Genre: Country

Sarah Shook & The Disarmers

Sarah Shook & The Disarmers

 

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.

 

When Sidelong, Sarah Shook & the Disarmers’ debut album, was released in early 2017, it quickly earned kudos for its blast of fresh, fierce honesty and sly wit. It was a welcome new voice in a genre too often mired in the staid and conventional. And while that record may have come to many as a surprise, 2018’s follow-up, Years, solidifies the point: Sarah Shook & the Disarmers have moved from getting people’s attention to commanding it. North Carolina’s Sarah Shook sings with a conviction and hard honesty sorely lacking in much of today’s Americana landscape. Always passionate, at times profane, Sarah stalks/walks the line between vulnerable and menacing, their voice strong and uneasy, country classic but with contemporary, earthy tension. You can hear in their voice what they’ve seen; world weary, lessons learned—or not—but always defiant. Writing with a blunt urgency, Sarah’s lyrics are in turn smart, funny, mean, and above all, uncompromising. Sly turns of phrase so spot on they feel as old and true as a hymn. Anger that’s as confrontational as it is concise. Humor that’s as wry and resigned as a park bench prophet. The Disarmers hit all the sweet spots from Nashville’s Lower Broad to Bakersfield and take Sarah’s unflinching tales out for some late-night kicks. At times, it’s as simple and muscular as Luther Perkins’ boom-chicka-boom, or as downtown as Johnny Thunders. The Disarmers keep in the pocket, tight and tough. This is a new voice for a new country.

Celebration of Women’s History Month

Celebration of Women’s History Month

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

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.

 

Gin, Chocolate & Bottle Rockets combines the musical styles of three solo-artists-turned-bandmates, Jennifer Farley, Shawndell Marks and Beth Kille, into a rich blend of tight 3-part harmonies and clever pop-rock songwriting, ranging from edgy to fun. GCBR released their first EP in November of 2014 and took home the 2015, 2017, 2020 and 2021 Madison Area Music Association (MAMA) Award for Ensemble Vocalists of the Year. They were also recognized as runner-up for Madison’s Favorite Rock Band in the 2016 Isthmus poll. Their sophomore album, entitled “Lean” was released on May 31st, 2018, and won Folk/American Album of the Year at the 2019 MAMA Awards.

Gin, Chocolate & Bottle Rockets crafted a tribute to Dolly Parton, Linda Ronstadt and Emmylou Harris titled “Legends in Harmony,” that boasts some of these artists’ greatest hits, delivered with GCBR’s signature powerful vocal blend. This 2-set, multimedia show features songs like 9 to 5, You’re No Good, Desperado and Two More Bottles of Wine.

Please visit www.ginchocolateandbottlerockets.com to keep up with the band and learn more about their tour dates.

Beth Kille Band Album Release Party

Beth Kille Band Album Release 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.

 

​​Beth Kille (pronounced “killy”) is an award-winning singer-songwriter from Madison, WI who has been performing her original music since 2000. In addition to performing with Beth Kille Band, she is also a member of the trio Gin, Chocolate & Bottle Rockets and the duo Kerosene Kites. When not performing, Beth serves as the Music Director/Songwriting Instructor for Girls Rock Camp Madison, the co-founder/producer of Flannel Fest, producer/engineer at Studio Gusto, and she is a mom. She’s been teaching songwriting to writers of all ages, genres and experience levels since 2009. Her mission in life is to inspire all to embrace their creativity.

Scott H Biram

Scott H Biram

 

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.

 

Scott H. Biram unleashes a fervent display of conviction through, not only the genuine blues, classic country, bluegrass, and rock n roll, but he seals the deal with punk, heavy metal, and frankly, anything else he wants to. He’s The Dirty Old One Man Band.

He will still the room with haunting South Texas blues, then turn it upside down, into a truck driver’s mosh pit. Like he says, it might be baptism, or it might be murder, either way…you gonna see the light.

This legally ordained preacher’s singing, yodeling, growling, leering and brash preachin’ and hollerin’ is accompanied by sloppy riffs, and licks literally yanked, one at a time, out of his collection of crusty, worn out, Gibson hollowbody guitars, and battle axes. All this held down with a pounding backbeat brought forth by his amplified left foot, and self customed stomp board. The remainder of this brutally charming one-man band consists of an unwieldy combination of beat-up amplifiers and old microphones strung together by a tangled mess of guitar cables. Don’t get too close! You gonna get some grease on ya!

Years of compulsive touring, along with a steady diet of down and dirty blues, rock, punk, country, and hillbilly have developed Scott H. Biram’s signature concoction, attracting a hefty array of fans who dig the bizarre and twisted sides of the rock and roll spectrum. His live shows, performed all over the world, deliver a take no prisoners attitude, a stomping, pulsing John Lee Hooker-channeling, and cockeyed tales of black water baptisms and murder, all while romanticizing the on-the-road lifestyle. SCOTT H. BIRAM IS THE DIRTY OLD ONE MAN BAND. ©1974

Cole Ritter & The Night Owls

Cole Ritter & The Night Owls

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

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.

 

Cole Ritter and The Night Owls
Founded in 2019, Cole Ritter and The Night Owls have since been pioneering new sonic spaces and finding their very own home-grown sound that is completely new, yet nostalgic. This award-winning band is helmed by ColeRitter, a Nashville Native who has devoted his life to music. Cole Ritter and The Night Owls were chosen as the winner of Belmont’s University’s “Country Showcase” in 2020. Ritter’s songwriting draws inspiration from many genres including country, rock, folk, and the blues.

The Allstar backing band, The Night Owls, features a lineup of some of Nashville’s best and brightest up-and-coming instrumentalists and musicians. The Night Owls are made up of Alex Barcic on Pedal Steel Guitar, Tom Davis on Upright Bass, Christian Starrett on Guitar, and Matt Martirano on drums. Cole Ritter and The Night Owls are quickly rising and can’t wait to share their music with the world!

Joseph Huber, MK Ultra, and Driveway Thriftdwellers

Joseph Huber, MK Ultra, and Driveway Thriftdwellers

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

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.

 

Joseph Huber

Joseph Huber hails from the state of Wisconsin, and seems to bring forth the varied voices of whatever it may be that lies dormant within either the fertile soil or the callous concrete of that world. It has been said, “You don’t just like Joseph Huber’s music. You feel it’s something that the rest of the world needs to hear, and how criminal it is that it isn’t spreading far and wide.” That sentiment could be related to the fact that the voices which Huber unearths are subtle and take more than a hurried listen to truly absorb. A person who appears reserved and matter-of-fact in everyday speech brings forth songs that are anything but that.

As the singer, songwriter, performer, recorder and producer of all of his own material, Huber has his hands full, but never seems to miss a beat. And his own ‘solo’ material has now certainly surpassed the output of his past efforts, both in volume and substance. As one of the founding member of the .357 String Band–a group that would probably fit better in today’s ‘Americana-saturated’ environment than in the early to middle aughts–he’s gradually honed a sound that seems to fill a very real gap within the still-emerging genre. Having progressed, Huber continues moving onward and upward captivating folks with his sincere and well-crafted songs under his own name along with the impeccable musicianship of his fellow touring partners. Whether it’s irresistible, fiddle-driven, dancing tunes or honest, heart-wrenching “songwriter” songs, Huber’s songs and shows spans the spectrum of ‘Roots’ music while preferring not to stay within the boundaries of any strict genre classification.

His lyricism and introspective writing style has received high acclaim from music enthusiasts looking for a more substantive substitute to much of today’s music. Maintaining a solid touring schedule, playing all throughout both the U.S. and all around Europe, Huber continues to gain positive press, including being listed on L.A. Weekly’s ’10 More Country Artists To Listen To.’ Blue Ridge Outdoor writes, “Songwriters like Townes Van Zandt, Chris Smither, and John Prine can marvel listeners in the simplest of acoustic settings,…From time to time, I stumble upon a new singer/songwriter whose work warrants comparison to the luminaries on this list. …Huber’s songwriting has me comparing him to my favorites above.” He’s had the pleasure of sharing the stage with many artists including Tyler Childers; Hackensaw Boys; Scott H Biram; The Tillers; Possessed By Paul James; Dave Simonett; Robert Earl Keen; Ben Nichols; The Tossers; Charlie Parr; Amy Lavere; Horseshoes & Hand Grenades; Reverend Peyton’s Big Damn Band; Henhouse Prowlers; Keller Williams, and more…

As of now, Huber has delivered five solo records: ‘Bury Me Where I Fall’ (2010); ‘Tongues Of Fire’ (2012), ‘The Hanging Road’ (2014); and ‘The Suffering Stage’ (2017), ‘Moondog’ (2019) and now 2021 give us ‘The Downtowner’–Huber’s latest effort which rollicks between social and personal spheres while mixing elements of rock and folk music that fans will immediately see as maintaining a solid continuity of sound and attitude with his previous two albums–rollicking between the feelings of freedom and severity, with both wit and earnestness.

MK Ultra

MK Ultra (est. 2021) is a unique collaboration of Ben Miller (Ben Miller Band) and Pat Kay (The Kay Brothers) born out of the great pandemic. You see…here’s what happens when two fellas like this spend too much time in their shops and start playing “I’ll show you mine if you show me yours.” Miller & Kay, both renowned torchbearers for Ozark mountain music tradition heretofore, have basically built themselves some kind of jangle-stomp-time machine. And in it, together, have embarked on a journey exploring hillbilly music from a distant future. Banjos meet Synthesizers… Dulcimers meet Wobble… Strange flashing lights… Unexplained phenomena… These industrious builders of cobbled homemade instruments showcase some of their most bizarre implements & soundscapes. The future of the past is here, and it’s only weird the first time.

Driveway Thriftdwellers

“Emotionally ripe, old school country.” – Milwaukee Journal Sentinel.

“Like a vintage yard sale that Merle Haggard might have thrown.” Isthmus.

“Rugged, straightforward country songwriting.” Tone Madison.

Vocals, Guitar / Jon Knudson
Pedal Steel, Vocals / Ryan Knudson
Lead Guitar, Vocals / Kyle Rightley
Bass, Vocals / Aaron Collins
Drums, Vocals / Jon Storey

[SOLD OUT] Read Southall Band<br>The Out n About Tour

[SOLD OUT] Read Southall Band
The Out n About Tour

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

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.

 

A very isolating 2020 needed shifts in musical direction to get to a place where new music, let alone the Read Southall Band’s crowning achievement could even exist. Their third studio album, For the Birds, is ambitious and captures vigorous, rock ‘n’ roll energy with elements of country and southern rock. From classic to contemporary rock, these are songs that could appeal to the disparate fanbases of Gary Stewart, Joe Walsh, Rival Sons, or Chris Cornell.

American Songwriter called For The Birds, “Exploratory… Traversing through uncharted sonic territory” and Raised Rowdy proclaims, “There is a ton of excitement building around Read Southall Band at the moment.” Riff Magazine notes, “Read Southall Band combines the heavy guitars of the late- and post-grunge era with southern rock vocals and a country music sensibility to create a sound outside the expectations of any of those genres by themselves.”

“I don’t think we would be a band without this album,” says frontman Southall. “I think for a while we were just focused on touring, getting out there and we didn’t take care of the music as needed. In a way, we needed that year off the road. We made an album and just worked. We refocused and decided this is what we want to be doing.”

Southall and his bandmates understand that the album’s long gestation and their sonic shifts may take some adjustment for fans. But that excited uncertainty is reflected in the new album’s title. “We came up with For the Birds because it’s been so long and we were worried that nobody’s waiting for us,” says Southall. “So maybe this record is ‘for the birds.’ If you like it, you like it. It is what it is. For us, it’s six individuals making tunes.”

Town Mountain

Town Mountain

 

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.

 

Town Mountain

Hailing from Asheville, North Carolina, Town Mountain is the sum of all its vast and intricate influences — this bastion of alt-country rebellion and honky-tonk attitude pushed through the hardscrabble Southern Appalachian lens of its origin.

“For us, it’s all about the interaction between the audience and the band — doing whatever we can onstage to facilitate that two-way street of energy and emotion,” says mandolinist Phil Barker. “Whether it’s a danceable groove or a particular lyric in a song, we’re projecting what we’re going through in our daily lives, and we feel that other people can attest to that, as well — it’s all about making that connection.”

Amid a renewed sense of self is the group’s latest album, Lines in the Levee, a collage of sound and scope running the gamut of the musical spectrum in the same template of freedom and focus found in the round-robin fashion of the musical institution that is The Band — a solidarity also found in the incendiary live shows Town Mountain is now revered for from coast-to-coast, this devil-may-care gang of strings and swagger.

“This is the sound we’ve been working towards since the inception of the band,” says guitarist Robert Greer. “We realized we needed to do what’s best for us. We’re being true to ourselves. It isn’t a departure, it’s an evolution — the gate is wide open right now.”

“We’ve always had such a reverence and respect for those first and second-generation bluegrass bands, and it was that sound that initially inspired all of us to get together,” Barker adds. “And that will always be part of our sound. But, we also need to grow as artists, and as individuals — for us, that means bringing in a wider palette of sonic influences.”

Formed by Greer and banjoist Jesse Langlais over 15 years ago on a ridge high above the Asheville skyline, the sturdy foundation of Town Mountain came into play with the addition of Barker not long into the band’s tenure. From there, the group pulled in fiddle virtuoso Bobby Britt and bassist Zach Smith. And though the road has been long, it’s also been bountiful.

“It’s definitely been a slow climb. But, it’s been a climb nonetheless, where each new opportunity is filled with a sense of gratitude — to be able to make music, to be able to play music with your friends,” Barker says. “And to be able to bring music to the people, and have them want to show up and listen to it? Well, we’re thankful for that every single day.”

Lines in the Levee also marks the band’s debut album release for famed Nashville label, New West Records. Well-known and championed as a fiercely independent act, the members of Town Mountain felt an immediate kinship with the record label — this genuine bond of creative fulfillment and sustained artistic growth to ensure the long game for the ensemble.

“We’ve always wanted to have a relationship with a label that felt right, and New West felt right,” Langlais says. “New West came to some of our shows and the ball started rolling. They knew they wanted to work with us, and we knew we wanted to work with them. New West lets the artist steer the ship and that’s what we were looking for — to have the autonomy to do what we want, but also have a great label behind us.”

Recorded at Ronnie’s Place (part of the Sound Stage Studios) on Music Row in the heart of Nashville, Lines in the Levee is a bona fide workshop in the seamless blend of Americana, country, bluegrass and folk roots — this crossroads of deep influences and cultivated visions each member of Town Mountain brings to the table.

“The studio has been part of Nashville for over 50 years, and there’s a certain mojo that comes from a space like that — you’re literally stepping into history and that history is in
the air when you hit the record button,” Langlais says.

The album also cements the standing of drummer Miles Miller (of Sturgill Simpson musical lore) a creative force of nature, one who throws several more logs of ideas and inspiration onto the fire that burns brightly within the group — onstage and in the studio.

“When we were looking to add percussion to our sound, Miles was the guy we wanted. We’ve been good friends for a long time, and it just seemed like the natural fit to have him join us,” Greer says. “He’s a fantastic drummer who really elevates the music so high. And he truly understands how to bring drums into a string band setting, something not a lot of people can do.”

Lines in the Levee is also a moment in time for Town Mountain to take pause and glance over its shoulder at the road to the here and now. It’s this whirlwind blur of people, places and things that fly by, especially when your hardscrabble existence is spent along that lost highway — bouncing from town to town, show to show, all in an effort to turn long-held dreams into a daily reality.

“Right from the beginning, it’s always been about camaraderie and the creation of something unique, where we haven’t let any of the bumps on the music business road get us down too much,” Langlais says. “And I think we feel really comfortable with where the Town Mountain sound is right now — that’s a damn good feeling.”

Cole Chaney

“Originally from Boyd County, KY, Chaney has since relocated to Lexington and is sure to be the next big thing coming out of Kentucky. At only 21 years old, Chaney’s catalog may be small, but he already boasts an absolute masterpiece of an album in which he proves wise beyond his years.

Mercy, his debut album released in 2021, is a 12-song showcase of Eastern Kentucky, blue collar anthems highlighted by Chaney’s deft lyricism and storytelling. An unknown musician prior to the album’s release, Chaney has since experienced a meteoric rise in popularity and has quickly amassed a growing and dedicated fan base, already thirsty for new music.”

-Whiskey Riff

Gin, Chocolate & Bottle Rockets<br>“Tribute to the Trio”

Gin, Chocolate & Bottle Rockets
“Tribute to the Trio”

 

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.

 

Gin, Chocolate & Bottle Rockets combines the musical styles of three solo-artists-turned-bandmates, Jennifer Farley, Shawndell Marks and Beth Kille, into a rich blend of tight 3-part harmonies and clever pop-rock songwriting, ranging from edgy to fun. GCBR released their first EP in November of 2014 and took home the 2015, 2017, 2020 and 2021 Madison Area Music Association (MAMA) Award for Ensemble Vocalists of the Year. They were also recognized as runner-up for Madison’s Favorite Rock Band in the 2016 Isthmus poll. Their sophomore album, entitled “Lean” was released on May 31st, 2018, and won Folk/American Album of the Year at the 2019 MAMA Awards.

Gin, Chocolate & Bottle Rockets crafted a tribute to Dolly Parton, Linda Ronstadt and Emmylou Harris titled “Legends in Harmony,” that boasts some of these artists’ greatest hits, delivered with GCBR’s signature powerful vocal blend. This 2-set, multimedia show features songs like 9 to 5, You’re No Good, Desperado and Two More Bottles of Wine.

Please visit www.ginchocolateandbottlerockets.com to keep up with the band and learn more about their tour dates.

Outlaw Night<br>A Tribute to Willie, Waylon, Johnny, and the Hanks

Outlaw Night
A Tribute to Willie, Waylon, Johnny, and the Hanks

 

COVID-19 POLICY

Based on the latest local guidelines, attendees are no longer required to provide proof of negative COVID-19 test AND/OR vaccination for entry into this event. Other shows on our calendar may still have specific health and safety requirements based on artist request. Be sure to check our venue website for the latest updates and guidelines as entry requirements are subject to change.

BAG POLICY

Small personal clutches / purses / fanny packs (max size 6.5″ x 4.5″ x 1″) or clear plastic / vinyl / PVC bags (max size 12″ x 12″ x 6″) are the only carry-in bags that are allowed.  We encourage you to pack light with only the necessities to make the entry process as smooth as possible.  Exceptions will be made for necessary medical equipment and bags for nursing mothers.

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.

 

Featuring:

Gregg Hall- Guitars and Vocals

Paul Matushek – Guitar

Dan Kimpel- Pedal Steel

Brett Behrens- Drums

Tim Powers- Bass

w/ special guests tba

Gregg Hall has been a cornerstone of the western Wisconsin music scene for nearly half his life. At 41 years old, he’s played on a dozen albums, recorded over 100 songs, and performed countless shows as a sideman, frontman, and solo/duo act.

With his new album, “Echoes in the Treetops,” Hall makes it clear that inside his chest beats the raging heart of a rocker. The seven-song collection has the fire, the effervescence of a debut album, but it’s seasoned with the soul and perspective of a high-mileage road warrior and the wisdom of a one-time party animal who saw the light and found sobriety five years ago.

A member of the Smokin’ Bandits from 2004-13, Hall also has played in the White Iron Band since 2009 and toured with Nicholas David from 2014-17.

In 2013, he formed Gregg Hall and the Wrecking Ball, recording three albums of his take on outlaw country backed by top-flight La Crosse bandmates: “This, That and the Land” in 2016, “The Mrs. Hippy Sessions, Vol. 1” in 2017 and “True Story” in 2020. Going country didn’t exactly go against Hall’s nature. His first concert, after all, was Johnny Cash, and he named his second son Waylon, age 7 (he also has a 14-year-old son, Shay).

Over the years he’s shared bills with Todd Snider, Jackson Browne, Bill Miller, Shooter Jennings, Little Feat, Dave Simonett, Whey Jennings, Trampled by Turtles, just to name a few.