Sam Grisman Project
This is a 18 and over event with standing room only. 17 and under admitted with a parent or guardian A Note From Sam– The music that my father David Grisman and his close friend, Jerry Garcia, made in the early 90s (in the house that I grew up in) is not only some of the most timeless acoustic music ever recorded, it also triggers my oldest and fondest musical memories. What I find most inspiring about this material is the way their camaraderie and their love and joy for the music, simply oozes out of each recording. It is also impressive how deeply they get beneath their favorite songs—whether they are originals, covers or traditional/old time tunes—and how expertly that material was curated. My goal in starting Sam Grisman Project is to build a platform for my friends and me to showcase our genuine passion and appreciation for the legacy of Dawg and Jerry’s music. By playing some of their beloved repertoire and sharing the original music that our own collective has to offer, we will also show the impact that this music has had on our own individual musical voices. Ultimately, there is nothing that makes me happier than playing great songs with my best friends and my hope is to share that happiness with audiences all over!”
KAIT ROSE & CO. PRESENT CELEBRATING SHANIA!
18+ Standing Room Only Show 17 and under admitted with a parent or guardian Kait Rose, an original singer, songwriter and guitar player, is kicking us back to the nineties with hits from Shania Twain. Kait Rose & Co. Presents: Celebrating Shania! Time to get out those cowboy boots and dance along with an eleven piece band that brings their all-star talents to the beat of Shania’s greatest songs. Let’s go girls!
Tigers Jaw with OSO OSO & Snoozer
This is a 18+ event with standing room only 17 and under admitted with a parent or guardian I Won’t Care How You Remember Me, by the Scranton, Pennsylvania-based band Tigers Jaw, is an ode to living in the present. As this hectic era of distraction whirrs, ticks, swipes, and scrolls by each of us at an alarming speed, the ability to maintain a sense of priority for the human elements in our lives as well as a reflective understanding of self, remains a lost art. But here, the group has seized upon it. Tigers Jaw’s sixth album—and first for new label home Hopeless Records—finds members Ben Walsh (vocals/guitar), Brianna Collins (vocals/keyboards), Teddy Roberts (drums), and Colin Gorman (bass) at the height of their powers, fusing their collective skills with the synchronicity and energy the band honed over several years of non-stop touring. The result is a back-to-the-basement approach elevated by the unmistakable production of their longtime friend and collaborator Will Yip. The band’s most sonically ambitious and lyrically affecting album to date, I Won’t Care How You Remember Me sees a newfound freshness and creative freedom crystalizing the lush and dynamic world of Tigers Jaw.
WILD PINK with FRIENDSHIP & The Soods
18+ Standing Room Only Show 17 and under admitted with a parent or guardian Wild Pink, the New York-bred project of John Ross builds worlds inhabited by ghosts and angels and aliens, inciting a strange and lovely daze as the backdrop shifts from the mundane (subdivisions, highways, hotel parking lots) to the extraordinary (deserts, battlefields, the moon). But within its vast imagination lies a potent truth-telling on the part of singer/guitarist John Ross who’s lyrics lay out potent stories that paint with broad brush strokes. 2021’s A Billion Little Lights—a critically acclaimed effort praised by the likes of Pitchfork, NPR, Vulture, and Stereogum, who named it “one of the prettiest rock records of the past decade”— and who has collaborated with J Mascis, Julien Baker, Ryley Walker, Yasmin Williams, Samantha Crain and more on the latest album ILYSM. Not to mention appearances on CBS This Morning, KEXP and Stereogum sessions and many more accolades to name during Wild Pink’s impressive rise over the years. Now signing with Fire Talk, Wild Pink yet again peels open a new chapter of their ever evolving career, digging into a more realized and full indie rock sound with the force and precision of a seasoned veteran ready to take the leap and step into the spotlight getting their long deserved and well earned due.
Chris Knight w/ Mic Harrison
This is a 18+ event with standing room only17 and under admitted with a parent or guardian After 23 years as a recording artist, singer-songwriter Chris Knight remains boldly empowered to make music that always delivers the unflinching truth. In fact, the man raised in Slaughters, Kentucky uses a simple, direct barometer to regularly check his muse: “If I can’t believe myself, I won’t sing the song.” That brutally honest, no-frills philosophy fits his Americana-fueled, backwoods-grown merger of folk, country, and rock. It’s been at the backbone of nine studio albums, beginning with 1998’s acclaimed self-titled debut and traveling through scorchers such as the one-two punch of 2001’s A Pretty Good Guy and 2003’s The Jealous Kind, two demo-styled discs (2007’s The Trailer Tapes and 2009’s Trailer II), and the recent, electric guitar-fortified opus, 2019’s Almost Daylight. Because Knight’s music has always sat outside of the mainstream, onstage is where he makes his fans one show at a time. It is exactly where his searing tales of rural characters, fringe survivors, and tumultuous small-town existence find a captivated audience. A few edgy, raw gems that immediately come to mind are “It Ain’t Easy Being Me,” “Carla Came Home,” “I’m William Callahan,” and “Everybody’s Lonely Now,” the latter two from Almost Daylight. What Knight writes about is what he knows. He was raised in mining country, so it’s no surprise that he would earn a degree in agriculture from Western Kentucky University and then work as a mine reclamation inspector and then miner’s consultant. But eventually his passion for writing songs and playing guitar, both inspired by his musical hero, the late John Prine, led him to chronicle his surroundings in words and music.
ZoSo: The Ultimate Led Zeppelin Experience
18+ Standing Room Only Show 17 and under admitted with a parent or guardian ZOSO Celebrates 28 Years as America’s Premier Led Zeppelin Tribute BandOver the 28 years and over 4500 shows since ZOSO came together as a group in the mid-‘90s, theseemingly tireless quartet has continued to earn its well-deserved reputation as being, in the words of TheL.A. Times, “head and shoulders above all other Led Zeppelin tributes.”ZOSO doesn’t cut corners on either the look or sound of Led Zeppelin. Instead, the band drawsliberally and meticulously from Led Zeppelin’s recorded live and studio output to present a vivid performancepicture of the classic live Zeppelin of 1968-1977. No wonder the St. Petersburg Times noted that, in additionto their virtuosity and spot-on visual presentation, ZOSO is also “the most exacting of all the Led Zeppelintributes.” The Chicago Sun-Times put it even more succinctly: “[ZOSO is] the closest to the original of anyLed Zeppelin tribute.”
Peach Jam: A Tribute to The Allman Brothers Band
This is a 18+ event with standing room only17 and under admitted with a parent or guardian Peach Jam is a collective of some of the best musicians Chicago has to offer. Together they celebrate the music of the legendary Allman Brothers Band. Formed in 2022, these players will transport you back in time to the days of the Fillmore East. Peach Jam brings together members of Chicago mainstays such as Cornmeal, Terrapin Flyer, Old Shoe, and The Brooklyn Charmers for a cosmic gumbo of hot jams, tight grooves, soaring vocal harmonies, and down-home blues that will make a believer out of any ABB fan. “People can you feel it? Love is everywhere!
Dale Hollow w/ Jessi Phillips
This is a 18 and over event with standing room only 17 and under admitted with a parent or guardian “Stupid is as stupid does / does that make me the dumbest one of all time?” — Dale Hollow, “Hack of the Year” A bit Andy Kaufman, a little Orville Peck, a hint of Father John Misty, Dale Hollow possesses “a fascinating combination of performance and purveyed authenticity,” as the lifestyle magazine Mundane once posited, while also noting that “no other country music artist has ever claimed to be the best, except for Dale Hollow.” Legend has it that Dale actually tried to trademark the phrase “The Country Music Superstar,” so every time someone like Luke Bryan, Loretta Lynn, Jessica Simpson or Darius Rucker attached that phrase to their names, Dale gets some cash. And while Hollow can be purposely self-elevating, that seemingly tall tale is true. “I sent $150 to the copyright office…and I got denied instantly,” he says. “That’s why I use that parenthetical justification (trademark pending).” A mysterious figure in the country music world, here’s what we do know: Hollow, who hails from Nashville and is named after the Kentucky reservoir, had an inauspicious start to his music career. The future country legend was just trying to pay off $35,000 in back taxes. “I was trying to get cash fast,” he admits. “One day, sitting in an internet cafe, I read this article that detailed how Luke Bryan was the most profitable artist in streaming. So I just thought, ‘I’ll do what he does.’” Thankfully, that odd inspiration has led to some not-so-seriously good music. Dale’s new record, Hack of the Year, is a hoot, full of crooning, shuffling beats, yelps and plenty of self-effacing singalongs. While there’s a bit of an arched eyebrow that comes along with some of Hollow’s work, the record itself and the live show are musically savvy. Credit there goes to Hollow’s partners in crime and backing band, The Long Con. “My best talent is finding more talented and capable musicians,” says Dale. Which doesn’t mean Hollow isn’t the focal point when it comes to the live setting. “There’s a lot of energy from me on stage — it’s a very kinetic show,” says Hollow. “There are a lot of jumps and kicks and unnecessary and unorthodox things. But it’s not frenetic that you can’t pay attention! Also, I’m 6’5” — throw on a cowboy boots and a cowboy hat, I’m pretty good at making myself look goofy. A tall guy with a hat on stage, that’s amusing.”
KATHLEEN EDWARDS
This is an 18+ event with standing room only17 and under admitted with a parent or guardian For decades, Kathleen Edwards has been a cornerstone of North American roots music. Since making her debut with 2002’s Failer, she’s spent the 21st century occupying the grey area between genres, swirling together her own mix of alt-country, folk, and heartland rock & roll. It’s a sound that has earned its creator more than a half-dozen Juno nominations, as well as Top 40 success on both sides of the Canadian/American border. Now in her third decade as an artist, Kathleen Edwards has done more than carry the torch of songwriting heroes like Tom Petty, Neil Young, and Lucinda Williams — she’s opened the door for others, too, inspiring a new generation of artists who, like her, blur the boundaries between genre and generation. A native of Ottawa, Ontario, Edwards was still in her early 20s when she released the critically-acclaimed Failer. The album’s warm, woozy sound — crystallized on radio hits like “Six O’Clock News” — quickly turned her into one of the era’s alt-country heroes. From the very start, though, Edwards’ music seemed to exist somewhere out of time, resisting categorization even as Failer received a Juno nomination for “Roots & Traditional Album of the Year.”
WOLF EYES
This is a 18+ event with standing room only| 17 under with a parent or guardian Wolf Eyes’ history with collaboration goes back almost 26 years. From the first Wolf Eyes w/Spykes concert that led to John Olson joining the band, to Smegma, Anthony Braxton, Richard Pinhas, Merzbow, Marshall Allen, and many more. Wolf Eyes has continued expanding musical ideas through collaboration and Difficult Messages is the first compilation of this practice. Many of the bands on Difficult Messages exist inside an assemblage of a mail art tradition. Most of the music was made remotely and this allowed for deeper exploration into styles that might have been too uncomfortable to attempt face to face.
