CBDB is a progressive rock n roll jam-band from Alabama and their music is spreading from the southeast across the nation like wildfire. Defining a newfound, southern blend of joyous and progressive funk-rock n roll, dubbed Joyfunk, they channel a sonic mix of soulful vocals and virtuosic musicianship with smart, tasteful songwriting. On stage, each member of CBDB fluidly plays between complex composition and loose exploratory improvisation creating an incredible and unique live experience.CBDB has played major festivals including Okeechobee, Sweetwater 420, Summer Camp, Electric Forest, Sloss, Aura, Backwoods, Euphoria, and The Werk Out. They’ve also shared the stage with the likes of Umphrey's McGee, Galactic, Kyle Hollingsworth Band, Perpetual Groove, Kung Fu, The Wailers, Blues Traveler and many more.Fresh off an impressive summer tour, CBDB went straight into the legendary Southern Ground Nashville studio to record what will be their third LP, to be released early 2018. Soaring monthly listeners and followers on Spotify have further propelled their growth and continue to bring the band widespread attention, interest and new fans daily. Dive into CBDB's eclectic catalogue of tunes today and catch them live on tour near you soon!
LUTHI routinely brings the party. And with with up to nine members on stage, it’s a big one. “Boogie Circus” is the most colorful description of their sound so far. “We like the term Cumberland Funk,” says front man Christian Luthi, with an easy chuckle. What’s very evident in talking with (what they call) “The LUTHI Crew” is the shared passion for helping others let loose. And let loose they will.
Traveling in a pack that can be likened to big bands of days gone by, the members of LUTHI have honed in on the one thing that all nine of them can agree on; “keeping it weird”. Drawing from influences that include soul and R&B acts from the 1960’s, psychedelic funk and groove from the 70’s, and New Wave rock and roll from the 80’s, LUTHI then turns the ingredients into their own stew of modern dance music, with lyrics and melodies that only continue to open themselves up to listeners with each new spin.
LUTHI's debut album "Stranger" is out now.
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 . 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 touring nationally all across the United States, Modern Measure stays true to art and music. Kyle Holly (Live Drums/Music Production) and Charlie Thornton (Bass Guitar, Sax, Keys, Music Production) keep the party up at all times. Taking inspiration from around the world, along with Electronica, Future Bass, Hip Hop, Rap, Funk, and Rock influences, it all blends meticulously.
In just a short time, Modern Measure has shared the stage with friends and renowned artists such as STS9, Big Gigantic, The Disco Biscuits, ZOOGMA, Manic Focus, The Floozies, The New Deal, and SunSquabi. With the help of Modern Measure’s label, 1320Records, Modern Measure continues to push the bar releasing original material, alongside remixes from very respected artists that continually inspire the band.
Modern Measure has performed at music festivals across the country such as Camp Bisco, Suwannee Hulaween, North Coast Music Festival, Summer Camp Music Festival, Summer Set Music Festival, Counterpoint Music Festival, and Euphoria Music Festival just to name a few. Get familiar, get comfortable, and lock yourselves in. Modern Measure is a name you will continue to see in music for years to come.
In the lush tobacco fields of North Carolina where BJ Barham was raised, people work hard. Families stay nearby, toiling and growing together. BJ loves those farms and his tiny Reidsville hometown, but he had to run off and start American Aquarium, a band now beloved by thousands.
BJ couldn’t stay. But he couldn’t really leave, either: he’s still singing about the lessons, stories, and lives that define rural America––and him.
“I moved to the big city to go to college and fell in love with music,” BJ says. “But half the songs on our record are about small towns––little pieces of my childhood. I’ve had moments where it turns out a piece of broken English my father repeated twice a week is the most accurate way to say something. So I put it in a song.”
American Aquarium’s seventh studio album Things Change offers the band’s finest collection of folk-infused Southern rock-and-roll to date. Stacked with BJ’s signature storytelling––always deeply personal but also instantly relatable––the record questions and curses current events, shares one man’s intimate evolution, and leaves listeners with a priceless gift: hope.
“In my early 20s, I was not as hopeful,” BJ says. “Now, as I’m getting ready to become a father, I think I have to be hopeful––especially with the situation our country is in now. For her sake, I have to be positive.” He pauses. “Her” is his daughter, due in the spring of 2018. BJ adds, “Being self-aware has always been a blessing and a curse. But that’s what’s always made my songwriting relatable to people. I don’t hold back. I’m almost too honest.”
BJ’s candor has fueled American Aquarium’s runaway appeal, visible most clearly in consistently sold-out shows across the country and throughout Europe – between 200 and 250 dates a year. Much has changed for the band and BJ since their acclaimed last effort, Wolves. In 2017, every American Aquarium member save BJ quit the group. American Aquarium has featured about 30 players since BJ founded the outfit in 2006, and while each member has left indelible marks, the band has always been anchored by the literary songs and sometimes roaring, sometimes whispering, drawl of BJ Barham. BJ’s personal life also underwent seismic shifts: He got sober. He got married. Soon, he’ll be a dad.
Featuring a new band lineup that includes Shane Boeker on lead guitar, drummer Joey Bybee, bassist Ben Hussey, and Adam Kurtz on pedal steel and electric guitar, as well as a reinvigorated frontman in BJ, Things Change is American Aquarium’s first release on a label after selling thousands of records on their own. “As an artist, your goal is for the newest thing you do to be better than the last. You’re slowly whittling away the bullshit to try and get to the truth,” BJ says. “With this album, I learned how to cut some of that fat so that it’s just truth. It’s our best record.”
Recorded at 3CG Records in Tulsa, Oklahoma, Things Change was produced by Grammy-nominated singer-songwriter John Fulbright and features cameos from Americana standouts including John Moreland and Jamie Lin Wilson. Brazen album opener “The World is on Fire” is a richly layered rock-and-roll anthem that documents BJ and his wife’s stunned reaction to the last presidential election. Emotional and conversational, the song taps into widespread feelings of confusion and fear: “She said, ‘What are we going to do? What’s this world coming to?’ / For the first time in my whole life, I stood there speechless.” But what begins as despair builds into defiant faith, as BJ growls a call to action to cap off one of his favorite songs he’s ever written. “I’m complaining about the state of things, and then the third verse almost serves as a challenge to myself: hey, you’re in charge of another human being. You can create change,” he says.
Driving rock-and-roller “Crooked + Straight” explores the small-town consequences of questioning religion, and the tightness of family in the face of one member’s rejection. His father’s advice anchors the song. “I come from a blue-collar family. I’m the only one who didn’t go into farming. I learned if you want something, you have to go out and take it. You can’t expect anything from anybody,” BJ says. “You can only go out there and work harder. My dad always said you can outwork anybody else.” Love for hard work and the people who carry it out appears repeatedly throughout Things Change. Guitar-heavy “Tough Folks” is a snarling ode to those with dirt under their fingernails, while bass- and pedal-steel-infused “Work Conquers All” spins a tale in praise and pursuit of Oklahoma’s state motto.
The album’s love songs are the kind of achingly beautiful that only comes with maturity and a willingness to expose one’s own flaws. Haunting “Shadows of You” recalls a lover’s flight as the protagonist longs for what he let get away. Gorgeous “Till the Final Curtain Falls” celebrates loyalty and pledges endless devotion. The moving title track takes an often doleful topic––people’s tendency to change––and turns it on its head, tracing BJ’s personal growth and recognizing his now-wife’s steadfast love.
BJ’s other two favorite tracks are album standouts. Moving “When We Were Younger Men” addresses the break-up of American Aquarium head on. As BJ professes love for his former bandmates over stripped down acoustic guitar, his voice is honeyed and deep. “It’s an open letter to five guys who I spent eight years of my life with seeing the entire world,” BJ says. “I think anyone who has ever had to walk away from a friendship or has had somebody walk away from them will relate to the song.” Stunner “One Day at a Time” is self-perceptive and vulnerable, detailing BJ’s battles with himself. Even within his career full of well-written gems, the song is a towering accomplishment.
“At the end of the day, if you’re not writing songs to affect other people’s lives, you’re in it for the wrong reasons,” BJ says, reflecting on the new album, where he’s been, and where American Aquarium is headed. “Money may come and go. You may never get fame. But if you sit down and write songs to affect people, you can do it your whole life and be happy.”
‘Fire’ is one of my favorite tracks, because it comes from a very real place. Anger and frustration towards something you are so passionate about, I think anyone can relate."
- New Noise Magazine "Fire" Single Premiere
"It’s a stylish, energetic anthem, laced with reverberating riffs, shuffling beats and awesome rasping vocals, each playing their part to create a killer track. The song has a true toe-tapping, American rock feel that’s right up our street, blending cool soul with blues rock...The vigorous melodies and stomping bass work perfectly to create a buoyant sound, and we can’t help but draw comparisons with bands like The Blacks Keys, Nathaniel Rateliff and the Night Sweats or Kings of Leon. It’s a fresh, original take on a winning rock formula."
- Xune Mag
"Fans of blues rock like Led Zeppelin will want to give Truett a spin..."From rootsy blues style to more recent hard rock feel, Truett brings a true rock album that is sure to please a variety of indie rock fans."
- Ear To The Ground Music
"Truett's self-titled debut EP is a hard-riffing onslaught of fuzzed-out guitars and urgent vocals. The singer/guitarist worked out each song while touring the American South, wailing into the bright lights and cigarette smoke night after night until the new songs were fully formed."
- Paste Magazine
"Yours truly witnessed this energy in February, when TRUETT provided opening support for Pope in Nashville–his guitar-shredding prowess was on full display, and I was blown away. Since then, he’s traveled the world with Ron Pope + The Nighthawks, played his first showcases at this year’s SXSW, and finished writing the songs for his forthcoming full-length."
- East of 8th show preview
"Loaded with gritty riffs, smoking out blazing chords and finger bleeding breaks, it’s an endless source of raw edged, rock perfection."
- Velvet Independent
"Edgy lyrics, hard hitting drums and a bad ass guitar solo round out this feet thumping, fist bumping far reaching sound."
- Be Atlanta "Left in the Dark" Premiere
"Few artists are capable of truly stepping outside the bounds of genre while still encapsulating the timeless sounds of the greats who have preceded. However, Georgia born artist, Truett, successfully combines stunning vocals and unbelievable guitar licks in order to do so and create an incredibly unique and addicting sound."
- The Odyssey "Artist To Watch"
"His guitar-shredding prowess coupled with his band’s consistently funky low-end support and driving rhythm section was captivating"
- East of 8th, Live Review
"I can feel every note. Add the fact he also he has a very soulful bluesy voice and I'm left wishing his set lasted for a lot longer than 20 minutes. As I could quite comfortably listen to him play all night."
People often talk about musicians needing to “pay their dues” before they deserve success. Truett has paid his many times over; enough to treat himself and ten friends to an all expenses paid trip straight to the top. Sweating it out night after night in blues bars around the South, screaming into the bright lights and cigarette smoke like the ghost of Howlin’ Wolf, soloing until his hands bled hour after hour, roadhouse after roadhouse, mile after mile.
Fast forward to today, Truett has not only developed immensely as an artist, but also as a songwriter and performer, touring all across the US and Europe, supporting the likes of Ron Pope and Jonathan Tyler, and headlining shows of his own. With a debut EP under his belt, he prepares to release his sophomore project, Lies and Lightning, along with a slew of pre-released singles from the 5-song EP.
“This record I focused more on ideas, lyrics and music that I had been carrying with me for a long time. Every song on this record is a story from the road or a struggle that I have dealt with in this industry, I’m very proud of it,” Truett says.
Is Truett a soul singer? He was raised on Bill Withers and Stevie Wonder and can croon a Sam Cooke song or shout his lungs out a la Jackie Wilson. Is Truett a guitar virtuoso? Hearing him play is like having Albert Collins throw his drink in your face and kick his muddy boot up on your table to solo at the height of his powers. Is what Truett does easy to define? Absolutely not. He’ll take you from the Mississippi Delta to Prince’s Minneapolis, Chicago blues to Bowery Punk, down through Outkast’s Atlanta and out the other side of the psychedelic rabbit hole. That explosive mix makes for a singular experience.
Truett is more than the sum of his influences; what he does is unique and spectacular. His work is evocative of many things, but a carbon copy of nothing that came before. He’s classic and modern, new and old, absolutely stunning in his raw, unbridled authenticity.
"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."
Born Joseph Foreman, Afroman may be the first artist to achieve a worldwide hit with the assistance of the Internet. Citing his influences as Too Short, Big Daddy Kane, and 2 Live Crew, he began his rap career in the eighth grade when he started making homemade tapes of his own songs and passing them out to his classmates. He got his start as a performer at church where he played drums and eventually moved on to playing guitar. For a while, he used to work as a baggage handler at an airport while trying to make an impression with his songs.
He was still living in East Palmdale, Los Angeles, when in November 1999 Afroman released his first album, Sell Your Dope, and played parties, sidewalks, and contests. Not finding L.A. to his liking, he moved to Hattiesburg, MS, where he teamed up with drummer Jody Stallone and keyboardist/bassist Daryl Havard. In the spring of 2000 he concocted his second LP, Because I Got High, with producer Tim Ramenofsky. He distributed it at shows and with the help of T-Bone Records in Hattiesburg. The more people he performed for, the more word of mouth spread, with not just a little help from the Internet’s controversial music-file swapping service, Napster. Someone who got his hands on his music at a show posted the track “Because I Got High” to Napster and suddenly everything changed for Afroman. Then Howard Stern’s radio show boosted “Because I Got High”‘s popularity by playing the song on his show. The song “Because I Got High” was based on Afroman’s inability to clean up his room. The song lists a number of activities — cleaning his room, going to court, attending class — that get derailed because of “reefer madness.”
Little Raine Band, based in Birmingham, AL, has an ever-evolving sound and fan base reaching all over the Southeast. These four musicians strive to master the art of improv and creating a singular live show. LRB crafts their sound from their unique musical backgrounds and influences. Elements of prog rock, fusion, electronica, soul, and energetic improv can be heard at a Little Raine Band show.
Sailour consists of Johnston (lead vocals, guitar), Patrick Ryan (lead guitar, vocals), Mark Bryant (bass, vocals), and Taylor Jones (drums) of Boxer Joy. Immediately following high school, Andrew Johnston (lead singer, guitar) began writing and performing his own songs under the name Sailor in bars and restaurants anywhere in the Shoals that would let him. Soon after, Johnston added the "u" into the name Sailour to differentiate them from other acts. On December 8, 2015, Noisetrade.com featured Sailour's Scuttle EP as one of their 'New & Notable' albums with Sailour's indie rock blended with soul and alternative roots.
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 gripping melodic indie-rock music.
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 Robert Currie 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. 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 region to promote the album, while also preparing new material for a sophomore full-length.
The band has shared the stage with national touring acts such as Jared & the Mill, 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).
“Hestia” is available now on iTunes, Google Play, Amazon, Spotify and most digital music retailers.
Taylor Hunnicutt is a singer/songwriter based in Birmingham, Alabama. With roots in Blues, Soul, Country and Americana, Taylor's performances cross genre lines and give audienceTaylor Hunnicutt is a singer/songwriter based in Birmingham, Alabama. With roots in Country and Americana, Taylor's performances cross genre lines and give audiences a unique and authentic storytelling experience.
“With a voice that sounds like Stevie Nicks if she had been raised in the Black Belt, Hunnicutt bends genres between country, soul, blues and rock but settles sweetly in the Americana style of Tift Merritt, Ryan Adams or Amanda Shires.” - Michael Tomberlin Alabama News Center
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. 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.
Kudzu Kings are a highly energetic and entertaining musical outfit from Oxford, MS. Their sound is a unique blend of country, bluegrass, improvisational rock & roll, and humor that appeals to many: young, old and in between.
Together over 20 years, the band has achieved legendary status and, in their years on the road, gained a strong foothold in the Southeast, headlining many of the prominent music venues - in addition to a number of successful tours of the US and Canada. They have shared the stage several times with Widespread Panic (with whom Kudzu member George McConnell joined in 2002) as well as with many other artists, including Bob Weir and Rob Wasserman, Leftover Salmon, Jimmie Dale Gilmore, Junior Brown - and more recently with Chris Stapleton and Old Crow Medicine Show - just to name a few. Kudzu Kings have also welcomed guest musicians in the past to collaborate and sometimes sit in for several shows for absent members including Chris Etheridge (Flying Burrito Brothers, Gram Parsons, Willie Nelson), Bucky Baxter (pedal steel and guitar w/ Bob Dylan, Ryan Adams, Los Lobos), John "Jojo" Hermann (Widespread Panic), Cody Dickinson (North Mississippi All-Stars), and Tony Furtado.
"Zoofunkyou is a psychedelic funk band coming out of Chicago that specializes in booty-shakin’ improvisational jams. Drawing influences from people like The Grateful Dead, Alabama Shakes and Jimi Hendrix, they achieve psychedelic euphoria through introspective lyrics, swaggering, screeching guitar licks and an extremely tight rhythm section. The finished product sounds like early Peter Green’s Fleetwood Mac meets Tame Impala with a dash of modern jam band influence. The band is comprised of Derek Dare, the only original member on vocals and guitar, Matthew Coglianese on bass, Jake Hennessey on drums and relative newcomer, Bryan Scheinkopf on lead guitar.
Zoofunkyou started out as just “Zoo” in the summer of 2012 and was originally a three piece made up of the current singer Derek singing and playing bass with electric guitar player, Damon Karner and drummer, Noor Albana who are both no longer in the band. They had started playing together just by jamming for fun at a friends house. By the end of the summer, Derek decided he wanted to stop playing bass so he could focus on guitar, so they recruited Matt Coglianese who had a steady foundation in jazz and blues. The band stayed this way for a few years, playing some shows at The Abbey before it was tragically burned down. In 2015, Jake Hennessey was recruited as a custom percussionist, who would later replace Noor on the drum kit. They changed their name to Zoofunkyou in early 2016 in order to be found on social media easier and in October of that year, Bryan Scheinkopf filled the vacancy of lead guitar player. The majority of the current band members either attend or have attended Columbia College Chicago.
The band uses music as a means of escape and purification. They aim to “reach people through music, and to influence them to be kinder/better people to the other people in their life and in the world." Making music is also therapeutic for them. Bryan explained that when playing together they try “to be completely present within the musical space we're creating, rather than just playing for the sake of making noise.” If all goes as planned, Zoofunkyou will be regulars on the festival circuit in the next few years. They hope to build a strong fan base in order to be able to continue to make their music and travel the world.
With the psychedelic scene being as strong as it is in Chicago, the boys have built good relationships with other local bands. You can often find Zoofunkyou playing with the likes of Blue Dream and Mungion at venues like Subterranean and House of Blues Chicago."
Like the best bands that take cues from the past—Wilco and Dr. Dog, Whitney and Kevin Morby—Honyock combines the aesthetic of a bygone, sundrenched past with songwriting that’s as distinctive as it is memorable. Their debut album, El Castillo, makes the case for rock n' roll's continued relevancy in the modern era, without being overly precious about its past.
“Patron” for example, features a dusty, retro aesthetic—a sun-faded roadside hotel, a cactus’s long shadow. It’s hard not to hear Elvis Costello or Roy Orbison in this opening track. At the same time, though, neither artist could have written this personal, pensive song. “It kind of came out of this persistent pattern in my life of being intimate with drug abuse and drug abusers,” Spencer says. “Those people can be the sweetest friends you’ve ever met, but they disappear a lot too. You have this dual emotion of ‘I would do anything to help you’ while admonishing them for their own lack of will.”
It’s this thoughtful approach that attracted the attention of veteran musician David Vandervelde, who would end up producing El Castillo. “We were recording our canon of material, like 30 or so songs, onto four-track cassette tape and dubbing over it in GarageBand,” Spencer says. These demos were passed around until they, by chance, ended up in Vandervelde’s hands.
As soon as he heard the demos, Vandervelde offered to record the full-length with Honyock—and at New Monkey Studio, which Elliott Smith owned and recorded at in the years before he died. “Yeah, this record we spent two years trying to record we re-recorded in, like, five days,” Mason laughs. Vandervelde was able to transform the band’s lo-fi intentions into something more authentic, more honest, more real. “He really took us under his wing. We learned a lot about how to make a real record, very quickly,” Spencer says.
Redefining the possibilities of modern music, The Russ Liquid Test fuses the raw vitality of classic funk and the inventive sound design of electronic production. Songwriter/producer and renowned brass specialist Russell Scott heads up the New Orleans-based band. Guitarist Andrew Block and drummer Deven Trusclair round things out, with each providing a distinct musical background deeply rooted in the New Orleans jazz scene. A kinetic energy infuses each the band giving way to a mixture of funk/jazz/electro. The Russ Liquid Test evokes a kaleidoscope of textures, senses, and moods. At the heart of The Russ Liquid Test is an improv-driven musicality.
The studio workhorses are continually putting out new music and have quite a few releases up their sleeves for 2018. The Russ Liquid Test creates a joyful sense of synergy in their high-powered live shows, with recent appearances including Shambhala Music Festival, Lightning in a Bottle, Summer Camp, and Sonic Bloom, among others. No matter the setting, a clear multidimensionality can always be heard in The Russ Liquid Test’s projects. “We want to make people feel good but also give them something to reflect with,” says Scott. “It’s not about just making party music or music that’s more introspective—it’s for the full gamut of human expression, and we want it to be just as dynamic as life itself.”
Rutabaga Jones formed in Jackson, MS in 2014. The band consists of bass (Will Weathersby), guitar (Stan Black), and drums (Bryan Shaw). The band started when high school friends Will Weathersby and Bryan Shaw teamed up with Stan Black to create a power trio with a sound unlike anything else happening in Jackson right now. Rutabaga Jones plays a blend of blues, rock, hip-hop, and funk with influences ranging from James Brown, A Tribe Called Quest, Jimi Hendrix, and The Meters.
These Big Easy Bombardiers pack an ample amount of audio artillery in their set and you better believe that the Funka-Delic swamp will rain down heavy when they plug in. The Iceman Special is 4 piece outfit transplanted from the swamps of Louisiana to the big city of New Orleans. They combine a sound of dirty funk and delicate groove with elements of disco and rock and roll to create danceable jams with plenty of edge and substance. Screeching yet smooth guitars, wandering yet punchy bass lines, electronic synth samples, driving drum beats and powerful vocals form one a kind soundscapes.