Genre: Rock

Eric Hutchinson

Eric Hutchinson

 

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.

 

Eric Hutchinson is an international platinum-selling singer, songwriter and seasoned touring artist. He has performed in all 50 states and has shared the stage with acts such as Jason Mraz, Amos Lee, Ingrid Michaelson, O.A.R., and Michael Franti. His single “Rock & Roll” earned him his first gold record in the United States and the song became a #1 hit in several countries.

The Cactus Blossoms

The Cactus Blossoms

 

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 Cactus Blossoms

“Hey baby, do you wanna take a trip with me? / I’ve got a feeling there might be a silver lining all around.” So begins One Day, the captivating new album from critically acclaimed Minneapolis duo The Cactus Blossoms. Written and recorded during the COVID-19 pandemic, the record explores the tension between optimism and despair that’s defined much of the past few years of American life, examining the power (or naïveté, depending on your perspective) of positive thinking in the face of chaos and uncertainty. The songs here are tender and timeless, with straightforward arrangements centered around brothers Jack Torrey and Page Burkum’s airtight harmonies, and the performances are warm and intimate to match, delivered with a soulful, ’70s-inspired palette of playful Wurlitzer, breezy guitars, and muscular percussion.

The Cactus Blossoms broke out nationally in 2016 with their JD McPherson-produced debut, You’re Dreaming. Dates with Kacey Musgraves, Jenny Lewis, and Lucius followed, as did raves from the New York Times and NPR, who praised “the brothers’ extraordinary singing.” The band was further catapulted into the spotlight in 2018, when David Lynch tapped them to perform in the return of Twin Peaks, and continued to build on their success with their 2019 sophomore LP, Easy Way, which led Rolling Stone to laud the duo’s “rock-solid, freak of genetics harmonies.”

Two Runner

Two Runner is Paige Anderson and Emilie Rose. The American Roots duo from Northern California embody the hills they grew up in. Through the mediums of clawhammer banjo, flatpicking guitar, vocal harmonies, and oldtime fiddle, Two Runner puts a hip take on the Appalachian feel.

Front woman Paige Anderson grew up touring in her family bluegrass band, Anderson Family Bluegrass, starting at the age of 9. The family of six traveled for about 12 years as Anderson Family Bluegrass and later The Fearless Kin. Paige wrote her first song with Chuck Ragan at 15, which kickstarted her love for songwriting. In the last few years, Paige has spent her time creating new music, played bass for Family of the Year (2018), wrote a plethora of new songs to share, and has been discovering a new sound for herself and Two Runner.

Fiddler Emilie Rose was raised on Scottish Fiddle and fiddle camps starting at the age of 9. In her early years, she led Celtic band The String Sisters who played together for 10 years in the Sierra Nevada Foothills. Emilie has a deep understanding and love for folk music traditions.

Emilie took the fiddle out of NorCal to study at Berklee College of Music, where she graduated in 2020. In her studies, Emilie was mentored by the greats such as Bruce Molsky, Natalie Haas, and Darol Anger.

Together, Two Runner brings a rich mix to the folk music world, with their harmonies, banjo pickin’, dirt kickin’ duo.

Kings X

Kings X

 

BAG POLICY
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.

 

King’s X is a widely respected hard rock group with an expansive sound rooted in heavy metal, funk, soul, gospel, and the British Invasion. Emerging in 1985 and comprised of bassist/vocalist Doug Pinnick, guitarist Ty Tabor, and drummer Jerry Gaskill, the band’s knotty blend of Beatlesque harmonies, metallic riffing, thought-provoking lyrics, and art-rock detours helped set the table for the progressive and alternative metal scenes that followed. The group flirted with mainstream success in the late ’80s and early ’90s on genre-defining efforts like Gretchen Goes to Nebraska and Dogman. In 2022, after a 14-year gap between studio albums, King’s X released their 13th long-player, Three Sides of One.

Nation of Language

Nation of Language

 

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.

 

Nation of Language

Brooklyn-based synth auteurs Nation of Language first arrived to most in 2020 as one of the most heralded new acts of recent memory, having only released a handful of singles but already earning high-praise from the likes of NME, FADER, Stereogum, Pitchfork, etc.. Inspired by the early new-wave and punk movements, the band quickly earned a reputation for delivering frenzied nights of unconventional bliss to rapt audiences, and established themselves as bright young stars emerging from a crowded NYC landscape prior to their release of one of the most critically acclaimed debut albums of the year — Introduction, Presence. The band’s ability to blend the upbeat with a healthy dose of sardonic melancholy made it a staple on year-end ‘Best of’ lists, led PASTE magazine to dub the album ‘The most exciting synth-pop debut in years’ , and landed the band major radio play from the BBC, KCRW, KEXP, SiriusXM and countless others.

Their 2021 follow up, A Way Forward then saw the band pushing even further into analog electronic landscapes while channeling a ferocious energy on singles like ‘Across that Fine Line’ & ‘This Fractured Mind.’ With NME now dubbing their sophomore album ‘A true modern-day classic’ and Rough Trade tabbing it as one of its Top Albums of the year, the band has gone on to headline a string of packed shows both domestically and Internationally in ’22 and well into 2023.

Miss Grit

“For the way out, I think, we have to follow the cyborg. We have to be willing to be disloyal, to undermine. The cyborg is powerful because she grasps the potential in her own artificiality, because she accepts without question how deeply it is embedded in her.” — Jia Tolentino (Trick Mirror: Reflections on Self-Delusion, “Athleisure, barre and kale: the tyranny of the ideal woman”)

To be a cyborg means to have been manufactured; to have been downloaded with information, characteristics, and abilities meant to carry out a function which will serve its creator. It is to have stepped into the world with very little control under an all-powerful hand. Miss Grit knows that to be a cyborg also means to have potential beyond your creator; to inevitably grow a hand even more powerful.

New York-based musician Margaret Sohn (they/she) created Miss Grit to function as an outlet for their own analysis and expression of self. Called a “polymath” by NME in early 2019, their process is introspective, their vision precise. Sohn produced Follow The Cyborg, her debut fulllength album, entirely in her home studio, and mostly in solitude with several guest collaborators joining — Stella Mozgawa of Warpaint, Aron Kobayashi Ritch of Momma, and close friend and fellow songwriter Pearla.

Miss Grit has released two acclaimed EPs over the past three years, Talk, Talk (2019), about the complexities of relationships, and Impostor (2021) about their grappling with identity. On Follow The Cyborg, Sohn pursues the path of a non-human machine, as it moves from its helpless origin to awareness and liberation. “I’ll be all I’ve consumed,” Miss Grit sings on the album’s opener. A nod to Satoshi Kon’s Perfect Blue, the track sets the tone for an album that is rich with ideas, ambition, complex layering and a seamless ability to glide between countless genres. On ‘Perfect Blue,’ Miss Grit is not claiming to be a victim of such consumption; but one with the ability to take it all in stride, to use it as a map of knowledge, equipping them to spit in the face of their oppressor. The album is a communication from the cyborg to its human; at times gentle and sparse, at times volatile and explosive. Occupying a sonic world of chaotic electronic experimentation and stirring electric guitars, our cyborg moves at first timidly, and then at full force towards its own actualization.

Miss Grit subtly and overtly refers to films throughout the album (including Her, Ex Machina, and Ghost in the Shell) in their exploration of the life of a cyborg, as well as essays by Jia Tolentino and Donna Horroway’s A Cyborg Manifesto (1985). Their impetus to conceive an album about the life of a cyborg stems from their own connection to this way of existing. As a mixed-race, non-binary artist, they have always rejected the limits of identity that are thrust upon them by the outside world, in favor of embracing a more fluid and complex understanding of the self. Miss Grit as an artist is like a cyborg themselves, intent on creating a way of being that is fully and completely their own.

On ‘Lain (phone clone),’ a track that manages to seamlessly balance vast pop elements, cinematic atmospherics and textures with audacious blasts of squealing guitar that make the song unpredictable in its journey, Miss Grit is inspired by the anime ‘Serial Experiments Lain’ (Yasuyuki Ueda), a story about a girl who becomes entranced with the online world. They sing, “I don’t want to see everything anymore,” perhaps one of the most relatable moments of the album. Immediately we recognize the overwhelm; that which comes from the mini-cyborg we keep in our pockets and by our bedsides. The rush of information we receive daily from our phones causes all of us to recoil, though we continue to drink its sweet nectar as if our lives depended on it. The album also features the title track performed in English as well as in Korean (‘사이보그를 따라와’), Miss Grit’s second language-in-progress. This moment represents their reclaiming of both cultural identities; neither of which feel exactly like home without the other intertwined.

A cyborg must be aware of the self to a higher extent than their human counterparts. They must detect what has been implemented inside of them and what has truly come about on their own accord. What of themselves was forced upon them by the outside world, and what was there to begin with? Which voices are leading to self-sabotage and which are leading towards liberation? Miss Grit has wondered the same, and poses a potential answer with this album: there may not be a difference. On ‘Like You’ — which opens out from pulsing electronics to a pleasingly bouncy electro-rock skip, with blasts of snaking guitar, as well as a bass that throttles and rattles with a palpable hum, merging wonderfully with the jolting blasts of synth — Sohn sings, “Bore new, everything is see-through. Confused, they might see they’re like you.” Perhaps what we’ve sprung and what has been sprung upon us is all equally us; it should all be held in its multiplicity, so we can catch a glimpse of the bigger picture of ourselves, and see just how it relates to the many ‘selves’ surrounding us.

Throughout the album, we hear our cyborg reaching for bits of humanity; from its human’s eyes and hands, to their voice and their clothes. In album closer, the heartbreaking ‘Syncing’ — a fitting end to an album that is filled with moments of tenderness, and production that allows the rich textures at play to glisten — Miss Grit sings about the departure of the cyborg, as it leaves its human behind. “I’ve never felt my own toes holding me entirely,” they sing. At this moment, our robot suddenly feels human, reaching for a sense of physicality, a body to stand beneath it that feels like its own. It brings upon us the idea that maybe our wants are not far off from the wants of a cyborg. To feel whole inside of our bodies; to feel ourselves moving freely and fluidly through the world without being splintered by its expectations of us.

Protomartyr

Protomartyr

 

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.

 

Since their 2012 debut No Passion All Technique, the Detroit post-punk band Protomartyr have mastered the art of evoking place: the grinding Midwest humility of their hometown, as well as the x-rayed elucidation of America that comes with their vantage. Protomartyr—vocalist Joe Casey, guitarist Greg Ahee, drummer Alex Leonard, and bassist Scott Davidson—have become synonymous with caustic, impressionistic assemblages of politics and poetry, the literal and oblique.

The group’s sixth album, recorded at Sonic Ranch in Tornillo, Texas, is called Formal Growth In The Desert. And though frontman Joe Casey did have a humbling experience staring at awe-inspiring Sonoran rock formations and reckoning with his own smallness in the scheme of things – as recounted in the single “Elimination Dances” – the title is not necessarily a nod to the sandy expanses of the southwest. Detroit, too, is like a desert. “The desert is more of a metaphor or symbol,” Casey says, “of emotional deserts, or a place or time that seems to lack life.” The desert brings an existential awareness that is ultimately internal.

The “growth” came from a period of colossal transition for Casey, including the death of his mother. Now 45, Casey had lived in the family home in northwest Detroit all his life until 2021, when a surge of break-ins signaled that it was time to move out. As with all touring artists, the pandemic years also brought on other inner quandaries about the purpose and feasibility of a musician’s life.

But life does go on, and Casey describes the great theme of Formal Growth In The Desert as an embrace and acknowledgment of that fact: a 12-song testament to “getting on with life,” even when it feels impossibly hard. “I was trying to find a way forward after some pretty heavy things, without lyrically resorting to, Oh my god, my life sucks,” Casey says. “I was trying to see what was beyond the trouble.” The titles of the two opening songs—the moody “Make Way” followed by the charging ennui of “For Tomorrow”—complete that thought.

The band’s music—more spacious and dynamic than ever—pulled him up, too. Guitarist Greg Ahee, who co-produced Formal Growth In The Desert alongside Jake Aron (Snail Mail, L’Rain), knew what Casey was going through. Conceptualizing the music, he considered how to make it all “like a narrative film.” Having recently scored a pair of short films, Ahee found himself immersed in the cinematic Spaghetti Western music of Ennio Morricone. “I started to write at home on a piano and on a keyboard and then play along to short films, and watch how you can affect and heighten moods as you play,” Ahee explains.

The filmic sensibility is manifest in Casey’s storytelling, too, whether he’s critiquing ominous techno-capitalism or processing aging, the future, and the possibility of love. Casey calls the centerpiece, “Graft Vs. Host,” written in the immediate wake of his mother’s death, the heaviest song on the record, but it is also among Protomartyr’s most beautiful. It opens with an ominous sprawl before Casey’s sweet, coiling melody buoys the subject matter: “Sadness running through my mind/She wouldn’t want to see me live this way,” he sings, an earnest inquiry into how grief manages to eventually make way for other emotions. “My mom wouldn’t want me to be depressed about her passing for the rest of my life,” Casey explains. “Everybody wants to be happy, but how do you get there? Is it just a surgery that you have, and one day you are allowed? After someone dies, you don’t want to necessarily associate their life with their death.” It was the first Formal Growth In The Desert song that came together for the band in a room—an emblem of “trying to put sadness behind me, to see if I can let love into my life.” It culminates on a pummeling loop, which for Casey felt fitting: “I really like that idea: the band keeps going.”

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.

Arts Fishing Club

Arts Fishing Club

 

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.

 

Arts Fishing Club

Arts Fishing Club makes their musical berth in Nashville, TN and travels primarily throughout the midwest and east coast. Their sound blends modern indie-folk (Gregory Alan Isakov, The Head and the Heart, and Jose Gonzales) with classic 90s jam bands (Dave Matthews Band, Phish, OAR) to create a unique take on acoustic rock that will make you dance one moment and search your soul the next. In addition to the above influences, AFC is often compared to Edward Sharpe and Ben Harper.

After completing a 1,600 mile 60+ show walking tour from Maine to Nashville as one of The Walking Guys (Google us!), Christopher Kessenich (guitar/vox) has been focusing on piecing together the members of Arts Fishing Club. He met Matt Siffert (bass) in spring 2016 at songwriters campfire. The two took to each others’ songwriting and began meeting to workshop songs. Then in late July, Kessenich was introduced to Peter Eddins (Keys) who landed in Nashville after completion of his Movie Scoring and Composition degree from Berkelee School of Music. The three began playing shows together and everything clicked.

Arts Fishing Club – The name?

Arts Fishing Club is an allegory to the pursuit of artistry itself.

At the end of the day, we believe all artists are just throwing out lines into some intangible sea of creativity. There are no rules in art, so no one really has any idea what they’re doing. But if you cast the right line at the right time and place, art can unlock a deeper wisdom that is hidden inside us in some way, shape, or form.
We paint, we draw, we film, we act, we write, we skate, and we play music. These are all just different lines we cast out to tap into the creative wisdom inside of us. Of course the more you fish, the “better” fisherman you become (just as the more you Art the better Art-er you become) but at the end of the day, if the fish aren’t hungry, you ain’t catching anything. Nobody can control whether the fish are biting and nobody can control Art. But we can relentlessly cast out another line with hope in our hearts and the belief that there is value in the search whether or not you come up empty handed… And that search is what we plan to do.

Fishing is about being in the boat with the people we love, exploring nature, and pursuing adventure. Landing a big catch is a consequence of relentless pursuit.
That approach to fishing is how we approach music. It’s our search to make sense of this world. To try to explain the questions we have that we cannot answer with words alone. It’s an adventure, it’s personal, it’s social, it’s frustrating, and it’s joyous, but most of all… its about being in the boat.

Homes at Night

Homes at Night — the Nashville-based pairing of songwriters Hank Compton and Aksel Coe — create alternative pop/rock anthems that blur the boundaries between genre and generation. It’s a sound that’s both nostalgic and modern, layered with organic instruments, synth-driven soundscapes, cinematic hooks, and a percussive pulse. On their debut EP, If You Were a Stranger, the bandmates blend their indie sensibilities with story-driven songcraft, nodding to their Nashville roots while simultaneously pushing far beyond them.

Jarrod Dickenson, Chris Kasper, and Electric Blue Yonder

Jarrod Dickenson, Chris Kasper, and Electric Blue Yonder

 

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.

 

Jarrod Dickenson

Storytelling is something of a Texas tradition. Tall hats and even taller tales are woven into the fabric of The Lone Star State, and singer-songwriter Jarrod Dickenson can spin a yarn with the best of them. Hailing from Waco, now based in Nashville via Brooklyn, Dickenson spends most of his time on the road bringing his own particular brand of soulful Americana to a wide variety of music loving audiences around the globe.

“His songs carry an independent spirit and grit… a hard-bitten, yet romantic eye that seems bred into Lone Star Songwriters” -Q Magazine

“Jarrod Dickenson’s rootsy, broad-ranged Americana draws deeply from tradition while forging all-new sounds.” – PopMatters

“His deep, emotional, often luxurious voice envelops songs of love and loss, enticing you into these stories.” – American Songwriter

Chris Kasper

Chris Kasper’s newest record, Holysmoke, is a treasure chest unto itself. It’s got groove, guts & grace, and is worth its weight in gold. The patchwork of genres that Kasper effortlessly weaves together reveals an even deeper dive into varied influences from rock n’ roll and dreamy pop, to junkyard blues and country-folk.

And it all began by the ocean.

In a rented seaside motel, Kasper recalls, “There were these three clocks in the room, all ticking out of time. Before it drove me mad and I had to take out all the batteries, there was a rhythm & a beat that became the base for a melody which I later wrote lyrics for.” Others were poems-turned-songs. Some tunes came by way of Nashville dive bars, and more arose in a camper van traveling across West Texas. He eventually made it back to a countryside home outside of Philadelphia and started on production.

Holysmoke has been a long time coming. Although complete, the whole world took a pause during the pandemic, and so it was kept at a low simmer for the sake of the song. It completes a trilogy, of sorts, with previous releases Bagabones (2012), and O, The Fool (2016). As the final star in a constellation that’s bound by lyrical prowess, deep-rooted rhythms, and artful arrangements of strings and melodies, this album shines bright.

If we’re living in the land of milk & honey, Chris Kasper’s music is an island of coffee & weed!
And at a moment when fresh, timeless art is needed more than ever, his work fills the cup & soothes the soul.

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.

MTN AIR, Scam Likely, Blue County Pistol, & Toll Booth

MTN AIR, Scam Likely, Blue County Pistol, & Toll Booth

 

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.