Deerfield Run & Carrie McFerrin
This is a 21 and over event.Standing Room Only Formed in 2016, Deerfield Run blends blues rock with a touch of country and a dash of funk, serving up a tasty musical blend that’s irresistible to audiences. Hailing from Grand Rapids, MI, the band delivers strong original songs and surprising covers pulled from a deep back pocket of classic tunes. As a group of seasoned West Michigan musicians with influences ranging from Al Green to Eric Clapton to the Eagles, their powerful instrumental and vocal performances captivate audiences of all ages. With 2 albums released in 2017 and 2020, the group’s newest single, “15 Days To Birmingham” drops on 8/31/23. Keep an eye out for Deerfield Run as they groove on through West Michigan and beyond! “Michigan’s Sweetheart” Carrie McFerrin has been a staple in the Michigan music scene for over a decade. She brings a fierce country twang with an indie twist that is sure to give you the warm fuzzies and kick you in the teeth at the same time. She captivates a room within her first few notes, showcasing her swanky-twang, old country style. Her stage presence is a force full of wit and hilarity as she shares stories about her life and inspired songwriting. For this special night, Carrie is pleased to take the stage in trio fashion, joined by Justin Wierenga (pedal steel and lead guitars) and Jason Huber (bass) as they lend their talents to her original music.
The Ladybug Transistor w/ Memory Cell
This is a 21 and over event.Standing Room Only The Ladybug Transistor was initially formed in 1995 in Brooklyn, New York by singer and trumpeter Gary Olson initiallyas a home recording project. After the release of Beverley Atonale (Merge Records, 1997) Ladybug soon evolved into agroup with Pittsburgh siblings Jeff and Jennifer Baron (guitar and bass) followed by Sasha Bell (keyboards, flute), SanFadyl (drums) and Julia Rydholm (violin, bass) This lineup recorded their landmark The Albemarle Sound album(dubbed the last great pop album of the century!) released in 1999, followed by Argyle Heir (2001) and the self titledLP The Ladybug Transistor (2003). The trio of albums all share a refined psychedelic pop approach that often featuredistinctive string and brass arrangements. These years proved to be the most active for the group, touringinternationally and recording at a steady pace and occasionally all living under the same roof at Marlborough Farms inFlatbush, Brooklyn. Jeff and Sasha eventually departed to focus on their parallel band The Essex Green, Jenniferformed The Garment District and Olson made his first solo record. San Fadyl passed away in 2007.In 2019 Gary, Jeff, Jennifer, Sasha and Julia reformed for shows in New York City and Norway to mark the 20thanniversary of The Albemarle Sound. 2023 finds them back on the road with a run of shows this summer and autumn.The set list will highlight songs from 1999 2003 along with a few other surprises. In 2019 Gary, Jeff, Jennifer, Sasha and Julia reformed for shows in New York City and Norway to mark the 20th anniversary of The Albemarle Sound. 2023 finds them back on the road with a run of shows this summer and autumn. The set list will highlight songs from 1999 – 2003 along with a few other surprises.
Major Murphy, Crooked Spires, Phabies
This is a 21 and over event.Standing Room Only Major Murphy is a band from Grand Rapids, Michigan, USA. Since playing their first show in 2015, they have released four EPs, two LPs, and performed in many cities and towns across North America. Some people that have seen them play (or put on one of their records) say, “they have a chill sound”, but the band themselves will be quick to tell you they also like to rock. Some folks say “Major Murphy has a retro sound”, and the band wouldn’t disagree with that, but they also aren’t out here just trying to dredge up the past. One track might find them nodding towards 90’s alternative and the next back towards 70’s soft rock. It’s a wide palate of sounds that inspires the band and from which they draw on; depending on what each song is trying to say. If you catch the band live, most of the time it will be a trio: guitar, bass, drums, and vocals. And of course, Jacki and Jacob’s harmonies are a big part of the sound too, undoubtedly indebted to one of their favorite bands, the Beatles. Their last full-length release was an album called, ACCESS. Released in the spring of 2021, the album connected with a lot of folks locally and abroad, achieving “Album of the Year” award from their hometown radio station, WYCE in Grand Rapids, as well as favorable reviews across the pond from the likes of The Sunday Times and UNCUT magazine. The single, “In the Meantime” broke into radio and their song, “Attention” was placed on Spotify’s “Best Indie Songs of 2021” playlist. ACCESS was also covered by NPR’s All Songs Considered, SPIN, Stereogum, and many other reputable publications. Brooklyn Vegan said, “the whole album is a gem”. In 2022 the band expanded the ACCESS universe with the Access Point EP; featuring new material and reworked songs from the full-length release as well as remixes by, ghost orchard, Triathalon, Psymon Spine, and Moonrun. These days, the band continues to write and learn new material and the songs are piling up! It might be time to head back to the studio soon… They are still finding new ways to be inspired by three or four chords on a guitar and a 4/4 beat on drums. Maybe this is in part by digging a little deeper into their roots? In late 2022 they released a cover of Bob Dylan’s, “You’re Gonna Make Me Lonesome When You Go” and in early 2023 participated in a Bob Dylan tribute show. So, what do you think? If you haven’t heard them yet, look for their music at your favorite record store or on your favorite streaming platform. And if you are the type to go to a concert, lookout for a date near you and go see ‘em live.
A. Savage w/ Annie Hart
This is a 21 and over event.Standing Room Only Parquet Courts frontman A. Savage presents his new single/video, “Thanksgiving Prayer,” and announces a fall North American tour. “Thanksgiving Prayer” marks Savage’s first new solo music since 2017’s Thawing Dawn — “a handy guide for keeping your cool as the world degenerates into a hot mess” (Pitchfork) — and follows the release of Parquet Courts’ acclaimed 2021 album, Sympathy For Life. “Thanksgiving Prayer” is anchored by Savage’s poetic musings, observations that are accentuated by saxophone flourishes from Euan Hinshelwood. “Thanksgiving Day is every day I write a song like this,” Savage croons atop instrumentation from Magdalena McLean (violin), Jack Cooper (guitar), and Dylan Hadley (drums/percussion). “When I get down on all four paws and drag myself // by my own jaws toward a feeling.” Of the single, Savage adds: “Well, Thanksgiving is my favorite holiday, and every year on that day I write down some words having to do with gratitude. Some years are better than others, but the last one I celebrated these words just sort of came out of me. It was a pretty special holiday actually, because in fact we were recording this song, but I made everybody take a day off. [Producer] John Parish and his wife Michelle were kind enough to allow me to take over their kitchen to cook the meal for everyone. Dylan and I were the only Americans, so there was a bit of explaining to do. So it was the band, the studio staff and the Parish family, and it was an absolutely lovely day. I was in awe of the kindness and mercy, and that’s what the song is about; being in awe of humans. When I got back to my room I was on such a high so I started writing and this song is what was on the page the next morning, when we recorded it.” The accompanying “Thanksgiving Prayer” video — directed by Tiff Pritchett —is a black-and-white homage to silent film, with Savage adorned in makeup and surrounded by his band and handmade decoration. Of the “Thanksgiving Prayer” video, Savage adds: “The video is directed by a brilliant young director Tiff Pritchett, and she had this idea to sort of do a silent film tribute. The scene from Renoir’s film Rules of the Game where Danse Macabre is played was referenced, as was Klaus Nomi.”
The Arcadian Wild
This is a 21 and over event.Standing Room Only The Arcadian Wild is a four-piece indie folk/pop group from Nashville, TN. Led by songwriters Isaac Horn and Lincoln Mick and Bailey Warren on fiddle, The Arcadian Wild confidently inhabits and explores an intersection of genre, blending the traditional with the contemporary. Combining elements of progressive bluegrass, folk, and formal vocal music, The Arcadian Wild offer up songs of invitation; calls to come and see, to find refuge and rest, to journey and wonder, to laugh and cry, to share joy and community and sing along. The band’s 2023 album Welcome marks the start of a captivating new chapter for the genre-bending trio, who returned to the studio with renewed purpose and insight after devoting the last few years to a series of critically acclaimed singles and EPs. Like much of the band’s catalog, the album blurs the lines between chamber folk and progressive bluegrass, drawing on everything from country and classical to pop and choral music with lush harmonies and dazzling fretwork, but this time around there’s a rawness to the writing, an embrace of candor and simplicity that cuts straight to the heart of things like never before. The result is perhaps the most arresting collection yet from a band known for its ability to stop listeners dead in their tracks, an exquisitely beautiful celebration of community, connection, and the power of belonging that feels tailor-made for these challenging times.
Moon Orchids, Wowza In Kalamazoo & Paul Fake
This is a 21 and over event.Standing Room Only Moon Orchids are a Kalamazoo-based unit featuring songwriter/frontperson Jacob Simons, guitarist Bailey Miller and trumpeter Morgan Keltie. The band’s 4-song debut record SKIN/SKEIN was released on January 3, 2023 in the form of a 12″ vinyl record (45 RPM) and Bandcamp digital download.
JD McPherson w/ Yohei (solo)
This is a 21 and over event.Standing Room Only Hailing from Broken Arrow, OK, JD McPherson has recorded four studio albums and toured extensively at venues worldwide, including festival sets at Glastonbury, Bonnaroo and Newport Folk Festival, among many others. Rolling Stone has described his music as “Timeless, forward-thinking rock & roll.” His 2017 LP, Undivided Heart & Soul, was released to widespread critical acclaim with NPR praising, “McPherson’s mastery of rock and soul fundamentals is beyond question, but his voice moves in wild ways on these songs, and the band exudes a new kind of risky energy.” McPherson was born as the youngest child, growing up on the family’s cattle ranch near the town of Talihina. His father was a farmer, while his mother was a church minister. He took up the guitar at age 13. “Where I actually grew up was just completely removed from anything resembling a town or a city. It was an hour away from the nearest supermarket. What that granted me was a lot of isolation and when you are bored you tend to work really hard on your interests. So it probably would have been a different story if I grew up in a town somewhere.” He studied visual arts in college, earning a Master of Fine Arts from the University of Tulsa, and later worked as an art and technology teacher. McPherson taught middle school art for four years before embarking on a music career. After deciding to pursue music more seriously, McPherson sent a demo to Jimmy Sutton of the small independent record label Hi-STYLE Records, which specialized in roots music. This was the start of a process that ultimately led to 2010’s Signs and Signifiers. After its wider release through Rounder Records, Rolling Stone gave Signs and Signifiers a 31⁄2 star (out of 5) review in November 2012 and labeled McPherson an “Artist to Watch.” McPherson’s sophomore LP, Let The Good Times Roll, was released on Rounder Records in 2015, showing McPherson with a wider musical range and an even stronger ability to weave the present with the past. In 2018 McPherson released his breakthrough debut Christmas album, SOCKS, featuring 11 all-original Christmas songs, the album received overwhelming critical praise… “JD McPherson is a vivid reinterpreter of the strutting rock ’n’ roll of the 1950s. His holiday album, SOCKS, is a collection of original songs with startlingly original conceits.” –The New York Times “SOCKS overflows with vintage rock & roll tidings of comfort and joy…You could easily fool someone into thinking you discovered a gem of an album from 60 years ago.” –Rolling Stone “It’s not really much of a contest, in the end: McPherson’s album is so far ahead of the rest of the 2018 pack, everyone else is having to eat his Christmas dust.” —Variety JD is currently recording a covers project (four songs have already been released digitally – “Just Around The Corner” by Big Al Downing, “Lust For Life/Sixteen” by Iggy Pop. “Let’s Rock” by Art Neville and “Manta Ray” by The Pixies). This summer JD will be part of the Robert Plant and Alison Krauss touring band as well as opening the show with his own band, “I was eating a bowl of Count Chocula when I got the call to come do my best Grady Martin impression with this gang of legends. Honored to have been invited, more than I can express.
Katy Kirby with Lutalo
This is a 21 and over event.Standing Room Only Katy Kirby is a songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding, and boredom. She was born, raised, and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurized-pop choruses of evangelical worship, about which she shares acute perceptions. Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre. She recalls, “In the mid-90s, the American evangelical church was making music of an extraordinarily digestible, almost unprecedentedly easy-listening kind, stylistically void and vaguely dubbed Christian Contemporary Music, or CCM. It was pop that wasn’t quite pop, determinedly hanging on to the openhearted melodies of a decade prior, straightforward so as to be easily memorable, and in a key that an average churchgoer could sing along to.” Accordingly, Cool Dry Place finds her dismantling it. “I can hear myself negotiating with that worship-ish music, fighting that deeply internalized impulse to make things that are super pleasant or approachable.” She hasn’t fully overcome the itch to please, but to a listener’s benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky, virulent rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash. — Introduced to music via the African drumming classes their parents took them to as a child, Lutalo didn’t have the desire to fully participate but the complex rhythms, like musical puzzle pieces, fascinated them, teaching lessons about the importance of practice and dedication, the morning classes continuing at home, reverberating long into the night. Home is also where Lutalo’s Dad educated them on the Black experience in America through music, via a love of hip-hop, jazz, and Bossanova; from MF Doom to A Tribe Called Quest. However, it was during a high school summer music program at McNally Smith School of Music that Lutalo’s own work began to blossom. Here, they met fellow musicians Patrick Hintz and Mike Kota and quickly started a band together, with Patrick quickly teaching them how to make connections, book shows, and produce their own merch, breaking down walls Lutalo assumed would prevent them from ever progressing out of the basement. Lutalo soon started other projects as a way of working on and highlighting their ideas and the production skills they were learning. Though they’d initially planned to produce work for other people, it quickly turned into the eponymous project we hear today. A fascinating mixture of folk, rock, and soul, the EP is deliberately fluid, Lutalo allowing the framework to be as loose and wide-ranging as the work led. “The vision I have for this project is not so much genre-based as it is sound-based,” Lutalo expands, “and that sound is just a reflection of me. I didn’t want any boundaries because I’m not trying to replicate anything that’s come before. I only want to be adding to music in some way, I don’t feel like being an emulator.”
Quasi w/ Ava Mendoza
This is a 21 and over event.Standing Room Only Breaking the Balls of History is Quasi’s tenth record, landing ten years after their last record, on February tenth. Three tens, which aligns with the thirty years they’ve played together. Sam Coomes and Janet Weiss have become Pacific Northwest icons, and Quasi has always felt so steadfast— their enduring friendship so generative, their energy infinite, each album more raucous and catchy and ferocious and funny than the last. But we were wrong to ever take Quasi for granted. For a while, they thought 2013’s intricate Mole City might be their last record. They’d go out on a great one and move on. Then in August 2019 a car smashed into Janet’s and broke both legs and her collarbone. Then a deadly virus collided with all of us, and no one knew when or if live music as we knew it—the touring, the communal crowds, the sonic church of the dark club—would ever happen again. “There’s no investing in the future anymore,” Janet realized. “The future is now. Do it now if you want to do it. Don’t put it off. All those things you only realize when it’s almost too late. It could be gone in a second.” Under lockdown, Portland’s streets fell still, airplanes vanished, wildlife emerged. And with the obliterated normal came an unexpected gift: uninterrupted time, hours every day, to make art. Quasi couldn’t go on the road, so they got an idea: they would act as if they were on tour and play together every single day. Each afternoon, Sam and Janet bunkered down in their tiny practice space and channeled the bewilderment and absurdity of this alien new world into songs. Janet’s strength returned and rose to athlete-level stamina. “When you’re younger and in a band, you make records because that’s what you do,” Sam said. “But this time, the whole thing felt purposeful in a way that was unique to the circumstances.” They knew they would keep it to just the two of them playing together in a room. They knew they’d record the songs live and together, to capture a moment. The incredible result of those sessions is Breaking the Balls of History, recorded in five days and produced by John Goodmanson at the legendary Robert Lang Studios in Shoreline, WA. Here are two artists at their prime, each a human library of musical knowledge and experience, entirely distinctive in their songcraft and sound. In Quasi-form, the band becomes alchemically even greater than the sum of its parts: Janet’s galloping drums and Sam’s punk-symphonic Rocksichord and their intertwining vocals make something gigantic, anthemic. In the thick of a cataclysmic social and political moment, they’ve crafted exquisitely melodic songs that glitter with rage and wild humor and intelligence, driven by a big bruised pounding heart.
The Spits w/ Timmy’s Organism and Silicon Heartbeat
This is a 21 and over event.Standing Room Only In an era that relies so heavily on quick-hit bands, there are very few things that are truly part of the subculture and not just the passing zeitgeist du jour. Closing in on three decades, The Spits have signified the crossroads between punk mayhem and well-honed songwriting, creating some of the most unhinged and anthemic tracks in underground music while standing tall enough to be uttered in the same breath as names like Jay Reatard, Dead Moon, Ty Segall and more. The Spits are readying their highly anticipated VI, due May 1 via their own Thriftstore Records imprint. Recorded by Erik Nervous on cassette four track, the band’s new LP VI is ten hummable tracks, shrouded in chainsaw punk that mesh the wild showmanship of party-rock legends Van Halen and the leather-clad toughness and songwriting chops of the Misfits. Marking a “return to roots’’ approach for the LP, the band decided to record and write VI in the basements of Kalamazoo and Grand Rapids, Michigan over the course of several spurts of activity, each yielding a few new songs from a terrible drum kit with a literal thrift store guitar. “We’ve only been into an actual studio like three times,” admits Sean Wood. “I don’t think we’ve had one record that was recorded all in one place, this may be the closest thing. And for these songs we’d record a couple tracks, step away and go back at it later– sometimes weeks later. You know, take our time.” Originally from Kalamazoo, Michigan, brothers Sean and Erin Wood formed The Spits with Lance Phelps in 1993 after realizing rock had gone limp, hated partying and just plain wasn’t fun anymore. And even though they didn’t even know how to play, the self-professed delinquents who grew up with New Orleans–style jazz and bluegrass “got cultured” and formed a band dead set on reminding the world how to have a good time. The Spits didn’t fit in with the punks or the garageheads when they landed in Seattle two years later, but carved out their own path with a series of empty open mic nights and parties under a bridge in the University District. Things started snowballing a year or two later with a good word from Mudhoney’s Steve Turner and a reputation for livewire gigs. By the late 90s/early 00s, The Spits were almost as famous for rowdy shows and outrageous costumes as they were for their acid-fried melodic rippers. Releasing five LPs over the next decade-plus, in addition to EPs and 7-inches, the gospel of The Spits spread far and wide, expanding the band’s live legend further and further while giving more fans the chance to hear their uniquely catchy songwriting and punk mayhem. And while several band members have come and gone since their formation, including Wayne Draves and Josh Kramer, The Spits have never lost their edge, never lost their live chops and most importantly, never lost that sense of beer-soaked chaos. The Spits have taken their time on this record and that’s meant a long, cold nine years with no new material. Legions of fans are frothing at the mouth for VI, and clocking in at 17+ minutes, The Spits are back and things are the same as it ever was. Yet this time, the brothers Wood and Co. are adamant about letting the fans know that VI is a return to their roots– more deceptively simple punk from these instigators and legends in their own time. For fans of the band, to-the-point melodicism and good old-fashioned rock ‘n roll, VI isn’t just the name of the Spits’ LP, it’s also the number of instant-classic records in a row. .
