Ripe Presents The Bright Blues Future Tour w/ Coyote Island and Hacky Turtles
2023 Bell’s Beer Garden Summer Concert SeriesThis is a 21 and over event.Standing Room Only On a primal level, we react to music through movement. A head-nod, a foot-tap, or a handclap certainly shows appreciation, but dancing seals the eternal bond between audience and musician. Siphoning the spirits of rock, funk, R&B, jazz, and pop through a kaleidoscope of unpredictable and virtuosic improvisation, Boston-based Ripe consistently bring people to their feet. Most importantly, they prove that “dance music” in its purest form doesn’t have to come from computers and synthesizers. It can be an unstoppable groove or an extended moment of ecstatic release. Like those bodies moving on the floor, it’s the result of the energy, friction, and communication between living and breathing people. An inimitable and indefinable chemistry has separated and singled out Ripe since day one. Subverting any and all standard genre boundaries once again, their latest offering confidently continues that tradition. These five musical soulmates —Robbie Wulfsohn [vocals], Jon Becker [guitar], Sampson Hellerman [drums], Calvin Barthel [trombone], and Nadav Shapira [bass]—once again incite listeners to move on their full-length debut, Joy In The Wild Unknown. “What we make is music you can dance to,” affirms Robbie. “We’re drawn to the peak of a song—the emotional catharsis when everything comes out. It’s all about reaching that moment. The revelation comes back to us when bodies shake with joy.” “Every time we play, something unique happens,” adds Jon. “You’ll never see the same show twice. We want to bring that unexpected element into the pop sphere.” Ripe brings the swagger of funk filtered through a rock anthem, a musical journey that somehow gets as stuck in your head as your favorite pop banger.
Joe Hertler & The Rainbow Seekers w/Hala
2023 Bell’s Beer Garden Summer Concert SeriesThis is a 21 and over event.Standing Room Only Joe Hertler & The Rainbow Seekers will make a sprightly young groove doctor out of anyone. With spectacular energy pulsating from every member of the band, the Rainbow Seekers could illuminate the very chambers of Heaven. Lead singer Joe Hertler splashes through lyrical puddles of golden rain, leaving his audience wearing flowery crowns and bubbling smiles. A ride on the Rainbow will take you across the mountains of Motown, through the fjords of folk, over the archipelagos of Americana, and-at last-into a funky firth, where only the fiercest of friendships can be found. The Rainbow Seekers began their historic quest 8 years ago, revolving around the pure, unadulterated songwriting of their fearless leader, Joe Hertler. Ryan Hoger was the first among the Seekers to find this lonely songsmith and recognize the twinkling magic in his beard. The young boy gave up all his earthly possessions (besides his guitar, of course) and became the first disciple of the Rainbow. With this, the core of the Rainbow was thereby established, and it didn’t take long for the Rainbow Seekers to continue their expansion. Multi-instrumentalist and notable auxiliary percussion maestro Micah Bracken journeyed from the bowels of Atlantis when he heard tell of the Rainbow, and the earth trembled as saxophonist and all-around badass Aaron Stinson descended from Olympus on a golden rainbow of his own. Then came thunder from the depths of space and as it picked up the bass, a soft exhale escaped the lips of every princess within a hundred moons, “Bambis,” they cooed. All the while, on the other ends of the earth, a young boy was hard at work, honing and sharpening his sticks for the day that the Rainbow would come his way, and when it landed at his door, Ryan McMahon climbed aboard. Since the early days, their quest has brought them across the nation and upon such noble gatherings as Bonnaroo, Electric Forest, and Summer Camp. As you’ll know if you’ve seen the band, seeking the proverbial Rainbow is all about the live performance. “The live show is the purpose of the band. This is why we make music. Playing music is a symbiotic process, the crowd is as much a part of it as the musicians. We give as much energy and love as we can and we can feel that coming from the crowd as well” says Hertler. “We believe that performance is not a High Art operation, and that you should do anything you can to ensure that the crowd is having a good time. From piñatas to confetti, to fog, to flowers, to drum solos, to strobe lights, to Thor, to sword battles-literally anything goes.” If you’re still reading this, at least one thing is true: The Rainbow Seekers have been waiting for you. If you’ll only let them, they will shake the dust from your wildest expectations. They will roar into your life with rapturous frequencies, exuberant tone, and a joyfulness of purpose that has truly become a rare sight on stage. Join them in their celebration, and they will take you on a never-ending journey to a place you’ll never be able to describe in words.
TOMMY PRINE wsg Jordan Smart
This is a 21 and over event.Standing Room Only Tommy Prine’s debut album “This Far South” coming June 23, 2023 is not only a long awaited introduction but a testimony to Prine’s 20’s and the loss, love, and growth that has defined them. Co-produced by close friend and kindred musical spirit, Ruston Kelly, and beloved Nashville engineer and producer, Gena Johnson, the album is rich and dynamic from cathartic jams to nostalgic storytelling.The son of late songwriting legend, John Prine, Tommy Prine grew up in Nashville surrounded by music, art and writing. As a child, he thought all parents were musicians, as his father “going to work” meant performing shows for adoring fans and writing songs. Tommy learned to play guitar by watching his father play, copying the ways his fingers moved and inadvertently developing his own singular style. Summers in Ireland lent their own inspiration, as did 10 straight years camping at Bonnaroo. Prine’s musical tastes grew to become decidedly eclectic, spanning John Mayer, Outkast, Bon Iver, the Strokes and more.It wasn’t until Prine reached his mid-twenties, though, that he considered a career of his own in music and began to share with others the songs he wrote in private. His songs were quickly met with excitement and enthusiasm, which sonically brings together a colorful patchwork of musical influences and lyrically explores existential questions and emotional experiences.The album’s title track, “This Far South,” marks a turning point in Prine’s life as he found himself struggling to escape a dark, aimless period. He ultimately found the courage to act on choices that would see him to the other, brighter, side. “There were several years where I felt without purpose, spent all my time partying, and just existing. I found myself at a fork in the road and chose the better path, and in that moment, I swore I would never be This Far South again.”Grief is a major throughline of Prine’s current work. In 2017, Prine lost his best friend to an overdose. “Since then, I have lost some more friends and have others who are still navigating the ups and downs of struggles with drug abuse.” His song, “Letter To My Brother,” was written as a message to the friends he’s lost, those in Recovery, and to friends who are still struggling.He still grapples with the passing of his father in April of 2020. “The world lost one of the greatest songwriters of all time, but I lost my dad.” Prine bears the loss of his father and the memories he carries for others on the track, “By The Way.” While navigating that loss has been difficult, he’s found solace in connecting through music with others who have lost loved ones.Prine capped off 2022 with his first solo tour across the United States. He was heavily involved with You Got Gold, an event series in Nashville honoring the life and songs of John Prine, and performed at AmericanaFest as an official showcasing artist. He also debuted two original songs, “Ships in the Harbor” and “Turning Stones.”This year, alongside his own runs of headline shows, Prine opened for Tyler Childers on his “Send In The Hounds Tour” in London. He was also named one of Amazon Music’s 2023 Breakthrough Artists to Watch.
Max Lockwood w/ Hannah Laine of Earth Radio
21 and over This is a partially seated performance “[Lockwood has] proven himself to be far more than just an engaging sideman. He’s an emerging Michigan star in his own right.” -John Sinkevics, Local Spins Songwriter, vocalist, and poet Max Lockwood channels the flair of Tom Petty and the eloquence of the Beat Generation’s finest to create a sound rooted in songcraft and heartfelt lyricism and bound with elements of rock and roll, folk and pop. With full arrangements and rich poetic focus, the listener is led into a deep sonic landscape by songs that seek to uncover truths of love, adversity, and growth. The first note Max Lockwood sings has the undeniable ability to capture the attention of any crowd. His powerful voice, akin to the likes of Tom Petty or Bruce Springsteen, grips listeners with its raw emotion and sheer possibility. With each song, a story is told with rich, vulnerable tones and unbridled emotions.
PUP w/ Snotty Nose Rez Kids
2023 Bell’s Beer Garden Series21+ EventStanding Room Only Every PUP record arrives with an implied “contents under pressure” warning; the tension between the band’s instinct for the melodic and its gift for chaos propels the songs forward while making them also seem close to flying apart in a horrifying spray of tears and gore. To listen to PUP enough is to spend parts of every day mentally echoing some hilariously self-lacerating, utterly undeniable choruses; you will find yourself thinking “this is the mosh part” at moments when you would otherwise be tearing yourself apart. All that tension is always just barely held in place by the band’s craft. It couldn’t be anything but uneasy, but THE UNRAVELING OF PUPTHEBAND is the sound of a band that is not just comfortable with but in command of that chaos. PUP is not really that kind of band, though, and THE UNRAVELING OF PUPTHEBAND is not that kind of record. It is still very much a PUP album, but relocating from the literal basement where they wrote Morbid Stuff to the janky manse in which they put together its follow-up afforded the band space to grow, and to make not just the next PUP record but the most PUP record. There is no faking that, which of course makes it all much harder to do. In the best PUP songs, the whole process is not just visible but thrilling—the anguish and doubt that drives the songs is nurtured, over a few loud minutes, into something first legible and then somehow empowering. There are a lot of these songs on THE UNRAVELING. The alternately plaintive and anthemic “Matilda” is a classic galloping PUP shout-along recrimination-fest that sounds bigger than previous entries in this robust subgenre without losing any of the signature acid. “Waiting” is pure paint-stripping heat, topped by some legitimately towering choruses. “Robot Writes A Love Song” dissolves into a wash of nervous synthesizer before becoming what is surely the most emotional song ever written from the perspective of a computer being overwhelmed unto death by actual human emotions. THE UNRAVELING is not a departure from what got PUP here, really; for all the new breadth, this is still very much the fourth album by the band that has spun songs about The Bad Decisions Lifestyle into scrappy art. The hooks are as bright and barbed as always; the poison threaded through every song is no less potent. But a fourth album should be different from the first, or even the third, and THE UNRAVELING is. THE UNRAVELING OF PUPTHEBAND is that next step—not towards perfection, or even towards some more perfect version of writing songs about fucking up, but just in the direction of its choice. It’s a product of this endless awful broader moment, but also very much a step forward into that uncertainty. “The whole album process really brought us closer together, even as things unraveled,” Babcock says. “It’s hands down my favorite PUP record, and I don’t think it could’ve been made under any other circumstances.” It’s the sound of a band learning how to share the mansion with the bats.
Bob Mould Solo Electric w/ Jason Narducy – SOLD OUT
This is a 21 and over event.Standing Room Only Today, Bob Mould announces a fall Solo Electric tour of the United States starting on October 6 at the Atlantis in Washington, DC, and ending at the Stoughton Opera House in Stoughton, WI on October 27. Support on the tour will be the long-time bassist in Mould’s touring trio Jason Narducy. Mould says of this run, “I’m excited to be back in the Northeast and Midwest, especially during peak fall colors. I’m happy to have Jason supporting the tour — it’s been a while since we’ve done solo shows together. I’m nervous, too: I’ve got a handful of new songs to share with you!” On August 13, Mould is set to support Patti Smith at the Stern Grove Festival, an admission-free festival in San Francisco. “In the late 1970s, at a record store signing event in Minneapolis, Patti graciously signed my ‘Because The Night ’45 RPM picture sleeve,” he recalls, “Decades later, I’m thrilled to be on the bill with Patti and her band in such a unique and picturesque setting.” In addition to the solo run, Mould has two previously announced band shows, featuring his trio of Narducy and drummer Jon Wurster. The first of these is at WMSE’s Backyard BBQ in Milwaukee on August 26, followed by an appearance at the Minnesota State Fair on September 2 — playing on a bill with The Hold Steady, as that band celebrates its 20th anniversary. Mould comments that, “Craig Finn and Tad Kubler were part of the Disney Hall ‘See A Little Light ’tribute show in 2011. There are very few Bob Mould Band shows this year, and we’re honored to be part of the Hold Steady’s 20th Anniversary celebration.” Mould continues to tour behind his box set Distortion: 1989-2019 chronicling his solo career and work in the band Sugar over 18 studio albums, 4 live albums, and 2 albums of rarities and collaborations. More info HERE. Also, it was recently announced that his first band Hüsker Dü has an album is putting out TONITE LONGHORN, a previously-unreleased double-disc set of rare live recordings from the legendary band’s embryonic on-stage beginnings. Drawn from the historical Hüsker Dü recording archives compiled by late sound engineer Terry Katzman, the album collects 28 explosive tracks captured over four different nights between July 1979 and September 1980 at Minneapolis, MN’s notorious Longhorn Bar. TONITE LONGHORN arrives via the band’s own Reflex Records at all DSPs and streaming services on August 25, 2023. A limited edition 2xLP black vinyl release was released this past Saturday, April 22 as part of the Record Store Day celebration. Mould says in closing, “I’m looking forward to hitting the road again this year, both Solo and with the Band, adding “2023 is shaping up to be a pleasant mix of past, present, and future.
Shakey Graves and Lucius – SOLD OUT!!!
2023 Bell’s Beer Garden Series21+ Event The prehistory of Shakey Graves exists in two overstuffed folders. Inside them, artifacts document an immense era of anonymous DIY creativity, from 2007 through 2010 – the three years before Roll The Bones came out and changed his life. Thus Roll the Bones was by no means a Big Bang creation story, rather a years long process of metamorphosis where literally hundreds of tracks were winnowed down into ten. As the album took shape, he began manufacturing one-off editions of the CD, stapled to self-destruct in brown paper, with black and white photographs glued upon them, and an ink pen marking of the artist’s enduring logo: a skull struck by an arrow. Prepping Roll the Bones thoughtful 2021 edition gave Rose-Garcia an opportunity to take a new look at the person. Claiming he’s “further confused” listeners with each release, Rose-Garcia believes this purge of early output will provide some needed framing for his discography. It’s his genesis story, before he had the studio time to make the shiny And the War Came or the full-band cohesion to make the painstakingly dense Can’t Wake Up . To him, it’s a scrappy effort, but the most intentional work he’s ever produced – and, a decade later, he wouldn’t change a thing. Every Lucius song begins with what Holly Laessig calls “coffee talks,” in which she and Jess Wolfe share what’s on their minds—and in the spring of 2020, they had a lot to discuss. Since 2007, Laessig and Wolfe have written this way, learning each other’s stories by heart before weaving them into the lyrics and chord progressions of their inventive indie-pop anthems. Onstage, they’re two identically- dressed and coiffed halves of the same whole, the mirror image of each other at the microphone; off-stage, they step into their respective lives—separate, but close—as chosen family. They’ve shared countless joys as they’ve seen the world while touring behind their 2013 debut album, Wildewoman, and its follow-up, 2016’s Good Grief, but they’ve weathered profound losses and lows together, too. And when one of them experiences a seismic shift that shakes their world, the other is there to listen, and reflect, in order to help write through it. Second Nature, Lucius’ third album, is the closest thing yet to the musical versions of these intimate conversations. “We’ve gotten so used to helping each other write about very personal things,” says Laessig. “It’s funny, because Second Nature makes perfect sense as a title: it’s become second nature to write for each other. A lot of what we wrote about on the record were things we hadn’t talked about before: there wasn’t a readiness to face some of those things.” Many of the truths of Second Nature are hard to confront, but Lucius learned that there’s so much more to gain from facing the impossible than shying away from it—especially when you’ve got someone standing by your side through it all. “It is a record that begs you not to sit in the difficult moments, but to dance through them,” says Wolfe. “It touches upon all these stages of grief, and some of that is breakthrough. Being able to have the full spectrum of the experience that we have had, or that I’ve had in my divorce, or that we had in lockdown, having our careers come to a halt, so to speak—I think you can really hear and feel the spectrum of emotion, and hopefully find the joy in the darkness. It does exist. That’s why we made Second Nature and why we wanted it to sound the way it did: our focus was on dancing our way through the darkness.”
Hurray for the Riff Raff w/ Squirrel Flower
This is a 21 and over event.Standing Room Only One of the reasons you started listening to music in the first place might have been in the hope of finding the kind of conviction and fierce rawness evident in Hurray for the Riff Raff’s, aka Alynda Segarra’s, “nature punk” manifesto about survival, LIFE ON EARTH. A visionary musician, Segarra (they/she) is an outsider in whose voice you might find echoes of your own. On her eighth full-length album, Segarra is creating music of honesty and portent. If there hadn’t been a pandemic, Segarra might have made a very different sort of album from Life on Earth, which became the record she’s waited a lifetime to make. Like the rest of us, Segarra had the disconcerting experience of putting the brakes on life as they knew it in March 2020. “I need to keep moving all the time,” says Segarra on a Zoom call from their light-filled studio in the shotgun house they call home in New Orleans’ Seventh Ward. Segarra had been a human embodiment of Newton’s First Law of Motion even before they ran away from their home in the Bronx at age seventeen, illegally hopping freight trains or hitchhiking across the country in the company of a band of street urchins, sleeping rough under dense underbrush at night and hiding in trees for shelter. Coming from a fractured family, they weren’t quite sure what they were looking for, but they had the feeling they would know it when they found it. And they did when they pulled into New Orleans in 2007. There Segarra formed two bands: Dead Man’s Street Orchestra and Hurray for the Riff Raff, releasing an EP and seven albums with the latter. In 2015, Segarra temporarily decamped, first to Nashville, then home to New York. Her 2016 Hurray for the Riff Raff album, The Navigator, was a quest to reclaim her Puerto Rican identity. Each song segued into the next in a tight narrative arc, uncovering important hints through the lens of her ancestors. “I feel like I’m always leaving clues in my song, hoping my listeners will follow the breadcrumbs,” says Segarra with a short laugh. On Life on Earth, they just might. This time, she’s chosen a topic that affects us all: our relationship to the natural world. “You could call Life on Earth survival music for the end times,” says Segarra. “But not just surviving—learning how to thrive. The importance of adapting and learning from nature—those were the themes that kept coming to me.”
Stephen Marley Presents Babylon By Bus Tour wsg Subatomic Sound System
2023 Bell’s Beer Garden Summer Concert SeriesThis is a 21 and over event.Standing Room Only “Anything that sounds good is good,” says Stephen Marley, paraphrasing Duke Ellington. Don’t be surprised to hear the King of Reggae’s son referencing Harlem’s master of the jazz orchestra. Never one to limit his musical horizons, Stephen has always listened without prejudice, letting his inspiration set him free as a singer, songwriter, musician, and producer—whether collaborating with his illustrious musical family, or with Lauryn Hill, Nas, or Erykah Badu. Beginning his lifelong musical journey at the age of six, Stephen shared historic stages with his legendary father and toured the world with his brother Ziggy and sisters Cedella and Sharon, The Melody Makers. The Tuff Gong instilled in all of his children a strict work ethic and an awareness that “music is way more than just music.” Over the past 45 years, Stephen has won no fewer than eight Grammy Awards—three with The Melody Makers, twice as a producer of his younger brother Damian Marley, and three times as a solo artist. Every one of his solo projects to date has topped the Billboard Reggae charts. Stephen Marley’s place in music history is already secure. He does not really need to push the envelope, to defy expectations, to let the whole world into his world. And yet that is just what he’s decided to do. Stephen Marley’s highly anticipated new single Old Soul just dropped on his birthday April 20, 2023; the first work off his new studio project in 5 years which is set to release later this year –and comes as a complete revelation and many new surprises. Stephen is excited to bring another ‘Babylon By Bus’ Summer Tour on the road this summer!! Stay tuned for more updates and music coming soon, visit stephenmarleymusic.com for more information.
Chloe Kimes wsg The Rebel Eves
This is a 21 and over event.Standing Room Only Nashville based singer-songwriter Chloe Kimes is actively defining the next generation of folk-singing troubadours with an old-soul sensibility for storytelling in a spirited country outfit. Born and raised on the lakeshores of northern Michigan, Kimes is unbound by genre as she consistently navigates a delicate balance between poignance and charm with vocals wrung out and steadfast as any before her. Named one of NPR’s 2022 Slingshot Artist’s to Watch, Kimes’ debut album is ambitious and strikingly live. As a self-titled ought be, Chloe Kimes is a sincere reflection of the artist, and with music as homegrown as its penman, Kimes and her band are not to be missed. https://www.chloekimesmusic.com ——–The Rebel Eves is a powerhouse Americana Trio with Michigan roots formed from the joy of connection, love of creativity, and the knowledge that music is a gift that can’t be taken for granted. Composed of three award winning songwriters, Grace, Jilian, and Katie started The Rebel Eves in 2022 as a way to inspire one another by sharing their experiences as women with the intention of empowering both themselves and their audiences through songwriting. Their honest story telling, hair raising harmonies, and compelling lyricism makes for true listening room moments attendees won’t soon forget.
