Kait Rose & Co Presents: An Intimate Evening Featuring the Music of Joni Mitchell
18+ Seated Performance 17 and under admitted with a parent or guardian Kait Rose & Co. Presents: An intimate seated show featuring the early works of Joni Mitchell by several well known Michigan musicians, Kait Rose, Charlie Millard and his band mates Jerry Millard and Will Harris, Greg Orr, Audra Kubat, Payton & Annabelle, Patti McNulty and many more special guests. This will surely be an evening to remember.
Rising Appalachia
2025 Bell’s Beer Garden Summer Concert SeriesThis is a 18 and over event. 17 and under admitted with a parent or guardian Rising Appalachia is an internationally touring folk ensemble steeped in the soul of the South. It is the brainchild of Atlanta-raised sisters Leah Song and Chloe Smith, rooted in the rich musical traditions of their family and their journey into song as performers, writers, and song catchers.They have that touch that only siblings can have. And now, fresh off the press, they present their first album of cover songs Folk & Anchor, a carefully curated collection of remakes. From Bob Dylan to Hoizer, Erykah Badu to Beyonce, hear these songs in a voice uniquely their own. Recorded at Echo Mountain in Asheville North Carolina, the band has leaned into new renditions of old favorites, showcasing their wide range of style and sound. Rising Appalachia makes music as a reflection of their times, blending Americana music with lyrics, rhythm and poetry of our times. The band’s unique sound was shaped by Leah and Chloe’s soulful vocals, simple instrumentation, and seamless harmonies, unique to siblings steeped in the multi-generational music of the South. They are joined by a host of incredible musicians who bring their own cultural influences, enriching the blend of Appalachian, Irish, Americana, Latin and world roots music that defines the smooth sound of Rising Appalachia. Fronted by Leah and Chloe, and featuring full-time members David Brown(upright bass, baritone guitar), Duncan Wickel (fiddle, cello), and Biko Casini (drums and percussion), expect to be swooned into a tapestry of silky sounds .Their journey has taken them around the world, from sailboat tours across British Columbia to street theater festivals in Southern Italy, a full-time busking career in New Orleans, and traditional song studies in Ireland, Bulgaria, Latin America, and beyond. They also continue to immerse in community building, cultural exchange programs, traditional folkloric studies, and music gathering everywhere that they go. Their dedication for nearly two decades to their craft has led them to acclaimed appearances (Telluride and Bluegrass Festival, Preservation Jazz Hall, Bob Boilen’s Tiny Desk Concert, Red Rocks, and many more) and sold-out concerts at venues across the world. Through their music, Rising Appalachia bridges culture and stories, creating connections that resonate deeply with their audiences of all ages, shapes, and sizes. Expect a boot-stomping banjo tune alongside an acapella ballad… all mashed up with breathtaking cello, a flatpicking guitar medley, and undeniable groove. Eschewing established industry norms, Leah, Chloe, and their team have followed the invitation to intuitively and independently forge their own path. Sixteen years and seven studio albums in, this is their first full cover album and welcomes you into an ambitious adventure that has already taken these medicine women around the world and back. Come and make this music your own. We are excited to offer our pre show meet and greet so that we can spend time with fans. These are ran as Q and A’s as well as round-robin acoustic song shares. Join us! -Early entry into the venue -Exclusive Meet and Greet with Rising Appalachia -Access to private Q&A session with Rising Appalachia -Limited Edition Rising Appalachia poster -Limited availability
WATCHHOUSE: RITUALS TOUR 2025 wsg Two Runner
2025 Bell’s Beer Garden Summer Concert SeriesThis is a 18 and over event. 17 and under admitted with a parent or guardian Watchhouse, the North Carolina based duo of Andrew Marlin & Emily Frantz, have announced a new studio album called Rituals, due out May 30, 2025 via Tiptoe Tiger Music / Thirty Tigers. The collection marks the pair’s first release of all new, original songs since their 2021 self-titled album, which earned praise from Rolling Stone (“pristine acoustic picking collides with hazy, dream-like psychedelia”) Mojo, NPR Music, American Songwriter and more. Starting over a decade ago playing coffee shops and local restaurants around North Carolina, Watchhouse is a grassroots success story that’s been driven by Marlin’s poignant songwriting. With sold-out shows at legendary venues like Red Rocks and the Ryman Auditorium, and hundreds of millions of streams, they’ve earned a reputation for creating music that “redefines roots music for a younger generation” (Washington Post). The duo – now with a family of their own – are two singers and musicians with profound chemistry, performing earnest yet masterfully crafted songs that encompass the unknowable mysteries, existential heartbreak, and communal joys of modern life. The forthcoming album is no exception.
FLORIST with Allegra Krieger
18+ Standing Room Only Show 17 and under admitted with a parent or guardian On Jellywish Florist invite listeners to question everything — to imagine a world where magic, surrealism, and the supernatural are our companions in day-to-day life. It dares to present a realm of possibility and imagination in a time that feels evermore prescriptive, limiting, and awful. The album finds Florist exploring life’s big questions without offering silver linings, morals, or definitive answers. Instead, the band asks perhaps the most difficult of questions: Is it possible to break free from our ingrained thought cycles and pedestrian way of life? That, Florist posits, may be the only way to be truly happy, fulfilled, and free. Singer, guitarist, and principal songwriter Emily Sprague says that the record is purposely complicated. “It’s a gentle delivery of something that is really chaotic, confusing, and multifaceted,” she explains. “It has this technicolor that’s inspired by our world and also fantasy elements that we can use to escape our world.” “We enter an observational fever dream about floating through liminal space between lifetimes, individual perceptions. There is reflection on our connectedness in joy and suffering through the wish for a peaceful place for our spirits to live and land,” Sprague explains. “‘Have Heaven’ establishes the world of the album to be not quite always lucid, but rather a perspective that is blended into the worlds of the magic and death realms swirling around us. The chorus is a chant that pleads for a better symbiosis between these worlds, and between our earthly forms trying to survive alongside each other, bound to the systems we must exist within.” Jellywish is an exercise in multidimensional world building. The album’s panoramic cover art, which looks like something out of a Henry Darger volume, wraps the music in a collage of color that presents as science fiction-adjacent, hinting at something mysterious, fantastical, and mythological. Inside the album’s jacket, however, are tender and catchy sonic meditations on life’s most knotty subjects: life, death, earth, reality, relationships, joy, and pain. Taken together, Florist offers an acute sense of the band at this moment, one that worries about the world and its place in it. In contrast, it also presents an alternative to the doldrums of day-to-day life, and the necessary suggestion that very different things may be true at the same time. With Jellywish, Florist offers a complex album in a time that is anything but simple. In mining the chaos and wonder of physical and spiritual worlds, the band holds a mirror to itself to the great benefit of all. It tells us that we are not alone, and challenges us to believe in magic. Allegra Krieger On the ground level of an apartment building in Manhattan’s Chinatown, multiple lithium batteries combusted in an e-bike shop. It was just after midnight when songwriter Allegra Krieger awoke to a banging on her door. She made it out, fleeing down eight flights of stairs and a “wall of grey smoke,” which she recalls in her song, “One or the Other.” Throughout the song, Krieger cradles gratitude and conjures a universe in which she responded differently to the fire. Ultimately, she leaves us with two questions: “What do we know about living? What do we know about dying?
Chloe Kimes with Charlie Millard
18+ Standing Room Only Show 17 and under admitted with a parent or guardian Chloe Kimes is a Michigan born singer, songwriter and bandleader currently based in Nashville, TN. In 2022 Kimes independently released her self titled debut album — voted “Listener’s Choice Album of the Year” by WYCE Radio as well as landing her a spot on NPR Music’s Top Ten Nashville Artists on the Rise. In 2024 she released her latest single “Coors Light” following its immense viral popularity. Kimes’ spirited alt-country outfit offers a striking live show with a timeless sound, her tireless voice leading the way, her sentiments forging their own new space in the country americana scene.
STEPPIN’ IN IT w/ Zak Bunce
18+ Standing Room Only Show 17 and under admitted with a parent or guardian Steppin’ in It are a roots-based quartet from Lansing, Michigan, featuring singer/songwriter Joshua Davis on guitar, Dominic John Suchyta on standup bass, and Andy Wilson on harmonica with twin brother Joe Wilson on steel guitar. The original lineup, which included all but Joe Wilson, formed in early 1998 with Joe Khalifah on drums and banjo. Khalifah was replaced in 2000 with drummer Bob Bryan, and fiddler Jonathan Price and Joe Wilson were also added. That same year saw the band release its debut album, Children Take Your Shoes Off, on Hippo Coop Records, a label that was created by the band for the release. The following year, the band slimmed down to its current four-person lineup in order to focus more on an acoustic sound. The Wilson brothers have both worked at Elderly Instruments, Lansing’s legendary instrument store, and the bandmembers credit the music store with playing a key role in their formation and with helping to define their sound through its vast arsenal of stringed instruments. In 2002, Steppin’ in It released their second album, Last Winter in the Copper Country, and in 2004 they released Hidden in the Lowlands, which ended with a pair of Woody Guthrie songs, “Pastures of Plenty” and “Bound for Glory.” Again, both albums appeared on the band’s Hippo Coop Records label. Joshua Davis released a solo album in 2005, and in 2006 the band joined forces with singer Rachael Davis — no relation to Joshua, but married to Dominic John Suchyta (who has since taken her last name) as of October 2009 — to form Shout Sister Shout and record a ’40s jazz-themed album that was released in 2007. Steppin’ in It re-emerged in 2008, releasing Simple Tunes for Troubled Times, an album heavily influenced by the Band. Unlike their first three albums, Simple Tunes for Troubled Times was released by Earthwork Music, a collective label for roots-oriented musicians located in Northern Michigan. To confuse matters slightly, throughout their acoustic existence, Steppin’ in It have also plugged in once a week with two additional members. Since 1999, the band has had a steady Monday night electric gig at the Green Door in Lansing, with drummer John Cassidy and Mike Lynch (aka Larry McCray/The Lash) on Hammond organ. And in 2009, Steppin’ in It actually began touring as both a quartet and sextet. The band has also developed a reputation as a superb backing band and has played in such a capacity with the likes of Greg Brown, Ellis Paul, Peter Mulvey, and Jeff Daniels. Joe Wilson even occasionally tours with jazz legend Wayne Hancock, while Dominic John has played with Daniel Johnston and recorded with childhood pal Jack White. Lead singer and guitarist Josh Davis left the band as 2014 dawned and was replaced by singer, songwriter, and guitarist Elden Kelly.
Hell’s Belles wsg. Dead Fervor
18+ Standing Room Only Show 17 and under admitted with a parent or guardian HELL’S BELLES are first and foremost dedicated AC/DC fanatics. This is what we all have in common. We’re all part of a huge community of devotees to one of the greatest rock-n-roll bands in the world. This is who we all are, and this is what HELL’S BELLES strives to deliver with mechanical precision and passionate fury. Endorsed by Angus Young himself (Blender Magazine, 2003), HELL’S BELLES are the closest one can get without actually moving to Australia and joining AC/DC’s road crew. HELL’S BELLES are indeed ALL female, all the way to their rock-n-roll cores, all the time and without exception. Representing for a whole new generation of women that won’t be intimidated, HELL’S BELLES actively encourage our legions of lady fans to stand up and be counted, and collaborate with women musicians and causes as a part of the mission towards rock and roll inclusion. Not some down-your-throat feminism, but a proactive support and action spirit towards the continued march towards balancing of the gender scales. The thousands of shows HELL’S BELLES have played around the world, including Jordan, Singapore, Japan, Canada, and the good ol’ USA (including Alaska), have become legendary nights of epic proportions. Consistently sexy and sold-out shows – there’s not a HELL’S BELLES audience that hasn’t been blown away by the raw power, attention to AC/DC details, and undeniable appeal that these bad ass belles deliver with undying devotion. From the Angus stripping “Bad Boy Boogie” to “Dirty Deeds” to “TNT”, not to mention AC/DC’s landmark hits “Highway to Hell”, “Thunderstruck”, and “Back in Black”. The marathon set lists change to include a fresh variety of classics, but the perfection and passion of the show never dies. It’s an all out rock-n-roll assault that leaves you both satisfied and begging for more. And, more you’ll get as HELL’S BELLES keep conquering new cities, new states, and new countries. They’ll be in your back yard bringing AC/DC in sound and spirit to you with their recording VOL. II, so you can always count on taking a little piece of HELL’S BELLES home with ya. HELL’S BELLES – committed, ferocious, meticulous women rock musicians delivering authentic AC/DC to the unbelievably supportive and wicked awesome fans. All day and all night long, all over the world, pitch perfect AC/ DC delivered with a highly charged vigor. Let there be rock!
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.
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.”
Katy Kirby w/ Mei Semones and Jes Kramer
This is a 18 and over event with standing room only Let’s face it: There’s no such thing as “real life”. There is only experience and the negotiations we undertake in orderto share it with other people. On her second album Blue Raspberry, the New York-based songwriter Katy Kirby divesheadlong into the artifice of intimacy: the glitter smeared across eyelid creases, the smiles switched on with an electricbuzz, the synthetic rose scent all over someone who’s made herself smell nice just for you. An exegesis of Kirby’s firstqueer relationship, Blue Raspberry traces the crescendo and collapse of new love, savoring each gleaming shard ofrock candy and broken glass along the way.
