"Every song was masterful, from the soulful “Only Love” to the political get down “Truth”. This was among the best funk and soul shows I’ve ever seen."
- show review, On Stage (Chicago, IL)
"Anchored in the jazz and funk of New Orleans, The Nth Power’s heady gospel tones and inspirational messages create a well-grounded album which promotes understanding through music. This, my friends, is what love sounds like."
-"Live To Be Free" album review NYS Music (Syracuse, NY)
"The Nth Power is a multi-genre playing, soul-preaching, funk machine that has exploded onto our beloved jamband scene with their truly unique combination of pure musical skill, a deep love/connection with their personal spiritualities, and a fan-base that is only getting more ravenous with each new release."
-"Live To Be Free" review Music Marauders (Denver, CO)
Proving that soul music can be exponentially greater than the sum of its parts, The Nth Power is on a mission to share the light. Formed during an impromptu late-night jam at Jazz Fest 2012 in New Orleans, the relentlessly funky and soulful band believes in music as a higher power – tapping into an energy that is simultaneously sexy and spiritual, with songs that will inspire audiences to dance, groove, make love or just stand there with goose bumps.
The quartet hails from diverse musical backgrounds, races and creeds. Female powerhouse Nikki Glaspie was Beyonce’s world-touring drummer for five years before she joined Ivan Neville’s New Orleans outfit, Dumpstaphunk. Bassist Nate Edgar of Groovechild and John Brown’s Body perfectly compliments Singer and Guitarist Nick Cassarino who came from the Jennifer Hartswick Band and toured with Big Daddy Kane. Finally rounding off the ensemble is the newest and youngest member, Courtney J’Mell Smith who brings his soulful vocals and keyboard abilities to the table.
“It’s my dream team,” says Glaspie. “Each one of us is a songwriter, so when we get together, everything becomes much stronger.” Beyond raw skill, however, Glapsie cites a deep spiritual connection as the glue that binds them together. “Music is what brought us together, but it’s the spiritual bond that makes us play so in touch with each other.”
At the core of their vibe is a deviously simple concept – the healing power of Love.
Multi-Grammy Award winning artists Robert Sput Searight and Nate Werth take percussion out of the shadows and into the spotlight with their new project, Ghost-Note. World renown for their ongoing catalog with international sensation Snarky Puppy, this dynamic duo expands their rhythmical voice into a celebration of music in all its forms. This is music that takes listeners on a mind-blowing journey, inspired by the influences of James Brown, J Dilla, and the Beastie Boys, all the way to folkloric West African, Afro-Cuban, and Brazilian samba grooves.
Ghost-Note’s impressive rotating roster of heavy hitters combine their decades of experience to create a night of unforgettable musical madness. Band members include Sylvester Onyejiaka (Prince, Quantic) on flute, tenor, and baritone sax, Jonathan Mones (Funky Knuckles, RC and the Gritz) on flute, alto, and tenor saxophone, A.J. Brown (Fred Hammond) on bass, internet star Dywane “MonoNeon” Thomas (Prince) on bass and guitar, Justin Stanton (Snarky Puppy) on keyboards, Daniel Jones (Jay-Z, Janet Jackson, Justin Timberlake) on keyboards, Nick Werth (Galaxe, Yak Attack) on xylosynth, Mike Jelani Brooks (Kirk Franklin, RC & the Gritz) on tenor saxophone, and Alvin Ford Jr. (Pretty Lights, Dumpstaphunk) on drums.
Ghost-Note’s first record, Fortified, which debuted at #1 on the ITunes Jazz charts in 2015, not only showcases Searight and Werth’s unique duo approach to rhythm, but it also highlights a phenomenal community of Dallas musicians. Fortified includes features by Shaun Martin, N'Dambi, Mark Lettieri, Caleb McCampbell, Jason “JT” Thomas, RSVP, and Nick Werth, and guest appearances by Cleon Edwards, Taron Lockett, Marcelo Woloski, Wes Stephenson, Bob Lanzetti, A.J. Brown, and Sylvester Onyejiaka. In addition to touring across the United States, the band is also working on their second album to be released in fall 2017.
Ghost-Note is an instrumental explosion like you’ve never heard before — prepare yourselves for a neck breaking and booty shaking night that will keep you on your feet all night long.
(Members of SNARKY PUPPY)
Dywane Thomas, Jr. also known as MonoNeon, is an American bassist and experimental musician. He is known for his presence on YouTube playing bass guitar and known for being one of the last people to work with Prince. Thomas also played with Grammy Award-winning R&B artist, Ne-Yo, on his fourth studio album. He is a native of Memphis, Tennessee.
While Thomas is right-handed, he plays left-handed upside down on a right-handed bass guitar, which allows him to use heavy string bending on the upper strings. Thomas' slapping style/technique is unique because he is executing everything upside-down, but he still uses the thumb for slaps and fingers for pops. He also uses fingers and palm muting to create a warm, muffled timbre and have a little more control over the length of notes. In a free/improvisational setting, listeners may hear the use of Indian melodic inflections/embellishments in his playing, including the use of gamakas. Another attribute in Thomas' playing style is the use of randomness and personal mistakes in performance, eventually moving the mistakes from meaningless to meaningful. Thomas' overall playing style on bass can be described as "funky with unusual characteristics". Even musicians like Marcus Miller have noticed his playing style. His musical background is heavily influenced by southern soul, blues and funk. In a Bass Player magazine interview, Miller mentioned Thomas as one of several "young bad cats" he has met on the scene.
In 2009, Thomas was featured on the GospelChops Bass Sessionz Vol.1 project with Andrew Gouche, Hadrien Feraud, Damian Erskine, Janek Gwizdala, Anthony Nembhard, and Robert "Bubby" Lewis. In 2010, Thomas released several solo albums, including Aleatorick and Indeterminacy. Also in 2010, Thomas played bass on the Libra Scale album by Grammy Award-winning artist Ne-Yo, and the album Directions by Forest Won with Georgia Anne Muldrow. In 2012, Thomas joined David Fiuczynski and Planet Microjam. Also in 2012, he released his solo avant-garde album, Down-to-Earth Art as MonoNeon. In early 2013, Thomas released an album called Southern Visionary under the pseudonym MonoNeon. He also released an album entitled Uncle Curtis Answered The Lobster Telephone. MonoNeon performed with Sheri Jones-Moffett (2010 Grammy nominee) at the Recording Academy Chapter 40th Anniversary Celebration at Levitt Shell. MonoNeon teamed up with producer Kriswontwo to release an EP called WEON. July 2014, MonoNeon made his debut performance as the bassist for Screaming Headless Torsos at Jalisco Jazz Festival in Mexico.
In 2015 MonoNeon began playing bass with Prince and his protégé, Judith Hill. Some of the live shows have been at Paisley Park. On 11 January 2016, Tidal released the track Ruff Enuff by MonoNeon, only four and a half days after its initial recording. The instrumental track features Prince as producer and on keyboards. The following day, the track was replaced with a vocal version with lead vocals on vocoder by Adrian Crutchfield.
The linernotes provided with the track state:
"You may recognize Kirk A Johnson on drums, MonoNeon on bass and Adrian Crutchfield on sax and electric woodwinds as the house band 4 Prince’s Paisley Park After Dark Jam Sessions. Well, that’s not all they do. 4 the past week they’ve been cutting basic trax 4 their as yet untitled debut album. With Prince producing and handling the keyboard & guitar duties, the set promises 2 b picking up right where Judith Hill’s BACK IN TIME left off. These brothas murder the funk! Normally they wouldn’t let a track out until it’s finished, but this one had 2 go! It was ruining everybody’s good loox. If U think U can resist the funk, check out the key change of Mono’s bass solo at near 4 o'clockmark."
Andrew Duhon is a songwriter from New Orleans, a teller of stories with an undeniable voice, weighted and soulful. Duhon has released 3 recordings, the latest of which, ‘The Moorings’, was nominated for a Grammy in 2014 for ‘Best Engineered Album’. He has toured solo for much of his career, and that troubadour element is certainly present, an usher of modern day folklore.
His latest group, The Andrew Duhon Trio brings a new musicality to the tunes with upright bassist, Myles Weeks and drummer ,Maxwell Zemanovic. Since recording ‘The Moorings’ together as their first project, the Trio has been crossing the American landscape, touring and creating together, the thoughtful colors of the trio breathing a new musicality and direction into Duhon’s songwriting traditions.
It’s not just artistic anesthetization either, but rather a galvanizing force that inspires us to keep pushing through life’s trials and tribulations. That’s why we still listen to Led Zeppelin, Black Sabbath, Pink Floyd, Rush, and countless others all these years later. It’s the same reason audiences will be talking about Backup Planet’s second full-length album, Reactions, for a long time to come. The Nashville, TN quartet—Ben Cooper [keys, vocals], Chris Potocik [drums, vocals], Gavin Donati [guitar, vocals], and Blake Gallant [bass, vocals]—write arena-size anthems echoing with progressive intricacy, funk swagger, and even a little metallic edge. Giving listeners an inspiring and invigorating aural haven, their moniker couldn’t be more apropos…
“I worked at a liquor store all through college,” remembers Ben. “I was sitting there one night in a funk because of school work and a fight with my girl at the time. Every channel on TV decried, ‘The end of the world is nigh!’ I thought, ‘Man, I wish I had a Backup Planet where I could go and escape.’ It dawned on me. That’s what naturally happens when you play music; you’re transported somewhere else. It’s a shared experience where everybody goes together.”
The name perfectly fit the tunes Ben and his college buddy Gavin wrote starting in 2013. Rounded out by Chris and Blake, Backup Planet became a local favorite around the University of Tennessee Knoxville. They independently released their full-length debut, Element, during 2015 and began sharing the stage with the likes of The Revivalists, Papadosio, and more in addition to headlining countless packed shows. Relix proclaimed them “On The Verge,” and one fateful gig led to signing with powerhouse management firm Red Light Management [Dave Matthews Band, My Morning Jacket, Dopapod, Phish,].
However, tragedy struck Backup Planet only weeks after this big milestone.
“I had a weird sense of premonition,” admits Ben. “We had just left a show, and within 30 seconds, our van was flipped over on the interstate sliding. There were sparks, glass, and metal flying everywhere and people screaming. Fortunately, we were all alive, but we lost our van, gear, and trailer. It flipped our whole lives figuratively and literally on their sides.”
Rather than engage audiences via crowd-funding, the band quietly saved throughout the rest of the year by performing local headline gigs to re-build their infrastructure. Bruised but not broken, they entered Syncromesh Studios in Birmingham, AL with producer Jason Elgin [Collective Soul, Maylene & The Sons of Disaster,] to record Reactions during 2016. In just three weeks, they tracked everything analog the old-fashioned way.
“We love production in all of its forms, and working with Jason was an awesome learning experience,” the singer goes on. “He knew every in-and-out and possible thing you could do in the studio, and it became like a creative sanctuary.”
Now, “Earth As A Dream” rises like a phoenix from a torrent of shimmering keys, bombastic percussion, and incendiary guitars before exploding on an expansive refrain.
“Lyrically and thematically, there were a lot of things going on for us and in the world at large,” Ben comments. “There’s this pervasive mindset, particularly in Western society, that the world is going to hell in a handbasket. However, the earth could be hit by a comet or some crazy catastrophe completely out of our control might happen. It’s supposed to make everyone think. It’s a visual journey where you might be looking at the earth from the stars or on some distant planet millions of years later, reminiscing. It’s a testament to how cool it is that we get to live here and have this place while we do.”
Then, there’s the haunting and heartfelt “Sublimation,” which conjures up a simmering stew of impressive fretwork, percussion, and towering vocals. “Two days after the wreck, one of our close friends passed away,” he continues. “It was a crazy tragic house fire. It really hit home, because I just lost everything. My girlfriend was cheating. My buddy died. I was sitting in my room in a state of reflection. I felt like I was having a conversation with him, and the chorus, ‘Take my hand child, let me show you how to breathe’ was his advice to get out of this slump.”
The title REACTIONS evokes the devotion of these four musicians, facing a near death experience and bouncing back with a deeper appreciation for their craft and a definitive body of work.
“It plays into the laws of physics and thermodynamics,” he says. “Every action has an equal and opposite reaction. You never know what’s going to happen. Everything can change in an instant. It’s about how you react. There are those thematic elements in the music and songwriting. That’s been the story of the last year and ties into what we created.”
As these four talents continue “reacting” at the highest level, listeners everywhere fall into an escape fueled by mind-blowing musicianship, poetic songwriting, and hooks that resound past the heavens.
“This is what we live by musically,” Ben leaves off. “We say this all the time, ‘You can play to three people or three-thousand people, but if you’re not enjoying it and connecting with your band mates, what’s the point?’ Our approach is to take something negative and turn it into a positive by using the language of music. It comes down to overcoming adversity. This makes us complete, and we hope you feel that.”
The only son of country legends Waylon Jennings and Jessi Colter, Shooter Jennings literally spent his childhood on a tour bus. Born Waylon Albright Jennings, Shooter was playing drums by the time he was five years old and had already begun taking piano lessons, only to break them off and follow his own path to an understanding of the instrument.
He discovered guitar at 14 and rock & roll (particularly Southern rock and the loose-limbed hard rock of Guns N' Roses) at 16. Soon he moved from Nashville to L.A., where he assembled a rock band called Stargunn. Stargunn earned a strong local reputation for its live shows, and enjoyed a six- or seven-year run on the L.A. circuit before Jennings rediscovered his outlaw country roots and dissolved the band.
After a short stay in New York, where Jennings assembled material for a country project, he returned to L.A. and put together a second band -- this time with solid country roots -- which he named the .357s. Jennings and the band holed up in the studio, eventually emerging with a rambunctious country album called Put the O Back in Country, which was released in 2005 on Universal South Records. Following in his father's footsteps, but with his own feisty, scrappy sense of country, Jennings placed himself in a fine position to both explore that legacy and carve out his own.
A second album, Electric Rodeo (which was actually recorded before Put the O Back in Country), appeared in 2006, followed by a live set, Live at Irving Plaza, later in the year. Jennings' third solo effort, The Wolf, was released in October 2007, featuring a cover of Dire Straits' "Walk of Life" (whose composer, Mark Knopfler, had been a longtime family friend). A month later, Jennings became a father. His girlfriend, actress Drea De Matteo, gave birth to Alabama Gypsy Rose in November. He proposed to De Matteo in 2009 on-stage in Utica, New York.
He renamed his backing band Hierophant for his fourth studio album, Black Ribbons, a concept record produced by Dave Cobb. It appeared early in 2010. Later in the year, the album was re-released in a special edition entitled Black Ribbons: The Living Album. The second version was sold on a USB flash drive in the shape of a tarot card. It featured the studio record and live performances by Hierophant. In early 2011, Jennings and blogger Adam Sheets came up with the idea of creating XXX, a new radio format that would focus on insurgent country, rock, and hybrids of both, from new and established artists, that fell far outside the narrow conceits of mainstream radio and were thus ignored. It gained traction and a channel on Sirius/XM where both men served as program hosts. Jennings also moved to New York City with De Matteo.
He and pianist Erik Deutsch formed a new band, called the Triple Crown, and he became a father for the second time to Waylon Albert "Blackjack" Jennings, in April. In urgent fashion, Jennings and the Triple Crown began recording; they released the video/download-only single "Outlaw You," his screed against the country music establishment. It reached the top spot on CMT's daily audience request competition and stayed there until a dispute with his former label dictated it be removed.
The first official single from the forthcoming album, "The Deed and the Dollar," again reached the top spot in the daily CMT request competition. Jennings' fifth album, Family Man, followed soon after in March of 2012 -- minus "Outlaw You." His next album, The Other Life, was released a year later on his own Black Country Rock label; it featured guest appearances from Patty Griffin, Scott H. Biram, and Jim Dandy of Black Oak Arkansas. The Other Live, Jennings' second live album, recorded during his 2013 tour and featuring many of the songs from The Other Life, appeared early in 2014, again from Black Country Rock.
After battling the unattainable with the 2015 EP Intertwined With You, Fossil Youth are back and at it again with their new full length A Glimpse Of Self Joy. AGOSJ not only works well as individual songs but, also tells one cohesive story that takes you on a journey from the opening chords of the contagious sing along Watercolor Daydream to the final ring out of the epic closer Linger In My Head, where singer/guitarist Scottie Noonan laments over and over again, “You don’t need me at all.”
Noonan attacks the initial roadblocks, relapses, fond recollections, reminiscing and ultimately, the final resolution of a toxic relationship. Throughout the album, there is consistency in storytelling, that when listened to in sequential order, will bring a sense of apathy to the listener. Personal yet still universal, AGOSJ brings urgency in its songwriting. Noonan persists, “Although you know you shouldn't, you're replaying the best memories you have in the back of your head.”
For the recording of the album, Fossil Youth tapped producer Jay Maas (Citizen, The Menzingers, Somos) and headed to Boston, MA. You can hear hints of the laidback groove of Turnover melding with the quiet/loud dynamics of Balance & Composure. Songs like Minco & Sitting In A Spinning Room showcase the bands penchant for slowing things down and compelling the listener to firmly grasp every melody, while songs like Forest Eyes and Late Night Swim hit you right in the face and force you to bop your head in agreeance with the beat.
"A Glimpse Of Self Joy" is out now on 12”/CD/CS/Digital via Take This To Heart Records.
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, drummer Matt Martin, and a rotating cast of some of Nashville’s top session and touring musicians.
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!
And The Echo’s dark, ambient style has been likened to Depeche Mode but with a smooth and emotive female vocal. The more light-hearted songs like Okinawa and Smoke and Mirrors are influenced by synth-heavy 80s bands like Duran Duran. Based out of Oxford, Mississippi, And The Echo is a project born of a mutual love of ambient, electronic pop between Winn McElroy and Morgan Pennington.
That's the sound of Easy, The Week's long-awaited followup to their breakthrough al- bum, Dear Bo Jackson. Recorded at Ardent Studios in Memphis — a place filled with the ghosts (and gear) of the Replacements, ZZ Top, and Big Star, all of whom traveled to Ardent to create their own landmark albums — Easy finds The Weeks doubling down on a mix of groove, grit, and guitars. It's swaggering and sharply-focused, shining new light on a band of brothers who, although still in their mid-20s, have already logged a decade's worth of sweaty gigs together.
If Easy bears resemblance to the raw, rowdy attitude of the The Weeks' live show, it's because the album was written at the end of a busy, five-year period that found the group rarely leaving the road.
"We moved to Nashville in 2010," remembers frontman Cyle Barnes, who formed the band in Jackson, Mississippi, with his three longtime bandmates: drummer (and twin brother) Cain Barnes, guitarist Sam Williams, and bass player Damien Bone. "We spent 2011 to 2015 touring. November 2015 was the first time we ever spent an entire month in Nashville."
Those years on the road were eye-opening for The Weeks, all of whom were just teen- agers when they began playing together in 2006. By their early 20s, the guys were tour- ing Europe with Kings of Leon, promoting the newly-released Dear Bo Jackson in front of 20,000 people each night. Back in America, The Weeks continued playing their own club shows, too. The experience taught them how to bridge the gap between arena shows and smaller gigs. In short, it taught them how to be themselves, no matter the audience.
Appropriately, Easy consolidates the band's strengths. While the songs on 2013's Dear Bo Jackson were thick with horn arrangements, strings, and guest appearances, Easy is a leaner, louder beast. The Weeks began working on its 11 tracks after returning home from a long tour and taking some time to rest, reflect, and regroup. Newly ener- gized, they began writing songs at Sam and Damien's home in Nashville, with Cyle and Williams splitting the bulk of the songwriting duties. The whole process relied on col- laboration, with the full band fleshing out the newer songs.
"Everyone would come to the house, make food, hang out, and play music 'til four in the morning," Williams remembers. "We wrote 25 songs, then picked our favorites for the final tracklist.
Easy is driving and direct, captured in punchy sound by producer Paul Ebersold. The goal was to clear out any unnecessary clutter, focusing instead on The Weeks' biggest strengths: the elastic power of Cyle's voice, capable of a crooning drawl one minute and a roof-raising howl the next; the range of Sam's guitar playing, from Motown-influenced chord stabs to garage-rock blasts of sound; and the interlocking rhythms of Damien and Cain. They threw some curveballs into the mix, too, riding a lovely, lazy, organ-heavy groove on the southern soul song "Hands on the Radio" and punctuating songs like "Ike" with a small horn section. Along the way, they made good use the studio's vintage gear, finding room on a handful of songs for Elvis Presley's microphone, Big Star's snare drum, the "Green Onions" organ from Booker T. & the M.G.'s.
"We said, 'If we can do this song in five chords, let's do it,'" says Sam. "That way, when- ever the curveballs do happen, they mean a lot. We focused on the songs first, and then we added stuff, as long as it didn't harm the energy or the groove. We wanted to pick our moments better."
Inspired by the real-life characters, places, and stories The Weeks encountered on tour, Easy is a record about where the band has been, as well as a sign of where they're go- ing. "I wanted the stories to be real — a little dark, maybe — but I wanted them to be redeeming, too," says Cyle, who began turning the stories into proper songs once the tour ended. He tossed some personal tales into the mix, too, with songs like the auto- biographical "Gold Doesn't Rust" focusing on the joy of plugging in, tuning up and rock- ing out.
"We just wanted to make a rock record," adds Damnien, shrugging his shoulders at the simplicity of it all. The Weeks earned their road warrior credentials years ago, but they've never defined their ambition — or the wide range of their abilities — this clearly before.
On first listen Dream Cult is an instant classic. A staple in their hometown of Jackson, MS, their fun catchy pop blends a wide variety of our influences from the vibes of the 80's to the raw sound of the 90's. In 2012 Boyd enlisted brothers Cody and Travis Bass (drums and guitar respectively) to craft a sound reminiscent of their Beach Boys’ influences with a modern spin. They quickly
expanded to include Salar Almakky (bass and vocals) and Justin Moreira (guitar, piano, vocals) for a fuller more realized sound. The result was a nostalgic but not retro, classic yet progressive. Anthemic.
"MONTU is an Oklahoma-based jamtronica act that’s been consistently building a name for itself in the Midwest and beyond. Based out of Norman, Oklahoma, the electronic-infused four-piece frequently takes their show on the road, having played from coast-to-coast at a number of festivals and clubs in addition to opening for the likes of scene favorites such as Umphrey’s McGee, The Disco Biscuits, Lotus, EOTO, Papadosio, The Floozies, and more. The group seamlessly fuses funk, jazz, rock, and R&B, all with the underpinning of electronic music, to create a unique sound that is wholly their own, and fans who have gotten a chance to catch the up-and-comers are left eager to hear more."
Modern Measure is a hybrid electronic project like none other. Infusing live organic instrumentation with artfully crafted music production is what sets Modern Measure apart from others. Modern Measure was formed in the musical hotbed of Atlanta, GA in 2013. Coming off of sold out performances at Terminal West in ATL, to headlining and supporting shows all across the United States, Modern Measure stays true to art and music. Kyle Holly(Live Drums/Music Production) and Charlie Thornton(Bass Guitar, Saxophone, Music Production) keep the party and vibe up at all times. The sound incorporates elements of future bass, trap, electronica, funk, and hip-hop.
In just a short time, Modern Measure has toured and shared the stage with friends and renowned artists such as STS9, Big Gigantic, The Disco Biscuits, Manic Focus, The Floozies, SunSquabi, Break Science and ZOOGMA just to name a few. With the help of STS9’s label, 1320Records, Modern Measure continues to push the bar releasing original material, alongside remixes from very respected artists that continually inspire the project.
Modern Measure has performed at music festivals such as Camp Bisco in Scranton, PA, Suwannee Hulaween in Live Oak, Fl, North Coast Music Festival in Chicago, IL, Euphoria Music Festival in Austin TX, Summer Set Music Festival in Somerset, WI, and many more all over the country. Get familiar, get comfortable, and enjoy the ride.
CBDB is a progressive rock n roll jam-band from Alabama; their music spreading from the southeast across the nation like wildfire. Fresh off the release of their third album, entitled "The FAME EP" their live performances continue to strengthen and attract an ever-growing fan base.
Defining a new-founded, southern blend of joyous and progressive funk-rock n roll, CBDB is channeling a sonic bled of soulful vocals, virtuoso and complimentary musicianship with smart, tasteful songwriting. On stage, each member projects his or her individual masteries into a fluid, elevated and collective energy of rock n roll.
Soaring monthly listeners and followers on Spotify have further propelled their growth and continue to bring widespread attention, interest and new fans daily.
Space Kadet explores many genres on the electronic instrumental spectrum with a deep emphasis on creating a spacey funky atmosphere and sound, always leaving the listener in a trance. The band taps into a variety of genres ranging from high energy driven electro-funk to hip hop infused drum and bass into trap, deep dub, house, break beats and more. Recently, the band has shared the stage with
praised acts such as The Russ Liquid Test, Zoogma, Sunsquabi, Pigeons Playing Ping Pong, The Werks, Govinda, Higher Learning as well as playing acclaimed festivals such as Purple Hatters Ball, Imagine Festival, Sweetwater 420 festival and Zen Awakening. Space Kadet came together to form an always changing, never ending, groovy space odyssey.
Machine Kid brings together heavy, post rock with electronic tendencies and melodic vocals. The Atlanta four piece blends synthetic and organic tones, as stacks of synths meet crushing guitars, electronic drum loops and ambient soundscapes. Playing in a previous band since 2010, the members have had years to create an instinctual chemistry that translates from the stage to the studio. Look out for Machine Kid on the road as they support their new self titled EP.
Amoramora has been saving the world with rock’n’roll since 2016. Every live show is guaranteed to blast you off into a cosmic dance party and features an ever changing blend of psychedelic jams, funk, bluegrass, african highlife and beyond. Fueled by high-energy improvisation, the undeniable joy this quartet shares onstage and offstage is reflected by their devout and growing fanbase, the Amorons. Based out of Boulder, CO, the band has a commitment to consistently changing setlists, expanding their already extensive catalog of original material, and stirring the musical gumbo. Along with the deep instrumental blend of guitar, keyboard, trumpet, EWI, bass & drums, all four members are also vocalists. Their astronomic compositions take the listener on an engaging journey while whimsical and captivating lyrics fuel the fire of musical imagery. The quartet, two of which have music degrees from the University of Colorado and University of Miami (FL), create a refreshing experience every night to keep their audience and listeners on their toes.
After selling out their first headlining play at the The Fox Theatre in May of 2017 the band released “S’moramora Volume 2” on all major listening/streaming platforms and has been touring the US extensively while expanding their rapidly growing audience.
Amoramora has had the honor of sharing the stage with other legendary and blossoming musicians from projects such as Lettuce, Vulfpeck, Lotus, The Motet, Pigeons Playing Ping Pong, Animal Liberation Orchestra, Joe’s Russo’s Almost Dead, Tea Leaf Green, Melvin Seals & JGB, RJD2, Break Science, The Werks, The Floozies, The New Mastersounds, TAUK, The Magic Beans and The Workshy - among many others.
presented by Rybolt Productions, FlvshBvng, & Bear Grillz
Saturated in soul and marinated in the love of music comes The Quickening out of New Orleans, LA. After parting ways with the Flow Tribe in 2012, guitarist and song writer Blake Quick has assembled a panel of musicians that have enhanced the meaning of "feel good music." Prepare to be blown away by the luscious vocal pairings between the stunning Rachel "Mama Ray" Murray and Quick. The two have a chemistry that boils with excitement and defies the term "frontman" into one cohesive partnership. The rhythm section, coupled by Al Small on bass and Jeff Jani on drums, seem to have a marriage to the groove that Quick lays down. The secret weapon of the band is the fluid steel guitar playing by the one and only Dave Easley; whose instrument drives the band through fearless improvisations. The rest of the band is a revolving door of sorts; always welcoming New Orleans' finest to the band by including their horns and various woodwind and string instruments. The band has already made a huge impact in the New Orleans community and are eager to spread the word like butter across the US.
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. Be sure to check out their newest album, BOSS, which released in early ‘17. The full length album was produced by New Orleans’s own Mannie Fresh and debuted at #53 on the Billboard R&B chart.
After 6 critically acclaimed records (two produced by longtime collaborator Dan Auerbach of The Black Keys), Patrick has expanded his touring radius to 49 states and Europe. He's played premiere festivals (Newport Folk Fest, Merlefest, Montreal Jazz Fest, Telluride Blues & Brews) and supported international acts such as The Black Keys, The Tedeschi Trucks Band, The Wood Brothers, Hot Tuna, and others on tour.
Patrick Sweany likes the spaces in between.
On a given night (or on a given album) he'll swing through blues, folk, soul, bluegrass, maybe some classic 50s rock, or a punk speedball. He's a musical omnivore, devouring every popular music sound of the last 70 years, and mixing 'em all together seamlessly into his own stew. Yet, the one thing that most people notice about Patrick isn't his ability to copy - it's his authenticity. Like his heroes, artists like Bobby "Blue" Bland, Doug Sahm, Joe Tex, Patrick somehow manages to blend all of these influences into something all his own.
It's no wonder that as a kid he immersed himself in his dad's extensive record collection: 60s folk, vintage country, soul, and, of course, blues. Patrick spent hours teaching himself to fingerpick along to Leadbelly, Lightnin' Hopkins, and other folk-blues giants.
In his late teens, Patrick began playing the clubs and coffeehouses around Kent, OH. He quickly gained a reputation for the intricate country blues style he was developing: part Piedmont picking, part Delta slide - with an equally impressive deep, smooth vocal style.
But Patrick wouldn't stay in the acoustic world for long. His love of 50s era soul and rock fused with the adrenaline-soaked garage punk revival happening throughout the Rust Belt pushed him to form a band.
His latest record, Daytime Turned To Nighttime, comes out in September 2015. It was recorded in his adopted community of E. Nasheville, TN and features contributions from long-time collaborator and producer Joe McMahan (Allsion Moorer, Webb Wilder), Ron Eoff (Cate Brothers, Levon Helm), Bryan Owings(Tony Joe White, Solomon Burke), among others. For Daytime Sweany took a fairly different approach than his usual raw, intense blues sound, opting for more subtle textures and playing. Seminal 70s records by Bill Withers, Bobbie Gentry and Bobby Charles & The Band provide the sonic blueprint, while Sweany wraps his trademark baritone and impeccable acoustic slide work around songs of longing, redemption and growing up.
Robby Peoples may not have a degree in music, but he is certainly a scholar of Rhythm and Blues. Having grown up in Mississippi, Peoples learned to play harmonica and guitar in the traditions of Hill Country Blues and Rock and Roll music on the porches of Oxford. His original music, dubbed "Whiskey Folk" and "Ball Kicking Rock," is dominated by his uncanny stage presence and gravel-meets-sandpaper voice, which has been described as the love child of Tom Waits and Joe Cocker.
With their third European tour under the belt, three full-length albums including a fourth nearing completion, and a gravitational pull to their growing fan base down every American highway, the Vegabonds are on a musical pilgrimage to spread the gospel of pure, unadulterated New South Rock.
Some might assert that their sound is Americana, while others may consider them to be true rock ‘n’ rollers. Regardless of what fans like to call them, the Alabama-born, Nashville-bred quintet is pulling themselves up by the bootstraps just in time for 2018, forging ahead into the future by avoiding pigeon holes.
A group of five musicians with myriad influences between them, The Vegabonds are fronted by lead vocalist and songwriter Daniel Allen, with Richard Forehand (lead guitar/vocals), Paul Bruens (bass), Beau Cooper (keys/vocals), and Bryan Harris (drums) rounding out the quintet.
The Vegabonds released their critically acclaimed record, “What We’re Made Of,” with the help of Grammy-nominated producer Tom Tapley, whose portfolio includes that of Elton John and Bruce Springsteen, among others. Tapley returned to record The Vegabonds’ latest single, “Long Haired Country Boy,” now available on iTunes and Spotify.
“Long Haired Country Boy” gives listeners a taste of the upcoming album slated for early next year as they breathe new life into the Charlie Daniels Band’s country classic. Their modernized rendition of this legendary ballad pays homage to the hard-working, blue-collar lifestyle of the Deep South, but with an electrified, psychedelic intensity that only The Vegabonds can conceive. As they steadily become one of the most sought after, highly-acclaimed Southern Rock bands in music, The Vegabonds’ roots run deep, even alongside the fan base having now extended across the U.S. and Europe. Their devotion to music and their tireless tour schedule illustrates their laser-sharp focus on growing into one of the biggest names out of Nashville, while never forgetting their humble beginnings.
The Vegabonds got their start in 2009 by playing the college circuit across the Southeastern United States. Their popularity quickly burgeoned to the point that they found their fans singing along word-for-word to their first hits like “Georgia Fire” and “American Eyes.” From Ole Miss to South Carolina, students were buzzing about The Vegabonds’ authentic sound and their seemingly effortless ability to bring the house down. Through pure word of mouth, the group’s fan base grew rapidly, and the guys learned they had something distinctive with their eclectic mix of Southern Rock, Country, and earnest songwriting.
With a sound reminiscent of Tom Petty & The Heartbreakers mixed with the grit and twang of the Allman Brothers Band, The Vegabonds give their fans a sensational performance with powerhouse guitar riffs and impactful songwriting night after night. Their hard work and unbridled talents have not gone unnoticed; the group has opened for such notable acts as Lynyrd Skynyrd, the late Gregg Allman, and Kid Rock, among others. Rousing performances at festivals like Peach Fest, Magnolia Fest, Sunfest, and Toadlick grew their notoriety nationwide, leading to a west coast tour that formed in-roads with the music and comedy community in Los Angeles. It’s no wonder that Live for Live Music has compared them to musical legends like My Morning Jacket and The Black Crowes, calling them “a force to be reckoned with,” complete with “gorgeous harmonies and impressive instrumental skills mak[ing] for a perfect combination.”
With their focus on growth, The Vegabonds have much in store for old and new fans alike. Upon returning from their third European tour, the band’s focus will shift to perfecting their highly-anticipated new album, slated for release in early 2018. With a new management and publicity team behind them, their New South Rock sound is destined to reach an even broader audience than ever before. The band is excited to bring in new blood to achieve their overall strategic vision.
Born in Alabama. Bred in Nashville. Seasoned by the Road. Celebrated the world over. Come let your hair down with The Vegabonds.
Riverside Voodoo originated in 2011 in Oxford, MS and has since been steadfast in contributing to the evolving and progressive music scene that currently thrives in the American South. The four piece fusion of drums, keys, guitar, and bass keeps the make-up simple, while the music pushes these instruments to blend genres and explore new boundaries. The band has been described with an array of
genre descriptions from acid rock to blues jam, but simply, it’s rock and roll with a little bit of everything. This is in part due to the influences drawn from the band span across decades of music as well as genres, from Pink Floyd and the Doors to the likes of MGMT and Tame Impala. Riverside Voodoo released their first LP “Metaphysical Seduction” on April 6th, 2015 in the wake of the self-titled EP released in 2013. The live show is where the spirit of the band resides, with no show ever being the same but always being built on energy and detail.
With members in their early 20s, Young Valley is a fitting name for the Jackson, Miss.-based alternative country band. Frontman Zach Lovett, or “Z,” became a household name in Mississippi’s singer/songwriter conversations and wanted to explore the idea of having a band to accompany his songs. While attending Delta State University, Lovett met drummer Spencer Thomas and bassist Carson Braymer. The trio played together in the bluegrass band Dandy and the Lions. During the summer months, Thomas and Braymer joined guitarist and Lovett’s fraternal twin Dylan in the Jackson area. The band has evolved with new members with the lineup consisting of Zach Lovett - Acoustic guitar, harmonica, vocals, Spencer Thomas - Drums, vocals, Dylan Lovett - Electric guitar, vocals, Ethan Frink - Bass, backing vocals, Kell Kellum - Pedal Steel, and Phill Thompson - Violin, keys
Young Valley recorded a four song EP at the former Morning Bell Studios in the Duling School as a way to memorialize their summer jam sessions. Their first full-length project began when Zach’s mentor Byron Knight began building a new studio near Highland Village. The resulting 2014 album No Filter mixes Young Valley's live show—an organic, fun and raucous experience—with delicate studio touches and would not have become fully realized without the support of the communities of Fondren and Jackson. In addition, Young Valley has shared the stage with Lucero, The Weeks, Futurebirds and Phosphorescent.