Full list of live events

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Feb 21, 2024
Big Head Todd and The Monsters - SOLD OUT
Doors Open:
6:30 pm
Show Ends:
10:30 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
82
About the Show and the Artist:

Big Head Todd and The Monsters have quietly become an American institution following three and a half decades of writing, recording, and touring (totaling over 3,500 performances). After countless sold out shows in amphitheaters and on the high seas, beaming their tunes to outer space (literally), earning the endorsement of everyone from Robert Plant to The Denver Broncos, and tallying tens of millions of streams, Big Head Todd and The Monsters cite the friendships formed in the crowd among their proudest accomplishments. Fast forward to 2021 and the Colorado quartet—Todd Park Mohr [vocals, guitar, keys, sax, harmonica], Brian Nevin [drums, percussion], Rob Squires [bass, vocals], and Jeremy Lawton [guitar, keys, vocals, steel guitar]—continue to unite audiences.

“Friendships have spawned because of our band,” smiles Todd.  “Maybe a bit like the Grateful Dead, the line between audience and stage has over time become a bit blurred and many lifelong friendships have been made in every direction.  I’m very proud of that.  Bringing people together and sharing a joy for a couple of hours is an important function of music.  Music can cultivate community, even harmony.  We need that!”

Fittingly, the guys in the band began as friends as well. Todd and Brian first crossed paths in high school jazz band circa 1982. Soon, the guys started to jam in Brian’s basement also joined by Rob. Sweat-soaked house party gigs and talent shows followed until they became a fixture on the bar circuit “before I was even old enough to drink, laughs Todd. As perennial outliers, the musicians performed original material at these formative gigs, standing out from a bevy of cover bands in the scene at the time. 

Adopting the moniker Big Head Todd & The Monsters, they served up their independent debut Another Mayberry in 1989 and Midnight Radio in 1990 to critical acclaim, setting the stage for their seminal 1993 breakout Sister Sweetly. Powered by staples “Broken Hearted Savior,” “It’s Alright,” and “Bittersweet,” it eventually went platinum, and they supported Plant on tour. At the time, Variety hailed Todd as “a soulful singer and nimble lead guitarist,while The Los Angeles Times claimed, “Mohr, who has a voice like smoke, writes great songs that incorporates blues, folk, rock and country, which sounds sort of like, well, Big Head Todd and the Monsters.

Throughout the next decade, the group presented fan favorites such as Strategem [1994] and Beautiful World [1997]. The latter yielded the cover of “Boom Boom” [feat. John Lee Hooker], which famously served as the theme to NCIS: New Orleans. In 2005, they exceeded our atmosphere altogether. Friends with connections to NASA encouraged Todd to write a song for NASA, so they ignited 2005’s “Blue Sky.” In 2011, Big Head Todd and The Monsters played “Blue Sky” live from the middle of Mission Control to awaken the astronauts aboard the shuttle. 2017 saw them release New World Arisin’ to fan adoration and critical acclaim. Glide Magazine claimed, “such tracks, like most of this music, radiate a sense of optimism and purpose ever so welcome in these fragmented times.

Along the way, the band joined the Denver Broncos on their Super Bowl victory parade, delivering a triumphant performance to boot. Not to mention, they’ve headlined their own cruise multiple times and introduced Rockin’ the Reef as a five-night musical extravaganza in Jewel Paradise Cove in Runaway Bay Jamaica for 2022.

Big Head Todd and The Monsters took the stage at hallowed hometown haunt Red Rocks Amphitheatre a staggering 32 times. In June 2021, they made a rapturous homecoming to Red Rocks for their first full capacity gig at the venue post-COVID. Chronicling the gig, 303 Magazine described the group as “a longtime pal that has defined Colorado’s blues-rock scene for multiple decades.

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Feb 22, 2024
Drew & Ellie Holcomb
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
320
About the Show and the Artist:

Drew and Ellie Holcomb are a husband and wife Americana duo from Nashville, TN. Shortly after their marriage in 2006, the couple began touring together with Drew Holcomb & The Neighbors. The band has supported many national touring acts including, The Avett Brothers, NEEDTOBREATHE, Don Henley, Willie Nelson, Amos Lee, and Darius Rucker.

Ellie is no longer a touring member of “The Neighbors,” and has found success in a solo career as a Christian singer/songwriter and bestselling author, winning two Dove Awards and topping the Billboard charts. Her most recent album, CANYON, was released in June of 2021 to much fanfare. 

Drew Holcomb still tours nationally with Drew Holcomb and The Neighbors and their most recent album, Dragons, is their most critically acclaimed release yet.

 An Evening with Drew and Ellie Holcomb is a special engagement event, allowing the Holcombs to collaborate once again. 

VIP Kitchen Covers Add-on is available (very limited) Can be added at check out.This is an add-on to your ticket for this very special pre-show experience.

Includes:

  • 20-minute intimate kitchen covers performance before the main show

  • 1 autographed tour poster

  • Early Entry

  • Takes place 30 minutes before doors

 
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Feb 23, 2024
Pete Rose LIVE
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
77
About the Show and the Artist:

STATS
PETE ROSE LIVE

Records and achievements
Aside from the numerous records he set and individual titles he won, Rose was also honored with
the 1968 Hutch Award, the 1969 Lou Gehrig Memorial Award, and the 1976 Roberto Clemente
Award. Despite his status of permanent ineligibility for the Hall of Fame,
Rose made the National League All-Star roster 17 times. Only three National League players (Hank
Aaron, Willie Mays, and Stan Musial) and five American League players (Mickey Mantle, Cal Ripken,
Ted Williams, Rod Carew, and Carl Yastrzemski) have more appearances. He was voted
the National League's Most Valuable Player in 1973, but also finished in the top five vote-getters in
1968, 1969, 1975, and 1976. He led the league in batting average three times (1968, 1969, 1973), in
plate appearances and hits seven times, in games played and doubles five times, in at-bats and runs
scored four times, and in on-base percentage twice (1968, 1979)


Major League records:

o Most career at-bats – 14,053
o Most career plate appearances – 15,890
o Most career hits – 4,256
o Most career singles – 3,215
o Most career times on base – 5,929
o Most career outs – 10,328
o Most career games played – 3,562
o Most career winning games played – 1,972
o Only player to play at least 500 games at five different positions – 1B (939),
LF (671), 3B (634), 2B (628), RF (595)
o Most career runs by a switch hitter – 2,165
o Most career doubles by a switch hitter – 746
o Most career walks by a switch hitter – 1,566
o Most career total bases by a switch hitter – 5,752
o Most seasons of 200 or more hits – 10 (shared)
o Most consecutive seasons of 100 or more hits – 23
o Most consecutive seasons with 600 or more at-bats – 13 (1968–1980)
(shared)
o Most seasons with 600 at-bats – 17
o Most seasons with 150 or more games played – 17
o Most seasons with 100 or more games played – 23

 National League records:
 Most years played – 24
 Most consecutive years played – 24
 Most career runs – 2,165
 Most career doubles – 746
 Most career games with 5 or more hits – 10
 Modern (post-1900) NL record for longest consecutive-game hitting streak
NL – 44
Modern record for most hitting streaks of 20 or more consecutive games – 7

Rose retired in 1986 with the highest modern-day career fielding percentage for a right fielder at
99.14% and the highest National League modern-day career fielding percentage for a left fielder at
99.07%, behind only the American League's Joe Rudi and then-active players Gary
Roenicke and Brian Downing, who also primarily played in the American League

Brittany Morgan will be our Moderator

Bio: 

Brittany Morgan is a Northern Virginia native who has spent her professional career either at the ballpark or in the studio.  She has nearly six years of experience as a local television news and sports anchor and worked the 2017 and 2018 seasons in the entertainment department for the Washington Nationals. 

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Feb 24, 2024
Keb' Mo'
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
127
About the Show and the Artist:

With five GRAMMYs14 Blues Foundation Awards, and a groundbreaking career spanning nearly 50 years under his belt, Keb’ Mo’s got nothing left to prove. Just don’t tell him that.

“I may be turning 70,” Keb’ reflects, “but I’m still breathing and I’m still hungry. I’m still out there going for it every single day.”

Born and raised in Compton, Keb’ began his remarkable journey at the age of 21, when he landed his first major gig playing with Jefferson Airplane violinist Papa John Creach. For the next 20 years, Keb’ would work primarily behind the scenes, establishing himself as a respected guitarist, songwriter, and arranger with a unique gift for linking the past and present in his evocative playing and singing. Though he recorded a one-off album in 1980 under his birth name, Kevin Moore, it wasn’t until 1994 that he would introduce the world to Keb’ Mo’ with the release of his widely acclaimed self-titled debut. Critics were quick to take note of Keb’s modern, genre-bending take on old school sounds, and two years later, he garnered his first GRAMMY Award for Best Contemporary Blues Album with Just Like You. In the decades to come, Keb’ would take home four more GRAMMY Awardstop the Billboard Blues Chart seven times; perform everywhere from Carnegie Hall to The White House; collaborate with many including Taj Mahal, Willie Nelson, Bonnie Raitt, The Chicks, and Lyle Lovett; have compositions recorded and sampled by artists as diverse as B.B. King, Zac Brown, and BTS; release signature guitars with both Gibson and Martin; compose music for television series like Mike and Molly, Memphis Beat, B Positive, and Martha Stewart Living; and earn the Americana Music Association’s 2021 award for Lifetime Achievement in Performance.

In addition to his extraordinary musical output, Keb’ also established himself as a captivating onscreen presence over the years, appearing as himself in Martin Scorcese’s The Blues, Aaron Sorkin’s The West Wing, and even the iconic children’s series Sesame Street. He flexed his acting chops in a wide variety of projects, as well, portraying Robert Johnson in the 1998 documentary Can’t You Hear The Wind HowlHowlin’ Wolf on CMT’s Sun Records, and the ghostly bluesman Possum in John Sayles’ 2007 film Honeydripper. A fixture on late night TV and award show stages, Keb’ has also performed on Letterman, Leno, Conan, Colbert, and Austin City Limits in addition to appearing on nationally televised broadcasts from The Kennedy Center, The Ryman Auditorium, and Eric Clapton’s Crossroads Festival.

A passionate philanthropist and outspoken activistKeb’ has devoted countless hours and helped raise hundreds of thousands of dollars in support of social, environmental, and racial justice throughout his career. As a celebrity mentor with The Kennedy Center’s Turnaround Arts Program, which began under the guidance of First Lady Michelle Obama and the President’s Committee for the Arts and HumanitiesKeb’ “adopted” The Johnson School for Excellence in Chicago, where he teamed up with teachers, students, and parents to help develop a thriving arts education program, and as a longtime ambassador for the Playing For Change Foundation, he’s supported the non-profit from its early days in its quest to provide free music education and basic needs like food, water, medicine, clothing, books, and school supplies to children around the world.

Bringing it all back home, Keb’ looked to his own story for inspiration on his captivating new album, Good To Be, artfully linking the grit and groove of his Compton roots with strum and twang of his more recently adopted hometown of Nashville, TN, where he’s lived and worked for the last eleven years. Drawing on country, folk, blues, and soul, the collection transcends genre and geography, weaving together a joyful, heartwarming, and relentlessly optimistic tapestry that manages to encompass the entirety of this once-in-a-generation artist’s larger-than-life career.

For more information on Keb’ Mo’, follow him on FacebookTwitter, and Instagram.

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Feb 29, 2024
Asleep At The Wheel
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
57
About the Show and the Artist:

Asleep at the Wheel

For over fifty years, Asleep at the Wheel’s Ray Benson has been traversing the globe as an

ambassador of Western swing music and introducing its irresistible sound to generation after

generation. More than 100 musicians have passed through the Wheel, but Benson remains the

front man and the keeper of the vision, in the process racking up more than 30 albums, ten

Grammy awards and literally millions of miles on the road.

“I’m the reason it’s still together, but the reason it’s popular is because we’ve had the

greatest singers and players,” Benson explains. “When someone joins the band, I say,

‘Learn everything that’s ever been done, then put your own stamp on it.’ I love to hear

how they interpret what we do. I’m just a singer and a songwriter, and a pretty good

guitar player, but my best talent is convincing people to jump on board and play this

music.”

Asleep at the Wheel has collaborated on records with genre-spanning friends, including

Willie Nelson on 2009’s Grammy Nominated Willie and the Wheel and other critically

acclaimed artists, including Brad Paisley, Jamey Johnson, Merle Haggard, George Strait,

the Avett Brothers, Amos Lee, Old Crow Medicine Show and Lyle Lovett on Still the King,

their 2015 critically acclaimed and Grammy winning tribute to Bob Wills. On their latest

release, Half A Hundred Years, Asleep At The Wheel continued their contributions to the

American music landscape when three original members of Asleep at the Wheel—Chris

O’Connell, Leroy Preston, and Lucky Oceans—returned after 40 years to lend their voices

and musicianship to a number of tracks on the album along with Emmylou Harris, Lee Ann

Womack, George Strait, Lyle Lovett and Willie Nelson.

Asleep at the Wheel represents an important cornerstone of American roots music,

even though some of its members and audiences represent a new generation. That

far-reaching appeal remains a testament to Benson’s initial vision.

“It took me 60 years, but I’m doing what I’m meant to do—singing and playing and

writing better than I ever have. A bandleader is just someone who gathers people

around them to play the best music they can play. I just try and make the best decisions

possible and kick some ass every night onstage.”

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Mar 2, 2024
Crawford & Power SOLD OUT
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
42
About the Show and the Artist:

Crawford & Power, a dynamic duo hailing from Southwest Virginia, are redefining the country music scene with their distinctive sound. Rooted in southern authenticity, Jake Crawford's commanding vocals seamlessly blend with Ethan Power's modern Dobro approach, crafting their own brand of Appalachian Red Dirt Country.


Already leaving their mark, Crawford & Power have shared the stage with notable artists like The Marshall Tucker Band, Willie Nelson, Travis Tritt, and more. Their career gained momentum with the release of their debut EP, "Play a Hank Jr. Song," propelling them to over 5 million on-demand streams. Following up with singles like “She Liked to Get High” & “Letting You Go,” the duo spent 2022/2023 in the studio with Producer Grady Saxman, unveiling their latest EP, "Bring it On Home," as well as multiple singles in 2023.


As they set their sights on 2024 and beyond, Crawford & Power are preparing new music and continued musical exploration. This duo is just getting started, poised to captivate audiences with their evolving sound.

crawfordandpower.com

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Mar 7, 2024
Pat Metheny
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
67
About the Show and the Artist:

PAT METHENY was born in Kansas City on August 12, 1954 into a musical family. Starting on trumpet at the age of 8, Metheny switched to guitar at age 12. By the age of 15, he was working regularly with the best jazz musicians in Kansas City, receiving valuable on-the-bandstand experience at an unusually young age. Metheny first burst onto the international jazz scene in 1974. Over the course of his three-year stint with vibraphone great Gary Burton, the young Missouri native already displayed his soon-to-become trademarked playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility - a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues. With the release of his first album, Bright Size Life (1975), he reinvented the traditional "jazz guitar" sound for a new generation of players. Throughout his career, Pat Metheny has continued to re-define the genre by utilizing new technology and constantly working to evolve the improvisational and sonic potential of his instrument. METHENY'S versatility is almost nearly without peer on any instrument. Over the years, he has performed with artists as diverse as Steve Reich to Ornette Coleman to Herbie Hancock to Jim Hall to Milton Nascimento to David Bowie.  Metheny's body of work includes compositions for solo guitar, small ensembles, electric and acoustic instruments, large orchestras, and ballet pieces, with settings ranging from modern jazz to rock to classical.

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Mar 8, 2024
Tay Tay Laser Dance Party
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
27
About the Show and the Artist:

Calling all Swifties for the most epic Taylor-themed event. The all-ages Taylor Swift Laser Dance Party is coming to The Harvester. Immerse yourself in Tay Tay's music while surrounded by synchronized lasers and lights. You'll sing and dance to all your favorite Taylor Swift songs for an unforgettable night.

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Mar 9, 2024
Sarah Jarosz
Doors Open:
7:00 pm
Show Ends:
10:30 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
67
About the Show and the Artist:

Artist presale is Tuesday, Oct.10 at 10a.m.

Spotify presale is Wednesday, Oct.11 at 10 a.m.

General onsale is Friday, Oct.13 at 10a.m.

VIP Meet & Greet Package Available (Very Limited) - Does Not Include Ticket - Must Purchase Ticket and VIP Add-On to Attend

VIP PACKAGE INCLUDES
• Pre-show soundcheck performance
• Q&A with Sarah
• Group photo with Sarah (Sarah stays on stage)
• Poster signed by the artist
• Early venue entry
 

With her captivating voice and richly detailed songwriting, Sarah Jarosz has emerged as one of the most compelling musicians of her generation. A three-time Grammy Award-winner at the age of 28, the Texas native started singing as a young girl and became an accomplished multi-instrumentalist by her early teens. After releasing her full-length debut Song Up in Her Head at 18-years-old, she went on to deliver such critically lauded albums as Follow Me Down, Build Me Up From Bones, and 2016’s Undercurrent, in addition to joining forces with Sara Watkins and Aoife O’Donovan to form the acclaimed Grammy winning folk trio I’m With Her.

In the making of her new album World On the Ground, the New York City-based artist collaborated with producer/songwriter John Leventhal: a five-time Grammy Award-winner known for his work with Elvis Costello, Shawn Colvin, and his wife Rosanne Cash. Working almost entirely on their own, the two musicians crafted a subtle tapestry of sound perfectly suited to Jarosz’s lyrical storytelling. In a departure from the nuanced introspection of her previous work, World On the Ground unfolds as a finely wrought collection of stories from her hometown of Wimberley, Texas (population: 2,626), presenting a series of character sketches nearly novelistic in emotional scope. As she inhabits characters both real and imagined—exploring the tension and inertia of small-town  living, the desire for escape and the ease of staying put—Jarosz reveals her remarkable gift for slipping into the inner lives of others and patiently uncovering so much indelible insight.

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Mar 29, 2024
Stop Light Observations w/ Dante Elephante
Doors Open:
7:00 pm
Show Ends:
11:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
0
About the Show and the Artist:

Complete Free Concert Series: https://www.tixr.com/groups/harvesterfreeseries

STOP LIGHT OBSERVATIONS

Stop Light Observations is a d\namic five-piece hailing from Charleston, South Carolina. Their
sound is a unique blend of rock, pop, and indie, infused with electronic beats and soulful vocals.
From songs like 32\oung ́ to 3Trajic Majic, ́ their music is a true reflection of their unique
personalities, and their live shows are a testament to their authenticit\ and raw talent.

DANTE ELEPHANTE 


Dante Elephante is based out of Santa Barbara, CA. Released German Aquatics in 2013 & AngloSaxon Summer (Produced by Jonathan Rado) in 2015 via Lolipop Records. Rare Attractions was
released digitally in the summer of 2018.
Dante Elephante's new album, "Mid-Century Modern Romance" was released on January 8th,
2020 via Born Losers Records.
Dante Elephante has toured the entire US from 2016-present, and has supported acts such as
The Orwells, Summer Salt, Hunny, Japanese Breakfast, Awolnation, Cold War Kids, and more.

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Mar 30, 2024
Colin Mochrie & Brad Sherwood
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
87
About the Show and the Artist:

Get ready for an evening of sidesplitting laughter as Colin Mochrie and Brad Sherwood, the dynamic duo from TV's "Whose Line is it Anyway?," take the stage in a one-night-only uproarious live show, Colin Mochrie & Brad Sherwood: Looking for Trouble.    
Armed with their lightning-fast wits, Mochrie & Sherwood transform the audience’s suggestions into an unpredictable evening of non-stop comedy gold. No script? No problem! “Asking For Trouble” is a wild rollercoaster ride of hilarity, where two improv legends prove they are still the best in the business.

Brad Sherwood Biography

Brad Sherwood is one of the greatest living American improvisers, and loves writing about himself in the third person. He is best known for his thirteen seasons, as a series regular on the Emmy nominated ‘Whose Line Is It Anyway?’. 

His other credits include The Drew Carey Show, Talk Soup, The Newz, Improv-A-Ganza, The Green Screen Show, This Vs. That, The Dating Game, LA Law, and The Tonight Show.

Colin Mochrie Biography

Mochrie is an alumnus of Toronto’s famous Second City comedy troupe and is widely considered to be one of the leading improvisers in the world.

After nine years as a regular on the British improvisation series “Whose Line Is It Anyway?,” he became a regular on the American version hosted by Drew Carey, which ran for six years on ABC and three years on ABC Family. In 2011, the entire cast was reunited in Vegas for “Drew Carey’s Improv-A-Ganza.”

Mochrie appears regularly in film and television and was notably a cast member of CBC’s classic news spoof “This Hour Has 22 Minutes” for two seasons. With his wife, Debra McGrath, he produced, wrote and starred in the CBC show “Getting Along Famously.”

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Apr 4, 2024
Tab Benoit
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
72
About the Show and the Artist:

ABOUT TAB BENOIT

One of the most impressive guitarists to emerge from the rich Bayous of Southern Louisiana in recent years, Tab Benoit’s guitar tone can be recognized before his Otis-Redding-ish voice resonates from the speakers. He doesn’t rely on any effects and his set up is simple. It consists of a guitar, cord, and Category 5 Amplifier. The effects that you hear come from his fingers.

Born on November 17, 1967, in Baton Rouge, Louisiana, Benoit grew up in the nearby oil and fishing town of Houma, where he still resides today. Musically, he was exposed early on to traditional Cajun waltzes and the country music broadcast on his hometown’s only radio station. Benoit’s father was himself a musician; as such, the family home was filled with various instruments. He began playing drums but switched to guitar because the only gigs to be had in rural Louisiana were held in churches and at church fairs, and organizers would not allow loud drums to be played at these events.

Anthony Rosano and rhe Conqueroos

Singer, guitarist, songwriter, and bandleader, Anthony Rosano, has always been drawn to grit, gravitas and the connection that comes from making music. Although his music roots are implanted in the firmament of the blues, he takes his cue from any number of archival influences. 

“As a teenager, I was into all the British bands that took their cues from the blues,” he recalls. “I was still a novice on guitar when I read an interview with Glen Tipton, the guitarist from Judas Priest. He mentioned that Peter Green, the genius guitar player for the original Fleetwood Mac, was his main influence, and he cited ‘Green Manalishi’ as the song that had inspired him early on. I found a copy of Peter Green’s Fleetwood Mac album recorded live at the Boston Tea Party, and after soaking it all up, it led me to John Mayall’s Bluesbreakers, which, in turn, led me to the original blues masters like Freddy King and Muddy Waters. As everything fell into place, I quickly realized  that all my favorite songs by my favorite bands were actually blues songs! The feeling I got from those songs became a kind of spiritual connection, one that originated when the English took it upon themselves to emulate the authentic sound of true American soul, and then share it with the rest of the world. It was a transatlantic call and response.”

All these years later, Anthony continues to play his part in that continuum. Well recognized and  highly respected for his dedication to that specific sound, flush with its drive and determination, he and his band, The Conqueroos — Anthony on guitar and vocals, Kyle McCormick on drums and Jake Fultz on bass — have delighted — and inspired — audiences big and small. Whether  on their own or while sharing stages with Bob Seger and his Silver Bullet Band, ZZ Top, Gov’t Mule, Samantha Fish, or Tab Benoit, this powerhouse trio continues to amaze and impress.

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Apr 5, 2024
Iam Tongi
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
62
About the Show and the Artist:

Hailing from Kahuku, Hawaii, Iam Tongi made history as the first person from Hawaii and the first Pacific Islander to win the star-finding tv show, American Idol.

Tongi’s soulful voice, aged beyond his 19 years coupled with his skillful performances on the ukulele, piano, and guitar, captivated audiences and judges alike starting from the first note of his deeply emotional audition where he dedicated a touching rendition of James Blunt's "Monsters'' to his late father. The heartfelt performance garnered a standing ovation from judges Lionel Richie, Katy Perry, and Luke Bryan, quickly propelling Tongi to viral fame and amassing over 100 million views on YouTube making him the most viral artist in Idol history.

Being a large part of the Hawaiian, Samoan, and Tongan culture, Iam grew up surrounded by music where his natural born gifts became known prompting his father to spend a holiday paycheck on a guitar for the then 13-year-old. Iam then spent years performing for his family and at local events, carefully crafting his skills and vocal prowess. While still in high school, Iam’s family was “priced out of paradise” and found themselves moving to Federal Way, Washington. Always encouraging, Iam’s father constantly suggested the singer audition for American Idol, but it wasn’t until his father sadly passed from kidney failure that the young artist signed up for the show, a touching tribute to the most influential person in his life. Since his historic win, Iam’s artistry is flourishing with the release of his single "I'll Be Seeing You", (which reached No. 3 on Billboard's Digital Song Sales and No. 1 on Rock Digital Song Sales) and has been selling out shows across the US.

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Apr 7, 2024
Diamond Rio
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
102
About the Show and the Artist:
About Diamond Rio: Originating as The Tennessee River Boys in the 80’s, the band evolved into Diamond Rio in 1989.The following year, they signed with Arista Nashville, and in 1991, with the release of “Meet in The Middle,” became the first country music group in history to reach No. 1 with a debut single. Theband is also known for their multi-week chart-topper “How Your Love Makes Me Feel,” cross over hit “One More Day,” as well as timeless hits “Beautiful Mess,” “Unbelievable,” “I Believe,” and many more.
  Selling more than 6.8 million albums and surpassing over 1.05 billion global streams, Diamond Rio has charted 20 Top 10 singles, 15 Top 5 singles, and seven No. 1 singles. Known for playing every note on every album throughout their career, the band’s unwavering commitment to their craft is evident in their instrumental tracks “Big,” “Appalachian Dream,” and “Poultry Promenade,” all of which received Grammy nominations for Best Country Instrumental Performance.
  Following their Arista Nashville deal, the band released two albums with Word Records–their Christmas album,The Star Still Shines, and their Dove and Grammy-winning Christian Country album, TheReason. Amassing numerous accolades throughout the years, the band is a member of the Grand Ole Opry, won six Vocal Group of the Year Awards (four CMA and two ACM), received fourteen Grammy nominations, and won a Grammy Award for their album, The Reason. Known for their charitable commitments, including long-time spokespersons for Big Brothers Big Sisters, the band has raised more than $1 million for non-profits and received the Minnie Pearl Humanitarian Award.
For more information, visit www.DiamondRio.com. Follow Diamond Rio: Facebook: @DiamondRioInstagram/Twitter/TikTok: @DiamondRioBandYouTube:@DiamondRioTV
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This is some text inside of a div block.
Apr 9, 2024
John Oates
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
67
About the Show and the Artist:

John Oates is one half of the best-selling duo of all time, Hall & Oates, as well as an accomplished solo artist. He is a member of the Rock and Roll Hall of Fame, The American Songwriters Hall of Fame, recipient of the prestigious BMI Icon Award as well as numerous American Music, MTV awards, and multiple Grammy nominations.

Since forming his creative partnership with Daryl Hall in the early 1970s, they have gone on to record 21 albums, which have sold over 80 million units, making them the most successful duo in rock history. They have scored 10 number one records, over 20 Top 40 hits, and have toured the world for decades. Their involvement in the original “Live Aid” concert and the groundbreaking “We Are The World” charity recording have further established them as legendary artists, who have personally and through their music, stood the test of time.

Since embarking on a solo career in 1999, John has recorded seven solo albums: Phunk Shui, 100 Miles of Life, Mississippi Mile, The Bluesville Sessions, Good Road To Follow, Arkansas and most recently Live from Nashville with the Good Road Band. In addition, his 2017 autobiography “Change of Season” released by St. Martin’s press became an Amazon best seller.

This year John and his wife Aimee have partnered with the streaming broadcast service NugsTV and co-producer Drive Entertainment Group to create a virtual celebration of stories and songs called “OATES SONG FEST 7908“. Inspired by a live series of shows that they created in 2010 at the historic Wheeler Opera House in Aspen, CO.

OATES SONG FEST 7908” will be a free streaming concert with all donations and proceeds going to FEEDINGAMERICA.ORG. The broadcast will feature an all-star roster of artists all of whom have volunteered their songs and performances to help families without food across the nation.

“ My wife Aimee and I are committed to Feeding America’s mission to feed America’s hungry through a nationwide network of member food banks and engage us all in the fight to end hunger. In a country like ours…no family should have to go without food.”

John continues to tour the world with Daryl Hall, and perform solo as both a musician and public speaker. He also produces, collaborates and develops new artists and has recently completed a series of songs for the upcoming feature film “Gringa” to be released soon.

John and his wife Aimee reside in Nashville, Tennessee and Aspen Colorado.

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This is some text inside of a div block.
Apr 11, 2024
Indigo Girls w/ Annie Humphrey
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
128
About the Show and the Artist:

ON THEIR 16TH STUDIO ALBUM,

Indigo Girls tell their origin story. They have reunited with their strongest backing band to date to create Look Long—a stirring and eclectic collection of songs that finds the duo of Amy Ray and Emily Saliers chronicling their personal upbringings with more specificity and focus than they have on any previous song-cycle. These eleven songs have a tender, revealing motion to them, as if they’re feeding into a Super 8 film projector, illuminating a darkened living room: Saliers Ray are tackling the mechanisms of perspective. “We’re fallible creatures shaped by the physics of life,” says Saliers. “We’re shaped by our past; what makes us who we are? And why?” In this moment of delirious upheaval, Look Long considers the tremendous potential of ordinary life and suggests the possibility that an honest survey of one’s past and present, unburdened by judgement, can give shape to something new—the promise of a way forward. With the energy of an expanding, loyal audience beneath their feet, a weather eye toward refinement, and an openness to redefinition, Indigo Girls exemplify that promise.

 
Plans for Look Long materialized over morning tea with producer John Reynolds (Sinéad O’Connor, Damien Dempsey) on a stop during the duo’s recent, sold-out tour of the United Kingdom. “We were talking about life and music and by the end of breakfast we’d reached the conclusion that it was time to make another record together,” says Ray. Their relationship with Reynolds dates back to the summer of 1998 during the second Lilith Fair Tour when a shared main stage headlining slot with Sinéad O’Connor and her formidable backing band featuring Reynolds on drums, bassist Clare Kenny, keyboardist Carol Isaacs, cellist Caroline Dale, and lead guitar player Justin Adams blossomed into deep, mutual admiration, friendships, and eventually, collaboration. Ray has called the relationship, “one of the most important moments in our musical growth.” The group recorded Indigo Girls’ next album, 1999’s Come On Now Social, with Reynolds acting as both producer and drummer, before embarking on a worldwide tour together. Twenty years later, with the addition of longtime touring violinist Lyris Hung, Look Long marks the complete return of the lineup Saliers calls, “our musical compass.”

 
Tracking commenced in early January 2019 at Peter Gabriel’s Real World Studios, a state-of-the-art recording studio tucked into the English countryside outside the city of Bath. “Emily and I were so excited by John’s arrangements,” Ray remembers. “It was a good lesson in trust.” Before flying to England, the two had agreed, “Whatever happens in the studio will happen,” says Saliers. “A lot of magic unfolded because of that decision.”

 
A similar magic unfolded in 1989 when their eponymous major label debut shifted over two million units under the power of “Closer to Fine” and “Kid Fears” and turned Indigo Girls into one of the most successful folk duos in history. Over a thirty-five-year career that began in clubs around their native Atlanta, Georgia, the Grammy-winning duo has recorded sixteen studio albums (seven gold, four platinum, one double platinum), sold over 15 million records, and built a dedicated, enduring following. Collaborations with a new generation of devoted peers like Brandi Carlile, Justin Vernon (Bon Iver), Sierra Hull, and Matt Nathanson continue to bring newcomers to Indigo Girls’ audience. Says Vernon about growing up with Indigo Girls’ music, “I adored them more and more—the more they had strength in the face of their adversity…They’re my favorite group ever.” Committed and uncompromising activists, they work on issues like immigration reform (El Refugio), LGBTQ advocacy, education (Imagination Library), death penalty reform, and Native American rights. They are co-founders of Honor the Earth, a non-profit dedicated to the survival of sustainable Native communities, Indigenous environmental justice, and green energy solutions.

 
“I told myself I wasn’t going to put boundaries around what should be an Indigo Girls song,” Ray says of writing album opener “Shit Kickin’.” The funky, back road-strut is both a love letter to her Southern heritage and a refusal to be complacent about the region’s legacy of prejudice and racism. “Damn that trickery / it got the best of me,” Ray sings over Saliers’ slide guitar, “I’m gonna tear it down and start again.”

 
“Everyone I know can sense Armageddon,” sings Saliers on title track “Look Long,” a masterful display of her compositional grace that coalesces past, present, and future into a unified perspective. “People feel lost in these political times,” she says. In the memory of her grandmother, “a Nixon Republican” who let the grandkids drink from her “Apollo Mission glasses / etched in red, white, and blue commemoration,” Saliers depicts an all but vanished form of American identity. She’s a patriot in the grand tradition of Woody Guthrie; “Look Long” is both a lament and a prayer of hope for the country she loves. “Look long / Look long,” she repeats over a soft, arpeggiating piano figure. “It means let’s lament our limitations, but let’s also look beyond what’s right in front of us, take the long view of things, and strive to do better.” 

 
Ray is equally focused on the search for common ground on “Muster,” a frank accounting of the American gun-violence epidemic she began writing after seeing a televised town hall meeting held in Parkland, Florida. “I was struck by these citizens’ willingness to meet and try in earnest to have a dialogue between the two sides.” She asks, “Is this the best we could muster / Custer or just prayers for the slain / I wanna get this right and not the same ole thing.”

 
Saliers’ angular electric guitar intro sends a current through “Change My Heart,” a rocker that pairs politics and physics. “The four fundamental forces came to play / In the American schism,” she sings. “I was reading about electromagnetism and gravitational law…we are physical beings, we vibrate. And we can achieve higher vibrations, so to speak.” Pulsing with psychedelic guitars and organ layers, “Change My Heart” does just that.

 
Saliers and Ray both became parents (each a daughter) since their last studio album; the experience permeates these songs of self-discovery. The twist-time, B-52s-tinged “Favorite Flavor” evolved out of a game of call and response between Amy and her daughter. “When I’m writing, she’ll come sit with me and play along on a drum or shaker. She knows I have a candy jar on my writing table,” laughs Ray. “One day we were singing back and forth about candy and fun things and I recorded it on my phone. I listened to the recording a lot when I missed her; I liked the way she interjected the words “dark, pink cherry” in just the right places and I started to realize there was the beginning of a real song there.” The song took on a more serious tone as Ray continued to write. “I’m a left-winger in a conservative county and a parent of a kid who loves playdates. It was hard to explain to her why my neighbors had stopped letting their kids wander down our gravel driveway to play.”

 
“I wrote about something that I’d been afraid to write about my entire life,” says Saliers of her elegy for her younger sister, “Sorrow and Joy.” “We have to hold these opposites in life. It’s the secret, it’s the key, it’s the way that things are made—by opposing forces that inform each other. I was looking at her photo, thinking how strange it is that when someone dies young, they’re forever frozen in your mind as youthful. The contradictory emotion of seeing their vibrancy and knowing that they’re gone.” 

 
“Howl at the Moon” is a joyful, rallying-cry for personal liberation. It began on a late-night walk around Athens, Ga after a 14-hour drive from Indianapolis on her recent solo tour. “I was feeling old, tired, and hungry. Everything I was thinking about as I walked ended up in this song: an apology, a confessional, and a quest for liberation—for all of us, regardless of age, gender, race, or sexuality.” Reynolds’ rhythmic approach brings the lyric to life in a “glorious swirl” of mandolin jangle and clever counter-melodies. “It’s a world of sounds and movement for a song about overcoming all the boundaries that hold us back and freeing ourselves from the pain we get mired in” says Ray.

 
“I wanna be that boy / I wanna be that girl / I wanna know what it’s like to fall in love like most of the rest of the world,” Saliers aches over a lovely layer of strings on “Country Radio.” “This is the way I felt doing those four-hour drives from Nashville, listening to country music radio,” she says. “I could almost put my own life story in these songs, but I can’t. There are gender divisions and heteronormative realities. There’s a lot of self-homophobia that I’ve had to work on in my own life that plays into this as well.” Indigo Girls have been previewing “Country Radio” in their live set; “I can tell it’s resonating with people; when I get to that line, ‘I’m just a gay kid who loves country radio,’ there’s an audible verbal response from the audience,” says Saliers.

 
Ray was reflecting on ride share apps when she penned “K.C. Girl,” a power pop, suburban nocturne. “It’s a transaction built on trust but also detachment. Even in silence, you’re both leaving clues about who you are. No one wants to be read the wrong way.”

 
“When We Were Writers” is a pop-savvy ode to what Saliers calls “the two most influential years of my life” spent at Tulane University in New Orleans. “Amy and I were starting to embark on really what was the beginning of our career,” remembers Saliers. “Today, we joke about being old, but what is old when it comes to music? We’re still a bar band at heart. We are so inspired by younger artists and while our lyrics and writing approach may change, our passion for music feels the same as it did when we were 25-years-old.”

 
“As time has gone on, our audience has become more expansive and diverse, giving me a sense of joy,” she adds. To hear those collective voices raise into one, singing along and overpowering the band itself, one realizes the importance Indigo Girls’ music has in this moment. In our often-terrifying present, we are all in search of a daily refuge, a stolen hour or two, to engage with something that brings us joy, perspective, or maybe just calm. As one bar band once put it, “We go to the doctor, we go to the mountains…we go to the Bible, we go through the work out.” For millions, they go to Indigo Girls. On Look Long they’ll find a creative partnership certain of its bearings, forging a way forward.

Annie Humphrey

Growing up on the Leech Lake Indian Reservation in Northern Minnesota, Annie lived in a home filled with voices made of thunder and nothing could stop it.  Her parents were brilliant people individually.  Her father, a singer and musician and her mother an artist and poet.  Together they made sadness.  Each of her parents taught Annie the beautiful things they knew.  They showed her that she carried their gifts in her hands too.  This is how creating art and music came about for her.  This is  what saved her.  This is how she lives now.

Things my dad taught me:

skin a deer, set net, clean fish, make maple syrup, harvest wild rice, play basketball, ride motorcycle, go without if you can't afford it, play guitar

Things my mom taught me:

draw, paint, sew, write, laugh, wonder, forgive

Annie has 4 children and 2 grandsons.  She has a handsome, Indian, horseman husband.  They inspire her spirit and her art.

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This is some text inside of a div block.
Apr 14, 2024
Madison Cunningham & Juana Molina
Doors Open:
7:00 pm
Show Ends:
10:30 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
300
About the Show and the Artist:

Madison Cunningham is a26-year-oldGRAMMYaward-winningartistand songwriterknown for her“wonderfully tangled imagery and cutting self-awareness”(NPR).As aguitarist, Madison has pushed the boundaries of a conventionalsinger-songwriterasher“guitar work is both classic and wildly emotive, and her soaring vocals are pristineand inspired”(Consequence).Madisonfirst picked up a guitar at age seven, and by agetwelve was singing and performing alongside her five siblings in church.In her teenageyears, she met Tyler Chester who would later go on to be a close collaborator andproducer of several of Madison’s projects includingWho Are You Now(2019)whichAtwood Magazinedescribed as“a guitar-driven record, full of twisting, meticulouslyarranged parts and interlocking melodies. It’s almost labyrinthine; you could get lost inher swirling words.”Cunningham’s latest effort,Revealer, won theGRAMMY for‘Best Folk Album.’Revealerfinds her working once again withproducerTyler ChesteralongwithMikeElizondo and Tucker Martine. Written and recorded over all states of the pandemic,Madison says, “To me, ‘revealer’ is the binding theme of the album. The hand thatslowly chips away at the mirror in which you see yourself and the world and replaces itwith the reflection that is most true.” The album is“full ofintricate musicianship,alongside forthright observations” (All Music), intimations and hard truths—a self-portraitof a young artist who is full of doubt and uncertainty yet bursting with exciting ideasabout music and life.

Juana Molina

Born in Argentina, Juana Molina grew up in a musical environment. Her father, revered tango singer and composer Horacio Molina, gave her guitar lessons from the age of five. Her mother, actress Chunchuna Villafañe, is a committed music lover who initiated Juana to the secrets of her extensive record collection.
Following the military coup of 1976, the Molina family fled the country and lived in exile in Paris for six years. During those formative teenage years in Paris, Juana’s outlook on music was vastly expanded, a.o. by regularly listening to a couple of French radio stations which offered programs featuring music from around the globe.
When Juana returned to Argentina she was determined to become independent and to pursue a career in music. Like so many other 20-somethings, Juana’s career aspirations were, “to earn a good salary for working just a few hours”, in order to keep free time to develop her musicianship. She knew she had a knack for doing imitations, and went to pass an audition for a TV program. She got hired on the spot.

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This is some text inside of a div block.
Apr 19, 2024
Kentucky Gentlemen w/Julie Williams
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
0
About the Show and the Artist:

Complete Free Concert Series: https://www.tixr.com/groups/harvesterfreeseries

Kentucky Gentlemen

 In both music and life, Brandon and Derek Campbell have been nearly inseparable since birth. These twin brothers from Versailles, Ky., got their first public singing experience in a church choir, but when they weren’t learning worship songs, they were foregoing their classical piano practice time to perform to keyboard beats with their older brother Quentin or singing along to Disney Channel songs in their bedroom.

“I remember us never having to practice sounding good together,” Derek recalls. “We just sang together, and it worked.” Still, it took the Campbells some time apart to realize both that music, specifically, was what they were supposed to do with their lives, and that they were supposed to do it together.

Brandon moved to Chicago and Derek to Bloomington, Ind., for college, and while they call that separation “probably the best thing that happened to us,” they also didn’t feel quite at home in their new cities. “I think we needed that time away to be individuals for the first time in our lives,” Brandon reflects. “We needed that to come back and bring what we each had to the table, instead of bringing the same thing.” Separately, the Campbells chose to move home, but together, they decided Nashville was where they should be — and when their mother offhandedly referred to them as “my Kentucky gentlemen,” they knew they’d found their duo name.

The Kentucky Gentlemen’s sound draws inspiration from the ‘90s country and R&B they favored during their childhood, which combine in “Whatever You’re Up For,” their sultry, yet upbeat single. The duo teamed up with multi-Grammy nominated producers to produce this fresh record.

The Kentucky Gentlemen know sharing their more serious personal experiences is just as important as showcasing their fun side. “Unless we call it out, we can’t fight it,” says Derek. “Showing up as your most authentic self over and over and over again will, with time, release so much weight off your shoulders and will start opening doors. It can be hard at times, but it's so much easier than wasting time not being true to who you are.” “People put you into boxes for their comfort, not yours,” Brandon adds. “We hope people see these two guys who just keep showing up as themselves,” Derek continues. “We understand the importance of where we’re going and what that means to people like us. We want to be the same folks that we wish we had always gotten to see on the main stage.”

Julie Williams

“Making waves with these waves”

Fearlessly forging ahead down country roads, CMT Next Women of Country singer-songwriter Julie Williams carries her mixed-race heritage proudly, just as she carries her tunes. Raised in Florida, Julie is turning heads in Nashville’s country music scene with the soft but powerful songs that capture the soul of growing up as a mixed-race child in the South.

Music has always been a part of Julie’s life - honing her singing talent in church and beach bars and belting national anthems before packed stadiums. She grew up listening to everyone and everything, from The Chicks and James Taylor, to Gladys Knight and Michael Jackson. Even though she was drawn to the storytelling of country music, she never quite found the sound that spoke to everything she was: Black, white, Southern, a woman, hopeful, truthful. So naturally, it was up to Julie to make this sound. “My music is mixed like me,” is how she describes it, “I want to tell the stories that need to be told.”

Julie started sharing those stories, and the people listened. A student at Duke University, Julie was signed to Small Town Records whose alumni include Mike Posner and Delta Rae and sang as a vocalist for the Duke Jazz Ensemble. In April 2019, she released her debut EP, Lovecycle, earning a feature in People of Duke Arts in 2019. After graduating with a public policy degree in 2019, she moved to Nashville, where she became a regular host of The Song Suffragettes, Nashville’s premier collective of female singer-songwriters, and performed her upcoming single Southern Curls at the State of Tennessee’s 100th anniversary celebration of the 19th amendment. She was named in Rissi Palmer’s Color Me Country Class of 2021 and featured on She Wolf Radio’s Ones 2 Watch list. In April 2021, she was featured in a PBS NewsHour special on Black women in country music.

“People want to hear black voices, black stories,” Julie always says. “I was nervous about how my songs would be received by Nashville - but people want honesty. They want honest songs about real life, and for the artists they follow to take a stand.” Julie´s upcoming single Southern Curls embodies this - making waves with her soulful lyrics about the struggles of growing up mixed in the South, aiming for the heart and striking true. Her fans responded by raising over $5000 in only one week to fund the song´s music video that was brought to life by an all black creative team. The single and music video, released in March 2021, covered by Billboard, CMT, World of Country, and numerous music publications. 

Julie has begun touring the country with the Black Opry Revue, a showcase featuring Black artists in country, blues, folk, and Americana music, and performed at their CMT-sponsored anniversary gala in April 2022 that was covered by NBC News. Julie took the stage with the group at CMA Fest in Nashville in June 2022 and followed this performance with her first solo tour that brought Julie and her songs across the country and globe - with performances in London, Nashville, and across the East Coast. After her Americana Fest debut at the Country Music Hall of Fame, Julie hit the road again over the fall with a mix of Black Opry and solo performances across the Midwest, West Coast, and Northeast.

Julie was inducted in the CMT Next Women of Country Class of 2023 in January 2023, joining, Kacey Musgraves, Margo Price, Brittney Spencer, Lainey Wilson, Lauren Alaina, Madeline Edwards, Maren Morris and Morgan Wade. 

Julie released a new single, “Wrong Mr. Right” on February 10 that captures the hurt of a long-term partnership ending, through her poignant lyricism and vulnerable vocal performance. Julie is releasing her self-titled EP, “Julie Williams” on June 2nd followed by a coast-to-coast tour this summer.

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This is some text inside of a div block.
Apr 20, 2024
Dell Iron Project
Doors Open:
6:00 pm
Show Ends:
9:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
10.11
About the Show and the Artist:
The Dell Iron Project is music that is locally grown, and presented live from the roaming hills of Southwestern Virginia.  This band offers a unique diversity of music which includes original songs, americana, and old country.  Audiences enjoy the variety because it appeals to everyone.  Many of the original songs presented, reach out to listeners as they enjoy hearing the stories of life and love told in each song.  This group has performed at many venues like The Floyd Country Store, Reeves Theater, The Cove Amphitheater, Mount Airy Autumn Leaves Festival, Wineries, the IBMA and many more.   Catch us on facebook at  https://www.facebook.com/people/Dell-Iron-Project/100063516246790/ 
 
 
Special Guests will be original Lost & Found member Roger Handy and Stewart Wener III
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This is some text inside of a div block.
Apr 25, 2024
The Steel Woods
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
42
About the Show and the Artist:
With a pair of critically acclaimed Woods Music/Thirty Tigers releases under their belts in Straw in the Wind(2017) andOld News(2019), Nashville-based The Steel Woods have lived up to their name as a hybrid musical force both in the studio, but especially live. Part hard-edged Southern rock, part Americana roots country folk, man-made, yet organic, rock but also bluegrass, R&B, blues, gospel, soul and heavy metal, The Steel Woods’ completed their first recordings barely months after they first met before being joined by current bassist Johnny Stanton.The band’s two original members are native sons of the south who both hale from small-townbackgrounds.

  The Alabama-born Wes Bayliss played harmonica from the age of eight in his family’s gospel band, eventually teaching himself piano, bass and drums. Jason “Rowdy” Copeturned his love of Jimmy Page and Jimi Hendrix into a career as a session guitarist/songwriter and producer, moving to Los Angeles, then playing in Jamey Johnson’s band for nine years. The two met in Nashville playing for the same cover band in some out-of-town dive, and immediately discovered an affinity for each other. And while their albums have received kudos, it is live where The Steel Woods truly shine, expanding on the blueprints on record, involving the crowd in a joyous, communal experience. “We want to get good songs out to a bunch of people who need them,” says Wes. “We just want to make a living making music because it’s the greatest job in the world. I don’t mind working, but I prefer loving what I do.”Over the course of just over three years as a band, The Steel Woods have toured withfellow Southern rockers like Cody Johnson, Cody Jinks, Whiskey Myers and Blackberry Smoke as well as inspirations such as Lynyrd Skynyrd and Miranda Lambert, performing in Europe for the first time last year.

  In between another hectic year of concert dates, The Steel Woods are also preparing to release their third studio album for Woods Music/Thirty Tigers. “We’re going to tour these two records and do everything in our power to do them justice and get our music out to our fans,” says Wes. Rolling Stone said The Steel Woods repurposed their cover of Tom Petty and the Heartbreakers’ “Southern Accent” into a “roaring... Southern rock power ballad,” while Saving Country Musicraved, “Though there is not a shortage of Southern rock bands, few have the edge and darkness The Steel Woods bring to the table."All upcoming dates can be found on their website at thesteelwoods.com.
 
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This is some text inside of a div block.
Apr 26, 2024
World Famous Glenn Miller Orchestra
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
280
About the Show and the Artist:

“A band ought to have a sound all of its own.  It ought to have a personality.” – Glenn Miller

Alton Glenn Miller was born in Clarinda, Iowa on March 1, 1904. But it was in North Platte, Nebraska, several years later that Glenn actually got his musical start when, one day, his father brought home a mandolin. Glenn promptly traded it for an old battered horn, which he practiced every chance he got. In fact his mother worried, “It got to where Pop and I used to wonder if he’d ever amount to anything.”

In 1923, Miller entered the University of Colorado, although he spent more time traveling to auditions and playing where and whenever he could. After flunking three of his five courses one semester, Glenn dropped out to concentrate on his career as a professional musician.

He toured with several orchestras and ended up in Los Angeles where he landed a spot in Ben Pollack’s group, a band that included a guy named Benny Goodman. Here, Miller also got the chance to write some arrangements. Arriving in New York City, he soon sent for, and married his college sweetheart, Helen Burger in 1928, and for the next three years, earned his living as a free-lance trombonist and arranger.

Miller played and recorded with the likes of Tommy and Jimmy Dorsey (who on several of their records, featured an up-and-coming singer by the name of Bing Crosby), Gene Krupa, Eddie Condon and Coleman Hawkins. In addition, during that time, Glenn cut 18 sides for Goodman, and also worked for radio studio conductors like Victor Young, Carl Fenton and Jacques Renard. In 1934, Miller became the musical director of the Dorsey Band, and later went on to organize The Ray Noble Orchestra, which included such players as Charlie Spivak, Peewee Erwin, Bud Freeman, Johnny Mince, George Van Eps and Delmar Kaplan, among others.

In April 1935, Glenn Miller recorded, for the first time, under his own name. Using six horns, a rhythm section and a string quartet, he recorded “Moonlight on the Ganges” and “A Blues Serenade” for Columbia. But selling only a few hundred records, he continued his position with the Noble Orchestra.

In 1937, Glenn Miller stepped out to form his own band. There were a few recordings — one for Decca and one for Brunswick — a couple of week-long stints in New Orleans and Dallas, and many one-nighters, but it was not to be. Though the group would play one more date several days later in Bridgeport, Connecticut, Glenn gave his men their final notice on New Year’s Eve at the Valencia Ballroom in York, Pennsylvania. Broke, depressed and having no idea what he was going to do, he returned to New York City.

It is said that Miller could never remember precisely the moment he decided to emphasize his new reed section sound. But it was during this disheartening interim, that he realized the unique sound — produced by the clarinet holding the melodic line while the tenor sax plays the same note, and supported harmonically by three other saxophones — just might be the individual and easily recognizable style that would set his band apart from all the rest.

Formed in March 1938, the second Glenn Miller Orchestra — which would later include the likes of Tex Beneke, Marion Hutton, Ray Eberle, Paul Tanner, Johnny Best, Hal McIntyre, and Al Klinck — soon began breaking attendance records all up and down the East Coast. At the New York State Fair in Syracuse it attracted the largest dancing crowd in the city’s history. The next night it topped Guy Lombardo’s all-time record at the Hershey Park Ballroom in Pennsylvania. The Orchestra was invited by ASCAP to perform at Carnegie Hall with three of the greatest bands ever — Paul Whiteman, Fred Waring and Benny Goodman — and created more of a stir than any of them.

There were record-breaking recordings, as well, such as “Tuxedo Junction”, which sold 115,000 copies in the first week. “In the Mood”, and “Pennsylvania 6-5000?, all appearing on the RCA Victor Bluebird label. In early 1940, Down Beat Magazine announced that Miller had topped all other bands in its Sweet Band Poll, and capping off this seemingly sudden rise to the top, there was, of course, Glenn Miller’s “Moonlight Serenade” radio series for Chesterfield cigarettes which aired three times a week over CBS.  In 1941, it was off to Hollywood where the band worked on its first movie, “Sun Valley Serenade”, which introduced the song — and soon-to-be million selling record –”Chattanooga Choo Choo”, and featured the Modernaires and the Nicholas Brothers. Then came “Orchestra Wives”. But the war was starting to take its toll on many of the big bands as musicians, and the rest of country’s young men, began receiving draft notices.

On October 7, 1942, Alton Glenn Miller reported for induction into the Army and was immediately assigned to the Army Specialist Corps. His appointment as a Captain came after many months of convincing the military higher-ups that he could modernize the army band and ultimately improve the morale of the men. His training complete, he was transferred into the Army Air Corps, where he ultimately organized the Glenn Miller Army Air Force Band. Miller’s goal of entertaining the fighting troops took another year to be realized, but in late 1943 he and the band were shipped out to England.

There, in less than one year, the Glenn Miller Army Air Force Band engaged in over 800 performances. Of these, 500 were broadcasts heard by millions. There were more than 300 personal appearances including concerts and dances, with a gross attendance of over 600,000. But Glenn was not to participate in the final six months of these activities.

In the Fall of 1944, the band was scheduled to be sent on a six-week tour of Europe and would be stationed in Paris during that time. Miller decided to go ahead, in order to make the proper arrangements for the group’s arrival. And so, on December 15th, Glenn Miller boarded a transport plane to Paris, never to be seen again.

In his book “Glenn Miller & His Orchestra”, George Simon wrote this about the man. “His favorite author was Damon Runyon. His favorite book was the Bible. Spencer Tracy and Olivia de Havilland were his favorite movie actor and actress. His big loves were trout fishing, playing baseball, listening to good music, sleep and money. His pet hates were bad swing, early-morning telephone calls (he liked to sleep from 4 a.m. to noon), and the phrase ‘goodbye now’. His favorite quotation, one he stated, was not from the Bible, nor from Runyon, but from Duke Ellington: ‘It Don’t Mean a Thing If it Ain’t Got that Swing!’

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This is some text inside of a div block.
Apr 27, 2024
Ruthie Foster
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
37
About the Show and the Artist:

Ruthie Foster’s ninth studio album represents a new high water mark for the veteran blues artist—a collection of songs possessing pure power, like a tidal wave of musical generosity. Healing Time finds Foster pushing her boundaries as a singer and songwriter more than ever before, creating a truly live-sounding atmosphere with the help of her band, who sound refreshingly loose and lived-in throughout these 12 songs. We’ve all been in need of some healing in recent times, and Foster’s latest provides a guide for how to move through the world with equal parts compassion and resolve.

Healing Time is the latest jewel in Foster’s accomplished career, which includes multiple Grammy nominations and collaborations with fellow luminaries like Susan Tedeschi and Derek Trucks. For her latest, Foster contributed more to the writing process than she had on any of her previous albums, effectively refining her own songcraft in the process. “With this album, I dug deep and tried to go for the best way to write,” she explains. “This album says a lot about the period we were making it in, and how I wanted to find my way out of it.”

Work on the album began in lockdown during the COVID-19 pandemic in 2020, as Foster enlisted previous collaborators like Gary Nicholson and Grace Pettis to pitch in during the writing process—as well as every member of her band. “I wanted my band involved in the entire process of this album,” she explains, and they also played a large role in recreating the sound that Foster had become drawn to after spending time with her vinyl collection.  “I was aiming to keep these songs sounding like they came from that era, which says a lot about where I am in my life, too.”

Veteran producer Mark Howard (Willie Nelson, Lucinda Williams) came in to bring new ideas to Foster’s table as recording began at Studio 71 West in Austin, TX, New Orleans’ famed Esplanade Studios, and Blue Rock Studio in Wimberley, TX. “Mark’s ability to turn a song's arrangement upside down was intriguing and sometimes challenging for me,” she states. “It was a lot to wrap my head around, but he made me think outside of the box I didn’t even know I was in.”

Producer Dan Barrett, who also worked with Foster on 2017’s Joy Comes Back, then took the helm at Black Pumas co-bandleader Adrian Quesada’s famed Electric Deluxe studio in Austin. Along with several Black Pumas members, Barrett brought in a collection of Austin’s finest backing musicians, like Glenn Fukunaga (The Chicks, Shawn Colvin). “With Dan onboard we were able to find the glue to these songs sonically, and he brilliantly melded my familiar Texas blues-Americana sound with what Mark pulled out of me in New Orleans,” Foster says. “This combination gave these songs a breath of fresh air, and it all came together very organically.”

Healing Time’s title—as well as its burst-of-sunshine title track, which features pedal steel legend Robert Randolph—is a reference not only to the trials many have faced over the last several years, but also the necessity of what Foster does as an artist. “I hear fans tell me that the music we make is very spiritually healing,” she says. “The experience of dealing with my own grief after losing a band member a year before the pandemic while navigating around zoom school with my daughter and trying to figure out what to do with myself was tough but necessary. When I look at it as a whole it was all very healing for me which is pretty much how I try to live my life. There’s always time for healing, if you give it time.”

Healing Time is ultimately a work that explores such extremes as being human often brings to the surface, reminding listeners that even when we feel like we’re at the top, we’re ultimately still finding our way—a beautiful reflection of the essence of living itself.

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This is some text inside of a div block.
May 3, 2024
Agents Of Good Roots
Doors Open:
7:00 pm
Show Ends:
10:30 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
0
About the Show and the Artist:

Complete Free Concert Series: https://www.tixr.com/groups/harvesterfreeseries

Agents Of Good Roots

Founded in 1993 in Richmond, Virginia, Agents of Good Roots toured the United States from 1995 through 2001. Since then, band members have found success in music performance, the recording industry, academia, and medicine. In October 2017, they reunited for a memorial show for their tour manager and spiritual advisor, Jeff Peskin. Since then, they have played to fans old and new, at newer intimate venues and on the LOCKN’ Festival stage. The band loves playing for fans again, and they play as often as their schedule allows.

Isaac Hadden Organ Trio

Isaac Hadden Organ Trio is a heavy-hitting, improvisational, cosmic groove ensemble,
carving out a distinct voice in the world of funk, jazz, rock, and R&B. The group performs
intricate yet accessible original music and fresh arrangements of classic tunes. Bridging the
gap between deep improvisation and airtight songcraft, the group strives to transport
listeners to places outside themselves. IHOT serves up powerful dynamic music guaranteed
to rock the mind, body, and soul.

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This is some text inside of a div block.
May 17, 2024
Sara Evans - Night 1
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
87
About the Show and the Artist:
 

Multi-platinum entertainer SARA EVANS is at the top of her game. As the fifth most-played female artist at country radio in nearly the last two decades — her five No. 1 singles include “No Place That Far,” “Suds In The Bucket, “A Real Fine Place To Start,” “Born to Fly,” and “A Little Bit Stronger,” which spent 2 weeks in the top spot and was certified platinum by the R.I.A.A. Sara’s “stunning, country voice” (Rolling Stone) has earned her the prestigious Academy of Country Music Top Female vocalist accolade as well as numerous American Music Awards, Billboard Music Awards, Country Music Association, CMT and Grammy Awards nominations. In addition, the CMA awarded Video of the Year honors for her hit chart-topping single, "Born to Fly" from her landmark double-platinum album of the same name.  Evans’ discography also includes the platinum-selling studio albums Real Fine Place and Restless as well as the gold-certified projects Stronger and No Place That Far. 

Sara has continued to forge her bold, creative path with Copy That, which opened at #1 on the iTunes Country chart, released on her own Born To Fly Records on May 15, 2020. The 13-song collection, spanning six decades, showcased Evans’ distinctive creative stamp on some of the most iconic songs in country and pop music, songs that have inspired her life and career, as well as shining a spotlight on some little-known gems. Copy That follows her critically acclaimed Words, which debuted at #2 on Billboard’s Top Country Albums Chart in 2017. Last year brought album and touring collaborations with her children, Avery and Olivia Barker, for The Barker Family Band.  

Sara released her memoir, Born To Fly, on September 8, 2020 through Howard Books, an imprint of Simon & Schuster. Named after her landmark double-platinum album, which celebrated its 20th anniversary this year, Born To Fly finds Evans opening up and sharing stories not only about her career and what it is like living in the spotlight, but about what inspires her and how her faith keeps her strong.  

Sara Evans Web Links:

www.SaraEvans.com

www.Facebook.com/SaraEvans 

www.Twitter.com/SaraEvansMusic 

www.Instagram.com/SaraEvansMusic 

www.YouTube.com/SaraEvans 

www.TikTok.com/@SaraEvansMusic 

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This is some text inside of a div block.
May 18, 2024
Sara Evans - Night 2
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
87
About the Show and the Artist:
 

Multi-platinum entertainer SARA EVANS is at the top of her game. As the fifth most-played female artist at country radio in nearly the last two decades — her five No. 1 singles include “No Place That Far,” “Suds In The Bucket, “A Real Fine Place To Start,” “Born to Fly,” and “A Little Bit Stronger,” which spent 2 weeks in the top spot and was certified platinum by the R.I.A.A. Sara’s “stunning, country voice” (Rolling Stone) has earned her the prestigious Academy of Country Music Top Female vocalist accolade as well as numerous American Music Awards, Billboard Music Awards, Country Music Association, CMT and Grammy Awards nominations. In addition, the CMA awarded Video of the Year honors for her hit chart-topping single, "Born to Fly" from her landmark double-platinum album of the same name.  Evans’ discography also includes the platinum-selling studio albums Real Fine Place and Restless as well as the gold-certified projects Stronger and No Place That Far. 

Sara has continued to forge her bold, creative path with Copy That, which opened at #1 on the iTunes Country chart, released on her own Born To Fly Records on May 15, 2020. The 13-song collection, spanning six decades, showcased Evans’ distinctive creative stamp on some of the most iconic songs in country and pop music, songs that have inspired her life and career, as well as shining a spotlight on some little-known gems. Copy That follows her critically acclaimed Words, which debuted at #2 on Billboard’s Top Country Albums Chart in 2017. Last year brought album and touring collaborations with her children, Avery and Olivia Barker, for The Barker Family Band.  

Sara released her memoir, Born To Fly, on September 8, 2020 through Howard Books, an imprint of Simon & Schuster. Named after her landmark double-platinum album, which celebrated its 20th anniversary this year, Born To Fly finds Evans opening up and sharing stories not only about her career and what it is like living in the spotlight, but about what inspires her and how her faith keeps her strong.  

Sara Evans Web Links:

www.SaraEvans.com

www.Facebook.com/SaraEvans 

www.Twitter.com/SaraEvansMusic 

www.Instagram.com/SaraEvansMusic 

www.YouTube.com/SaraEvans 

www.TikTok.com/@SaraEvansMusic 

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This is some text inside of a div block.
May 23, 2024
Trombone Shorty & Orleans Avenue
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
97
About the Show and the Artist:

Trombone Shorty‘s new album opens with a dirge, but if you think the beloved bandleader, singer, songwriter and horn-blower born Troy Andrews came here to mourn, you got it all wrong. That bit of beautiful New Orleans soul—”Laveau Dirge No. 1,” named after one of the city’s most famous voodoo queens—shows off our host’s roots before Parking Lot Symphony branches out wildly, wonderfully, funkily across 12 diverse cuts. True to its title, this album contains multitudes of sound—from brass band blare and deep-groove funk, to bluesy beauty and hip-hop/pop swagger—and plenty of emotion all anchored, of course, by stellar playing and the idea that, even in the toughest of times, as Andrews says, “Music brings unity.”

As for why it’s taken Andrews so long to follow 2013’s Raphael Saadiq-produced Say That to Say This, the man simply says, “I didn’t realize so much time passed. Some artists don’t work until they put a record out but I never stopped going.” Truly. In the last four years, Andrews banked his fifth White House gig; backed Macklemore and Madonna at the Grammys; played on albums by She & Him, Zac Brown, Dierks Bentley, and Mark Ronson; opened tours for Daryl Hall & John Oates and Red Hot Chili Peppers; appeared in Foo Fighters’ Sonic Highways documentary series; voiced the iconic sound of the adult characters in The Peanuts Movie; inherited the esteemed annual fest-closing set at the New Orleans Jazz & Heritage Festival in the tradition of Crescent City greats like the Neville Brothers and Professor Longhair; and released Trombone Shorty, a children’s book about his life that was named a Caldecott Honor Book in 2016.

Adding to that legacy, his Blue Note Records debut Parking Lot Symphony finds Andrews teamed with Grammy-nominated producer Chris Seefried (Andra Day, Fitz and the Tantrums) and an unexpected array of cowriters and players including members of Edward Sharpe & The Magnetic Zeros, The Meters, Better Than Ezra, and Dumpstaphunk. Considering Andrews’ relentless schedule, it’s all the more surprising that this LP began with him in a room, all alone, back in New Orleans.

“I had two weeks at home so I went to the studio and set up the ‘playground,'” he recalls. “I had everything in a circle: tuba, trombone, trumpet, keyboard, Fender Rhodes, Wurly, B3 organ, guitar, bass, drums—and me buried in the middle.” He recorded an album’s worth of ideas and then, well, walked away for a year. Not because he was too busy, but because he wanted to hit the road and see how the music changed on him. When Andrews came back with a full band, the songs came to life.

Take the album’s two covers, a pair of NOLA deep cuts: there’s “Here Comes the Girls,” a 1970 Allen Toussaint song originally recorded by Ernie K-Doe that here (with Ivan Neville on piano) sounds bawdy and regal, like something from a current Bruno Mars album; and The Meters’ lovesick “It Ain’t No Use,” which swirls a vintage R&B vibe with resonant choir vocals and upbeat guitar from The Meters’ Leo Nocentelli himself to transport the listener to the center of the jumpingest jazz-soul concert hall that never was.

The story there is almost too good. The session band—guitarist Pete Murano, sax men Dan Oestreicher and BK Jackson, and drummer Joey Peebles with Dumpstaphunk’s Tony Hall in for Orleans Avenue bassist Mike Bass-Bailey—were in the studio to lay down “It Ain’t No Use.” Hall even had the vintage acoustic he bought from Nocentelli years ago, which was used on the original Meters session. On the way to the bathroom, Andrews saw Nocentelli coming out of a different tracking room: it was meant to be.

But that’s not unusual for a man raised in one of the Tremé’s most musical families. Andrews got his name when he picked up his instrument at four (“My parents pushed me toward trombone because they didn’t need another trumpet player,” he laughs). By eight, he led his own band in parades, halls and even bars: “They’d have to lock the door so the police couldn’t come in.” Promoters would try to hand money to his older cousins, but they’d kindly redirect them to the boy. In his teens, Andrews played shows abroad with the Neville Brothers. Fresh out of high school (New Orleans Center for Creative Arts) he joined Lenny Kravitz’ band.

Across that time, three Trombone Shorty albums and many collaborations since, Andrews nurtured a voracious appetite for all types of music—a phenomenon on fluid display with Parking Lot Symphony. On “Familiar,” co-written by Aloe Blacc, they practically mint a new genre (trap-funk?) while Andrews channels his inner R. Kelly to spit game at an old flame. Meanwhile, the instrumental “Tripped Out Slim” (the nickname of a family friend who recently passed) bends echoes of the Pink Panther theme into something fit for James Brown to strut to. And if you listen closely to “Where It At?,” written with Better Than Ezra’s Kevin Griffin, you may even hear a little Y2K pop. “I know it wasn’t cool to listen to *NSYNC or Britney Spears in high school,” says Andrews, “but those bass lines and melodies are funky.” They pair astonishingly well with all the Earth, Wind & Fire that bubbles beneath these songs.

It’s worth noting that Andrews’ vocals sound better than ever (he credits Seefried for that), because Parking Lot Symphony might be the man’s most heartfelt offering yet. The breezy title track, which Andrews wrote with Alex Ebert (Edward Sharpe & The Magnetic Zeros), is as much about walking the Tremé, being uplifted by the music that seems to seep from every surface, as it is about moving on from a broken heart. And the shuffling, bluesy “No Good Time” reminds us, with a world-weary smile, that “nobody never learned nothin’ from no good time.”

But Andrews is clear that this isn’t some kind of breakup record. “It’s a life record,” he says, “about prevailing no matter what type of roadblock is in front of you.” That message is clearest on “Dirty Water,” where over an easy groove, Andrews adopts a soft falsetto to address just about anyone going through it—personal, political, whatever. “There’s a lot of hope turning to doubt,” he coos. “I’ve got something to say to them / You don’t know what you’re talking about / When you believe in love, it all works out.” Amen. Now let the horns play us out.

WEBSITE: https://www.tromboneshorty.com/home

INSTAGRAM: https://www.instagram.com/tromboneshorty/

FACEBOOK: https://www.facebook.com/TromboneShorty/

TWITTER: https://twitter.com/tromboneshorty

YOUTUBE: https://www.youtube.com/channel/UC1DegAgTezNs-ySbH4Xr8Rw

SPOTIFY: https://open.spotify.com/artist/37ZvFp654tY74Z1D2TLOGR?si=aRwZ4eWKSu6IL-g-9GaLbg&nd=1

APPLE MUSIC: https://music.apple.com/us/artist/trombone-shorty/258779315

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This is some text inside of a div block.
May 31, 2024
Mac McAnally SOLD OUT
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
67
About the Show and the Artist:

Mac McAnally
Once in a Lifetime

For his new album, Once in a Lifetime, Mac McAnally is indeed doing something he’s never done before. To reflect the intimacy of his concerts, he arranged most of the material around guitar and percussion – yet he acknowledges that several of its tracks outgrew that simple set-up. And while many of the songs are new, he chose to include a few originals dating back to the early 2000s that seemed like a good fit.

So, with 12 songs pulled from different decades and musical directions, what ultimately ties all these tracks together? Simply put, it is McAnally’s ability to see the silver lining, a perspective he’s carried on his journey from being a shy, small-town kid from Mississippi, to working as a teenage studio musician in Muscle Shoals, Alabama, to becoming one of Nashville’s most respected (and self-effacing) singer-songwriters. Once in a Lifetime captures every aspect of his musical vision.

“I generally write whatever comes to me,” he says. “I’m not somebody who sits down and says, ‘I need to write a hit song,’ or this or that kind of song. I just follow whatever floats through my head.”

While writing “Alive and in Between,” McAnally drew upon childhood memories of Belmont, Mississippi, where his father was a school administrator and his mother played piano in the Baptist church. The song emerged from an art project, where novels were given to songwriters and visual artists, who would then create a piece based on their response to the book. In McAnally’s case, Harrison Scott Key’s memoir, The World’s Largest Man, sparked vivid snapshots from his own youth. McAnally translated those images into verses, then added a cool guitar riff he’s been using for years while tuning or changing strings.

“The author came from the same part of the country as me and it woke up a bunch of stuff about my childhood – what it was like hanging with my dad, going to the drugstore, talking about football, politics, and religion,” he says. “That opened up that part of my brain that I haven’t been down into for a while.”

One of the most uplifting songs on Once in a Lifetime is “Almost All Good,” where he’s aware of challenging times but doesn’t let them cloud his vision. Propelled by Eric Darken’s percussion, McAnally accompanies himself on guitar – with the lively rhythms adding a joyful spirit to the track. And this is not mere strumming, as McAnally has won a record-setting 10 trophies as Musician of the Year from the Country Music Association.

“All the way back to the beginning, my songwriting has been built around my guitar-playing because I’m not a very confident singer,” he says. “I was always trying to make a guitar part sound like a whole arrangement. There’s usually a bass part as a counterpoint in the main guitar part – but I’m not a fancy guitar player. I don’t take a lot of solos. Part of what’s allowed me to work so long in the business is that of all the bands I was in, I’ve never really wanted a solo. I would sit and play rhythm forever.”

McAnally notes that he typically sees three kinds of people at his shows: Those who have followed his career since his 1977 debut album; those who recognize him as the guitarist in Jimmy Buffett’s Coral Reefer Band; and those who remember his notable credits in country music. The latter category is particularly impressive, with songs cut by Alabama (“Old Flame”), Kenny Chesney (“Back Where I Come From”), Sawyer Brown (“All These Years”), Shenandoah (“Two Dozen Roses”) and many others.

Undoubtedly, Once in a Lifetime will satisfy all of those fans. “First Sign of Trouble” and “That’s Why They Call It Falling” are as quirky and quick-witted as the ‘70s output that made fans of Jimmy Buffett, Randy Newman, and John Prine (all of whom became friends and mentors). “Just Like It Matters” has that lonesome, real-life storytelling of classic country, while “Just Right” keeps the island vibe alive. In fact, it was written and recorded in Key West while Buffett was making his record; the Coral Reefer Band joined in the session, too.

“I’m interested in all kinds of music,” he says. “There’s obviously some Buffett influence on a few of the things and I’ve been playing country music and gospel music all my life, so there’s that influence, too.”

As for the title track, its cheerful message and buoyant melody wouldn’t be out of place on today’s country radio. McAnally and Nashville singer-songwriter Drake White composed it shortly after bumping into each other at a local breakfast spot. They casually chatted about getting together to write. Asked if he was enjoying himself these days, McAnally replied, “Yeah, every day. Every day is once in a lifetime.” White immediately replied, “We need to get together to write THAT!” White lends his vocal to the inspiring track, too.

Turning conversations into song is one of McAnally’s greatest gifts, one that led to his induction into the Nashville Songwriters Hall of Fame in 2007. Two of the songs from Once in a Lifetime come from that era. He co-wrote “Good Guys Win” for the 2006 film, Hoot, and felt like its optimistic tone needed to be heard in this divided time. In addition, the bluegrass-flavored “Brand New Broken Heart” comes from a 2007 demo session of a tune he recorded with his fellow studio musicians, but never got around to pitching.

However, a couple of tracks come from an even earlier time. Co-written and recorded by Jimmy Buffett in 1989, “Changing Channels” is one of the album’s most poetic moments – and a cut that McAnally’s fans have been requesting for decades. Meanwhile, he covers “Norwegian Wood” with just percussion, vocals and octave mandolin, in a sincere homage to the Beatles. “It’s just me celebrating how great they are,” he says.

The thoughtful lyrics of “The Better Part of Living” – and Once in a Lifetime as a whole – can perhaps be traced back to a phrase McAnally remembers from his childhood, when his mother would tell him to “make some use of yourself” on his way out the door. McAnally still adheres to that philosophy today. Asked about the experience of listening to these assorted songs that have now become an album, he modestly replies, “I see a guy trying to be a good representation of a human being. I hope there’s something in what I do that in some way can make someone else’s life a little bit better, too. That’s really what I’m shooting for.”

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This is some text inside of a div block.
Aug 16, 2024
Oak Ridge Boys
Doors Open:
7:00 pm
Show Ends:
10:00 pm
Doors will open approximately 1 hour prior to show start time.
Entry Fee:
$
127
About the Show and the Artist:

The Oak Ridge Boys Celebrate 50th Anniversary Milestone With Duane Allen, Joe Bonsall, William Lee Golden, & Richard Sterban

“Rooted in gospel…Positive in perspective…Bringing joy…Bringing excitement…And, whether singing songs of faith, love songs, or the national anthem at hundreds of sporting events or the giddy-ups that precede the oom papas and the mow-mows….Bringing harmony…To a world that’s rife with dissonance” – Jody Williams at Induction of The Oak Ridge Boys into the Country Music Hall of Fame, October 25, 2015 NASHVILLE, Tenn. – GRAMMY® Award-winning and Country Music Hall of Fame members, The Oak Ridge Boys are officially celebrating their 50th Anniversary this October. With this celebration, The Oak Ridge Boys are announcing their American Made: Farewell Tour! The group, Duane Allen(1966), Joe Bonsall (1973), William Lee Golden (1965), and Richard Sterban (1972) are excited to celebrate both milestones with fans with the announcement of this tour.

“We are doing a farewell tour because we owe it to our fans to say goodbye,” shares William Lee Golden. “They have always been there for us through the good times and the bad. I will always be thankful to every person who came out to a show, bought a t-shirt, played our music, and overall, loved us enough to spend their hard-earned money whenever they could. This tour is for you!”

“I want to thank God for 50 years of singing with three of my best friends and for the fans who have been there for us,” shares Richard Sterban. “This is a celebration and we hope to see you there.”

Designated as America’s national anthem singers by the MENC (National Association for Music Educators), The Oak Ridge Boys released their #1 hit single, “American Made” in February 1983. Their love for God and country remains true to this day, and with this being the 40th Anniversary of the single, it seemed fitting to incorporate “American Made” into their farewell.

The Oak Ridge Boys have received four Academy of Country Music, two American Music, five Billboard, four Country Music Association, five Grammy, and twelve Gospel Music Association Dove awards, just to name a few. They are members of the Grand Ole Opry, the Gospel Music Hall of Fame, the Vocal Group Hall of Fame, and the Country Music Hall of Fame. They have achieved seventeen #1 hits including “Leaving Louisiana In The Broad Daylight,” “Bobbie Sue,” “Trying To Love Two Women,” “(I’m Settin’) Fancy Free,” “American Made,” and the unforgettable “Elvira.” With an astounding thirty-seven Top 20 country hits, with twelve gold, three platinum, and one double-platinum album, The Oak Ridge Boys have made their mark in every facet of the gospel, pop, and country music industry.

“For all of my career I have always been a planner, sometimes planning 2 or 3 years in advance, what we will do, where we will go, and when we record,” expresses Duane Allen. “As we celebrate 50 years of being together, just as you see us, we will, also, begin our American Made: Farewell Tour. I don’t know how long the tour will last, but we hope to return to as many parts of the country as we can. Thank you so much for these 50 years. For me, it’s 57 1/2 years. I have given you the best part of my life and you have rewarded me with a wonderful career. Thank you, our dear fans. Thanks to God for His divine guidance. Thank you to our wonderful organization. Thank you to all the supporting companies who represent us. And thank you to our families.”

In the early seventies, The Oak Ridge Boys continued to expand their cutting-edge style. After the addition of Richard Sterban in 1972 and Joe Bonsall in 1973, the Oaks were forever changed with a new direction, a new sound, and a new path. Their career stands alone with its legacy, its style, and its continued contributions to gospel and country music.

“I was 25 years old in 1973 when I joined The Oak Ridge Boys,” shares Joe Bonsall. “I am 75 years old in 2023 and I am STILL an Oak Ridge Boy. It has been and still IS an amazing ride.”