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Early Bird GA Tickets 6/19-6/26 just $15

Tickets: $15 – $99

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GA Advance (Limited tickets available): $15 (early bird price for 7 days) 2nd Tier: $20. Wk before show: -$25, gate $30.

Sublime

http://sublimewithrome.com/

One day, about two years ago, Bud Gaugh, the drummer for Sublime, one of the most beloved and commercially successful rock bands of the ’90s, received a call from Eric Wilson, Sublime’s bassist and Gaugh’s long-time but somewhat estranged friend. Wilson said he had been working with a kid he thought Gaugh should meet — a 20-year-old singer and guitarist named Rome Ramirez. “The call came out of the blue, we hadn’t talked in a couple of years,” Gaugh recalls. “Eric said, ‘This guy Rome can play guitar like a mofo and he’s got a platinum voice.’ It really struck me because those are almost the exact same words he used before he introduced me to Brad.”

“Brad,” of course, is Bradley Nowell, the singer and guitarist who joined childhood friends Wilson and Gaugh in Long Beach, CA, in 1988 to form Sublime, which, over the course of its three albums — 1992’s double-platinum 40oz. to Freedom, 1994’s gold Robbin’ the Hood, and 1996’s 5x-platinum self-titled major-label debut — delivered an irresistible blend of ska, reggae, punk, surf rock, and hip-hop that captured the imagination of fans around the world, and has now sold more than 17 million albums worldwide. Nowell died of a heroin overdose two months prior to the release of Sublime, which reached No. 13 on the Billboard Top 200, sold six million copies, and spawned such hits as “What I Got,” “Santeria,” and “Wrong Way,” which remain radio staples across with country. (“Date Rape,” from 40oz. to Freedom, is the all-time most requested song on influential Los Angeles rock radio station KROQ, which has listed Sublime as its No. 3 act in its annual “Biggest Bands” list for the last six years.) Profoundly affected by Nowell’s death, Sublime’s two surviving members never considered performing the group’s music live without their frontman.

It took the talent and enthusiasm of Rome Ramirez — a genial, now 23-year-old newcomer and gifted songwriter and musician — to serve as a catalyst to bring the two old friends back together. Growing up in the Bay Area, Rome was introduced to Sublime’s music by his uncle, and credits the band with inspiring him to first pick up a guitar and learn to play at age 11. “It was the first time I ever really wanted to make music as opposed to just listen to it,” he says. Rome began singing and writing songs as a teenager and was playing solo gigs around the Bay Area when he met Wilson (the two were recording at the same studio).

After several months jamming out Sublime songs with Rome, Wilson made that call to Gaugh. Now Gaugh, Wilson, and Rome have formed Sublime With Rome, which will release its debut album, Yours Truly (produced by Butthole Surfers guitarist Paul Leary), and entertain fans with a set-list of new songs and Sublime favorites when the band hits the road over the next year.

The trio knew they were on to something special after performing their first big show with Rome at Cypress Hill’s Smokeout Festival in October 2009 for 20,000 people, followed by a sold-out tour in March 2010 that inspired spontaneous sing-alongs and writhing mosh-pits at every stop. “When we walked out on stage, there was a feeling of excitement,” Gaugh recalls of Smokeout. “People were cheering and waving their arms and shouting ‘We love you.’ It took me by surprise. I didn’t realize how emotional I was going to feel. I had to pause for a minute to settle down. My heart started racing and tears started welling up in my eyes because I was thinking of Bradley. Then we got started and it was just really cool. Seeing the smile on Eric’s face, and his excitement over playing this music again, that was enough for me. I knew then that it was definitely coming from a good place.”

It was a similar feeling, Rome says, when Wilson introduced him to Gaugh at Gaugh’s home eight months before. The trio set to work jamming, playing songs by their common favorites, the Misfits, Circle Jerks, Bob Marley, and Led Zeppelin, before getting into such Sublime songs as “What I Got,” “Don’t Push,” “New Thrash,” and “Garden Grove.” “It was awesome,” Rome says of the jam session, which lasted 10 hours. ‘Like I always say, ‘If nothing else, at least I got two best friend brothers talking to each other again.’ That’s priceless.”

“It felt really good to play the songs,” Gaugh says. “I feel like we are paying homage to the music that we created and to the legacy of the band in the simple fact that there’s a need for this music to continue to be heard by new generations.” Seeing Rome’s enthusiasm was a huge inspiration for both him and Wilson. “You can’t fake it in this business,” he says. “It’s art. It has to be real and true otherwise nobody will believe it. I saw that desire to create something real in Rome’s heart.”

The result is Yours Truly, which both picks up where Sublime left off and builds on what they’ve accomplished, thanks to the fresh infusion of energy from Rome, who brought Gaugh and Wilson lyrics, melodies, and chords he’d written over the past few years. Songs like first single “Panic” (already a Top 5 Modern Rock hit), “Take It Or Leave,” and “You Better Listen” are reminiscent of vintage Sublime, while songs like “Lover’s Rock” and “Murdera” pick up on the reggae dancehall style the band had begun exploring in 1996. “Paper Cuts” has a distinct punk flavor, while “PCH” and “Spun” have more of a rock-pop feel. “The songs we wrote in 1996 were on the cusp of where we were intending to go, but our musical abilities just weren’t up to speed yet,” Gaugh says. “So that was a jumping-off point. We also had to consider what has happened in music since then. Hip-hop has changed, rock has changed, and now there are all these other bands who have a similar sound to us. So we thought, ‘What are our influences now? We’ve gone through Latin and African jazz, blues, and psychedelic music. Where would we be right now if all three of us were still together?'”

Pressed to describe Yours Truly, Gaugh says, “It’s just good music. It’s got a good feel in the beat. Rome’s lyrics are relatable and written about real-life situations. I’ve been told on a number of occasions, ‘Wow, your music really helped me get through a tough time,’ so I think people identify with it. That’s the great thing about our fans. I love them to death because they are some of the craziest music-loving people in the world. They take ownership of it, like, ‘This is my band. This is my music.'”

Of course, not far from everyone’s mind was what Bradley Nowell might think. “I just have to refer back to that moment at Smokeout when I looked across the stage and saw an ear-to-ear grin on Eric Wilson’s face and thought, ‘Why wouldn’t Brad want this? Why wouldn’t Brad want his two best friends to be loving each other and performing the wonderful music that we created together on stage?’ That’s what I think he’d think.”

Rebelution

http://www.rebelutionmusic.com/

Formed in Santa Barbara, California by a group of college music students, Rebelution was built from diverse musical backgrounds united by a shared passion for reggae. Launched in 2004, the group spent a couple years playing around their home base, offering a breezy fusion of roots and rock that immediately set the group apart from acts such as Sublime and Long Beach Dub All-Stars. In 2006 they made their debut with a self-titled EP, while 2007 saw them hit with their debut album Courage to Grow. Their 2009 follow-up, Bright Side of Life, topped Billboard’s Top Reggae Albums chart while 2011 saw them cross over into electronica with their Remix EP. Peace of Mind arrived in 2012 with the versions Peace of Mind: Acoustic and Peace of Mind: Dub following later in the year, the latter remixed by the Easy Star All-Star’s Michael Goldwasser. Two years later the group landed on Goldwasser’s Easy Star label with the album Count Me In. ~ David Jeffries, Rovi

Mickey Avalon

http://www.mickeyavalon.com/

Mickey Avalon’s life story plays out like an episode of VH1′s ‘Behind The Music,” marred by personal tragedy, triumphs and immense pain. Using his life experiences as fuel for his intense rhymes, Mickey Avalon is now inviting listeners to step into his world of debauchery with the release of his sophomore studio album,Loaded, on April 24th, 2012.

Avalon’s back-story begins on the streets of Hollywood, California.  Raised by his heroin-addicted father, he began selling pot at a young age, a trade he acquired from his mother. In an attempt to clean up his act, Mickey converted to Orthodox Judaism in his late teens, an effort that didn’t last due to constant family tragedy, such as his father’s death in a tragic drunk driving accident.

By his early 20s, Mickey had married, had a daughter, and moved out of California, relocating to Portland, Oregon.  The serine surroundings of the Pacific Northwest couldn’t hide Mickey from his past for long, as his drug addled Hollywood lifestyle caught up with him in the form of an uncontrollable heroin addiction.  As his life neared rock bottom, Mickey found himself broke, divorced, and turning to prostitution, just to support his smack habit. With a desire to once again get his life back on track, Avalon moved in with his sister, and the pair set out on the road to recovery. Tragedy struck again when his sister relapsed, and died from a heroin overdose.

After the deaths of both his father and sister, Mickey decided that he wanted more out of life, moved back to Los Angeles, and chose to make one final attempt to clean up his act.  Shortly after his return, Mickey was befriended by ex-MTV VJ Simon Rex (aka Dirt Nasty), who encouraged Avalon to pursue his passion of hip-hop and even collaborated with him on some tracks. At the time, Avalon was staying in a sober living facility and had a strict curfew, so Dirt Nasty began passing out Mickey’s demo at Hollywood clubs, which helped Mickey develop a following among fans of the Los Angeles nightclub scene.

As Mickey’s popularity grew, he began to sell out clubs throughout California with his legendary live show. Soon after Interscope Records took notice of the guerilla promotions tactics and signed Avalon to the label in 2005. Through Interscope, Avalon released his now classic self-titled debut album, which showcased his unique rhyming style and indulgent lyrics. Inspired by his experiences on the streets with drugs and prostitution, the raw honesty of his songs immediately resonated with audiences. Fan favorites “Jane Fonda,” “Mr. Right” and “My Dick” quickly spread across the internet and mainstream radio, turning Mickey Avalon into a household name. Avalon quickly took to the road and was performing sold-out shows alongside the Red Hot Chili Peppers, Travis Barker and DJ AM, Snoop Dogg, Stephen Marley and Slightly Stoopid.

Mickey’s contagious demeanor and unique writing style has made him a hot commodity in the music industry as hip-hop artist Young Jeezy and producer Jermaine Dupri jumped at the chance to collaborate with him for a Boost Mobile commercial.  Avalon then joined forces with rock acts the Happy Mondays, and Unwritten Law, with whom he co-wrote the radio hit “Shoulda Known Better”. His music has been featured in countless movies and television series including the HBO’s series Hung, the animated series American Dad, the Duke Nukem Forever video game, “Harold and Kumar Escape From Guantanamo Bay” and most recently in the trailers for the Cameron Diaz film “Bad Teacher.”

Free after years of industry red tape, Mickey Avalon has returned with a brand new album Loaded, which takes fans on a journey through the seedy streets of Hollywood. Mickey immediately launches into his salacious exploits with “Rock Bottom” an anthem for his riotous self-destructing behavior, and continues the depravity alongside Unwritten Law’s Scott Russo on the album’s lead single “Girlfriend”, an ode to having friends with benefits. Avalon’s diversity allows him to slip into sleek electro-synth beats (“I’m Hot”), playfully spit intricate rhymes over a classic hip-hop beat (“More Junk”), and rock out while letting it all hang out (“Tight Blue Jeans”).

Loaded is the soundtrack to one the most debauched tales of rock ‘n’ roll. Filled with excess and exploding with sexual energy, Avalon’s music embraces decadence and celebrates its hedonistic glory. Mickey Avalon simply appeals to voyeuristic side of all of us that want to indulge, let loose and get Loaded.

Early Bird GA Tickets 6/10-6/17 just $10

Tickets: $10 – $49

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The way Corey Smith sees it, he owes a debt to his fans. And it’s one he is determined to repay with his 10th album, While the Gettin’ Is Good. The project, released on Sugar Hill Records, marks the first time that the singer-songwriter, a wildly popular touring artist who has produced all of his past efforts, has turned over the reins to a bona fide country music producer in Keith Stegall. The result is Smith’s most ambitious record yet, as well as a return on the investment made by the fans who have supported him since his first album in 2003.

 

“A lot of start-up acts are using fan-funded programs to finance their record. That’s what my whole career has been: Kickstarter before Kickstarter. When my fans show up and buy a ticket and a t-shirt, they’re investing in what I’m doing,” says Corey. “It’s my responsibility to invest it wisely and give them the best album I can. That’s what led me to While the Gettin’ Is Good.”

 

It’s also what led him to Stegall, who has produced such radio heavyweights as Alan Jackson and Zac Brown Band. It was the producer’s track record, country-music experience and easy-going nature that convinced Corey that he was the man to refine his signature acoustic sound. “Keith knows how to make country records,” he says, “but I wanted to make my kind of country record and he understood that immediately. He simply wanted to get us comfortable in a studio environment so we could do what we do onstage every night. For me, it was very liberating to be able to focus solely on performing and not be burdened by a lot of the decision-making and drilling down that goes into producing. It was the first time I was able to go into the studio and focus on what I do best. Keith was there to handle the rest.”

 

A collection of 12 songs, While the Gettin’ Is Good was written entirely by Corey. As such, it’s a deeply personal album, one that explores themes of love, hometown pride and even personal discovery. A close relative inspired one of the record’s highlights, “Bend,” about learning how to adapt to what life throws at you.

 

“I wrote ‘Bend’ about a family member who was struggling with issues and I realized through writing this song that I was also talking about myself at the same time,” says Corey, who scored a Top 20 album with The Broken Record in 2011. “So that song really hits home.”

 

Still, the album stands as the Jefferson, Georgia, native’s most upbeat. Especially on the nostalgic “Pride,” a bouncing look back at Corey’s high school days, from pep rallies to game day. His children attend the same school he did and together they often attend high-school football games, where the one-time social studies teacher sees friendly faces from his past.

 

“I remember sitting up in the stands going, ‘Man, this is so cool.’ I’m so glad we decided to stay here and let my kids be a part of this tradition,” he says. “‘Pride’ summarizes who I am and even how my career has developed.”

 

Likewise, album opener “Don’t Mind” coasts along with a New Orleans vibe, full of fiddle and clarinet. A fun, happy song, it sets the tone for the record and pays tribute to the things we all gladly bear when we’re in love. It also epitomizes Corey’s current worldview.

 

“I have a 2006 truck that runs great, so I don’t need a new truck. I don’t have much time to get on a big lake, so I don’t need a bass boat. I could have bought some really cool stuff with the money that I spent on this record, but I didn’t, because I’m happy,” he says. “It’s a privilege to be able to do something like this, finance it myself and not have anyone telling me how my music needs to sound.”

 

Nonetheless, Corey has hit on the perfect song for today’s country radio: the approachable ballad “Taking the Edge Off.” It’s a road-weary travelogue, like Bob Seger’s “Turn the Page” or Zac Brown Band’s “Colder Weather,” about the loneliness of touring and how people who travel combat such feelings.

 

“It captures a certain mood that we go through, especially in the winter. It’s really a grind, it gets cold and lonely, and you’re taking the edge off with a drink,” he admits. “I remember being in Omaha and it was cold as hell. I worked on that tune throughout the day and night there and every time I hear it, I am transported back to that time.”

 

Now, however, Corey is focused squarely on the future. As the new album title suggests, he’s ready to make a determined grab at country’s brass ring while the gettin’ is good. And with Keith Stegall and Sugar Hill Records behind him, the gettin’ has never been better. As the perseverant Corey is fond of saying, “There is more than one way to skin a cat in country music.”

 

“I always dreamed of being able to make a record like this. I wanted to explore all the possibilities of a song and work with a producer who was among the best and who could teach me,” he says. “What makes me different is that I write all these songs, and I write them from the heart. I’ve lived them.”

 

Which is exactly why his fans are willing to go along for the ride and invest so much in an artist who speaks to their way of life. To Corey, While the Gettin’ Is Good is his way of opening up his heart, along with his wallet, and paying them back.

 

“I’m going to take the goodwill they’ve given me and continually invest it into making better and better records that reflect who I am and my vision,” he says. “They’ve entrusted me with a lot, so I’m trying to be the best steward I can be.”

http://www.coreysmith.com/

Early Bird GA Tickets 6/10-6/17 just $10

Tickets: $10 – $99

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Grace Potter will perform with Trampled By Turtles on Wednesday, September 30. Tickets go on sale on Wednesday, June 10. Three years after the release of her last album, The Lion The Beast The Beat, Grace Potter is back on the scene. Potter will release her solo debut, Midnight, in August. “Alive Tonight,” the album’s first single, came out in April and is getting airplay around the country. During the upcoming tour, Potter will share the stage with the Rolling Stones, Neil Young and The Black Keys. Trampled By Turtles, the acclaimed bluegrass/folk-rock band from Duluth, Minnesota, will open for Potter.

http://gracepotter.com/

http://trampledbyturtles.com/

Public Onsale: 05/20/15 @ 10am. General Admission: Starts at $20

Tickets: $20 – $99

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Official Site: http://www.willienelson.com

Born April 30, 1933, the iconic Texas singer-songwriter Willie Nelson has earned a permanent position in pop music’s pantheon with unforgettable songs that combine the sophistication of Tin Pan Alley with the rough-and-tumble grit and emotional honesty of country music. His six-decade-spanning catalog includes more than 60 studio albums in addition to live recordings, soundtracks, collaborations with other artists and more. A songwriter of rare and precise elegance, Willie brought the worlds of pop and country together on the radio in the early 1960s penning evergreen classics like “Crazy” (Patsy Cline), “Hello Walls” (Faron Young), “Funny How Time Slips Away” (Billy Walker), “Night Life” (Ray Price) and others. By the mid-1970s, Willie Nelson had become an indelible superstar in his own right, as prime mover of a revolutionary and thriving outlaw country music scene. The Red Headed Stranger, Willie’s first album for Columbia Records in 1975, catapulted the artist into the pantheon of archetypal popularity, making his name familiar in country and city households across America and around-the-world.

A seven-time Grammy Award winner, Willie Nelson has received numerous accolades including American Music Awards, Academy of Country Music Awards, Country Music Association Awards and others. He is a co-founder of Farm Aid, an annual series of fundraising events which began as an all-star benefit concert in 1985 to raise money for American family farmers. He continues to lobby against horse slaughter and produces his own blend of biodiesel fuel. An old-school road-dog troubadour with new school wheels, Willie plays concerts year-round, tirelessly touring on Honeysuckle Rose III (he rode his first two buses into the ground), taking his music and fans to places that are always worth the ride.

In February 2012, Willie Nelson entered into an historic new record deal with Legacy Recordings, the catalog division of Sony Music Entertainment, marking a label homecoming for Nelson, who, from 1975-1993, had cut a phenomenal string of top-selling singles and albums for Columbia Records, beginning with 1975’s seminal smash Red Headed Stranger. New titles by the artist under the Legacy imprint will include newly recorded songs and performances as well as archival releases, personally curated by the artist, drawn from all phases of his career including his recordings for RCA Records and others.

As curator of his historic catalog, Willie is working with label archivists to select recordings, including previously released and previously unreleased tracks, for release in newly compiled collections and as bonus material on new editions of existing titles, providing fresh perspective and context to the artist’s profoundly influential and successful career.

Heroes, Willie Nelson’s first release for Legacy, proved a a hit with fans, press and radio, where the record spent five consecutive weeks at #1 on the Americana Radio Chart. Released on May 15, Heroes debuted at #18 on the Billboard 200 best-selling albums chart–Willie’s highest number on the Billboard 200 since Always On My Mind hit #2 in 1982–while opening at #4 on the Country Albums chart and #15 on the Top Digital Albums chart.

Heroes is essential Willie Nelson, a seamless collection of top-flight pop-country songs (including covers from the 30s and 40s and new songs by Willie, his sons, Lukas Nelson and Micah Nelson, and more) performed with the easy-going homespun warmth and honesty that have become his trademarks. Heroes featured Willie with an all-star roster of guest artists including Merle Haggard, Snoop Dogg, Kris Kristofferson, Billy Joe Shaver, Sheryl Crow, and Jamey Johnson as well as Willie’s sons, Lukas Nelson and Micah Nelson. Produced by Buddy Cannon, Heroes was mainly recorded by Steve Chadie at Pedernales Recording Studio in Austin, Texas (with three tracks–“Hero,” “Roll Me Up and Smoke Me When I Die” and “Come On Back Jesus”–recorded by Butch Carr at Cannon Productions and Sound Emporium Recording Studios in Nashville).

The nation’s music press was unanimous in its praise of Heroes with Rolling Stone luxuriating in the “stark beauty of solo songs like the weeper ‘That’s All There Is To This Song'” while People magazine, giving the album 3.5 out of 4 stars, marveled as “The iconic outlaw saddles up with some worshipful fans… showing his eternal cool….” The Huffington Post noted that Heroes is “…as spirited as it is poignant” while the albums music “…Speaks of his spontaneity and his willingness to record with whomever he desires.” The San Antonio Current concurred with the simple remarkable observation that “Willie Nelson gets cooler and edgier with time.”

* * * * *

Legacy Recordings launched a series of events celebrating Willie’s 80th birthday with the release of Let’s Face The Music And Dance, a collection of new studio performances by Willie Nelson and Family, on Tuesday, April 16, 2013.

The album also celebrates more than forty years on the road and in the studio with Family, the band he formed with his sister, Bobbie Nelson (on piano), drummer Paul English and harmonica shaman Mickey Raphael–their name taken from his 1971 studio album Willie Nelson & Family. Rounding out the Family line-up on Let’s Face The Music And Dance are Billy English (Paul’s brother) on electric gut string and snare drum, Kevin Smith on upright bass and Jim “Moose” Brown on B-3 organ with Willie’s son, Micah Nelson, adding percussion on select tracks. Willie Nelson and his guitar, Trigger, appear on all the songs.

A collection of deep pop country repertoire classics performed with transformative patented ease by Willie Nelson and Family, his long-time touring and recording ensemble, Let’s Face The Music And Dance was recorded at Pedernales Recording Studio in Austin, Texas, produced by Buddy Cannon and mixed by Butch Carr at Budro Music Repair Shop in Nashville, Tennessee.

Compiling the repertoire for Let’s Face The Music And Dance, Willie chose a range of pop, rock, jazz and country classics drawn from the 1930s (“Let’s Face the Music and Dance,” “Walking My Baby Back Home”), 1940s (“You’ll Never Know,” “I Wish I Didn’t Love You So,” “Shame On You”) and 1950s (“Matchbox”) covering evergreen songwriters Irving Berlin, Mack Gordon, Carl Perkins, Frank Loesser, Django Reinhardt and Spade Cooley, among others. Willie turns in a beautiful new version of his composition “Is The Better Part Over,” a song he introduced on 1989’s A Horse Called Music.

In September 2013, Legacy Recordings will release To All The Girls…, a collection of newly recorded duets between Willie Nelson and a dream list of contemporary pop-country women singers including Dolly Parton, Mavis Staples, Sheryl Crow, Loretta Lynn, Wynonna Judd, Rosanne Cash, Alison Krauss, Miranda Lambert, Tina Rose, Carrie Underwood, Emmylou Harris, Norah Jones, Secret Sisters, Brandi Carlile, Lily Meola, Shelby Lynne, Melonie Cannon and Paula Nelson.

The artist’s third full-length album of new music to be released in a mere 16 months, To All The Girls… celebrates Willie’s 80th birthday year with a selection of profoundly moving and heartfelt performances of classic songs from America’s country, pop and gospel repertoire and more.

For this memorable occasion, Willie wears fashion designer John Varvatos on the To All The Girls… album materials. Varvatos is also featuring Willie along with his two sons, Lukas Nelson and Micah Nelson, in the brand’s Fall 2013 campaign, which includes striking black and white images and a short film lensed by Danny Clinch.

2013 is proving a banner year for the pop country patriarch whose rollicking memoir, “Roll Me Up and Smoke Me When I Die – Musings from the Road,” published by HarperCollins in May 2012, is a New York Times bestselling non-fiction title.

At 80 years young, Willie Nelson has recorded and released not one, but two complete albums of new studio music this year. Both To All The Girls… and Let’s Face The Music And Dance are essential additions to the archetypal outlaw country artist’s catalog of timeless recordings.

WillieNelson.com

LegacyRecordings.com

http://www.tylerfarr.com/

Suffer In Peace

“Maybe I’m addicted to pain…What used to be, what’s gone.
There’s definitely some darkness,
but it’s hard to explain, though everybody knows it.
“Probably I’m a hopeless romantic,
but sex can make that complicated, too.
“You know you want to be in love, but that’s a tricky thing to find.”

Tyler Farr’s a thinker, an observer of the human condition, a man in the middle of a surging testosterone country movement in today’s Nashville who insists on digging a little deeper, getting a little realer and owning how hard it can be. On Suffer In Peace, the son of a Garden City, Missouri farmer opens his veins and examines the pain that comes from being truly engaged with living.

From the wracked hangover of what you don’t see coming in love “Withdrawals,” the smoky acoustic “I Don’t Even Want This Beer” or the spare run-from-the-memories title track, the classically-trained vocalist knows that love isn’t just hard, it’s risky. With a resonant tenor that has a powdery bottom and a warm center, Farr heats up difficult emotions and peels back what most men barricade behind bravado.

One listen to “A Guy Walks Into A Bar,” Suffer’s lead single, is to hear the tension, the exhaustion and the devastation that comes with a stiff upper lip. It falters just a bit, buckles and throws unspeakable pain wide open without going for melodrama as he transforms the joke into a punchline that is the hero’s life.

“I could sing you heartbreak ballads for over an hour and a half,” laughs the easy-talking Farr. “I have a lot of heartbreak ballads, because I think there’s a lot more heartbreak than happily ever after… But happily ever after is still what keeps you going after it.”

Not that he’s looking to throw an industrial strength pity party. From Craig Wiseman’s thumpin’ “C.O.U.N.T.R.Y.,” the hillbilly word-tumble a la Bob Dylan’s “Subterranean Homesick Blues,” straight through to “Damn Good Friends,” which features tour mate and pal Jason Aldean trading verses celebrating good ole boy’s hanging tough, Suffer is also the gusto of cold beer after a hard day’s work, the notion of raising Hell and chasing the night and the grass roots eroticism that happens when you lose the posturing.

Farr evokes old school rednecks, hellions and honky-tonkers like the Hank Jr of Major Moves and 5-0, the John Anderson of “Swingin’” and “Let Somebody Else Drive,” Gary Stewart in his prime and Keith Whitley channeling Lefty Frizzell in “I Never Go Around Mirrors.” Confessing, “I chew tobacco, I don’t smoke. I drink whiskey ‘cause I like it,” he suggests his vices qualify him straight up and honest.

But his affinity for hard country and honky-tonk comes from an even more bedrock place: his parents. Following behind his father’s tractor raking the hay on the 150 acres he raised cattle on, Farr was basted in Ronnie Milsap, Conway Twitty’s “She’s Got A Single Thing In Mind,” Vince Gill’s I Still Believe In You and Sammy Kershaw’s Politics, Religion & Her – and his Mom, an aspiring singer who loved Dan Seals’ “Bop,” ended up married to George Jones touring guitarist, which pulled Farr right up to the bumper of one of country’s greatest raw lightning vocalists, as well as being exposed to Merle Haggard, Vern Gosdin, and Gene Watson.

He also found his own way to the party. “Carol, our bus driver, smoked Marlboro Reds while she was driving ‘cause that’s how we do… and I’d go to the back of the bus where there was this older girl who was just built, and who had a boom box she’d play Tim McGraw’s Not A Moment Too Soon on, and that was pretty good for a young high school kid.”

Farr’s way was paved with the prestigious OAKE National Choir and years of formal voice training. But the high road didn’t appeal. At 21, like so many hard-scrabble dreamers, he made his way to Nashville to try his hand at being a star.

“I saw guys who’d been there for ten years and nothing had happened,” Farr said of the sobering reality. “I got there, thinking I’ve got an album… I’m gonna be a star. It cost me $25,000. It was a total mess.

“You start to realize: it doesn’t matter how good, or what you’ve got. There’s just so much more to it.”

Farr didn’t know, beyond what he’d picked up from his stepfather. But he was determined. “I got a job at Tootsies, first day passing out flyers. I was a bar back. I’d pull sets playing for tips when they’d let me… and I swear that was the best hamburger in the South!”

In true country boy can survive spirit, while Farr was waiting on his shot, he did what was necessary. Physical labor, parking cars, short order cooking, landscaping, singing demos, construction work, recreational therapist, working in a halfway house for children, “which was rough; we’d find suicide notes in tissue boxes, razor blades hidden under chair cushions.”

And he kept pulling sets at Tootsies, playing for tips. “Four, five sets a night.  People loved it. That’s where I really honed in on what I wanted to do – playing covers, classic country, ZZ Top and Lynyrd Skynyrd and trying to write songs.

“We figured out how to get out of town, too. Whiskey River in Valdosta, Georgia, Rumors in Atlanta, all over Florida and the Southeast. I’d play Tootsies three, four nights a week, then take off on weekends.”

Punching it out on the streets and in the honky-tonks. It’s where the survivors and the-won’t-go-homers refuse to die. Every now and then a kid with talent rises from the herd.

Fate stepped in. Country-rapper Colt Ford was looking for a background singer. Farr was looking to make it happen for himself. “Colt called me personally; he said, ‘I know you’re trying to make it. Take the job. I’ll let you open for me.’”

Just as importantly, the gig opened doors and Farr’s eyes.

“I learned a whole lot that year out on the road, singing ‘Dirt Road Anthem’ before Jason (Aldean) ever cut it. Dreaming every damn night, learning the ropes.”

As time passed, Farr met Stephanie Cox, his publisher, “and someone who believed in me enough that I didn’t give up when other people might have.” Jim Catino, now his producer, took the roughneck with the golden pipes to RCA Nashville. “They didn’t know what it was, but they thought I had something. Beyond being real, I think it made me a mystery.”

They signed the hard singing songwriter with the nuance in his midrange.

If he wasn’t like all the other kids, he was an awful lot like the fans, the working people who turn out for country shows. With little fan fare, Redneck Crazy was a #2 Billboard Country Album debut and an even more impressive Top 5 Billboard Top 200 Album debut, en route to yielding a pair of #1 hits in the title track and “Whiskey In My Water.”

But Farr was just getting started. He toured incessantly: Florida Georgia Line, Luke Bryan, Lee Brice, Jason Aldean, festivals, dive bars. A working class country singer, he was trying to get people to hear his songs. Ultimately his debut sold well over six figures, but more importantly, the time staring the fans in the face solidified his take on what he wanted his kind of country to be.

“I don’t think real life is flowers and sunshine – and I didn’t have a white picket fence in front of a little house,” he explains. “My parents split up. My Mom was married four times, so I’m used to people leaving.

“I’ve been through a lot… but so have most people. And I want to be honest. I’d be lying if I made a record that’s all girls and love and perfect ‘cause that’s not real. I’d be lying to myself and to the people who look for their life in these songs…

“I wrote more songs on my first album, but in the end, while I had plenty of songs written, people made much better songs available to us. Songs that said what I wanted to say… that maybe said it better. And some of my songs I know are hits, but I want an album when you put the songs together, it fits. To me, Suffer does.”

Certainly there are emergent themes. Pride in who we are charges “Why We Live Here,” “Damn Good Friends,” “C.O.U.N.T.R.Y.” and “Raised To Pray,” while the notion of addiction being the reality when facing love gone bad or just plain gone offers a metaphor to harbor “Withdrawals,” “I Don’t Even Want This Beer,” “Suffer In Peace” and “A Guy Walks Into a Bar.”

It is the good; it is the bad. Mostly, it is the real.

“I think most of us are fighting the good and the evil sides of who we are. I’m a good person, but I genuinely like people. You get out having fun, one thing leads to another, you flirt with that line and it can get real thin.

“That’s the truth about life. There’s always that other side, and it’s not black and white. It’s not that easy. I’m a simple person, but inside, I might be complicated.”

Farr voices trails off. Like he said, it’s not that easy, but the things that endure never are. Not slick, not fast, not obvious, he harkens back to a time when country singers raised hell and went to church, worked hard and played harder. They fell in love, but faced profound grief when it fell apart – and maintained their dignity no matter what.

“If Suffer In Peace does anything, I hope for people who don’t have perfect lives, they can go, ‘Hell, yes!’ Because life is messy and hard to trust sometimes, but it’s deep and it’s intense – and if you do it right, you get to experience it all.”

http://parmalee.com/

From this tiny town that’s home to a gas station, two blinking yellow lights, and a small tin- roofed barn dubbed Studio B, country rockers Parmalee launched their long journey to Nashville. The near-fatal robbery Parmalee experienced after a show would have destroyed most bands. But brothers Matt and Scott Thomas, cousin Barry Knox and longtime friend Josh McSwain didn’t call it quits. Instead it reinforced their intense motivation and dedication to one another and to their determination to succeed.

Each obstacle that delayed Parmalee’s arrival to Nashville was an extra mile that allowed the groundbreaking sounds of artists like Jason Aldean and Eric Church to pave the way for the worlds of country radio and Parmalee’s brand of country music to meet at the perfect crossroad.

Parmalee’s country rock sound has its roots in the bluegrass, traditional country, southern rock and blues covers the guys grew up hearing their families play.

Matt and Scott Thomas grew up near Greenville, NC watching their father Jerry front a popular local southern rock blues band. The boys watched and learned, picking up their own instruments and jamming along with their dad’s band. From this they learned how to integrate their own style into the songs they were playing. Barry Knox, who played drums for the church choir, loved what his cousins were doing and soon joined them.

All that practice paid off one night when Matt and Scott, then teenagers, snuck into a club to watch their father perform. “The guitar player got too drunk before the gig and didn’t show,” Matt explains. “I knew all the songs so my dad called me on stage. I was in the band from that point on.” Scott replaced the drummer, and Barry learned bass in order to secure his spot in the band. The line-up became the newly minted The Thomas Brothers Band.

The Thomas Brothers Band cut their teeth on the local club circuit and would often share the same marquee with a cover band that starred their friend Josh McSwain on guitar and keys. Josh’s upbringing paralleled Matt, Scott and Barry’s. Josh also traveled and played with his father who was in a bluegrass band called “Get Honked.” A fan of Josh’s musical prowess, Matt invited Josh to play with Barry, Scott and himself. The foursome clicked immediately on stage. Their first gig was held at local watering hole, Corrigans, near East Carolina University where the guys went to school. From this moment in 2001 Parmalee was born.

The band set up camp every Tuesday and Thursday evening in the Parmele, NC barn they named Studio B after its original builder Mark Bryant. They added an extra “e” to the band’s name to make it easier for those outside the area to pronounce it. “Tuesdays and Thursdays were the only nights we could all get together and rehearse – the rest of the time we were each out working in order to fund Parmalee,” Matt says. “Every person in town could hear us practice in the barn, so we also had to stop at 11 p.m. to be considerate of the neighborhood.”

The residents of Parmele weren’t the only ones within earshot. The band developed a devout regional following based on the intensity of their live shows. But, the guys knew to turn their dreams into reality they would have to leave North Carolina. Their journey took them all over the country including New York, Los Angeles, and Atlanta as they tried to find their musical direction. All of the producers, managers, and label representatives said the same thing: “you guys need to be in Nashville.”

Matt, Barry and Josh parked their RV, which doubled as their studio, in the Comfort Inn parking lot on Nashville’s famed Demonbreun Street near Music Row. For the next month the parking lot was home and office. They began writing new material and networking. Their new connections led to a co-writing session with David Fanning, who is part of the celebrated production team New Voice with Kurt Allison, Tully Kennedy and Rich Redmond. “Going into these appointments, you never know who you’re going to meet or how it’s going to go,” Matt explains. “But when I wrote with David, we hit it off.”

During the same weekend as the infamous Nashville flood, Parmalee and Fanning wrote “Musta Had a Good Time” – even recording the demo in the RV’s recording “studio” – oblivious to the devastation that was happening to the city around them. After the “Flood Sessions,” Parmalee went into the studio with New Voice to record some sides, including “Carolina,” and “Musta Had a Good Time.” NV played the songs for BBR Music Group President/CEO Benny Brown who was impressed and asked to see a showcase as soon as the band returned to Nashville.

Parmalee put together a short tour in North Carolina to fund the trip back to Music City. But after the first show, plans changed.

After their September 21, 2010 show, Josh and Barry were packing gear in the venue while Matt and Scott were outside loading their RV when two armed men knocked on the door. The men put a gun to Matt’s head and demanded money. Shots were fired. Scott, who possessed a concealed weapons license, fired back. One of the gunmen died and Scott was shot three times. One bullet hit Scott’s femoral artery causing him to nearly bleed to death. “He bled out on the air flight to Charlotte, and his heart stopped twice,” Matt recalls. “When we got to the hospital, the doctor gave him a five percent chance to live.”

Scott was hospitalized in Charlotte, NC for 35 days – 10 of which he spent in a coma. News of the shooting spread like wildfire and the local news stations carried weekly reports on Scott’s progress. Parmalee’s fans turned out in droves to show their support. Through Facebook campaigns and benefits they raised enough money to help cover Scott’s medical bills. The Nashville community also rallied behind Parmalee donating autographed items and VIP packages to help cover Scott’s medical expenses. “We knew we had a lot of friends and fans,” Josh says. “But we found out exactly how many we had.”

By February 2011, Scott was well enough to get behind a drum kit for the first time and the band finally performed their promised label showcase. “We wouldn’t tell everybody how bad off I was because there was no way I wasn’t going to play that show,” Scott says. “I was in a leg brace, but I only had to get through six songs. Parmalee had fought for so much for so long that we decided we hadn’t come this far to stop now.” Through sheer willpower, the band nailed the set and landed a deal with Stoney Creek Records, home to ACM Vocal Duo of the Year Thompson Square and chart-topper Randy Houser.
Looking back on their experiences, the members of Parmalee have no regrets about the path they chose. “All the obstacles and craziness we’ve been through allowed us to help find our home in Nashville,” Matt says. “It took us going through all that to mold us,” Barry continues. “In Hollywood and New York we were always pushed in opposite directions. But Nashville helped us capture our sound – a sound that’s authentic to who we are as both artists and as people.”

All of Parmalee’s hard work, dedication and perseverance is paying off in a big way. Country fans voted the band’s debut single, “Musta Had A Good Time,” #1 for 4 consecutive weeks on SiriusXM’s The Highway “Hot 30 LIVE” countdown and the song became a Top 40 hit on mainstream country radio. The fun-loving party anthem has been featured in national sporting event broadcasts from the PGA to MLB. Parmalee was named a “Bubbling Under Artist” by Billboard magazine (June 2013) and one of Clear Channel’s NEW! Artists to Watch in 2013. MTV Networks also hand picked Parmalee to perform as part of its 2013 O Music Awards and the foursome recently appeared on the 4th Annual American Country Awards.

Parmalee recently made history when its multi-week #1 smash “Carolina” became the longest climbing single by a duo or group in the 24-year history of the Billboard Country Airplay Chart. Parmalee was also the first multi-member Country act to garner a #1 single on both the Billboard Country Airplay and Mediabase/ Country Aircheck charts since Florida Georgia Line. “Carolina” was recently certified GOLD (for over 500,000 in sales) by the RIAA.

Parmalee’s debut country album, FEELS LIKE CAROLINA, has earned critical praise from People, The New York Times, USA Today, Newsday, Billboard and more. In 2014, Parmalee earned a semi-finalist nod for the Academy of Country Music’s coveted “New Artist of the Year” award, a 2014 Teen Choice Award nomination for “Choice Country Group” and toured with one of country’s leading male vocalists, Jake Owen, on his Days Of Gold Tour. Parmalee’s latest hit, “Close Your Eyes,” recently became its second consecutive Top 3 hit at country radio. This year, Parmalee hits the road with Brad Paisley on his “Country Nation World Tour,” kicking off Jan. 17, 2015 in Morgantown, WV. The band’s new single, “Already Callin’ You Mine” impacts country radio on Feb. 2, 2015.

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http://www.andygrammer.com/home

From hustling street performer on Santa Monica’s Third Street Promenade to Platinum-selling recording artist, it seems like just yesterday that ANDY GRAMMER was discovered by Steve Greenberg and signed to S-Curve Records. With his 2011 self-titled debut album, Grammer became the first male pop star in a decade, since John Mayer in 2002, to reach the Top 10 at Adult Pop Radio on his first two singles“Keep Your Head Up” and “Fine By Me,” certified Platinum and Goldrespectively, selling more than 1.5 million downloads combined.

In just a few short years, Grammer has gone on to sell over 100,000 albums, play sold out venues nationwide, perform onstage with Taylor SwiftTrain, and Colbie Caillat, appear on an array of national TV shows, receive major song placements in film and TV, receive two BMI Pop Music Awards, grace the cover of national touring trade magazine Pollstar and present at their annual awards show, among many other accomplishments.

While hard at work on his highly anticipated sophomore album titled Magazines or Novels, due outAugust 5 onS-Curve RecordsGrammer released “Back Home,” a joyously anthemic track that illustrates his knack for writing infectious, relatable songs remains strong, as does his soaring voice. It also showcases the musician’s growth since his last full-length release. On the new album, Grammer reinforces his place among elite male pop artists through honest reflections of theimpressive ride he’s been on during the past couple of years.

“‘Back Home’ is about those friends, specific places and vivid memories that remind us who we are,” says Grammer, who wrote the song while far from home on a national headline tour, hoping to recapture that which is always part of him.

“Back Home”is already wowing critics and fans alike. Since its debut on RyanSeacrest.com in March, it has been said “Back Home” has “the same infectious feel as his former chart-topping singles” and it also debuted at #8 on Spotify’s Top 50 Viral streaming songs across the U.S. Since then, a lyric video for the single premiered on OK! Magazine’s website, as well as Vevo, and the official music video premiered on Billboard.comGrammer played an acoustic version of “Back Home” forPerez Hilton TV recently as well, serving as a tantalizing preview of the full album.

The son of a Grammy-nominated children’s performer Red Grammer, he often joined his dad on-stage to sing, promoting his fierce ambition to succeed. His father instilled his work ethic and taught him to respect his audience. “I saw what it took to cultivate an artistic career,” Grammer says.

By ninth grade, Grammer taught himself to write songs on his dad’s guitar, with a first group, Out of the Blue, which played his first original composition, “Doorstep,” at a battle of the bands contest.

Hearing the 1998 Grammy-winning album The Miseducation of Lauryn Hill “shifted things inside of me and I loved it,” says Grammer, who cites Jack Johnson, John Mayer, Common and Coldplay among his musical influences on his mix of hip-hop, acoustic singer/songwriters and piano rock.

His self-titled S-Curve Records debut was the product of intensive, deliberate practice and a personable performance style that involved entertaining on the streets of Santa Monica with his car battery-powered amplifier and acoustic guitar.

Songs from the upbeat “Keep Your Head Up” and the breezy “Fine by Me,” to the jubilant horns of “The Pocket” and the emotional “Miss Me,” found Grammercreating pop songs with both heartfelt, relatable lyrics and instantly hummable hooks.

His background singing on the streets helped him hone his performance style, and clued him in on audience expectations. The success of his debut album brought him to places he had dreamed of, but never expected to visit.

“I’m just trying to track down the truth,” says the L.A.-born performer, who grew up in New York. “My favorite thing is writing from a bird’s-eye view, whether it’s a break-up or a good relationship. I like to be far enough away to see the whole scope of what’s occurring.”

His platinum debut Top 5 hit single “Keep Your Head Up”was admonishing himself to maintain the faith in the wake of frustration. The groundbreaking interactive video – a partnership between VEVO, S-Curve and innovative tech company Interlude – won an MTV O Award for Most Innovative, topping Arcade Fire, Robyn and OK Go!  The clip starred The Office’s Rainn Wilson, whom Grammer calls “a gracious, amazing guy,” he met through a former roommate. “Keep Your Head Up” has been heard on several TV shows and films, including a prominent placement in the movie “Pitch Perfect” where the main characters sang the song.

Grammer’s second single off his debut album,“Fine by Me,” also sailed into the Top 10 on the Adult Pop chart and wascertified goldGrammer describes the track as “about having my heart stolen” talks about love as “an all-or-nothing emotion.” Although he initially tried to play it cool, he proceeded to “falling so hard in about four days.”

“Miss Me,”his third single off his album, climbed to #15 at Hot AC. Music videos for all three hit singles reached the Top 10 onVH1’s “Top 20” weekly video countdown.

Grammer’s 28-date Back Home Summer Tour, featuring opening acts Andrew Ripp, Kate Voegele and Brendan James, gets underway June 10 in Phoenix, and includes a June 16 date at the Hollywood Bowl, where he will perform on a bill which includes Ed Sheeran, Demi Lovato and Colbie Caillat, and a show at New York’s Irving Plaza on June 26 following his first nationally televised morning show performance of “Back Home” on “Good Morning America” that morning.

“I appreciate the opportunity to get in and move things around in people,” he says. “The best gigs take place when you can see the whole room has moved somewhere together.”

This summer, he’ll be taking those audiences “Back Home,” a place where Andy Grammer still lives in his heart, even when he’s far from there.

In the three years since Andy Grammer released his self-titled debut album, the Los Angeles native singer-songwriter known for his vibrant pop/rock/soul mix has taken an incredible journey. Emerging as one of the biggest success stories in 2012, Andy has performed on Jimmy Kimmel Live and The Tonight Show with Jay Leno (three times) while sharing the stage with Taylor Swift, Train, and Colbie Caillat. He was named the first male pop star, since John Mayer in 2002, to reach the Top 10 at Adult Pop Radio on his first 2 singles, “Keep Your Head Up” and “Fine By Me”, both certified Platinum and Gold respectively with more than 1,500,000 singles sold together.

Now, in 2014, the acclaimed musician who began as a street performer in Santa Monica, CA is preparing for the release of his second studio album – an album he has been quietly working on and pouring his heart and soul into while in the midst of touring his first record. On March 25, Andy surprised both fans and critics alike when he debuted his lead single, “Back Home”, off of his upcoming sophomore album. The anthemic feel-good jam blends his infectious pop style and an upbeat folk production, leaving summer graduates and listeners repeatedly singing along to the contagious chorus and nostalgia-induced lyrics. For Andy, “Back Home” is “about those friends, specific places, and vivid memories that remind us who we are”. It was an important song for Andy to write while he was away from home and on a national headline tour.

On April 8, Andy surprises his fans by announcing his second headline tour, the Back Home Summer Tour, in conjunction with the release of “Back Home” on iTunes. With 26 confirmed tour dates in the summer, Andy is poised to make this year another big success story.

It’s widely known that it takes 10,000 hours of deliberate practice to become an expert at anything.   Andy Grammer logged his 10,000 hours of practice on the streets of Los Angeles. With his car battery-powered amplifier and acoustic guitar in tow, Grammer managed to sing his way from the streets to the center of the music industry.

One listen to Grammer’s self-titled S-Curve Records debut and it is clear that this young man has become an expert. From the buoyant “Keep Your Head Up” to the breezy “Fine By Me,” to the jubilant horn-laced “The Pocket,” and emotionally-charged “Miss Me,” his irresistible pop songs blend heartfelt, compelling lyrics with instantly unforgettable melodies.

Even though he knew music would be his path, Grammer never assumed it would be an easy road or that he could take any success for granted. He played any corner that would have him—using every experience to hone not only his songwriting craft but to learn how to understand his audience. His desire to be heard led him to the streets: “I didn’t know what else to do. So I just went out there and started playing.”

The success of Grammer’s album would exceed even his expectations.  “That I even get to play a sold-out show where people know the words, and I’m singing about things I’m connected to is such a blessing,” he says.  “It’s the equivalent of a nine-year-old saying ‘I want to be an astronaut when I grow up’ and then getting to go to the moon. This year I’ve been to the moon, and it’s awesome.”

Grammer recorded the album in New York and Los Angeles with a collection of top producers, including Matt Wallace (Faith No More, Maroon 5), S*A*M & Sluggo (Train, Neon Trees), and Barrett Yeretsian (Christina Perri). “Basically, it was show up somewhere, really dig in with someone who’s going to help you get your creative vision across and then go somewhere else and do it again,” he says. “We got some really great stuff that I wouldn’t have gotten if I just worked with one producer.”

Every song that Grammer wrote on the album had one goal in mind: “I’m just trying to track down the truth,” says Grammer, who was born in Los Angeles and grew up in New York. “My favorite thing is to pop up above everybody and write from a bird’s-eye view. It may be about a break-up, it may be about a good relationship, it may be what we’re doing on this planet here. I like to be far enough away to see the whole scope of what’s occurring.”

While much of his music is upbeat, Grammer is quick to add that he’s hardly “pink and fluffy.” I’m not intentionally trying to be positive, I’m just trying to be real.”

In fact, Grammer wrote “Keep Your Head Up” as a letter of encouragement to himself after he’d spent an exhausting day street performing and had little money to show for it. The video–which features groundbreaking interactive technology in a partnership between VEVO, Interlude and S-Curve–won an MTV O Award for Most Innovative Video, topping entries from Arcade Fire, Robyn and OK Go!  “The most challenging part about the video was the sheer amount of times we’d have to tape each cut so people can go through the video thousands of different ways,” Grammer says. “It was crazy.”  The clip stars “The Office’s” Rainn Wilson. “He’s such a gracious, amazing guy,” says Grammer, who met Wilson through a former roommate. “He gave me tips on how to look in the camera. The video has gotten so much more exposure because of him coming and hanging out.”

Another album standout track is Fine By Me,” with its intimate lyrics, sparkling pop melody and funky undertow.  “‘Fine By Me” is about having my heart stolen,” says Grammer. “It’s a story about a girl who came into my life and just robbed it right from under me. In my experience love is an all-or-nothing emotion. We are all really protective of ourselves because we know that if we fall in love we’ll fall hard. So we kind of dance around the edges with our tippy toes in the water playing it cool. I went from playing it SO cool to falling SO hard in about four days.”

Grammer grew up in a musical household. His father, Red Grammer, is a Grammy-nominated children’s performer who gladly indulged his son’s desire to get on stage…to a point. “My dad would bring me up to sing with him. I’d just have a couple of lines,” Grammer remembers. “Afterwards, I’d say, ‘Dad, I think I’m going to need a bigger part in your show because I nailed that. Seriously, it was intense.  I can see it in their eyes, they want more of me.’ I was six or seven and he just laughed and laughed.”

His dad gave Grammer an insider’s insight into what happens off stage as well. “The most important thing I learned from my father about being a musician was the work ethic,” Grammer says. “He worked really hard, he traveled all across the country. I saw his respect for his audience, respect for himself. I saw him take days off where he wouldn’t talk to rest his voice. I saw the work it takes to cultivate an artist’s career.”

In 9th grade, Grammer picked up his dad’s guitar and taught himself to write songs. “I knew one chord, so I was like, ‘I’m going to write the coolest song with one chord ever’,” Grammer laughs. His first band, Out of the Blue, got off to an auspicious start after playing some covers as well as Grammer’s first original song, “Doorstep,” at a battle of bands contest. “We did not win…at all,” Grammer says. “I thought it was going to be a big concert moment. It was fun, but it was like, ‘This is really hard and we suck.”

Around the same time, Grammer had a musical epiphany when he heard Lauryn Hill’s seminal solo album, 1998’s The Miseducation of Lauryn Hill. “It felt like it was shifting things inside of me and I loved it,” he says. Other artists who helped him influence his sound include Jack Johnson, John Mayer, Coldplay and Common. “For me, it’s always been about a mix of hip-hop, acoustic singer/songwriters and piano rock,” he says. “I pull all those together. Each song may lean more heavily on one than the other, but they all have all three pieces.”

So that’s what he did. Now based in Los Angeles, Grammer began playing everywhere he could, including gigs at more than 100 colleges and universities, as well as birthday parties and high school dance classes. “I’d send my music to a choreographer and she would choreograph a dance, then I would come in and play while 100 high school students would dance to my music,” he says. “They’d know all my music and come to my shows. It was all really fun. Any time you make the transfer of ‘I’ve created something and I’m giving it to you and I hope it makes you happy,’ that’s good.”

Performing live remains a communal experience for Grammer, who’s toured with Train, Gavin DeGraw, Colbie Caillat, Mat Kearney, the Plain White T’s, Parachute, and Natasha Bedingfield – among others. “As an artist, you have an opportunity to get in and move things around in people. It’s one of the only times during the day where they say, ‘I’m going to open up to some other stuff here,’ and you have that hour to get in and move stuff around and put it all back together. Those are the best gigs, where you can see that the whole room has moved somewhere together.”

http://weareamericanauthors.com/

A four-piece alt-rock outfit based in Brooklyn, American Authors use their razor-sharp musicianship and natural mastery of songcraft as a jumping-off point for sonic exploration. On their debut album Oh, What a Life, singer Zac Barnett, guitarist James Adam Shelley, bassist Dave Rublin, and drummer Matt Sanchez weave in everything from hip-hop grooves and Afro-Latin rhythms to dance-pop synths and Queen-inspired vocal harmonies—all while staying true to a rock-and-roll energy and melodic sensibility that’s highly refined. Featuring their breakout hit song “Best Day of My Life” and follow-up single “Believer”,” the sunny yet soulful Oh, What a Life is also built on a magnetic sense of optimism that’s carried American Authors from their formation at Boston’s Berklee College of Music to their down-and-out early years in Brooklyn to their current status as an internationally touring band on an ever-growing rise.

“Our number-one rule when we went to make this album was that we weren’t going to hold back or limit ourselves on any one particular sound,” says Barnett of Oh, What a Life. “All four of us have really eclectic musical taste, and we wanted to tie in all the different kinds of music that have inspired us throughout our lives. The most important thing was that we have fun and experiment, and see what happened when we got rid of any boundaries we’d put on our music in the past.”

Produced by Shep Goodman and Aaron Accetta, Oh, What a Life was born from the intensely collaborative approach that American Authors always take in creating new music. “Our songs tend to start with the four of us getting in a room together and trading ideas back and forth or sharing stories—a melody or groove or lyric can come from any of us,” Shelley says. And as they gradually brought in more sounds and styles to shape Oh, What a Life, the band ended up adding a host of new instruments to their repertoire, learning to play banjo, mandolin, accordion, melodica, and mandocello—as well as mastering the use of synth and drum machines—while in the throes of the recording process.

Despite their lack of restraint in making Oh, What a Life, the album proves a tightly crafted collection of pop-rock gems that—song after song—reveal American Authors’s irresistibly openhearted spirit. From the amped-up dance beats that kick off “Believer” to the epic folk-rock of the album-closing title track, the band channels their high-as-the-sky hope into songs marked by both soaring intensity and summery ease. On the anthemic “Best Day of My Life,” those good vibes radiate by way of breezy harmonies and propulsive rhythms, while “Luck” (a song about “family and the sacrifices we all make to follow our passions,” according to Rublin) turns its tension into stomping beats and blissed-out melody. Even in their darker moments—such as “Trouble,” an aching, acoustic-guitar-laced track that serves as Oh, What a Life’s sole straight-up love song, and “Heart of Stone,” an angst-ridden number driven by nervy guitar riffs—American Authors maintain a triumphant mood that’s deeply infectious.

The mix of boundless energy and melodic finesse that fuels Oh, What a Life owes much to each member’s near-lifelong devotion to making music. Forming in 2007 at Berklee—where Barnett, Shelley, Rublin, and Sanchez were all students—the band first took the name The Blue Pages and threw themselves into perfecting their pop-infused brand of indie rock. After two years of struggling to record and book tours on their own, the group dropped out of Berklee and moved to Brooklyn, where all four bandmates shared a cramped Bushwick apartment. Once they’d gotten settled in New York, the band changed their name to American Authors and began breathing new life into their songwriting and sound. “Being in a new city and feeling the inspiration that comes from that, it just felt like a fresh start,” says Sanchez. “We decided to go with American Authors for our name because an author can be anyone who tells a story through words, and we consider ourselves storytellers with our song lyrics,” Rublin adds, noting that the name also refers to each member hailing from a different corner of the country and bringing his own distinct background to the group.

Shortly after moving to Brooklyn, American Authors crossed paths with Shep Goodman while playing a gig in the city. Eventually signing with Goodman and Accetta’s production company Dirty Canvas, the band wrote and recorded “Believer” and quickly saw the track thrown into rotation on Sirius XM’s Alt Nation radio. With “Believer” fast landing on the Alt-18 Countdown and their eagerly received single “Best Day of My Life” building on the band’s momentum and greatly boosting their social media following, American Authors soon inked a deal with Island Records, took off on their first tour, and set to work on their debut album. “Everything happened so fast with ‘Believer’ and ‘Best Day of My Life’ blowing up and us going on tour, we ended up writing and recording the album at the same time,” recalls Sanchez. “But the way it worked out was that we didn’t have the chance of overthink anything—it was just us in the studio having fun and making the music that we wanted to make.”

Releasing Oh, What a Life in March 2014 and embarking on a national tour with OneRepublic in May, American Authors have spent almost the entire past year on the road and consider playing live essential to the band. “We love feeling the energy of the crowd and giving that energy back, and we go into every show thinking that this might be someone’s first show ever or their last show ever,” says Shelley. Already working on songs for their next album—with the help of a studio set up in the back of their tour bus—American Authors aim to continue instilling their music with the joyful urgency that fills their live show and first album. “One theme that runs throughout Oh, What a Life is this feeling of hopeful determination,” notes Barnett. “Before ‘Believer’ started taking off, we were at such a low point of being broke and jobless and down to our last dollar, but we just kept pushing to stay motivated and stay hungry. Our songs aren’t saying, ‘Don’t worry, everything’s gonna work out okay!’—they’re about all the ups and downs that everyone has to deal with, and how you have to keep moving and do what you want and create your own future, so hopefully someday you can look back at the good times and bad times and see how far you’ve come.”

Tickets: $15 – $79

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Recording both as Parliament and Funkadelic, George Clinton revolutionized R&B during the ’70s, twisting soul music into funk by adding influences from several late-’60s acid heroes: Jimi Hendrix, Frank Zappa, and Sly Stone. The Parliament/Funkadelicmachine ruled black music during the ’70s, capturing over 40 R&B hit singles (including three number ones) and recording three platinum albums.

Born in Kannapolis, NC, on July 22, 1941, Clinton became interested in doo wop while living in New Jersey during the early ’50s. . Basing his group on Frankie Lymon & the Teenagers, Clinton formed The Parliaments in 1955, rehearsing in the back room of a Plainfield barbershop where he straightened hair. The Parliaments released only two singles during the next ten years, but frequent trips to Detroit during the mid-’60s – where Clinton began working as a songwriter and producer – eventually paid off their investment.

The Parliaments finally had a hit with the 1967 single “(I Wanna) Testify” for the Detroit-based Revilot Records, but the label ran into trouble and Clinton refused to record any new material. Instead of waiting for a settlement, Clinton decided to record the same band under a new name: Funkadelic. Founded in 1968, the group began life as a smoke screen, claiming as its only members the Parliaments’ backing but in truth including Clinton and the rest of the former Parliaments lineup. Revilot folded not long after, with the label’s existing contracts sold to Atlantic; Clinton, however, decided to abandon the Parliaments name rather than record for the major label.

By 1970, George Clinton had regained the rights to The Parliaments name: he then signed the entire Funkadelic lineup toInvictus Records as Parliament. The group released one album – 1970′s Osmium – and scored a number 30 hit, “The Breakdown,” on the R&B charts in 1971. With Funkadelic firing on all cylinders, however, Clinton decided to discontinue Parliament(the name, not the band) for the time being.

Inspired by Motown‘s assembly line of sound, George Clinton gradually put together a collective of over 50 musicians and recorded the ensemble during the ’70s both as Parliament and Funkadelic. While Funkadelic pursued band-format psychedelic rock,Parliament engaged in a funk free-for-all, blending influences from the godfathers (James Brown and Sly Stone) with freaky costumes and themes inspired by ’60s acid culture and science fiction. From its 1970 inception until Clinton’s dissolving ofParliament in 1980, Clinton hit the R&B Top Ten several times but truly excelled in two other areas: large-selling, effective album statements and the most dazzling, extravagant live show in the business. In an era when Philly soul continued the slick sounds of establishment-approved R&B, Parliament / Funkadelic scared off more white listeners than it courted. (Ironically, today Clinton’s audiences are a cross-cultural mix of music lovers from 8 to 80.)

1978-79 was the most successful year in Parliament/Funkadelic history: Parliament hit the charts first with “Flash Light,” P-Funk’s first R&B number one. “Aqua Boogie” would hit number one as well late in the year, but Funkadelic‘s title track to “One Nation Under a Groove” spent six weeks at the top spot on the R&B charts during the summer. The album, which reflected a growing consistency in styles between Parliament and Funkadelic, became the first Funkadelic LP to reach platinum (the same year that Parliament‘s “Funkentelechy Vs. the Placebo Syndrome” did the same). In 1979, Funkadelic‘s “(Not Just) Knee Deep” hit number one as well, and its album (“Uncle Jam Wants You”) also reached platinum status.

During 1980, Clinton began to be weighed down by legal difficulties arising from Polygram‘s acquisition of Parliament‘s label,Casablanca. Jettisoning both the Parliament and Funkadelic names (but not the musicians), Clinton began his solo career with 1982′s “Computer Games”. Several months later, Clinton’s “Atomic Dog” hit number one on the R&B charts; it stayed at the top spot for four weeks, but only managed number 101 on the pop charts. Clinton stayed on Capitol for three more years, releasing three studio albums and frequently charting singles in the R&B Top 40.

Clinton and many former Parliament/Funkadelic members continued to tour and record throughout the ’80s as the P-Funk All Stars, but the decade’s disdain of everything to do with the ’70s – especially the sound of disco – resulted in critical and commercial neglect for the world’s biggest funk band, one which in part had spawned dance music..

During much of the three-year period from 1986 to 1989, Clinton became embroiled in legal difficulties (resulting from the myriad royalty problems latent during the ’70s with recordings of over 40 musicians for four labels under three names). Also problematic during the latter half of the ’80s was Clinton’s disintegrating reputation as a true forefather of rock; by the end of the decade, however, a generation of rappers reared on P-Funk were beginning to name check him.

The early ’90s saw the rise of funk-inspired rap (courtesy of Digital Underground, Dr. Dre, and Warren G.) and funk rock (Primusand Red Hot Chili Peppers) that re-established the status of Clinton & co. as one of the most important forces in the recent history of black music. Clinton’s music became the soundtrack for the rap movement, as artists from MC Hammer, to LL Cool J to Snoop Doggy Dogg depended heavily on the infectious groove of Clinton productions as the foundation of their recordings.

Along with the renewed notoriety and respect, Clinton’s visibility and presence became familiar to a wider audience thanks to appearances in movies “The Night Before”, “House Party”, “PCU”, and “Good Burger”, hosting the HBO original series “Cosmic Slop”, and doing commercials for Apple computers, Nike, and Rio Mp3 players. Clinton also composed the theme songs for popular TV programs “The Tracey Ulman Show” and “The PJs”.

Clinton has received a Grammy, a Dove (gospel) , and an MTV music video awards, and has been recognized by BMI, the NAACP Image Awards, and Motown Alumni Association for lifetime achievement. Clinton’s Partliament/Funkadelic was inducted into theRock and Roll Hall of Fame in 1997.

In reviewing Clinton’s illustrious career and success as a producer / writer/ performer, perhaps his greatest achievement stemmed from his relentless dedication to funk as a musical form. Funk as a musical style had been around for what seems like forever, deeply rooted in the music traditions of New Orleans and the Blues of the Deep South. Following the lead – and commercial success – of James Brown and Sly Stone, Clinton took Funk to new heights, blending elements of Jazz, Rock, Pop, Classical and even Gospel into his productions, eventually developing a unique and easily identifiable style affectionately called “Pfunk.” Clinton’s inspiration, dedication and determination resulted in the elevation of “funk” music to complete recognition and acceptance as a true genre in and of itself.

On February 16th, 2012 George Clinton added to his list of accomplishments a Honorary Doctorate of Music from the renowed Berklee College of Music.

Tickets: $20 – $99

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ZZ TOP a/k/a “That Little Ol’ Band From Texas,” lay undisputed claim to being the longest running major rock band with original personnel intact and, in 2004, the Texas trio was inducted into the Rock and Roll Hall of Fame. Of course, there are only three of them – Billy F Gibbons, Dusty Hill, Frank Beard — but it’s still a remarkable achievement that they’re still very much together after almost 45 years of rock, blues, and boogie on the road and in the studio.  “Yeah,” says Billy, guitarist extraordinaire, “we’re the same three guys, bashing out the same three chords.”  With the release of each of their albums the band has explored new ground in terms of both their sonic approach and the material they’ve recorded. ZZ TOP is the same but always changing.

 

It was in Houston in the waning days of 1969 that ZZ TOP coalesced from the core of two rival bands, Billy’s Moving Sidewalks and Frank and Dusty’s American Blues.  The new group went on to record the appropriately titled ZZ Top’s First Album and Rio Grande Mud that reflected their strong blues roots.   Their third, 1973’s Tres Hombres, catapulted them to national attention with the hit “La Grange,” still one of the band’s signature pieces today.  The song is unabashed elemental boogie, celebrating the institution that came to be known as “the best little whorehouse in Texas.”  Their next hit was “Tush,” a song about, well, let’s just say the pursuit of “the good life” that was featured on their Fandango! album, released in 1975. The band’s momentum and success built during its first decade, culminating in the legendary “World Wide Texas Tour,” a production that included a longhorn steer, a buffalo, buzzards, rattlesnakes and a Texas-shaped stage.  As a touring unit, they’ve been without peer over the years, having performed before millions of fans through North America on numerous epochal tours as well as overseas where they’ve enthralled audiences from Slovenia to Argentina, from Australia to Sweden, from Russia to Japan and most points in between.  Their iconography – beards, cars, girls and that magic keychain – seems to transcend all bounds of geography and language.

 

Following a lengthy hiatus during which the individual members of the band traveled the world, they switched labels (from British Decca’s London label to Warner Bros.) and returned with two amazingly provocative albums, Deguello and El Loco.  Their next release, Eliminator, was something of a paradigm shift for ZZ TOP. Their roots blues skew was intact but added to the mix were tech-age trappings that soon found a visual outlet with the nascent MTV.  Suddenly, Billy, Dusty and Frank were video icons, playing a kind of Greek chorus in videos that highlighted the album’s three smash singles: “Gimme All Your Lovin’, “Sharp Dressed Man” and “Legs.”  The melding of grungy guitar-based blues with synth-pop was seamless and continued with the follow-up album Afterburner as they continued their chart juggernaut.  ZZ TOP had accomplished the impossible; they had moved with the times while simultaneously bucking ephemeral trends that crossed their path. They had become more popular and more iconic without ever having to be “flavor of the week.” They had become a certified rock institution, contemporary in every way, yet still completely connected to the founding fathers of the genre.

 

They stayed with Warner for one more album, Recycler, released in 1990 and switched to RCA where they debuted with Antenna and followed with Rhythmeen, XXX and Mescalero. Beyond that, both a lavish four CD box set compilation, Chrome, Smoke & B.B.Q. and a two-CD distillation of that package, Rancho Texicano, were released by Warner prior to The Complete Studio Albums set.

 

In 2012, ZZ TOP unveiled LA FUTURA, their first studio album in nine years.  Produced by Rick Rubin and Billy F Gibbons, and released on American Recordings, it reflected the solid blues inspiration that has powered the band since the very beginning with a contemporary approach that underscored the group’s inclination to experiment and explore new sonic vistas.  The album included the widely lauded “I Gotsta Get Paid” that has become both a video and in-concert sensation.  ZZ Top’s rich history became the subject of a box set release the following year.  ZZ Top: The Complete Studio Albums 1970-1990 offered no fewer than 10 of the band’s most lauded albums all with the original mixes restored.

 

ZZ TOP’s brand new career retrospective The Very Baddest spans the entire course of their London, Warner Bros. and RCA years. Listeners can follow the evolution of the band’s sound from the early 70s into the 00s on either a 40 track double CD or a 20 track single CD. Live at Montreux 2013, just released on Eagle Rock Entertainment on both Blu-ray and DVD formats, showcases their live act, leaving no doubt as to why they have been such a huge concert draw for the last several decades. When it comes to the live experience, they’ve still got it.

 

The elements that keep ZZ TOP fresh, enduring and above the transitory fray can be summed up in the three words of the band’s internal mantra: “Tone, Taste and Tenacity.”  Of course, the three members of the band have done their utmost to do their part in assuring that ZZ TOP prevails.  As genuine roots musicians, the members of the band have few peers.  Billy is widely regarded as one of American finest blues guitarists working in the rock idiom.  His influences are both the originators of the form – Muddy Waters, B.B. King, et al – as well as the British blues rockers who emerged the generation before ZZ’s ascendance.  In his early days of playing, no less an idol that Jimi Hendrix singled him out for praise. Part mad scientist, part prankster, he’s a musical innovator of the highest order and a certified “guitar god.”  He’s a recurring small screen presence in the hit TV series Bones in which he plays a bearded, gruff, rock guitarist.  No type casting problems for Billy.

 

Dusty has long had an affinity for rock’s origins; his earliest performances as a child included Elvis songs convincingly performed.  Not only is he a bass virtuoso in his own right, his vocal prowess is awe-inspiring.  He’s the lead voice you hear on “Tush” and his ferocious vocals are heard, to great effect, on his idol Elvis Presley’s “Jailhouse Rock,” these days, often a concert  encore number and recorded by the band on Fandango! Good natured and diligent, Dusty is the rock solid bottom of ZZ TOP.

 

Frank has also been keeping the beat in that great tradition.  As both a roots and progressive drummer, he has been acknowledged as key to the band’s powerful on-stage and in-studio presence. He and Dusty, in their early years together, served as Lightnin’ Hopkins’ rhythm section which, as Frank tells it, was a life changing experience.  Frank, despite his last name, is the guy in the band without a beard.  But when you’re with him, you’re with a Beard.  He’s a rockin’ paradox who provides the pulse of ZZ TOP.

 

ZZ TOP’s music is always instantly recognizable, eminently powerful, profoundly soulful and 100% Texas American in derivation.  The band’s support for the blues is unwavering both as interpreters of the music and preservers of its legacy.  It was ZZ TOP that celebrated “founding father” Muddy Waters by turning a piece of scrap timber than had fallen from his sharecropper’s shack into a beautiful guitar, dubbed the “Muddywood.”  This totem was sent on tour as a fundraising focus for The Delta Blues Museum in Clarksdale, Mississippi, site of Robert Johnson’s famed “Crossroads” encounter with the devil.  ZZ TOP’s support and link to the blues remains as rock solid as the music they continue to play.  They have sold millions of records over the course of their career, have been officially designated as Heroes of The State of Texas, have been referenced in countless cartoons and sitcoms and are true rock icons but, against all odds, they’re really just doing what they’ve always done.  They’re real and they’re surreal and they’re ZZ TOP.

Blackberry Smoke

Holding All The Roses

Release Date: February 10, 2015

 

Charlie Starr – guitar/lead vocals

Paul Jackson – guitar/vocals

Richard Turner – bass/vocals

Brandon Still – keyboards

Brit Turner – drums

 

“I think that this record does a really good job of conveying what we do

Tickets: $15 – $99

You can capsulize most pop music acts by reciting how many hits they’ve had and how many millions of albums they’ve sold.  But these conventional measurements fall short when you’re assessing the impact of The Beach Boys.  To be sure, this band has birthed a torrent of hit singles and sold albums by the tens of millions.  But its greater significance lies in the fact that it changed the musical landscape so profoundly that every pop act since has been in its debt.

 

Happily for us all, The Beach Boys continue to create and perform with the same bold imagination and style that marked their explosive debut over 50 years ago. And now in 2013, their Capitol Records release, Sounds of Summer (RIAA certified triple platinum with over three million in sales and climbing), and it’s companion The Warmth of the Sun marks a resurgence in Beach Boys interest that has again rocked the world.

 

Even more than the Beatles, The Beach Boys found through their music the key to unfading youth—and they made copies for everyone. To these guys, the beach isn’t just a place where the surf comes to play—it’s where life is renewed and made whole again.

 

Captained by Mike Love, The Beach Boys play an astoundingly busy schedule of concerts, averaging 150 shows a year, ranging from sundrenched summer festivals to gala New Year’s celebrations and special events worldwide.   In 1974 Mike Love’s concept album Endless Summer ignited a second generation of Beach Boys fans and stirred a tempest that rocked the music world.

 

Grammy-winning songwriter Bruce Johnston, [Barry Manilow’s “I Write the Songs”], joined The Beach Boys in 1965, replacing Glenn Campbell, who filled-in for Brian Wilson, on vocals/bass, when he retired from touring.  Highly regarded as a singer-songwriter, Johnston’s vocal work with such legendary artists as Elton John and Pink Floyd firmly established him among rock’s elite artists.

 

Had this remarkable band been less committed to its art and its fans, it could have retired from the field with honor at dozens of points along the way, confident that it had made a lasting contribution to world culture.   It could have rested on the success of the epoch-shifting Pet Sounds masterpiece in 1966 . . . or after recording Love’s co-written Golden Globe nominated “Kokomo” in 1988 and seeing it become its best selling single ever . . . or after being inducted that same year into the Rock & Roll Hall of Fame . . . or after watching its worldwide album sales blow past l00 million . . . or after winning the NARAS Lifetime Achievement Award in 2001 [along with The Who, Bob Marley, Tony Bennett, Sammy Davis Jr. and Les Paul].  And still, The Beach Boys continue to have fun, fun, fun, with no end in sight. In 2012, The Beach Boys scheduled a 74 concert date limited 50th Anniversary Reunion Tour which was scheduled as a limited run reunion tour and ended in the U.S. July 15 and internationally on Sept 28th in which the original members reunited and released “That’s Why God Made the Radio,” the album debuted at # 3 on the Billboard charts, their highest chart position in 37 years and an unprecedented milestone.

 

The Beach Boys are led by Mike Love and Bruce Johnston, who along with Jeffery Foskett, Randell Kirsch, Tim Bonhomme, John Cowsill and Scott Totten continue the legacy of the iconic American band. This tour will not feature Brian Wilson, Al Jardine or David Marks.

 

Few, if any, acts can match The Beach Boys’ concert presence, spirit and performance.  They were center-stage at Live Aid, multiple Farm Aids, the Statue of Liberty’s 100th Anniversary Salute, the Super Bowl and the White House. On one day alone—July 4, 1985—they played to nearly 2 million fans at shows in Philadelphia and Washington, D. C.

 

Love’s role as the band’s front man sometimes overshadows his stature as one of rock’s foremost songwriters.  “Surfin’,” The Beach Boys’ first hit came from his pen.  With his cousin, Brian Wilson, Love wrote the classics “Fun, Fun, Fun,” “I Get Around,” “Help Me Rhonda,” “California Girls” and the Grammy nominated “Good Vibrations.”  Years later, he showed he still had the lyrical chops by co-writing the irresistible and chart-topping “Kokomo.”

 

On The Beach Boys’ near horizon is another national/world tour and continued charity activities through Mike Love’s Love Foundation, which supports national environmental and educational initiatives.  Love and The Beach Boys’ recent efforts raised over a quarter of a million dollars for the Red Cross to benefit victims of Hurricane Katrina and made additional contributions to the disaster relief in Haiti.

 

The band appeared on countless worldwide TV shows throughout the years including: The Ed Sullivan Show, Dick Clark’s American Bandstand and The Tonight Show.  Other television appearances include performances on Don Imus’ MSNBC show Imus In The Morning, TNT’s NBA All-Star Game, NBC’s Macy’s Day Parade, The Today Show, PBS’ A Capitol Fourth, Good Morning America, Weekend Today, The O’Reilly Factor. 

 

In addition to founding Beach Boy Mike Love (lead vocals) and Beach Boy-vet Bruce Johnston (vocals/keyboards)—Jeffery Foskett (guitar/vocals), Randell Kirsch (bass/vocals), Tim Bonhomme (keyboards/vocals), John Cowsill of The Cowsills (percussion /vocals) and Scott Totten (guitar/vocals) round out the band.

http://www.thebeachboys.com/

Tickets: $16 – $99

O.A.R.

Classic American author Thomas Wolfe famously stated “you can’t go home again,” but don’t tell that to the members of O.A.R. On their eighth studio album, THE ROCKVILLE LP, the shape-shifting rock band found that returning home triggered a journey of creative renewal and inspiration. “This isn’t about us going back to our musical roots per se,” says lead singer Marc Roberge, who founded O.A.R. in 1996 with his Rockville, Md. high school classmates, drummer Chris Culos, guitarist Richard On, and bassist Benj Gershman (saxophonist Jerry DePizzo joined while the group was at Ohio State University). “It’s about us getting inspired by the place we came from. We’d drive the same roads, visit the old haunts, spend time with our people. Rockville was the catalyst then, and it’s the catalyst now.”

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