“If my Southern heart’s still pumping blood/I’ll bury my money in the mighty Mississippi mud,” sings The Weeks’ Cyle Barnes on Dear Bo Jackson’s “Brother In The Night.” “If my Southern lungs won’t let me breathe/I’ll wait for the cicadas and I’ll let ‘em push it out for me.”
With that powerful verse, The Weeks staked a claim as heirs to the timeless tradition of Southern rock. In 2013, the band released their label debut album, Dear Bo Jackson, on Serpents and Snakes Records, spent the year on their “Thick As Thieves Tour” and were included in Rolling Stone magazine’s “Hottest Live Photos of 2013” feature after a raucous set at NYC’s Mercury Lounge. During the summer, the band hopped over the pond for a UK/European Arena tour with Kings of Leon and then they came home to play at the Voodoo and Austin City Limits festivals.
Since then, the band headlined the Communion Tour, which was handpicked by Mumford & Sons’ Ben Lovett, played direct support to Jake Bugg at The Ryman, sold out the Mercy Lounge in Nashville twice, and have barely left the road with no plans to do so soon. Headed now into the festival circuit, they have already confirmed Bonnaroo, Shaky Knees, Mountain Jam, Wakarusa, Firefly, Spring Jam and Middle of the Map.
The Weeks are about to release an EP to celebrate the 7th anniversary of the band (formed when they were 15). The highlight of this EP will be a re-recording of the first song they ever wrote, “Buttons.” To this day, it is a fan favorite and their most-requested song. It was never properly captured on tape til now. The follow up to Dear Bo Jackson will be recorded over this spring and summer.
Born and raised in Jackson, Mississippi, The Weeks (Cyle Barnes – vocals; Sam Williams – guitar; Damien Bone – bass; Cain Barnes – drums; Alex Admiral Collier – keyboards) came together in 2006 and instantly came to define the sound of Southern Rock in the 21st Century – their grunge-powered, high-octane anthems rich with a bottomless Delta soul far deeper than the boys’ teenage years would suggest. Like any great rock ‘n’ roll outfit worth its salt, The Weeks played as often as humanly possible, with countless club dates across the Southeast and tours alongside such like-minded acts as Local H, North Mississippi Allstars, and the one and only Meat Puppets. Their extraordinary energy and outsized performances – not to mention a series of well-received independently issued releases – earned them a fervent fan following and ultimately, a deal with the like-minded Serpents and Snakes Records, who reissued the band’s second full-length outing, Gutter Gaunt Gangster.
By summer 2010, it had become clear that sleepy Jackson could no longer contain the mighty Weeks. The band left their old Mississippi home for the bright lights of Nashville, and, as Williams says, “it’s been non-stop ever since.”
Where GGG – like all The Weeks’ previous recordings – was recorded fast and on the cheap, the band opted to take a more leisurely tack in making Dear Bo Jackson. They spent six months at pre-production, resulting the most fully articulated demos of their career. When time came to record the album proper, their search for a producer led them to Paul Moak, a Grammy Award-nominated producer/engineer/mixer and perhaps most importantly, a fellow Jacksonian.
The Weeks set to work at Moak’s Music City studio, The Smoakstack, determined to push themselves further than ever before. Drawing inspiration from such iconic works of Americana as The Band’s Music From Big Pink, the band’s first goal was to incorporate new musical elements into their own inimitable take on Americana.
Much of Dear Bo Jackson’s all-inclusive sound can be credited to The Weeks’ very own Garth Hudson, Collier, whose compositional background and proficiency on an array of instruments enabled the band to build their inventive arrangements from within. Adding color to such standouts as “King Sized Death Bed” and “Gobi Blues” are legendary pedal steel guitarist Bucky Baxter – “the most unbelievable musician I’ve ever seen in person,” says Williams – as well as their buddy Carl Gatti on trombone and faux French Horn. What’s more, friends from throughout the new Nashville rock scene – including Jonny “Corndawg” Fritz – dropped into The Smoakstack to lend backing vocals and a collective stamp to the proceedings.
With Dear Bo Jackson, The Weeks enriched their already well-seasoned sonic stew with the classic flavors of soul, R&B, funk, and heavy boogie to fashion a forward-facing sound all their own. Big brass, lush strings, and twangy pedal steel fused into their distinctive sludge pop, with Williams’ greasy guitars and the highly charged engine room of Bone and Cain as well as the ever-distinctive Collier. Throughout the album, Cyle rends his throat raw as he testifies dramatic and truthful tales of modern Southern lives, always full of hope despite often punishing circumstances.
The press on the record was filled with deserving accolades. Rolling Stone said, “The Weeks’ nervy, careening jangle and scraggily, Southern-stoner look immediately bring to mind Youth and Young Manhood-era Kings of Leon comparisons,” while the Associated Press hailed, “Here’s more proof Nashville, TN, is saving rock ‘n’ roll one band at a time.” Relix claimed, “The Weeks’ breakout album, Dear Bo Jackson, is a big-hearted rock stew – a delicious blend of Southern rock riffs, soulful horns and punk attitude,” and American Songwriter said, “The Weeks groove and grunt their way through this tribute to Mississippi, the band’s home state.” Blurt exclaimed, “Dear Bo Jackson is a remarkable collection of blazing southern rock, soul, funk, alt country and just about anything else that is still good about music today,” while Paste said, “The band’s sound blends classic Southern rock influences with a grungy yet soulful twist to give the band a sound all their own.”
As The Weeks barrel into the future without a net or a rulebook, they are not looking backwards for a second as they continue to explore their Mississippi roots and current place in the world, with all the profound joy and unfathomable sadness that entails.
The Lonely Biscuits, formerly known as Gravy and the Biscuits have been together since September of 2011. Founding members Grady Wenrich and Sam Gidley were random roommates at Belmont University, in Nashville, where they started jamming and making music out of their dorm room. John Paterini, current lead singer of the band came into the picture in September after hearing some of their tunes from his dorm room across the hall. Then, two months later, Nick Byrd joined the
band as an official biscuit playing bass guitar. Blending soul, funk, and pop with rap; The Lonely Biscuits have created a unique sound that has appealed to a wide array of people.
The Lonely Biscuits have toured the country playing at universities, festivals, and clubs, gaining dedicated fans everywhere they go. The band was recently named mtvU’s first ever “College Artist of The Year”, and traveled to Austin, TX, to perform at the mtvU Woodies Festival at SXSW.
The band has independently released three EPs. Their latest EP “A Girl Named Destiny”, charted on Billboard’s Regional Heatseekers Chart, and gained national coverage from numerous notable music blogs and magazines.
The Lonely Biscuits continue to write, record, and perform new music that can relate with anyone, and they will continue to share it with as many people as possible.
RECORD RELEASE SHOW
Backup Planet is a progressive funk-rock band based out of Nashville, Tennessee. To see Backup Planet perform live is to simultaneously travel back in time and forward into the future. Their truly unique sound emanates from a place that seems familiar, yet unchartered. Elements of jazz, funk, roots, blues, electronic, and progressive rock all emerge during the course of their shows. Their sound draws from so much you’ve heard before—‘70s rock and funk, high-energy improv, a touch of pop, and a sliver of metal. But the members of Backup Planet mix and match those elements—with just a hint of modern tech to burnish a sturdy nucleus of retro-minded organ and guitar—in ways that never fail to astonish. With a fantastic repertoire of original songs, they’re able to build fluid sets interspersed with extended improvisation.
Incorporating some degree of uncertainty into live performances is innate to the improvisational, or ‘jam band,’ music scene. Audiences can sense when a group takes major risks onstage; the elements of surprise and unpredictability foster a level of joy unparalleled in other types of musical performances. Masters of this process, Ben Cooper, Gavin Donati, Blake Gallant, and Carson Brown, are doing all of the above while their rapidly growing fan base nods in approval and shouts for more.
disco and reggae with rock & roll. Called “a living, breathing, force of nature” by Relix Magazine, the Pets are known for their soulful songcraft and powerhouse live performances. Having released 3 short EP’s over the last two years the band will break ground this October on their first self-produced full-length release since their debut album.
The group became an instant Sirius radio sensation in 2007 with the release of their double-disc debut album, Whale, driven by hit tracks “Operation of Flight” and “Sleep.” First embraced by the jam scene for their raw talent, their crossover sound that is showcased on their self-titled album, also dubbed a “Top 10 Album of 2010” by The Huffington Post, propelled them into the periphery of mainstream music. Returning to their acoustic roots on Swim Out Past the Sun (2011), THP’s guitar duo set aside their electric axes for a more organic approach. The Heavy Pets followed up those polished efforts by releasing the Everywhere Sessions: Volume 1 EP, recorded live in the studio with accompanying videos of the three songs “Chew,” “Help Me Help You” and “The Day the Sun Forgot to Rise.”
The band continued to ceaselessly tour and record, releasing three EP’s in two years: 2014’s Two Horses, and 2015 releases Rags and Aces, and Stolen Smile. As they push into their 12th year together, The Heavy Pets started recording their first self-produced, full-length album since Whale in October of 2016.
the HEAVY PLANET TOUR
HeartByrne captivates audiences with their high-energy homage to Talking Heads' seminal concert film 'Stop Making Sense'. What began as a ‘hoot night', has now evolved into a powerhouse national touring act, with an uncompromising stage show made up of some of Austin, TX's most talented musicians.
Naughty Professor is a forward thinking music endeavor pioneered by six young musicians from around the country, now anchored in New Orleans, Louisiana. Formed in 2011, the band's mission was to embody the jazz-influenced party culture of the Big Easy in a constantly evolving, high energy funk/soul outfit. Naughty Professor's live performances, which weave together complex compositions and loose individual improvisation, quickly commanded the attention of many notable musicians in town, including George Porter Jr., Galactic, and The Revivalists. With fresh recorded material in the works and a rigorous tour schedule planned for 2017 and beyond, Naughty Professor is poised to soon become the next household name associated with the echelon of New Orleans music.
Naughty Professor has shared the stage with artists such as Galactic, Snarky Puppy, Victor Wooten, Rebirth Brass Band, Fitz and the Tantrums, The Revivalists, Big Sam's Funky Nation, Papadosio, George Porter Jr., The Soul Rebels, and many more.
The inevitable result of a talent-soaked soul and jazz community, The Funky Knuckles are taking the sound of Dallas to an entirely different level. They have been together for six years and have played on stages across the U.S and around the world. The band is comprised of musicians and producers who have worked with some of the most respected acts in the music industry (Beyonce, Erykah Badu, Marcus Miller, Stanley Clarke, Talib Kweli, Chris Dave, The Polyphonic Spree, etc.), yet possess a sound distinctly separate from any of their individual projects.
The Funky Knuckles move together musically as a school of fish, never complacent and always stretching the boundaries of improvisation and composition. Whether performing original music or standards, they draw from each member's musical experiences to create their unique genre-bending sound. They are currently touring internationally and working on new music for their 4th album.
Their second album "Meta-Musica" held the #1 position on the iTunes jazz charts for over a week. They played for sold out audiences across Europe in April 2016 on their first tour overseas.
The Grateful Dead continue to have one of the most rabid and loyal followings of any band in history, and deservedly so: They wrote great songs, and they were excellent musicians and terrific improvisers who never played a tune the same way twice.
Grateful Dead cover band The Stolen Faces deftly capture the spirit of the Dead, covering a wide variety of songs from the band’s expansive catalog and delivering them with the sort of energy and spontaneity that might have you thinking you’re standing in the Fillmore West in 1971. Led by bassist Christian Grizzard, the group features guitarist Jack Silverman and a rotating cast of some of Nashville’s top session and touring musicians, including Annie Sellick, Will Harrison, Jamie Rogan, John Wallum, Allen Thompson, Jon Loyd, Dave Coleman, Brian Kotzur, Matt Martin, Scott Hylbert, Chad Stuible, Ben Cameron, John Jackson and Jeff Sturms, folks who have worked with Bob Dylan, George Strait, Billy Currington, Eddie Money, Silver Jews, Alan Jackson, Jimmy Buffett, Lou Rawls, Love & Theft, Grayson Capps, Nell Carter, Johnny Hiland, Sonia Leigh … the list goes on and on.
But despite their diverse musical backgrounds, the members of The Stolen Faces all share a love for the Dead, and for the freeform jamming and good vibes that music entails. The group puts a high premium on nailing the vocal harmonies, and has the instrumental firepower to take the extended jams into some seriously trippy sonic territory. In a short time, touring through Tennessee, Kentucky, Georgia, Alabama, Mississippi and Arkansas, they’ve begun to establish a reputation as one of the Southeast’s most solid and rockin’ Dead bands!
Kicking Off Summer with a West Coast Tour in support of his latest album “Too Good To Believe” Gene Evaro Jr’s formidable and dedicated following is rapidly expanding beyond So-Cal, fueled by recent touring and appearances at High Sierra Music Festival, Lightning In A Bottle, Wanderlust Festival, Lucidity Festival, Hangtown Music Festival, Joshua Tree Music Festival, Guitarfish Festival, and Serenity Gathering. The band was honored with an invitation to play on the main stage at the NAMM Show in Anaheim, CA, via the John Lennon Songwriting Contest and the John Lennon Educational Tour Bus.
Gene Evaro Jr was also was recently performing his deeply-grooved funky blues from CA to NY as supporting act for RCA artist Elle King.
Gene Evaro Jr’s works have also been featured on the network television show Deadliest Catch and Ian Somerhalder’s Time Framed Series.
Hailing from magical Joshua Tree, California, since 2008, a place in which many music groups from all over the world come, and have for years, in search of the quiet spirit that is the high desert, Gene Evaro Jr embodies that spirit with pure inspiration and creativity.
From the folk magic of Paul Simon, to the crazy funk fashion of Sly & The Family Stone, to the lyrical poetry of Jim Morrison, this old-soul youthful group of artists reminds us of what it once felt like to put on a record, press play, and then relish in every word from start to finish, without missing one beat. Gene’s songs speak for his generation through his prolific songwriting.
Musically reminiscent of a clash between Allen Stone and Blake Mills. Gene Evaro Jr brings the avant-garde stylings of Albert King to mind including playing a mean upside-down guitar, music that not only moves listeners with a force that manifests in dancing feet, it is music that heals your entire being to the core.
Stephen Neeper & The Wild Hearts play rock ‘n’ roll music. The Neeper sound represents a coalescence of influences, ranging from Jimi Hendrix, Led Zeppelin, and The Black Crowes, to Ryan Adams, and Pearl Jam.
The Neepers, Stephen and Zeke, started learning the art of guitar picking from their father so long ago that it is a part of who they are. After multiple tenures with various local bands, SNTWH formed through jam sessions in the Neeper garage with other Arkansas musicians, beginning with the addition of drummer Evan Barr in late 2011.
Since then, the band has shared the stage with the likes of Cody Canada and the Departed, The Wild Feathers, Whiskey Myers, Tyler Bryant and the Shakedown, and Kenny Wayne Shepherd. SNTWH has garnered attention from the press as well. In the Arkansas Times, Robert Bell wrote, “It’s hard to convey the extent to which this band has swaggering, blues-steeped Southern rock down cold….frontman Neeper is a shred-meister extraordinaire… and the rest of the band members are stone-cold bad-asses, too.” SNTWH guarantee one thing: a rockin’ good time.
Back from only God knows where comes the triumphant return of the seminal garage, indie, country, punk, yet Alabama rock-n-roll collective, the Dexateens. The torch carriers of ‘Blue Collar Rock’ are proud to announce their first official release in over four years and their sophomore offering on Cornelius Chapel Records, the label started by the band and run by extended band family. The ‘teens are proudly contrived of a cabinet maker, a carpenter (or two at times), multiple restaurant and bar employees, and one full-time Drive-By Trucker. The Dexateens have ‘seen it all like a mountain’ and their tide rolls in with an undertow, validated working class renaissance men, well-versed in culture, art, music and life. Workingman’s blues with an insatiable appetite for high decibels, fuzzy crunch, sweaty soul and a penchant for Deep South traditions as pure and unadulterated as one can muster in 2016.
Teenage Hallelujah captures a rock band approaching a line-up swan song, marking the end to Lee Bains’ tenure on guitar and vocals and making way for longtime pal and co-conspirator Taylor Hollingsworth (Conor Oberst and The Mystic Valley Band, Dead Fingers) and his always finger-picked, custom licks and slides. Brad Armstrong (13ghosts) holds court stage right on his trademark telecasters, bringing as much noise as subtle nuances in one heavily bearded attack. As per usual the boom bap finds Brian Gosdin behind the kit with his gigantic cymbal, impervious back beat, and dead-on DeeDee Ramone-esque ‘1-2-3-4’ count off. The founding members are bassist Matt Patton (Drive-By Truckers, Model Citizen) and Elliott McPherson steering the ship in the song writing department as well as lead vocals and guitar. Everyone plays lead guitar at one point or another and sometimes all over each other and that, my friends, is ‘the special sauce’. The new regime anticipates another record release in the near future.
The sought after triple guitar attack is on full display in Teenage Hallelujah, however flags are flown high with boundless gems tickling classic country, loose garage punk, and mainline folk. Captured mostly in McPherson’s barn with the, at times mobile, all the time wunderkind, producer/sound engineer Bronson Tew (Dial Back Sound) at the helm and ultimately producing the record with the band, all songs being penned by McPherson.
The Dexateens have always been a ‘super group’ of sorts, spanning Alabama’s punk and rock scenes and from there the song has remained the same. The live show is finely tuned to that off a howling SR-71 Blackbird set to the soundtrack of dueling stereo’s pumping The Quadrajets and Waylon Jennings in one ornate cacophony. The Dexateens are exactly what rock and roll has been missing for nearly 5 years, back to stake claim on what they helped begin and perhaps break it down only to rebuild it stronger and better than ever to shake off the poseurs and malcontents.
The band plans to tour extensively in support of Teenage Hallelujah, slated for a October 7th release on Cornelius Chapel Records. The Dexateens are back to fill that void a handful of years in the making, gladly taking one city at a time, one venue at a time, one fan at a time. There’s always room for the workin’ man…
Few bands arouse a crowd into a collective shake like Flow Tribe. The six-member band’s onstage chemistry reflects a seamless combination of soul and movement that hits the audience within the first few notes. Virgin listeners and avid fans alike are drawn in by the distinctive sound that feels both familiar and original. Outfitted for each performance in colorful, carefully selected suits, it’s clear their focus is sharp and the party has begun. This is the work of professional musicians who’ve found their passion, and are living a dream where everyone’s welcome.
Second line brass and Cuban-Caribbean rhythms meld with R&B, soul, rock, and hip-hop beats in high-energy performances that turn every show into a celebration. New Orleans is influence itself, the unparalleled free and easy city weaving its way into track after track of original scores that make up a single definition of sound, which Flow Tribe has dubbed “backbone-cracking music.”
K.C. O’Rorke (vocals, trumpet), John-Michael Early (harmonica, washboard, vocals, keyboard), Russell Olschner (drums), Chad Penot (bass, vocals), Bryan Santos (guitar, timbales), and Mario Palmisano (guitar) are native New Orleanians and high school pals who’ve been writing music and playing live shows since the band’s inception in 2004. Post graduation, they went their separate ways, but after Katrina, each returned to their hometown, inherently becoming active members in the rebuilding of a community that’s stronger than ever. Flow Tribe may well be the city’s next music ambassadors.
With two full-length albums and several EPs under their belt, the crew is currently building Downman Sounds, a studio in New Orleans East where they expect to cut their next record. The Tribe can be found crisscrossing the US just about every week of the year, from Key West to California, including regular performances at the notable New Orleans Jazz & Heritage Fest and Voodoo Fest. Look for their next project to be released in early ‘17, a full length album produced by New Orleans’s own Mannie Fresh.
Mississippi is a state known for its storytellers. That certainly applies to its rich history of groundbreaking musicians, but not all of these fall in the realms of roots genres like blues and Americana, and not all of them are in the past.
Formed in central Mississippi in 2014, independent act Empty Atlas packs poignant narratives of personal growth and life experiences into intensely catchy and gripping
The band has shared the stage with national touring acts such as Broadside, Secret Stuff, Cardinal Sons, Ivadell, Hodera and Young Natives, and worked with producers such as Joe Causey (Colony House, Steven Curtis Chapman) and Eric Woolard (For a Season, Courier).
Lyricist and vocalist Micah Smith fronts the outfit, which released its debut full-length album, “Hestia,” in December 2016, shortly before bassist Alex Ingram, guitarist Brennan Michael White and drummer Bobby Hansford joined the group.
Smith began writing “Hestia,” a follow-up to Empty Atlas’s 2014 double-EP, “Anniversary,” shortly after he and his wife married and moved into their first house, which inspired the central theme of the album – home, and what that concept can mean to others. However, “Hestia” steers clear of love songs entirely, opting instead for stories of self-discovery and human connection.
Empty Atlas is currently performing throughout their state and the region to promote the album, while also preparing new material for a sophomore full-length.
“Laney Jones and the Spirits are certainly a band to watch.”
- LA Record
“Right from the beginning, nothing is typical…. ‘Firewalk’ with its goose-honking saxophones and drunken melodic line … is definitely the instrumental highlight and places Jones in the lineage of gothic experimenters like [Tom] Waits.”
- Paste Magazine
“… a thing that brims with as much sweet innocence as it does rich craft.”
There’s a sort of magic when you meet someone who’s doing what they’re clearly meant to be doing – an electricity in the air and an energy that can’t quite be explained. This is undeniable when meeting Americana artist Laney Jones, whose self-titled release is out March 11, 2016.
Produced by Grammy-nominated David Plakon (Wild Child, Young Rapids and Roadkill Ghost Choir), the “retro majestic” album is a mixture of timeless sounds with current influences, topped with Laney’s signature vocals.
“The veil is down. My sonic palette has expanded, and the studio was a perfect playground for experimenting,” Jones said. “We followed where our ears led.”
The 10-song collection explores modern textures and grooves, while still being true to the philosophical wonderings that make Laney’s writing exceptional. More rock and roll than folk, the album swims into the depths of 1960s and 70s singer-songwriters while discussing relatable themes of self-discovery, growing up and finding a personal identity.
Jones has had a remarkable career in a few short years, moving up from rural Florida clubs to performing on PBS alongside Alison Krauss. Her work has received praise from the likes of No Depression and L.A. Record, and she’s also won many prestigious songwriting contests including the John Lennon Songwriting Contest. She’s played at both New York’s Lincoln Center and Washington, D.C.’s Kennedy Center for the Arts. She has been featured on PBS’s Great Performances series, and her music has been licensed to major film companies such as Disney and Dreamworks.
Currently, Laney’s music is in steady rotation on more than 50 CMJ indie radio stations, and in 2015, Laney and her band, the Spirits, totaled more than 140 performances across the USA.
These two words describe South Jones well enough but they are, after all, just words. And where music is concerned the only proper way to truly understand the intentions and motives of the rock resurrection that is South Jones is to listen.
This party of three combines the soulful rasp of John Paul Carmody's voice, his crafty guitar, Michael Saucier's precision bass, and Jackson Purvis's energetic percussion, allotting for a dynamic of sound often unseen in music today that's deeply missed.
It all started after a meeting of musical fate where Jackson met John Paul through a mutual friend and then played together in a band with a few others for a while. They soon realized the creative dynamic between the two of them clicked well enough for them to eventually leave their band to seek new ventures. The two set to work writing collaboratively and soon enough the decision was made to call in 'the big guns' as they have referred to him as such, meaning, of course, bass player Michael Saucier. Jackson knew Saucier in college and, having played in a band with him before, he knew adding Saucier to the mix was exactly what they needed to get South Jones where it needed to be. With band members finalized, it was time to set to work on their first album. They needed to find a subject and find a subject, they did.
Ever since, South Jones has been spreading their sound to places all around Mid City, New Orleans like Banks St. Bar and The Hangar, performing covers ranging from "She" by Gram Parsons to "The Ocean" by Led Zeppelin to "Mr. Big" by Free as well as their originals off the aforementioned album, Free State.
Now, having plenty of shows under their belt and in no way strangers to a live audience, these guys have learned how to entertain and are in possession of that elusive talent of establishing connections between the heart of their music and the soul of their watchful crowd." -CGM
FLVSH BVNG! presents Mississippi's first art inspired bass music monthly event (yes, it's happening EVERY SINGLE month!!) hosted at Martin's Restaurant & Bar Coming with the heat yet again in FLVSH BVNG!'s unique and renowned style we plan to deliver another unforgetable night of music, art, and mind-boggling stage production.
Complete sensory immersion through the use of stimulating visual and auditory arts is our #1 goal. We get closer every time!!!
We are unveiling our brand new ultra high powered soundsystem. Stay tuned for more details. :)
FLVSH BVNG! will take the production even further by bringing in custom 3D visual stage artist