Genre: Folk

Tow’rs

Tow’rs

 

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.

 

Little High, Little Low<br>Alive & Kicking Tour

Little High, Little Low
Alive & Kicking Tour

 

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 Whittmore

William Elliott Whittmore

 

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.

 

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.

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.”

Coyote Island + Certainly So

Coyote Island + Certainly So

 

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.

 

Coyote Island

Coyote Island, the musical vision of Mike O’Hehir, explores a fresh blend of folk, reggae and pop with world music influences creating a playful global sound around stories embracing the human journey. His first single “Here Before” co-produced with trip-hop duo Dazy Park, has garnered over 2 million streams across platforms globally. The follow up EP “Origin Stories” attracted Ineffable Records (Shwayze, Surfer Girl, Anthony B). Coyote Island’s highly anticipated debut full-length album “Holy Illusion” was released on June 16, 2023 with singles featuring Grammy-nominated artists Matisyahu and Blvk H3ro, as well as guest collabs with Surfer Girl, Mihali & Ghanaian singer & songwriter Abitemi dropping monthly in the lead up.

Certainly So

Gray, Wilson, Porter & Corder — Welcome to Certainly So.

Hailing from Birmingham, AL, childhood friends Tanner Gray and Colby Wilson have been writing music together for over ten years. The pair have drawn inspiration from many genres and eras — The Beatles, The Beach Boys, The Grateful Dead, Vampire Weekend, John Mayer, and Her’s to name a few. The music that comes from Gray and Wilson has always boasted blood harmonies as well as thoughtful, invoking lyrics.

Post high school, Gray and Wilson took different paths. Gray attended Mississippi State University, while Wilson stayed in Birmingham. While at MSU, Tanner became acquainted with Chase Porter (bass) and Zach Corder (drums). Porter, Corder, and Gray would form and play in multiple ensembles while in school; always focusing on creating original music and developing a unique sound.

After graduating in 2015, Porter made his way to Nashville to begin a career in a city he loved while playing in a few bands and many songwriter rounds in his spare time. Gray and Corder made their post-graduate home in the panhandle of Florida, forming yet another group: The Graytones. They toured extensively in the region over the next two years. Wilson remained busy in Birmingham with his own original music group, Smoking With The Bandit.

In the Spring of 2019, Gray and Wilson were finally reunited when Gray found himself back in Birmingham as part of a career in craft beer. Corder’s path took him to the Music City, catching up with Porter. Gray and Wilson picked up right where they left off in Alabama, and they soon felt a new project starting to take form.

As the duo recorded acoustic demos, they realized they needed a fuller sound, and the two kids from Birmingham reached out to their Mississippi-born rhythm section. The demos were shared north to Nashville, and once Porter and Corder heard what Gray and Wilson were doing, there was never a chance they could say no. In September of 2019, Certainly So was formed. Several months later, in January 2020, the group was introduced to producer/engineer Toby Hulbert. Hulbert had spent the last 8 years at Abbey Road in his hometown of London, England, and was currently in Nashville working alongside hitmaker Dave Cobb. Upon hearing the ‘Certainly So’ demos, he felt a similar sentiment as Porter and Corder did- he must be involved. Hulbert joined the team as producer. Certainly So and Hulbert gained access to East Avalon Recording Studio in Muscle Shoals through RCA’s Colin Lott during April 2020. Over the next two months, Hulbert and Lott teamed up to produce and engineer four weekend sessions, recording what would be the band’s debut album Future Self Only Dreams.

Ryan Montbleau Band

Ryan Montbleau 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.

 

Ryan Montbleau

For as long as he can remember, Ryan Montbleau’s been a seeker. From the jungles of Peru to the volcanoes of Hawaii, from the beaches of Costa Rica to the streets of Brooklyn, from the backseat of a 16-passenger van to backstage at Carnegie Hall, the acclaimed singer/songwriter has spent much of his life crisscrossing the globe on a perpetual search for meaning, purpose, and understanding. It’s a quest that’s guided him both personally and professionally over the years, one that’s come to define not only his music, but his very sense of self. And yet, listening to Montbleau’s ambitious new multi-part album, Wood, Fire, Water, and Air, there is a profound sense of satisfaction in sitting still, a recognition that perhaps all those spiritual treasures he’s been chasing for so long were closer than he thought.

“My whole adult life has been this journey of trying to figure out where home is,” Montbleau reflects. “I think I’ve finally found it.”

Set to roll out across four distinct EPs, Wood, Fire, Water, and Air marks Montbleau’s first studio release since putting down permanent roots in Burlington, Vermont, where he recently purchased a house after more than two decades of living on the road. While much of the material here was written in fits and starts over the past several years, it’s clear that the desire for stability was very much on Montbleau’s mind even before he settled on the banks of Lake Champlain, and the songs reflect a maturity and self-awareness that can only come from the difficult work of rigorous self-examination. Montbleau is quick to credit therapy for his growth of late, but he sings about more than just himself here, mixing sly humor and deep revelations as he meditates on the ties that bind all of us perfectly imperfect humans together. Taken as a whole, it’s a broad, insightful collection balancing boisterous rock and roll energy with intimate folk introspection, a sprawling, magnetic record all about listening, letting go, and living life.

“I’ve been through a lot over these past few years,” says Montbleau, “and I’ve experienced some monumental shifts in my perspective. The only way for me to write about it was to just get as honest and vulnerable as I could.”

Honesty and vulnerability have been hallmarks of Montbleau’s career since the early 2000’s, when he first began performing around his native Massachusetts. In the years to come, he’d go on to collaborate with artists as diverse as Martin Sexton, Trombone Shorty, Tall Heights, and Galactic, and rack up more than 100 million streams on Spotify alone. Along the way, Montbleau would share bills with stars like Tedeschi Trucks Band, Ani DiFranco, The Wood Brothers, Rodrigo y Gabriela, and Mavis Staples, but it was his ecstatic headline shows—often more than 200 of them a year—that solidified his reputation as a roots rock powerhouse and an inexorable road warrior. NPR’s Mountain Stage compared his “eloquent, soulful songwriting” to Bill Withers and James Taylor, while Relix celebrated his “poetic Americana,” and The Boston Herald raved that “he’s made a career of confident, danceable positivity.”

That positivity would serve Montbleau well on the long and winding road to Wood, Fire, Water, and Air. Work on the record first began in the summer of 2019 at the gorgeous Guilford Sound studio in southern Vermont, where Montbleau and producer Adam Landry (Deer Tick, Rayland Baxter) laid down basic tracks with a rotating cast of players. At the time, Montbleau had little idea what he was getting himself into.

“I honestly didn’t know what this project was going to be for a very long time,” he explains. “All I knew was that I had a bunch of songs I was really excited about, and that I wanted to take a new approach to recording them.”

For much of his career, Montbleau had worked fast and loose in the studio, capturing music as raw and organically as possible. This time around, though, he found himself craving a bolder, more fully realized sound, and by the time he finished basic tracking in Guilford, it was clear that his work had only just begun. What followed was a yearlong odyssey of adding, subtracting, revising, and reimagining, as Montbleau and mixer/engineer James Bridges fleshed out the sessions with a broad array of instruments, textures, and colors.

“It took a long time for me to get to a place where I could trust myself enough to stretch out like this,” says Montbleau, who experimented with synthesizers and drum machines and added piano and mandolin to his repertoire for the project. “I’d always kind of deferred to other people’s expertise in the studio, but learning to trust my ears and get my hands dirty with the music was a totally empowering experience.”

As the songs took shape, it became clear to Montbleau that there were discrete themes at work within the larger collection, both sonically and emotionally. Rather than release the entire 15-track record all at once, then, he decided he would unveil the album more deliberately over the course of four separate EPs, each inspired by an element of the natural world. First up: Wood, a rustic, earthy trio of tracks taking stock of just what it means to be human in these bewildering times. Songs like the playful “Perfect” and soulful “Ankles” wrap weighty ruminations inside deceptively lighthearted packages, and the spare, stripped-down arrangements make for an ideal bridge between Montbleau’s earlier work and the more adventurous sounds to come on the album’s second installment, Fire. Infused with an infectious energy and feel-good pop optimism, Fire showcases the rock and roll side of Montbleau’s personality, celebrating the joy and liberation that comes with learning to live in the moment.

“The songs on Fire were a chance for me to just let loose and have fun,” says Montbleau. “They were an opportunity to not overthink things for a change, to trust my gut and follow what felt good.”

The arrival of Water quickly cools things down, though, bringing the music back to Earth with a more sober, meditative quality. Montbleau wrote several of the tracks while doing medicine work in Peru, and the healing, regenerative nature of that trip is obvious on songs like the dreamy “Forgiveness,” which features extensive keyboard contributions from avant-garde icon John Medeski. By the time we reach the album’s final chapter, Air, Montbleau seems to have found peace within himself, coming to terms with the transient, fleeting nature of our existence. “Just know that you are not alone,” he sings on “The Dust,” “and that’s all you get to know now.”

“Even though COVID kind of upended everything with my career, this past year has been a rare chance for me to stay put for a while and focus on what really matters,” says Montbleau, who recently invited his girlfriend and her daughter to move in with him in Burlington. “I feel like I finally have a real family life now, and I’m living on stable ground for the first time.”

That doesn’t mean the hunt for purpose and meaning is over. Ryan Montbleau will always be a seeker, and that’s alright. As Wood, Fire, Water, and Air so beautifully demonstrates, sometimes the search is its own reward.

Brooks Forsyth

Hailing from the mountains of North Carolina, Brooks Forsyth is a musician of Appalachia and beyond. He began busking on street corners in his hometown of Boone, NC and has since become a Nashville recording artist. Encompassing a variety of sounds burgeoning from Americana plus, he has a large repertoire of original songs, and a versatile guitar style consisting of both flatpicking and fingerpicking techniques.

Throughout the last seventeen years, Brooks has performed solo and with a variation of musical ensembles across the U.S.A. He has played alongside artists such as Doc Watson and Sierra Ferrell, and opened for Cristina Vane, Town Mountain, and Willi Carlisle. He has also worked with producer Buzz Cason, and film director Nigel Dick. Brooks was also the lead songwriter, vocalist, and guitarist for the band The Major Sevens.

Brooks’ latest record Black Zipper was recorded at The Brass Clip in Nashville, TN with producer Parker Cason. Brooks currently has five solo albums available: Black Zipper (2023), Live at Sunbanks (2022), So Much Beyond Us (2018), On The Lam And Lonesome (2016) and Back In Cackalacky (2015), and one album with The Major Sevens Goodbye Baby (2008).

Wild Horses & Good Morning Bedlam

Wild Horses & Good Morning Bedlam

 

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.

 

Ondara<br>The Rebirth Tour

Ondara
The Rebirth Tour

 

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.

 

Ondara

Ondara’s new album, Spanish Villager No: 3, was predominately produced by Ondara and Mike Viola (Jenny Lewis, Dan Wilson) with contributions from Taylor Goldsmith and Griffin Goldsmith of Dawes, Sebastian Steinberg, Tim Kuhl and Jeremy Stacey. The new collection of songs features a much more full, electric sound.

Of the album, Ondara states, “This collection of work and the work that lies ahead in presenting it to the world, is a metaphor for my spiritual path. There is death and resurrection in it, a peeling of layers, a pursuit of the truest form of the self in the universe. Ironically, the adaptation of the Spanish Villager character has made me more acquainted with myself. By creating an obvious demarcation between the art and the artist, I have charted two paths of maturation. One path is the maturation of the Spanish Villager as a work of art, as a character in a narrative, as a commodity partaking in the mandatory sport of capitalism; The other is my own personal maturation into a spiritual, integrated, and useful member of society.”

The namesake behind the new album is The Spanish Villager: a mysterious man with a potent message who has proven to be a versatile guy: he’s the subject of a short story Ondara wrote and turned into a graphic novel, and now a new album.

Spanish Villager No: 3 follows his 2020 sophomore album, Folk N’ Roll Vol 1: Tales of Isolation, and his 2019 debut album, Tales of America, which received a nomination for Best Americana Album at the 62nd Grammy Awards. Ondara also received a nod for Best Emerging Act at the 2019 Americana Awards.

Ondara grew up in Nairobi, Kenya listening to American alt-rock and making up his own songs for as long as he can remember. At an early age he fell in love with the music of Bob Dylan and was granted a visa through the immigration lottery system. He chose Minneapolis as his home to pursue a career as a singer and songwriter with Dylan in mind. He began making his way in the local music scene, continually writing songs about what he saw, felt and experienced in a place far different from home.

Katacombs

Katacombs is the name Katerina Kiranos landed on after years of building sculptural furniture of bone and wood. Born in Miami to a Spanish mother and Greek father, she spent the majority of her early life bouncing between multiple cultures and wanting to adapt. The common thread anywhere she landed was her love for music. Piano lessons as a child led to days on end of writing and recording from her makeshift bedroom-studio as a teen, which turned into years of collecting songs- all just to store them away. Though she took a detour career-wise, she continued to play where she could and could never escape the urge to spend every day honing her first true passion. She played keys in a few bands and dabbled in open mics but always ended up feeling best in a dark room, single-handedly curating dramatic and ethereal melodies. Set on finally sharing that part of her world, the one most sacred, she started with a small body of work that embodies a wide range of some of her deeply rooted experiences and influences.

“You Will Not”, her debut EP, is a collection of songs that individually represent a place and time of her life, amounting to a rather emotional rollercoaster that traverses geographical borders and genres, hitting the highs and the lows of self-discovery.

Easy Honey

Easy Honey

 

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.

 

Easy Honey was born out of the small-town innocent college days: the days of walking home under the starry night and springing under the watchful eye of sunny graveyards, Dairy Queens, and neo-gothic cathedrals.

Selby and Darby, fast friends upon meeting at college in Sewanee, TN, instantly began writing songs after hours in the basements of academic buildings. These songs were inspired by both the beauty of the natural world around them and the coming of age romances experienced during this time.

After adding Charlie Holt to the club, the band honed their live show at college parties and took their batch of songs to record in Nashville. The group has since blossomed, infusing its singer-songwriter folk roots with an original blend of East Coast surf-rock, catalyzed by the band’s relocation to the up and coming Charleston, SC music scene. The band has sold out their last 5 hometown shows with their anticipated Windjammer Beach Stage play on June 30th.

Easy Honey’s witty melodies dotted with catchy hooks serve as anthems of nostalgia for their indie rock audience of daydreamers and nightseekers. Drawing inspiration from the originality and attitude of The Kinks, The Replacements, and Radiohead, the band’s raucous yet sentimental live show exemplifies the realness that people crave in a post covid/internet driven world.

The band’s latest singles, Orbiter and Tributary, landed itself on numerous popular playlists, including Spotify’s “Undercurrents,” and “Grade A” and precedes more releases from the band under the direction of producer Wolfgang Zimmerman (Band of Horses, Susto). Co-frontmen Darby McGlone (vocals, guitar) and Selby Austin (vocals, guitar) share writing and singing duties, while Charlie Holt (drums, vocals) and Webster Austin (bass, vocals) provide a rhythm section which complements the personified, interwoven electric guitars. When not touring, the band lives in Charleston, SC, leading the way in the rapidly growing music scene… and surfing Folly Beach when home.

Field Medic

Field Medic

 

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.

 

Field Medic

Field Medic is the lo-fi folk project of Kevin Patrick Sullivan. At eighteen, he discovered the music of Joni Mitchell and Bob Dylan, who changed his perspective on what a song could be and led to him developing his own style which he describes as “freak folk/post country with an emphasis on finger style guitar and lyrics.”

Sullivan initially embraced lo-fi because he felt that his home recordings were a truer method of expressing what he was creating than anything he could do in a studio. Drawing inspiration from new wave and rap, Sullivan pushed the boundaries of what a folk song could be, incorporating new elements in each subsequent release from analogue drum machines to Casio keyboards to banjo. The immediacy of that recording process and the freedom of experimentation inherent within are central to Field Medic’s character, extending through his music to his freestyle, improvised mixtapes and his poetry.

Olivia Barton

Olivia Barton writes songs that sound like stream-of-consciousness journal entries—because they are. Olivia asks and answers questions in real time, taking you through a “diary of the healing process” (Sound of Boston). The 90s-inspired folk-pop songs live in a raw but playful space Olivia (sort of) jokingly describes as “somewhere between Elliott Smith and Hilary Duff.” After releasing her sophomore album This is a Good Sign at the end of 2022, she is gearing up for her biggest year yet supporting Lizzy McAlpine’s full US tour in spring of 2023.

This is a Good Sign has been written about in publications such as Stereogum and Brooklyn Vegan, charted at #3 on college radio, featured on Spotify editorial playlists, and gained the attention of dream collaborators, including Madi Diaz, Carol Ades, and Evan Stephens Hall of the band Pinegrove. The album’s opening track, “I Don’t Sing My Songs” is reflective of Olivia’s infectious ability to hold darkness and light in the same hand, starting by directly facing reality: “I stay inside / I call my dad / I wait to feel” and ending with an inner knowing: “Good feelings are so possible within me.” She leaves you feeling cracked open, seen, and vibrating with hope in the connectedness of things.