Genre: Blues

Breese Stevens Pre Party

Breese Stevens Pre Party

 

BAG POLICY

Bags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible.

PAYMENT POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit, debit, Apple Pay, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash.

 

Danielle Nicole Band

Danielle Nicole Band

 

BAG POLICY

Bags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible.

PAYMENT POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit, debit, Apple Pay, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash.

 

Hailing from Kansas City, Missouri, Danielle Nicole has spent her life making music and pleasing fans, domestically and abroad. Her stunning new album, The Love You Bleed on Forty Below Records, comprises twelve heartfelt tracks exploring themes of love, loss and perseverance.

The new album was produced by Tony Braunagel (Taj Mahal, Eric Burdon, Robert Cray) and co-produced by Nicole, with John Porter (B.B. King, Buddy Guy, Bryan Ferry) mixing. The tight knit quartet on the songs features Danielle on bass guitar and vocals; Brandon Miller (electric, acoustic, pedal steel, mandolin, and 12-string guitar), Damon Parker (keyboards); Go-Go Ray (drums), and Stevie Blacke (violin and cello).

Nicole was initially influenced by her parents. She recalls seeing her father playing blues guitar and her mother singing with the group Little Eva. With her two brothers, she became a member of Trampled Under Foot, which found initial popularity in the Midwest. Danielle embarked on her solo career with Wolf Den (2015), which peaked at #2 on the Billboard Blues charts and amassed 7.5 million Spotify streams. Cry No More (2018) followed, the record was nominated for a Grammy in the contemporary blues category and debuted at number one in the Billboard Blues Charts – it also boasts over Spotify streams in excess of 10 million.

Nicole has been inducted into the Kansas City Hall of Fame and has been the recipient of seven Blues Music Awards. She recently did a duet with Dion on the upcoming song “I Aim To Please,” and recorded the opening track in the forthcoming Peter Hutchings film “Which Brings Me To You.”

There has been no shortage of praise; Guitar World stated, “Danielle Nicole has won respect and admiration throughout the American blues scene for her soulful, inventive playing and tireless work ethic.” Blues Music Magazine effused, “Nicole brings it, bakes it, and serves it up blazing on a silver soulrocking platter.” The Kansas City Star declared, “Blues and soul vocalists tend to improve as they age. Bettye LaVette is among the artists who became increasingly believable as she matured. Danielle Nicole appears to be following in her footsteps.” And the legendary Koko Taylor gets right to the point: “That girl gets down to the nitty gritty!”

At the beginning of the The Love You Bleed recording sessions; Danielle Nicole knew this new album would be different from those in the past. “Maybe that’s because over half the songs are about falling in love and not falling through the destruction of it,” she says. The album is full of love, loss, will, determination, and all the other things that go together with love. “Make Love” is about consciously pushing past the pain, choosing love, family, and community in life’s difficult moments. It uplifts the message of love and togetherness in the face of hardship.” “How Did We Get to Goodbye” with its raw and honest lyrics, document a soured love that bears no hero or villain, asking how you get to such a place of disrepair without even knowing it. And Love On My Brain, is a potent hybrid of vintage R&B and driving blues, begins as a flirty feeling inside and turns to an overpowering need and deep desire. Right By Your Side is a vintage soul/R&B ballad about never making the mistake of watching “the one” walk away again.

The Love You Bleed gives Nicole a solid place that music has always provided in dealing with love and loss. “It’s been a difficult relationship listening to music outside of professional reasons since the passing of my brother Kris,” she says. “But just being honest in my writing and direction, I find when I’m the truest to myself, that’s when the magic happens. Not trying to find perfection in it so much, but engulfing myself in every moment and being there with the audience is when fun things can happen inside and out.” Many of those feelings are captured in all the songs on the album.

There is a powerful sense of self in The Love You Bleed, taking the new songs to the place Nicole envisioned they could go. “I want to consciously move forward in the natural evolution of my songwriting and singing,” she says. And as I grow as a person, a woman, a mother.”

Hillbilly Casino + Sasquatch & The Sick-A-Billys

Hillbilly Casino + Sasquatch & The Sick-A-Billys

 

BAG POLICY

Bags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible.

PAYMENT POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit, debit, Apple Pay, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash.

 

Hillbilly Casino

In a town known for ‘hat act’ pop country, and slick production, the Hillbilly Casino has been working hard. Since 2005, the band has been an anchor of Nashville’s underground roots music community. Booking their own local shows, and touring across the US and Europe with acts as diverse as Brian Setzer, Rancid and Yelawolf, and releasing their own records, The Hillbilly Casino took the best of the DYI ethic from the punk scene, and applied it to their very own brand of real american music.

Drawing inspiration from early rock and roll and blues, to punk, metal and everything inbetween, these four have created a sound and attitude that is unforgettable. Featuring former members of Brian Setzer’s Nashvillains, BR549, and the Blue Moon Boys, The Hillbilly Casino has a roots pedigree that comes through in their writing and playing, and a live show that has blown away audiences from all over the world.

Sasquatch & the Sick-A-Billys

Serious songwriting from YEARS of hardship, road experience and inner turmoil. The way it was supposed to be, but with a new approach.

Over 10 years of relentless touring has cemented SASQUATCH as one of the most high gear, powerhouse band leaders around… his bands, The Sick-a-Billys, Holy Hellraisers, Full Moon Boys and his critically acclaimed King Sickabilly “One Man Band” have all stayed true as far as vocals, lyrics and his fiery guitar-work. Never giving up his song-writing mission… keeping real music alive and dangerous in the under-underground. Risen from a not so forgotten past, when Live Music still meant something and the scene wasn’t a Pre-Apocalyptic Ghost Town… bloody fingertips and a soul-haunting voice will deliver you songs about Sin, Love, Murder, Tornadoes and drinking until you wake up under a random barstool.

SASQUATCH!

Black Denim<br>A Celebration of American African Music and Culture

Black Denim
A Celebration of American African Music and Culture

 

BAG POLICY

Bags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible.

PAYMENT POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit, debit, Apple Pay, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash.

 

Black Joe Lewis & The Honeybears

Black Joe Lewis & The Honeybears

 

BAG POLICY

Bags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible.

PAYMENT POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit, debit, Apple Pay, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash.

 

Black Joe Lewis is the realest motherfucker there is. When Covid sidelined his touring, he started laying concrete to help support his baby mama and his kid. That’s fuckin’ real. When Joe and his band, the Honeybears, popped onto the national stage over a decade ago, many critics embraced him but still, there were some that maintained that they hadn’t paid their dues. Joe’s still here. Still going. Still cashing checks and snapping necks. The dues of hard work; the delirious heights of the industry as well as the disappointments and low hanging fruit. Through this all, Joe’s only honed his mastery over gut bucket blues guitar and his true voice. It’s a vital and distinctly American voice that never anticipated the attention he wound up receiving, never went looking for it either. It just started happening. The garage, the blues, the propulsive and synergistic live performances that inhabit the spaces of James Brown, Lightnin’ Hopkins, and the MC5…those things happened naturally from the very beginning and could only be accurately communicated in the live experience, not a press release or a slick brand campaign.

Sharon Jones, Charles Bradley, Cedric Burnside and Lightnin Malcolm, The Dirtbombs, Detroit Cobras, the Strange Boys; these are some of the artists that Black Joe Lewis and the Honeybears shared countless bills with; almost a roll call of the most influential soul and garage bands of the last twenty five years. Has the soul blues garage explosion from that era been commodified or worked into the overall template of pop rock? Sure. But the ground floor was a vital space for people that like guitars and grease and at this point Black Joe Lewis is one of the last standing that was there. Last of a dying breed. Or maybe a missing link. Does this make him a throwback? A throwback to a throwback? It’d be tempting and easy for Joe to go along with that but nah, we don’t think so. We know that Joe Lewis is genuinely doing his thing and that he’d do it regardless of what’s coming down the pipe. A stone cold original and a veteran at that. If you like whistling in your music and some floppy hat, quaky kneed dudes cloyingly singing at you, then you might not “get it” but whatever…there are enough intrepid, degenerate weirdos that do. Those are the folks Joe cares about. Not the glad handing set. Not the fair-weather friend set getting down with the flavor of the month. Like the title of his last album says, “the difference between me and you” is Joe defining for himself that there’s the belabored
wannabes and then there’s dudes that actually “HAVE the blues”…whatever the hell THAT is! Joe’s concrete pouring boss is going to miss him

[SOLD OUT] Shemekia Copeland

[SOLD OUT] Shemekia Copeland

 

BAG POLICY

Bags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible.

PAYMENT POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit, debit, Apple Pay, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash.

 

SHEMEKIA COPELAND, DONE COME TOO FAR
written by Marc Lipkin

“Shemekia Copeland is the greatest blues singer of her generation.” –The Washington Post

“Shemekia Copeland has established herself as one of the leading blues artists of our time.” –NPR Music

“Shemekia Copeland provides a soundtrack for contemporary America…powerful, ferocious, clear-eyed and hopeful…She’s in such control of her voice that she can scream at injustices before she soothes with loving hope. It sends shivers up your spine.” –Living Blues

“Shemekia Copeland is an antidote to artifice. She is a commanding presence, a powerhouse vocalist delivering the truth.” –The Philadelphia Inquirer

“I am so happy Shemekia is delivering these songs that the world needs to hear. Her voice is strong and soulful, and her message comes from her heart.” –Mavis Staples

Award-winning blues, soul and Americana singer Shemekia Copeland possesses one of the most instantly recognizable and deeply soulful roots music voices of our time. She is beloved worldwide for the fearlessness, honesty and humor of her revelatory music, as well as for delivering each song she performs with unmatched passion. Copeland — winner of the 2021 Blues Music Award for B.B. King Entertainer Of The Year— connects with her audience on an intensely personal level, taking them with her on what The Wall Street Journal calls “a consequential ride” of “bold and timely blues.” NPR Music says Shemekia sings with “punchy defiance and potent conviction.” The Houston Chronicle describes her songs as “resilient pleas for a kinder tomorrow.”

On her new Alligator album, Done Come Too Far, Copeland continues the story she began telling on 2018’s groundbreaking America’s Child and 2020’s Grammy-nominated Uncivil War, reflecting her vision of America’s past, present and future. On Done Come Too Far, she delivers her hard-hitting musical truths through her eyes, those of a young American Black woman, a mother, and a wife. But she likes to have a good time too, and her music reflects that, at times putting her sly sense of humor front and center. “This album was made by all sides of me — happy, sad, silly, irate — they’re all a part who I am and who we all are. I’m not political. I’m just talking about what’s happening in this country.”

And she doesn’t hold back. Recorded in Nashville and produced by multi-instrumentalist/songwriter Will Kimbrough (who also produced her previous two albums), Done Come Too Far is Copeland at her charismatic, passionate, confrontational best. With singular purpose and simmering power, Copeland unleashes the searing, history-fueled tracks Too Far To Be Gone (featuring Sonny Landreth on scorching slide guitar) and Done Come Too Far (with Grammy-winner Cedric Burnside duetting and playing Mississippi Hill Country blues guitar). “If you think we’re stopping,” she sings in both songs, “you got it wrong.” On The Talk, Copeland shares the brutally honest, harrowing reality of a Black mother talking with her son about surviving an encounter with the police (with the great Charles Hodges of the famed Hi Rhythm Section on pulsating B-3 organ). On the all-t00-timely Pink Turns To Red (written and recorded prior to the May 2022 Uvalde, Texas school shooting), Copeland decries America’s gun violence epidemic.

Done Come Too Far’s better times and brighter days come on just as strong in the fun and swampy Fried Catfish And Bibles and the boot-kickin’, semi-autobiographical Fell In Love With A Honky. Spirits get lifted in Copeland’s celebratory interpretation of Ray Wylie Hubbard’s Barefoot In Heaven, before closing the set with the heartfelt love song, Nobody But You, written by her renowned father, the late Texas bluesman Johnny Clyde Copeland.

Copeland is used to the spotlight. Born and raised in Harlem, New York in 1979, she first stepped on stage with her famous father at New York’s Cotton Club when she was eight. As soon as Copeland released her Alligator Records debut Turn The Heat Up in 1998 at age 18, she instantly became a blues and R&B force to be reckoned with. The New York Times and CNN, among many others, praised her talent, larger-than-life personality, dynamic, authoritative voice and true star power. With each subsequent release, Copeland’s music continued to evolve. From her debut through 2005’s The Soul Truth, Shemekia earned eight Blues Music Awards and a host of Living Blues Awards. 2000’s Wicked received the first of her four Grammy nominations. After two successful releases on Telarc (including 2012’s Grammy-nominated 33 1/3), Copeland returned to Alligator Records in 2015 with the Grammy-nominated, Blues Music Award-winning Outskirts Of Love, melding blues with more rootsy, Americana sounds.
With 2018’s America’s Child, Copeland, now the mother of a baby boy, sang about the blessings and curses of the world around her. MOJO magazine named America’s Child the #1 blues release of 2018. It won both the Blues Music Award and the Living Blues Award for Album Of The Year. AllMusic said, “Witty and sincere…Shemekia Copeland is one of the best singers in contemporary blues, not just for her voice but for her courage to use it to say something about American culture…showing good times and a social conscience can co-exist.”
In addition to earning a Grammy Award nomination (her fourth), Copeland’s groundbreaking 2020 release Uncivil War was named the 2020 Blues Album Of The Year by DownBeat, MOJO and Living Blues magazines. The album, like its predecessor, looked at the hardships and happiness people encounter, seeking common ground, demanding change and still finding ways to have a good time. “Shemekia Copeland is a powerhouse,” said Rolling Stone. “She can do no wrong.”

Copeland has performed thousands of gigs at clubs, festivals and concert halls all over the world, and has appeared in films, on national television, NPR, and has been the subject of major feature stories in hundreds of magazines, newspapers and internet publications. She’s sung with Bonnie Raitt, Keith Richards, Carlos Santana, Dr. John, James Cotton and many others, and has shared a bill with The Rolling Stones. She entertained U.S. troops in Iraq and Kuwait in 2008, a trip she says, “that opened my eyes to the larger world around me and my place in it.” In 2012, she performed with B.B. King, Mick Jagger, Buddy Guy, Trombone Shorty, Gary Clark, Jr. and others at the White House for President and Mrs. Obama. She has showcased on PBS’s Austin City Limits and was the subject of a six-minute feature on the PBS News Hour.

Copeland was the subject of a recent Washington Post Sunday magazine story and appeared on both NPR’s Weekend Edition and Here And Now. And NPR’s Jazz Night In America recently aired an hour-long program featuring Copeland. In April 2022, she performed at the United Nations General Assembly Hall to a worldwide audience of millions as part of International Jazz Day celebrations. Copeland continues to host her own popular daily blues radio show on SiriusXM’s Bluesville.

But it’s not just press and radio singing Copeland’s praises. She is beloved by her fellow musicians across genres and demographics. Jeff Beck called her “amazing.” Carlos Santana said, “She’s incandescent…a diamond.” Bonnie Raitt told BBC radio, “Shemekia always knocks me out.” The late John Prine said, “She doesn’t sound like anybody else.” Mary Gauthier declared, “Shemekia is one of the great singers of our time. Her voice is nothing short of magic.”
As for the continuing evolution of her music, Copeland is very clear. “Once my son was born,” she says, “I became even more committed to making the world a better place. On America’s Child, Uncivil War and now Done Come Too Far, I’ve been trying to put the ‘United’ back into United States. Friends, family and home, these things we all value.”

With Done Come Too Far, Copeland hits harder than ever with musically and lyrically adventurous songs and jaw-dropping performances that are at once timely and timeless. The Chicago Tribune’s famed jazz critic Howard Reich said, “Shemekia Copeland is the greatest female blues vocalist working today. She pushes the genre forward, confronting racism, hate, xenophobia and other perils of our time. Regardless of subject matter, though, there’s no mistaking the majesty of Copeland’s instrument, nor the ferocity of her delivery. Copeland reaffirms the relevance of the blues.”

The Jimmys New Years Eve

The Jimmys New Years Eve

 

BAG POLICY

Bags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible.

PAYMENT POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit, debit, Apple Pay, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash.

 

The Jimmys are an award winning, high energy, 7-piece funky blues band that combines the seasoned keyboard and Hammond B-3 organ talents of Jimmy Voegeli, legendary blues guitarist Perry Weber on six-strings and vocals, drummer Chris Sandoval – veteran of the Tommy Castro band, the expertise of southern Wisconsin’s finest bass guitarist John Wartenweiler, and an amazing horn section featuring Pete Ross on tenor sax and Joe Goltz on trombone. They’re sure to get you dancing!

Stackhouse is a soul & blues trio featuring Xavi Lynn on guitar, Garrett Wartenweiler on bass, and Derek Hendrickson on drums.

William Elliott Whitmore

William Elliott Whitmore

 

BAG POLICY

Bags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible.

PAYMENT POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit, debit, Apple Pay, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash.

 

William Elliott Whitmore

A man armed only with a banjo and a bass drum can be a formidable force, especially if his name is William Elliott Whitmore. With his powerful voice and honest approach, Whitmore comes from the land, growing up on a family farm in Lee County, Iowa. Still living on the same farm today, Whitmore has truly taken the time to discover where his center lies, and from that he will not be moved.

Whitmore has repeatedly carved his own path, honoring the longstanding tradition of folk music throughout his nearly 20 year career, while always allowing his blues, soul and punk rock influences to shine through. Getting his first break opening for his friend’s hardcore band with just a banjo in hand, he would discover bands like The Jesus Lizard, Bad Brains, Lungfish and Minutemen and soon learn to play his own brand of rural, roots music with that same DIY ethic.

William Elliott Whitmore has been back and forth across the United States and to cities around the world. He’s toured with such diverse acts as Frank Turner, Trampled By Turtles, Clutch and Chris Cornell to name a few. He’s appeared on some of the biggest stages around the world including Stagecoach Fest, Byron Bluesfest (Australia) and End of the Road Fest (UK). His willingness to take his show to any playing field has proved invaluable as he turned strangers to diehards with every performance.

Sug Daniels

Sug Daniels is a Delaware born, Philadelphia based, singer-songwriter, story teller, and producer who is using the tools around her to capture the emotions of an era. Daniels’ work is as colorful, vulnerable, and charismatic as her personality. She thoughtfully combines elements of folk, R&B, and soul alternatives to create personal and tender music interlaced with messages of truth and positive change.

Heartless Bastards

Heartless Bastards

 

BAG POLICY

Bags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible.

PAYMENT POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit, debit, Apple Pay, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash.

 

Heartless Bastards

No salve soothes quite like music does. Like the ultimate balm, it releases tension and stress and reinvigorates the spirit. With a warm patchwork of rock ‘n’ roll, psychedelia, folk, alternative, and blues, Heartless Bastards unlock healing and catharsis within their music. Whether in the studio or on stage, the Austin-based band fronted by vocalist, songwriter, multi-instrumentalist, and producer Erika Wennerstrom calm as they captivate. After generating over 100 million total streams and enrapturing audiences at legendary venues such as Red Rocks Amphitheatre, the group continue to connect with listeners everywhere through boundary-breaking sonics and straight-from-the-heart lyrics.

“Music is medicine,” observes Erika. “It gives me a sense of purpose beyond just creating art. The idea someone might find comfort in it or it can actually help another person is incredible to me. I don’t know if I ever thought about it in those terms when I was younger. I’ve realized it over the years though.”

At the turn-of-the-century, Erika founded Heartless Bastards in Cincinnati, OH. Inspired by the likes of Joan Jett, Bob Dylan, Tom Petty, and more, she cut early demos in 2003, performing the bulk of the instruments herself. A bartending gig inspired the name Heartless Bastards. The bar’s touch screen game posed the question, “What is Tom Petty’s backing band?” and offered “The Heartless Bastards” as an answer option, so she accepted this humorous twist of fate and adopted it as her band’s moniker.

The band initially came to life with Stairs and Elevators in 2005, building a discography of fan favorites highlighted by All This Time [2006], The Mountain [2009], and the seminal Arrow [2012]. The latter captured #2 on the Billboard Top Independent Albums Chart, went Top 10 on the Tastemaker Albums Chart, and even cracked the Top 200. “Only For You” notably amassed north of 42.6 million Spotify streams and 17.2 million YouTube views. In the wake of the album, Time attested, “Wennerstrom’s voice is one of the cornerstones of their success. It is tender even when it is severe, and she is unabashedly soulful even when she rocks, almost as though she were at once performing a slow country ballad and singing alongside Mark Bolan from T. Rex.”

Meanwhile, 2021’s A Beautiful Life arrived to widespread praise from Uncut, Glide, and Classic Rock with Pitchfork going as far as to claim, “A Beautiful Life is her best album as a vocalist, as she finds new ways to bend her voice to different styles and sounds.” In addition to sharing the stage with The Flaming Lips, The Decemberists, Wolfmother, Lucinda Williams, and The Avett Brothers, they lit up festivals a la Bonnaroo, Lollapalooza, Austin City Limits, Newport Folk Festival, High Sierra Music Festival, and more. Through it all, Heartless Bastards constantly evolve.

“The vibe is pretty eclectic,” she goes on. “My voice ties it together. The earlier albums were a bit more garage- and punk-influenced. We’ve drawn from classic rock, indie, and folk too. I love music, and I’m always exploring sounds.”

In 2022, they celebrate the 10th anniversary of Arrow with a special limited-edition re-release on vinyl, new acoustic recordings, and the addition of the previously unavailable “Got to Have Rock and Roll,” “Parted Ways,” and “Bye Bye Baby Blues” originally by George “Little Hat” Jones.

“Arrow is the album that reached the most people,” she smiles. “It’s cool to celebrate the success of it and give fans something else. The response to ‘Only For You’ made me feel connected to people everywhere in a beautiful way. I’ll always be grateful for Arrow.”

In the end, Heartless Bastards might just be able to heal what ails you.

“Ultimately, I hope people enjoy themselves when they’re listening to our records or seeing us live,” she leaves off. “Playing shows really brings me a lot of joy. I hope the connection translates. I’m ready to tour a lot and release more music.”

[SOLD OUT] The Record Company

[SOLD OUT] The Record Company

 

BAG POLICY

Bags (max size 12″ x 6″ x 12″) are allowed and will be searched upon entry. Exceptions will be made for necessary medical equipment and bags for nursing mothers. We encourage you to pack light with only the necessities to make the entry process as smooth as possible.

PAYMENT POLICY

We are a cashless facility meaning that we are unable to accept cash as a form of payment. Our Box Office and Coat Check will only accept credit and debit. Our Bars will only accept credit, debit, Apple Pay, and Google Pay. Please note that artist merchandise sales are separate and may still accept cash.

 

The Record Company

At 2pm on December 19, 2022 — the dreaded final day of the year in the music business — The Record Company got a telephone call from the, um, record company. It was the head of the label, who’d been sitting on their new demos for months, while the band sat in limbo. It was a scene out of a movie about the bad luck bands sometimes have with big record labels: a pleasant “hello” led to a Charlie Brown’s teacher murmur that amounted to “you’re dropped from the label, Happy Christmas, fellas.”

Apparently, the label was going “in a different direction” — Hollywood code for “The Record Company’s many radio hits and Grammy nomination are no guarantee that you’re going to push further into their idea of mainstream, or that you’re great at TikTok.”

“It was tough to swallow,” says bassist Alex Stiff, “because we had already set out to write the most stripped-back and raw record we’d done in years, and they had demos of this new music, and ultimately dropped us. Combine that with some new economic realities, a canceled tour, and we really felt like everything was crashing down at once.”

On The 4th Album, The Record Company see that rejection as a rite of renewal, a way to cleanse themselves, to start over. They head back to their roots: creating the raw, self-produced, blues-based music that in past years earned them multiple Billboard #1 AAA songs, a Grammy nomination, and brought them from playing small clubs to arena tours supporting John Mayer and Bob Seger.

These “roots” would include half-working dumpster guitars, no-name drum sets from garage sales, no click tracks or studio tricks, all recorded in the bass player’s living room. “Almost every band you love at some point tends to drift away from that raw spark that made them unique in the first place,” says drummer Marc Cazorla. “They search for bigger sounds, bigger budgets, more expensive instruments, producers, mixers, etc. We’ve been subject to that as well, but now we’ve come back full circle to what matters most: making raw, honest music that moves peoples’ souls.”

The band titled the new collection “The 4th Album” to signify the start of a new chapter. When the needle drops, we hear TRC lead singer Chris Vos spit out an offhanded quip: “I ain’t ever givin’ up,” an impromptu line that is an instant touchstone for anyone who’s ever seen their dreams fading, and then been able to regain hope. That line quickly became a call-to-arms for the band and a rock-solid theme for this album.

Says bassist Alex Stiff: “We all want to be moving on the steady rise forever, but then one day that momentum stops, and you’re not prepared for it. This song is very autobiographical as to what we were going through. Finding the answer required a lot of soul searching, but ultimately we found it through the music. For us, it was saying: ‘I’m not doing a dance for anyone anymore.’”

On The 4th Album, the band uses the same microphones that have been dropped at bar gigs a few too many times, and the same tarnished 2008 computer with recording software mostly laughed at by today’s standards. The album cover shows a hand-cut metal sign given to the band by a fan at a 2021 show in St Louis, Missouri. For the live show, the band is performing as a trio again, purposely scaling back bigger lineups they’ve used in the past. “We keep going back to a less-is-more philosophy with the new songs, and that translates to the show as well. The space between us is the 4th member,” says singer Chris Vos.

On songs like “I Found Heaven (In My Darkest Days),” we hear Chris singing about walking a troubled path, but finding salvation in music, set to his harmonica and gospel roots wailing. “Talk To Me” displays a Motown-style drum and bass funk groove, while “Highway Lady” sets a 70’s smooth AM Radio backdrop, with the city views seemingly far behind in the rear view mirror, singing: “Highway Lady, where we gonna go today?”

The 4th Album finds the band at peace with themselves operating as outsiders in an ever- changing musical landscape. “You’re not going to find us posting goofy videos, salad recipes, or telling the internet what every song is about,” says Chris. “We’ve had some ups and downs, but we’ve managed to find a way through it, and put it all back into the music.”

The 4th Album is due for release September 15th, on Round Hill Records.

Trapper Schoepp

In 2019, Trapper Schoepp published a song with Bob Dylan called “On, Wisconsin” – making him the youngest musician to share a co-writing credit with the Nobel Prize Winner. The song led to a #1 trending article in Rolling Stone and 100+ tour dates worldwide.

The Wisconsin songwriter has released 5 albums worldwide since 2012 via Xtra Mile Recordings (UK) + SideOneDummy (US). Primetime Illusion (2019) was produced by Patrick Sansone (Wilco) and Rangers & Valentines (2016) was produced by Brendan Benson (Raconteurs) in Nashville. Relix Magazine called the latter a “mini masterpiece” and PBS noted that he has: “Story songs that explore and explode the conventions of rock and roll.”

Recorded in the midst of the pandemic, Trapper’s 2021 album ‘May Day’ was called, “Easily one of the best albums of the year” by San Francisco Examiner and “Charming 100% Americana opus” by Rolling Stone France. He’s also just released a folk album which was recorded at Johnny Cash’s Cabin in Tennessee and produced by Patrick Sansone and John Jackson (The Jayhawks/Sony Legacy).

Trapper has acted as a musical ambassador for rare disease research organization Harmony 4 Hope since 2015, inspired by his own battle with chronic pain. He’s also acted as an ambassador for Gibson Guitars, Guitars 4 Vets and Connecting to Cure. Schoepp’s music has been prominently placed in Netflix shows such as ‘Kingdom’ and ‘Vampire In The Garden’ – as well as The Onion, The Washington Post, Keen, Fox Racing, NFL, the Food Network, etc.
Trapper has toured the world with artists like The Wallflowers, Old 97’s, The Jayhawks and Frank Turner, and headlined tours across Europe/USA with stops at historic spaces like New York’s Town Hall, LA’s Roxy Theatre and SXSW.

More information: www.trapperschoepp.com