in Nashville.

The concept behind A/B comes from Julius Son’s love of the split sides of vinyl records and their ability to showcase an artist’s different sides. “I write very different songs that many would like to label into different genres,” he says. “The idea of A/B is to show the diversity and the two sides of the band.” The “A” side is more rock and roll and blues (opener “No Good,” “Way Down We Go,” “Hot Blood”), while the “B” side is a bit softer with more ballads (“All the Pretty Girls,” “Vor I Vaglaskogi,” and closer “I Can’t Go On Without You”). But no matter which side you’re on and which song is playing, the sound can only be that of Kaleo.

A/B was primarily produced and recorded with King, the esteemed production icon whose past work with talented artists as varied as Tom Waits, Kings of Leon, Norah Jones, Buddy Guy, James Bay, and Of Monsters and Men helped Kaleo showcase both their louder and softer sides. In addition to the sessions in Nashville, Kaleo wrote and recorded in various other locales around their new home in the US as well as a few different sessions around the world, from their home of Iceland to Spain and London as well. Additional production contributions to the album in these various sessions came from Mike Crossey, Arnar Guðjónsson and the band.

Starting off A/B with a bang, “No Good” welcomes in the “A” side with its crunching, bluesy stomp-rock. Julius Son’s deep, raspy growl is perfectly paired to the band’s snarling assault, and sets the bar high for the rest of the record to come. “Kiss your baby goodbye,” he purrs, and with that, we’re off and running.

“Way Down We Go” is filled with bluesy angst and anchored by piano and rhythmic, pounding drumming. Julius Son’s vocals shift into the higher registers just as easily as they find their home at the bottom.

“All the Pretty Girls” leads off the “B” side, and in a sense it was the song that started it all for Kaleo in the beginning. In the spring of 2014, they recorded the lush, introspective song and in one night their destiny to outgrow their small, island nation was cemented, as it spread like wildfire across the airwaves.

“Vor I Vaglaskogi” is a traditional Icelandic love song, and the only one sung in the band’s native language. The song’s beauty and power transcend the fact that most in their newly found worldwide audience will not be able to understand it. And for Julius Son, that notion fits right in with how he likes his lyrics to be interpreted anyway.

“I prefer to let the listener decide what each song means to them instead of me telling my own personal connection,” he says. “Some of the songs are very personal for me, though—some more than others. But it seems that different people connect to songs in a different way, often based on personal experiences or things that you are going through at that time.”

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Blackberry Smoke

Blackberry Smoke has evolved from rough-edged club act to arena-ready rock ‘n’ roll juggernauts, while steadily extending and expanding the Southern rock tradition. Since the group’s formation in 2000, the band has never shied away from hard work, playing more than 250 shows a year and building an ever expanding audience on the strength of its live shows. In addition to winning fans and friends throughout the United States, they’ve toured Europe multiple times and performed for the first time ever in Australia in 2016 to sold-out crowds. Along the way, Blackberry Smoke has found time to record a handful of independent releases, including the albums Bad Luck Ain’t No Crime, Little Piece of Dixie and The Whippoorwill, plus a pair of EPs, the concert DVD “Live at the Georgia Theatre,” the live CD/DVD set Leave A Scar and their latest project Holding All the Roses, the first album the band feels properly captured their musical essence. Additionally, the band has had songs featured in movie and video game soundtracks, including EA Sports’ Madden NFL 16, performed on The Tonight Show with Jay Leno and Conan and toured with and befriended idols such as The Marshall Tucker Band, ZZ Top, Lynyrd Skynyrd and George Jones. For more info on Blackberry Smoke, visit blackberrysmoke.com, like them on Facebook and follow them on Twitter and Instagram @blackberrysmoke.

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The Temptations

For more than fifty years, The Temptations have prospered, propelling popular music with a series of smash hits, and sold-out performances throughout the world.   They were inducted into the Rock and Roll Hall of Fame in 1989.

The history of The Temptations is the history of contemporary American pop. They are an essential component of the original Motown machine and their hits include “The Way You Do the things You Do,” “My Girl,” “It’s Growing,” “Since I Lost My Baby,” “Get Ready,” “Ain’t Too Proud to Beg,” “Beauty Is only Skin Deep,” “I Wish It Would Rain,” “I Can’t Get Next to You,” “Papa Was a Rolling Stone”, and “Psychedelic Shack” still smolder today.

The current lineup consists of Otis Williams, Ron Tyson, Terry Weeks, Larry Braggs, and Willie Greene Jr.

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The Four Tops

One of Motown’s most consistent hitmakers and its longest lived lineup (40 years), the Four Tops are among the most stable and consistent vocal groups.

They helped define the Motown sound with hits like  “Baby I Need Your Loving,”“ I Can’t Help Myself (Sugar Pie, Honey Bunch),” “It’s The Same Old Song,” “Reach Out I’ll Be There,” “Standing In The Shadows Of Love,” “Bernadette,” “Walk Away Renee,” and “If I Were A Carpenter,”  “Ain’t No Woman (Like The One I’ve Got),” “Are You Man Enough (from the movie Shaft In Africa),” “Sweet Understanding Love,” “One Chain Don’t Make No Prison” (later covered by Santana), “Midnight Flower” and the disco perennial “Catfish.”

In 1990, with 24 Top 40 pop hits to their credit, the Four Tops were inducted into the Rock and Roll Hall of Fame.

Artist Website: http://thefourtopsenterprises.com/

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Kip Moore is the ultimate road warrior, having spent the past six years traversing North America from top to bottom, building one of the most dedicated, loyal fan bases in the process, and becoming a festival favourite. Armed with a live show that mixes the bombast and wild desperation of Bruce Springsteen with the rootsy stomp of Merle Haggard, Kip has a sound built on space and swagger. A sound that bangs as hard as it twangs, caught somewhere between blue-collar country music and stadium-sized rock & roll.

With multiple American Country Award, CMT Music Award and CMA nominations under his belt, and songs from his sophomore album Wild Ones now a staple across US country radio, Kip will be gearing up to top his explosive main stage CMC Rocks set, which was a highlight of this year’s proceedings.

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Artist Website: https://www.kipmoore.net/

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General Admission: $249. Reserved Seats: $599. Preferred Seats: $849. Platinum Seats: $1399. GA Season passes reflect Holiday Pricing Special and are only good for the limited time only. To purchase tickets, visit www.innsbrookafterhours.com. Tickets are from limited inventory and subject to availability.

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