Richmond Concert Tickets

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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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General Admission: $199. Reserved Seats: $499. Preferred Seats: $749. All prices reflect Black Friday 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.

Tickets Available At Gate: $35

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.”

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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

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JOE WALSH Biography

When writer Cameron Crowe profiled Joe Walsh for Rolling Stone magazine in 1975, he wrote that Joe “stands surely among rock and roll’s finest guitarists.” And no wonder. By then Joe’s fans already included guitar icons Eric Clapton and Jimmy Page. “I don’t listen to many records,” Clapton said, “but I listen to his.” Page talked of Joe’s “tremendous feel” for the guitar, adding, “I’ve loved his style since the early James Gang.”

Of course, that was even before Joe joined the Eagles and made indelible contributions to the great American pop culture canon on such songs as “Hotel California” and “Life in the Fast Lane,” and, more recently, became an honorary member of the Foo Fighters.
Joe Fidler Walsh was born in Wichita, Kansas, on November 20, 1947. His mother was an avid piano player who brought music into the family’s humble home before Joe was old enough to discover rock n’ roll on the radio. When Joe was still young, he and his family relocated to Ohio, New York City, and then Montclair, New Jersey. In 1965 Joe landed back in Ohio at Kent State University, where his professional music career began in coffee shops and bars.

Though Joe had played guitar in a high school cover band and a popular Kent bar band, he really came into his own in 1968, when he joined the Cleveland-based James Gang. One night in May, 1968, on the way to Detroit for a show at the Grande Ballroom opening for Cream, half the band quit. Needing the money to pay for gas to get home, the James Gang took the stage as a trio, and Joe was forced to learn on the fly how to carry rhythm and lead duties simultaneously. It proved a revelation. Permanently reconfigured as a trio, the James Gang quickly developed a huge following in the Midwest and landed a record deal, leading to a 1969 debut album, Yer’ Album, that became an FM radio staple and drew the ears of guitar aficionados like Pete Townshend—who personally invited Joe and the James Gang to join the Who on tour. Townshend regarded Joe “a fluid and intelligent player” with few peers.

Soon the American public caught up in a big way, as the James Gang scored hits with singles like “Funk #49” and “Walk Away” and gold certifications for the albums James Gang Rides Again (1970) and Thirds (1971) before Joe’s departure following the landmark 1971 live album, Live in Concert, recorded at New York City’s Carnegie Hall.

Despite the band’s upward trajectory, Joe found himself at a creative crossroads: the music he was hearing in his head no longer fit the trio format. He impulsively walked away from a band with consecutive gold albums and moved from Cleveland to a former mining village high in the Colorado Rockies to pursue an as-yet-undefined sound with a new set of collaborators. In typical Joe Walsh style, he found out about a new studio being built nearby and arranged to record there for next to nothing in exchange for working out the kinks in the untested room. The album became the much-loved self-titled 1972 debut by Joe’s next band, Barnstorm, and the studio became the legendary Caribou Ranch, soon to be home to hit recordings by Elton John, Chicago, and Earth Wind & Fire, among many others.

Barnstorm’s second album, 1973’s The Smoker You Drink, the Player You Get, yielded the biggest hit of Joe’s career to that point, with “Rocky Mountain Way” eclipsing his James Gang output. Once again, however, despite another band on the rise, Joe was gradually getting restless.

He found a new sense of home—and a new manager, Irving Azoff—in the musical melting pot of Los Angeles, where Joe formed bonds with Glenn Frey, Don Henley, Jackson Brown, Dan Fogelberg, and J. D. Souther, among others. The 1974 solo album So What emerged from this period, and both that album and the solo live album that followed, You Can’t Argue with a Sick Mind, hit the charts, making Joe a bona fide solo sensation.
Even so, when the Eagles asked Joe to join, he jumped at the chance. He and the members of the band had already been jamming and writing together as part of the magically fertile LA scene, and now he was able to bring his rock edge to the vocal harmonies he loved so much in the Eagles. The result was lightning in a bottle, and the new lineup of the Eagles defined an entire era with Hotel California. The album took the already-successful band to dazzling new heights: Hotel California went on to sell over 50 million copies and the title track won the band a Grammy for Record of the Year. Joe’s presence also transformed the band as a concert experience, adding his harder-edged solo songs to the live repertoire.

As the recording of the Eagles’ follow-up album dragged on, Joe recorded and released a solo album, 1978’s But Seriously Folks…, which spawned his signature send-up of the rock and roll lifestyle, “Life’s Been Good.” During the same period he recorded “In the City” for the soundtrack of the film “The Warriors.” That track was also re-recorded for the Eagles album that finally emerged in late 1979, The Long Run.

Despite the success of The Long Run, which included three top ten hits and won the band another Grammy, the extremes of being the biggest band in the land took its toll: the Eagles ground to a halt in 1980 and eventually confirmed they had split up.
It wasn’t long before Joe recorded another solo album, 1981’s There Goes the Neighborhood, featuring perennial fan favorite “Life of Illusion.” Even as Joe spent the next decade battling increased problems with drugs and alcohol, one thing remained constant: his desire to make and perform music. You Bought It – You Name It came out in 1983; The Confessor in 1985; Got Any Gum? in 1987; Ordinary Average Guy in 1991; and Songs for a Dying Planet in 1992. Those years also saw him join Ringo Starr’s inaugural All-Starr Band alongside members of both the Band and the E Street Band, among others; he also toured extensively with Australian supergroup the Party Boys. In addition, Joe played on records by everyone from the Beach Boys, Bob Seger, and Steve Winwood to Michael McDonald, Warren Zevon, and Lionel Richie and produced a New Zealand band called the Herbs.

Newly sober, Joe teamed up with Don, Glenn, and Timothy B. Schmit to reform the Eagles in 1994. Pent-up demand for the band led to ten years of record-breaking tours. And when in 2007 they recorded a new studio album, Long Road Out of Eden, it reached a staggering six-time platinum status long after the industry had pronounced the album form dead.

In 1998 Joe was inducted into the Rock and Roll Hall of Fame together with the band.
The reformation of the Eagles coincided with a new musical beginning for Joe, leading to one of the most fertile periods of his career. In addition to all the activity with the Eagles, Joe embarked on a James Gang reunion (originally at the behest of then-President Bill Clinton), released a 2012 solo album, Analog Man, that resonated with fans and concert audiences, and found himself in high demand as a collaborator, producer, and guest musician. Among the highlights: he played alongside Paul McCartney and Bruce Springsteen in the closing jam at the 2012 Grammy awards, he took part in the 2014 CBS TV special commemorating the 60th anniversary of the Beatles first appearance on US television, and he appeared on the Foo Fighters 2014 Sonic Highways album and the corresponding TV episode documenting its creation.

On his most recent solo tours Joe is more comfortable than ever as a performer, allowing him to regularly reach those normally fleeting moments during shows where the world fades out and the music completely takes over. “I’ll be playing and I open my eyes and I think, Oh shit. I’m on stage and there’s people here!” explains Joe. “That feeling is why we do this. For those rare times when you can just zone out and play.”

Those are the most transcendent moments for a musician—and for the audience there to witness it—and this is where Joe Walsh finds himself today.

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Cole Swindell Biography

ACM’s reigning New Artist of The Year Cole Swindell’s brand new single “You Should Be Here,” the debut track from his forthcoming album due out this year, was released and it was most-added at country radio the first day it dropped. The song, written by Swindell and Ashley Gorley, shot to No. 1 on iTunes Country chart and Top 10 overall. It vaulted to the Top 25 a full week before the official radio add date of January 11. The official video for “You Should Be Here,” which world premiered Yahoo!, has already streamed over 7.5 million times on his YouTube channel alone. He performed the track for a Shazam Session as the first country artist to be featured on the popular series.

Swindell’s self-titled debut album (Warner Bros./ Warner Music Nashville) was certified Gold by the RIAA. Selling 4.1 million tracks, clocking over 234 million streams, Swindell’s debut LP featured his latest No. 1 single, “Let Me See Ya Girl,” along with his first three consecutive chart-topping, Platinum-certified singles as a solo artist: “Hope You Get Lonely Tonight,” “Ain’t Worth The Whiskey” and “Chillin’ It,” making him the only solo male artist in the history of Country Aircheck/Mediabase to top the chart with his first four singles. Named a Top New Country Artist by Billboard, Swindell was awarded CMA’s “Triple Play Award” in 2015 for having (at least) three No. 1 songs in twelve months, and was the only performer to claim the title this year. In 2015, Swindell was a four-time BMI Award winner for No. 1 hits he wrote for Thomas Rhett, Luke Bryan, Florida Georgia Line as well as his own No. 1 “Hope You Get Lonely Tonight.” He was also nominated for CMA Awards’ “New Artist of the Year” and named Music Row’s Breakthrough Songwriter of the Year, with celebrated songwriting credits which include “This Is How We Roll” by Florida Georgia Line, “Get Me Some of That” by Thomas Rhett, and several songs with Luke Bryan including his No. 1 single “Roller Coaster,” among others. Swindell wrapped his second annual sold-out Down Home Tour, presented by Monster Energy Outbreak tour as the first country tour of the series. Swindell previously toured on successful runs with Jason Aldean, Kenny Chesney and Luke Bryan.

http://www.coleswindell.com/

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