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Dom Flemons is known as “The American Songster®" since his repertoire covers over one hundred years of American roots music. Flemons is a folk musician, black country artist, songwriter, multi-instrumentalist, music scholar, historian, actor, slam poet, record collector, curator, podcaster, cultural commentator, influencer, and the creator, host, and producer of the American Songster Radio Show on WSM in Nashville, TN. He is the Co-Founder and original member of the groundbreaking Carolina Chocolate Drops, the first ever black string band to win a GRAMMY Award. Over the past 25 years, he has received major awards, gained world-wide media recognition and has become one of the most influential and highly decorated voices in American roots music. “Dom Flemons is one of the most accomplished American Folk Artists… few have pumped as much lifeblood into tradition as he has.” - MOJO Magazine

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Dave Scher grabbed onto an electric guitar at age 10, and has spent little of his waking time ever since without having one in his very capable hands. That is, unless, he happens to be playing mandolin, fiddle, bass, piano, organ or any number of other instruments, just to keep things interesting. He’s been known to dabble in jazz, funk, or even a little country whenever he temporarily wanders from his beloved blues, but basically he does it all. Dave ScherAnd then there’s his voice—powerful and sensual enough to convey every emotion on the spectrum, a natural extension and perfect complement to his work on the guitar.

It is Dave’s honor and pleasure to play as a sideman for many well-known local acts, and his versatility and enormous talent enable him to really up the ante and make any band sound incredible. But he mostly shines as a solo performer or when leading his own trio, belting out original material in addition to his own exciting, inventive arrangements of popular and classic covers of all genres.

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Paul Thorn

When it comes to songwriting, less is more, and simplicity is strength. Just ask Paul Thorn, who’s spent three decades turning soulful grooves and small syllables into songs that pack a big wallop. Maybe he learned the power of minimalism from his years as a pro boxer; maybe it just comes naturally. But whether he’s targeting heads, hearts, hips or the occasional funny bone, he somehow manages to condense large nuggets of wisdom into tight little mantras, the kind embroiderers stitched onto pillows before internet memes existed.

Thorn’s new album, Life is Just A Vapor, contains some beauties: “Life is a vapor, let’s live it while we can”; “tough times don’t last, but tough people do” (from “Tough Times Don’t Last”); “any mountain up ahead is just a hill” (from “Old Melodies”). They’re words of advice, comfort, support, encouragement, often meant to uplift, especially in times of struggle.

“I like for people to be touched by music and get something from it, something that they can take with them throughout the day,” Thorn says. “Every song on this album, there's a message in it of some sort about how to live life.”

American Blues Scene writer Don Wilcock calls Thorn “an everyman (who) addresses things we all think about, but few can articulate with the kind of candor, humor and folksy truth that immediately endear him to almost everyone lucky enough to hear his music.”

Whether he’s expressing love in “I Knew,” warning an ex’s new conquest about the dangers ahead in “She Will,” extolling the value of holding off on sex in “Wait” or listing the ingredients for making a marriage work in “Courage My Love” (“a half-acre on your daddy’s land / and a little luck / a load of white gravel in our driveway / so we don’t get stuck in a rut /a 3-horsepower lawnmower and courage my love”), Thorn delivers his messages with consummate skill — and pinpoint precision. One minute, he’ll unwind an outrageous tale full of wild characters (often accompanied by his own cartoonish illustrations); the next, he’ll tug at heartstrings with confessions of love, loss or failed dreams, balancing wit and pathos with an ease only the best storytellers can pull off. One of Thorn’s favorites was his friend and mentor John Prine, who inspired the title tune.

We’ll discuss that one in a bit, but first, we should mention that in “Wait,” a commentary about dating in the Tinder era, the fella who buys his dates dinner with a two-for-$20 coupon is someone Thorn actually knows. “Geraldine and Ricky” is based on real people, too — well, a real person and her hickory-headed dummy. Whether written solo, with longtime manager/collaborator/album producer Billy Maddox or with Chuck Cannon, Scotty Brassfield or Denny Carr, nearly all of these songs are inspired by or reference actual events or people; Geraldine was a traveling evangelist who couldn’t connect with children until she tried ventriloquism. When she spread the lord’s word through Ricky, kids were mesmerized — including 5-year-old Thorn, who requested, and got, a ventriloquist doll for Christmas.

“I would get up and tell jokes at church, and I'd take it to school and tell jokes at school,” he says, with that Tupelo, Miss.-formed accent and instantly charming, matter-of-fact delivery he has. “I had my mind up that when I grew up, I was going to be a ventriloquist.” (His singing career actually began at 3 — in church, of course; Thorn’s dad was a Pentecostal minister.)

Over a snaky rhythm enhanced by guest guitarist Luther Dickinson, Thorn fictitiously paints Geraldine as “a toxic opportunist looking for anything that will better her situation.” When she lands a dying old sugar daddy, she dumps Ricky. But karma catches up to Geraldine, while Ricky, thankfully, gets rescued.

But Life is Just a Vapor is not all homilies and humor. “I’m Just Waiting,” a catchy, funky tune featuring blues guitarist Joe Bonamassa, deftly examines relationship insecurity. In “Chicken Wing,” over a cool melody on which guitarists Michael Graham and Bill Hinds (on slide) merge T. Rex with Southern rock, a former pimp and scam artist admits: “I’m in the winter of my life / I love my dog, I like my wife / I wash the dishes, I sweep the floor / I keep a 12-gauge behind the door.”

For the record, the song is not about the uncle Thorn introduced on Pimps and Preachers, one of a dozen albums he’s released on his own Perpetual Obscurity Records since founding the label in 2000. (Thorn made his recording debut on A&M Records in 1997, after ex-Police manager Miles Copeland III heard him and had him open for then-client Sting, one of A&M’s top talents.) And just to be clear, Thorn’s definition of pimp includes “anybody that manipulates people and doesn't give them nothing in return.”

“I'm around pimps every day, especially in the music business,” he adds. “A pimp is a larger word than just somebody on the corner with a gold chain. ‘Chicken Wing’ is an overview of a bunch of pimps that I have known in my life and I melded their stories together. … all that song is about is different seasons of life.”

Speaking of seasons of life, two of the album’s most poignant songs contemplate the passage of time. “Old Melodies,” the kind of song a retro-country-loving couple might dance to after renewing their wedding vows, suggests challenges are easier to face with a partner by your side.

“It's about being together through life, and that's where I'm at,” Thorn says. “I'm 60 years old, and the stuff I'm writing about and singing about is for people that get what being 60 years old is.” Then he reveals the song’s sobering origin, which adds a different perspective.

“We had a family problem a long time ago, a relative that ran off the tracks with drugs and everything,” he explains. “When my dad was dealing with the pain of the heartache that somebody he loved was in a dark hole, he was just standing there, crying. And he said, “Man, ‘Amazing Grace’ used to be my favorite song, but now it’s ‘We Shall Overcome.’ Boy, that just hit me right between the eyes. They're both great songs, but ‘Amazing Grace’ is more like a praise song. ‘We Shall Overcome’ is, ‘We got something we gotta deal with, and we're gonna deal with it, and we're gonna get past it.’ I thought that was a beautiful thing he said.”

Thorn, a brilliant gospel stylist, could sing the heck out of either of those songs. If you haven’t heard his version of the O’Jays’ hit, “Love Train,” from Don’t Let the Devil Ride, his 2018 album of gospel covers, you haven’t experienced the song the way it truly should be heard. On this album, he’s backed occasionally by Tupelo gospel group New Testament, or Muscle Shoals session singers Cindy Richardson and Marie Lewey (aka the Shoal Sisters) — who sing on “Life is Just a Vapor,” a phrase adapted from scripture.

It's safe to say no one but Thorn would start a song with the lines, “Me and John Prine was eating ice cream / at the Double Tree Inn Suite 1019.” And no one but Thorn would follow them with, “Don’t tell Fiona she won’t understand / Life is a vapor. Let’s live it while we can.”

Of his late friend, Thorn says, “He’s one of the greatest songwriters of all time, and one of the nicest people, too. I can't even count the times I've opened up for him, which was a great opportunity for me.”

As he will do for countless audiences, Thorn narrates the story behind those lyrics: “One night after I opened up for him,” he recounts, “John invited me and a few other friends to come to his hotel room and have some ice cream after the show. So I went, and it was a big thrill. Then the next morning I went on Facebook and I wrote about my encounter, and I said to the world what a moment it was for me to get to hang with John and have this ice cream and everything.

“Right when I posted it, his manager called my manager and said, ‘Take that post down immediately. John is a severe diabetic, and his wife Fiona is going to kill him for eating ice cream.’” In total straight-man mode, Thorn nonchalantly adds, “Yeah, I got him in trouble for eating ice cream.”

And that’s how the finest troubadours do it: Set ‘em up with humor, then hit ’em in the feels with lines like, “Every day’s a gift, breathe in and hold it. / Every day’s a gift, it’s gone before you know it.”

Gorgeous, moving words. Simple, straight-forward and, if you’ve lost a loved one, or a hero like Prine, very likely tear-inducing.

“I'm just trying to put out a good body of work that will be remembered like John's music,” Thorn admits. “I'm trying to carry on his tradition, to keep it alive.”

Prine, the heavyweight champ at spinning humor and heartbreak into gold, would have loved this song, and this album. Maybe the lyrics he inspired will motivate someone to grab some thread and start stitching.

“Shoulda, woulda, coulda, I’ll do it someday, / Turns into time just slippin’ away. / The hour glass is runnin’ out of sand, / Life is a vapor. Let’s live it while we can.”

Josh Weathers

Josh Weathers is a Fort Worth based soulful singer songwriter. He has spent the last 15 years honing his craft of combining songs of hope with a high energy rock n’ soul live show. Since a video of him singing “I Will Always Love You” the classic Dolly Parton hit went viral a few years ago, it has expanded Josh’s reach to a national and global level. Many people have compared him to the likes of John Mellencamp, Springsteen or even Stevie Wonder, but his die hard fan base has found something incredibly unique about his ability to connect with an audience. In late 2015 Josh and his wife Kady founded a non profit organization called Love Like You Mean It Intl. after a life changing trip to India. Since the foundation began Josh has chosen to use his platform to bring awareness to their efforts overseas. If you ever have the chance to witness a live performance... do it. You’ll be a part of something special.

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Bleu Edmondson is a Texas Country artist from New Braunfels, TX.

Edmondson began writing his own songs at the age of 19, got his first guitar on his 21st birthday, formed a band by the time he was 22 and hasn't looked back since. Ever since writing to the legendary Lloyd Maines, asking for a shot to do a record with the highly respected producer, Edmondson has been making records ever since, influenced by the likes of Bruce Springsteen, Robert Earl keen, Lyle Lovett, and The Rolling Stones. Lloyd Maines, automatically gave Edmondson the guidance and street cred so many young songwriters strive for for years. https://bleuedmondson.com/

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Mustang Island, the third album from Austin-based band Little Mazarn, is a gentle force. Waves of grief crest like surf on the Texas coast. Wild horses break through long-shuttered gates, only to come back around. Lead songwriter, vocalist, and multi-instrumentalist Lindsey Verrill (she/her) joins bandmates Jeff Johnston (he/him) and Carolina Chauffe (they/them). The ten-song collection continues work with Dear Life Records. A full-throated romp through the capabilities of community-minded songcraft, Mustang Island is both naturalistic and futuristic, completely recasting Little Mazarn’s origins in primitive folk. Instead, the band reaches towards sonic experimentation and spacious expansion. 

Lindsey’s heart-opening vocals and Jeff’s singing saw, both trademarks of the project, mix with unexpected bombastic drums, dissonant synthesizers, and a chorus of orchestral oddities. This mid-career ode dances confidently in the creative liberties granted by decades in the game – more dazzlingly lively, and honestly somber, than ever before. 

The band’s crossroads branch across prominent Southern outsider music: On cello, Lindsey has recorded with Patty Griffin and Dana Falconberry. Jeff has played in Bill Callahan’s band, as well as with Li’l Cap'n Travis and Orange Mothers. Carolina is known for prolific solo project hemlock. Little Mazarn has also collaborated with Lomelda to release their last EP, Honey Island General Store (2023), following past LPs Texas River Song (2022) and Io (2019).

Alongside silliness and reverence, including covers from Kate Wolf and Bob Wills & His Texas Playboys, grief directs much of Mustang Island. Lindsey left her job of seventeen years teaching cello at a local school. Recording also aligned with the passing of Jeff’s father, a career educator in Jeff and Lindsey’s hometown of Dallas. 

“Grief, and the avoidance of grief, is a big part of being human,” says Lindsey. “You make a choice, and then you grieve for the other choice. Or you finish a meal and literally grieve that it was so good. If you really befriend grief, you’re like, ‘Oh, it’s here, in this pancake, which I loved so much that I ate the whole thing, and now it’s gone.’” -Rachel Rascoe 

     ‘The music of Little Mazarn is a cool float a few feet from the ground through a dimly lit, almost familiar forest. It is quieter than silence, big as everything, still but always moving. If you’ve ever had flying dreams, or an amazing night time bike ride on LSD, this might be a world for you. Chords are made up of notes; Little Mazarn gives them all their own moment. There are NO superfluous notes played here.  Lindsey’s kind and twisting voice ambles along over the spare sounds of Jeff Johnston’s saw bowing, Ralph White’s electric mbira wanderings, and her own slow banjo. Like DJ Screw, Bohren & Der Club of Gore, and anyone who chooses to walk instead of ride, Lindsey realizes the amazing power of slow… slow… slow music. Lindsey is at once a baby and a wise old man. Get in this canoe at dawn on some Texas river that remembers when Comanche slept under the stars.’—Thor Harris, Talkhouse

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Bob Schneider

Austin, Texas-based singer-songwriter and former frontman of The Ugly Americans and The Scabs, Bob Schneider is one of the most-celebrated musicians in the live music capital. Combining diverse styles, Schneider’s music spans genres, blending elements of folk, rock, rap, funk, bluegrass, reggae and country with the more traditional singer/songwriter aesthetic. In short, FRUNK.

Schneider has won more than 59 Austin Music Awards including Best Album, Best Songwriter, Best Musician, and Best Male Vocals making him the most decorated artist in Austin’s storied music history.

Schneider’s fan base reaches far beyond the city limits of Austin. He started gaining national recognition with his major-label debut for Universal Records, Lonelyland. A fiercely-independent artist, Schneider opted to start his own label, Shockorama Records, which has afforded him the freedom to make the music his fans love, on his own terms.

Schneider’s live performances, both solo and with the band, are legendary. A two-time performer on his hometown’s famed Austin City Limits television show, he is also in the 20th year of his residency at The Saxon Pub. All told, he plays over a hundred shows a year and he doesn’t plan on slowing down anytime soon.

Mitch Watkins

Mitch Watkins discovered the guitar at age 13. Only months later, he was gigging with a surf band in McAllen, Texas. He hasn't stopped since. His musical journey has taken him down many stylistic pathways, and to the far corners of the globe. He is most grateful for his talents and successes, and humbled by how much more there is to learn.

"A man for all musical seasons."

- Jazz Times

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DOM FRANCIS:

Dom Francis is a dynamic musician whose soulful sound is rooted in 60s rock and folk music. With standout performances at iconic venues like The Continental Club and Saxon Pub, Dom has built a reputation for electrifying live shows that blend raw talent with authentic storytelling. After releasing his debut album "The Wanderer" Dom and his band are starting to hit the road, bringing their high-energy performances to stages across Texas and the southern states.

ELLIS BULLARD:

In the wake of 2024’s Honky Tonk Ain’t Noise Pollution, Ellis Bullard has left no doubt that country music is still yearning for the true-blue honky-tonk experience he brings to the stage and studio. Listen to Bullard, and you’re listening to a life of barnstorming,hard living, and layers of musical influences. His 2024 itinerary included headlining shows in dance halls and clubs from coast to coast and top billing at the historic Festival Country De Crappone in France.

Ellis kicked off 2025 at the Mile 0 Festival in Key West this past January. “I’m just a person, just a guy out there having a good time and trying to make sure other people are too,” Bullard says. “I give my time to people, and I think that means a lot to them. I’m genuinely trying to forge relationships and have meaningful interactions with all the fans I meet on the road.” After sharing the stage with Texas mainstays like Cody Jinks, Ray Wylie Hubbard, Jason Boland, Reckless Kelly, Randy Rogers, and Whiskey Myers, Bullard has become his own. For his part, Bullard knows he’s on to something, and he’s enjoying the ride.

CONNER STEPHENS:

Singer-songwriter Conner Stephens preaches to the sounds of Austin that have been long overwritten. That’s not to say Conner isn’t attuned to the alternative energy of the new Live Music Capital scene. Rather, he marries the vintage Texas cowboy culture with some of the nuances of being a current Austinite. What comes about is a singer-songwriter’s take on the stories of modern love with sounds of twanged nostalgia. His latest single “Thick Blood” is just the start of Conner’s next phase to bring honest country to a city that still has got its deep roots rhythm underneath all the shine and evolution.

MATTHEW PAYNE:

Texas songwriter Matthew Payne grew up outside of Austin in the beautiful Hill Country surrounding Dripping Springs. His music blends that old time country and blues together and seeks to honor the poetry of the land and the people he’s met along the way. He’s been an educator for two decades, teaching high school English and Creative Writing in Austin public schools, and has loved every minute of it. All the while, he's spent his life listening to all the great Austin songwriters and seeks to honor that tradition. His debut EP “Coyote Howlin Blues,” showcases an earthy, down-home simplicity in the Texas tradition, and explores the human heart at its raw depth. It’s a love story, among other things, and howls like the wild coyote.

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Lera Lynn is an acclaimed singer-songwriter whose haunting voice, cinematic soundscapes, and genre-defying style have earned her a devoted cult following. Blending Americana, indie rock, folk noir, and art pop noir, she has crafted an unmistakable sonic identity that is both timeless and ever-evolving. Lynn first gained wide recognition for her music featured on HBO’s True Detective (Season 2), where her atmospheric songs and on-screen performance left an indelible mark on viewers.

A fiercely independent artist, Lynn has built a career on thoughtful songwriting, poetic lyricism, and meticulous production, all while nurturing a direct relationship with her fans, running her own independent label, Ruby Range Records. Beyond her own albums, she has composed and produced music for video games, podcast theme songs, and films, collaborated with a vast array of artists, and produced records for others. Her music has been placed in countless films and television series, further cementing her ability to create evocative, cinematic soundscapes. On stage, she has toured from California to Eastern Europe and everywhere in between, delivering mesmerizing performances that captivate audiences worldwide.

Now, 10 years after True Detective, Lynn revisits that pivotal era with True Sessions, a three-song EP reimagining the music that introduced her to a wider audience. This special release serves as a heartfelt gift to her fans, offering a glimpse into how far she has come while honoring the raw, moody essence of those songs.

But Lynn is not one to dwell on the past. On April 18, she will officially announce her ninth studio album, Comic Book Cowboy, set for release on September 19. Expanding her stylistic repertoire while sharpening her singular sound, this album plays with contrasts—gritty realism versus idealized heroism, and the absurdity of living up to a fantasy. It explores the tension between self-perception and the roles society expects us to play, capturing the struggle of wrestling with one’s own mythology.

Both self-aware and even subtly comedic at times, Comic Book Cowboy stands out as an anthem for anyone striving for authenticity in a world so full of expectations. It delivers the moody, immersive textures Lera Lynn fans have come to love while pushing into uncharted sonic territory. Lush production, dynamic arrangements, and deeply introspective lyrics weave together to create an album that feels both familiar and refreshingly new.

With Comic Book Cowboy, Lynn reaffirms why she remains one of the most compelling independent artists of her generation—an artist unafraid to evolve, take risks, and forge her own path, all while staying deeply connected to the fans who have supported her every step of the way.

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Nori is a genre-bending band featuring Akina Adderley on vocals (granddaughter of jazz legend Nat Adderley), Erik Telford on trumpet, Nick Litterski on keys, Aaron Allen on upright bass, and Andy Beaudoin on drums. Festival Peak describes Nori as “a five-person gift from Austin, TX.” 

While Nori has been performing for well over a decade, the Grammy Awards just recently created an Alternative Jazz category in 2023, a category that speaks to Nori’s diverse musical style – “a genre-blending, envelope-pushing hybrid that mixes jazz (improvisation, interaction, harmony, rhythm, arrangements, composition, and style) with other genres.”

Enriching an aesthetic deeply rooted in American jazz and folk music, the ensemble playfully weaves together a myriad of global influences giving rise to a seamless synthesis of sound. These musical explorations expertly balance the narrative of the lyrics with wide-open improvisations, echoing the transcendent tones of Nina Simone, Bill Frisell, John Coltrane, and Joni Mitchell.

The band’s debut album World Anew received much critical acclaim after its release in 2016. 

“Nori’s debut full length dissolves divisions and builds bridges between world sounds with seemingly irreconcilable differences. It’s a sonic vision of a harmonious future.” 

– KUTX

“Lyrics that are pure poetry.”  

– AXS

“They don’t use their skills to highlight themselves...They practice generous virtuosity.” 

– Designing & Neighboring

“World Anew gives notice that the ensemble’s rare genius is for making listeners hang rapturously on every word and gesture sung and played.”  

– Jazz da Gama

Their 2018 follow-up Bruise Blood highlighted visceral themes of social divisions in 21st century America. 

“Fusing jazz, folk, pop, and orchestral music, Akina Adderley and company hit all the right notes on their second album.”

– Austin Monthly

★ ★ ★ ★

– The Austin Chronicle

★ ★ ★ ★

– UK Vibe

Right before the Covid shutdown in 2020, the band recorded the single “I See You.” The performance was captured live in one room with a string trio (Leigh Wallenhaupt on violin, Leah Nelson on viola, and Rylie Harrod on cello) and documented with what later became an official live music video.

“'I See You' may be one song, but Nori pours an entire album’s worth of energy into its engineering, imbuing the notes, the lyrics, and the movements with stardust…the stuff that makes us human."

– Festival Peak

"'I See You' empathizes with anyone who's suffering, and that's exactly the kind of song we need right now."

– The Austin Chronicle

2021 saw the release of a self-titled vinyl record. Nori is a compilation that documents selected tracks from the band's diverse catalogue along with a previously unreleased cover of "Four Women,” a song by the band’s patron saint of music – Nina Simone.

In 2024, the band received a grant from the City of Austin. With this grant, Nori curated a Nina Simone tribute show at The 04 Center with the accompaniment of a 9-piece string orchestra. This performance was met with a stirring response and, as a result, the band will be booking future Nina Simone tribute performances at jazz festivals worldwide. 

On August 15, 2025, Nori will release Walking Foot, the band’s third full-length album and second vinyl record. The album includes the singles “Piece of You,” “Old Man” (a unique take on Neil Young’s classic song), and “Tiptoe” (to be released with an accompanying live video). Walking Foot is made possible with support provided by the City of Austin’s Austin Live Music Fund. 

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Described as “...not anything but everything: Classical, Folk, Bluegrass, Americana and a sound yet to be termed seamlessly merged into a perfect one” (David Srebnik, SiriusXM Classical Producer), Invoke (Nick Montopoli, violin/banjo/vocals; Zach Matteson, violin/vocals; Karl Mitze, viola/mandolin/vocals; Geoff Manyin, cello/vocals) successfully dodges even the most valiant attempts at genre classification. The multi-instrumental quartet encompasses traditions from across America, including bluegrass, Appalachian fiddle tunes, jazz, and minimalism. Fueled by their passion for storytelling, Invoke weaves all of these styles together to form a unique contemporary repertoire, featuring original works composed by and for the group. Strings Magazine observes, "the remarkable string quartet Invoke has repeatedly proven one thing over its first 11 years: it simply cannot be contained by any one label."

Invoke was the Young Professional String Quartet in Residence at the University of Texas at Austin from 2016-2018. Since being selected as Interlochen’s Emerging Artists Quartet in 2014, the group has been a featured artist and on faculty at the Interlochen Adult Chamber Music Camp. The group also participated in the Emerging String Quartet Program at Stanford, and was an Artist in Residence at Strathmore and the Fellowship String Quartet at Wintergreen Performing Arts. In 2018, Invoke was named a winner of the Concert Artists Guild Victor Elmaleh Competition in New York, NY, received First Prize at the M-Prize International Chamber Arts competition in Ann Arbor, Michigan, and received First Prize in the Coltman Competition in Austin, Texas.  

Invoke has shared the stage with some of the most acclaimed chamber groups in the country, including the Westerlies, Miró and Ensō Quartets, and the U.S. Army Field Band. Other professional highlights include performing in Carnegie Hall’s Weill Recital Hall, Lincoln Center, the Phillips Collection, and the Green Music Center,  a concerto appearance with the Brevard Sinfonia, a residency at the Stanford Pre-Collegiate Institute, and performances on the NextNOW Festival at University of Maryland, and Festival Amadeus in Montana. Additionally, Invoke has appeared with musicians from various genres, including chamber rock powerhouse San Fermin, to indie sensation Never Shout Never, to DC beatboxer/rapper/spoons virtuoso Christylez Bacon. The group has also performed with composer-performer Clarice Assad and will offer a collaborative program with her for the 2025-26 season.

Invoke’s latest album, Evolve & Travel, was released in fall 2023 on Sono Luminus. Evolve & Travel celebrates Invoke’s tenth anniversary and features seven original works. Each song reflects Invoke’s growth as people, composers, and as friends with a rich history of shared creative experiences and personal memories. Invoke instilled their versatility, compositional creativity, and artistic spirit into the seven original works on Evolve & Travel, while also highlighting the strengths of Mitze and Montopoli as songwriters and composers. The music lets the group completely abandon any semblance of the traditional “string quartet” formality and focus on what makes Invoke “Invoke” – best friends who make the music they love to hear, weaving together threads of classical technique, folk improvisation, and musical camaraderie. All Music describes the album as, “An intriguing entry for those wishing to sample the growing interface between classical music and progressive bluegrass.” Invoke’s discography also includes Souls in the Mud (2015), Furious Creek (2018), and Fantastic Planet (2021). Its debut release, Souls in the Mud, begins with original works that conjure images of America, including the fast-paced opening track “Travesty” and “The Trace” (inspired by bourbon whiskey). The third and title track, “Souls in the Mud,” is an American transformation of a 16th century motet featuring banjo, mandolin, and a bluegrass-influenced boot-stompin’ finale. To round out the EP, Invoke accompanies a historic recording of a haunting traditional English ballad, and finishes with two compositions by prolific American composer Danny Clay. Invoke’s second EP Furious Creek was their first record to include vocals. The title track explores the relationship between humanity and nature with an evocative chant bookending energetic instrumental interludes. A fast-paced tune, “Dogs,” spotlights the banjo with a finger-picking, bluegrass-inspired undertow, and Karl’s elegiac setting of the Walt Whitman, “O Captain! My Captain!” features Nick’s recitation. The EP closes with Invoke’s arrangement of the Stephen Foster classic, “Hard Times,” which became a favorite closer among concert audiences. In 2019, the Austin Chamber Music Festival commissioned Invoke to compose its own original score to the 1973 French animated feature, Fantastic Planet, performed live with a small orchestra of Young Artists from the Festival’s Workshop. Invoke released Fantastic Planet, the companion album to the project, in 2021. The album features improvisation and adventurous instrumentation, including the electric cello and the igil, a horsehead fiddle from Tuva, Siberia, evoking moody electric soundscapes of the film’s futuristic setting.  ​

Invoke is strongly committed to championing diverse American voices through commissioning and highlighting new music. The group’s ongoing commissioning project, entitled American Postcards, asks composers to pick a time and place in American history and tell its story through the group’s unique artistry. They have commissioned eight new works since 2017, including the latest addition to the initiative, The Lessons of History, by Jonathan Bingham, which premiered in summer 2021.

In addition to American Postcards, Invoke has performed and recorded numerous world premieres, including works by Joseph C. Phillips Jr., Armando Bayolo, and Geoff Sheil. The group’s recording credits appear on bassist/composer Ethan Foote’s solo album Fields Burning, singer/songwriter Marian McLaughlin’s Spirit House, jazz/soul singer Rochelle Rice’s EP Wonder, and many more. Invoke has also worked extensively with composer Graham Reynolds and his non-profit organization, Golden Hornet, a composer laboratory for the 21st century which aims to reimagine classical music through collaborative creations and adventurous programming with commitments to justice and innovation. Through Invoke’s collaboration with Graham Reynolds and Golden Hornet, they’ve recorded volumes IV-VI of String Quartet Smackdown, Marfa: A Country & Western Big Band Suite, the 2019 film, Where'd You Go, Bernadette, and the 2023 film, Hit Man.

Recent and upcoming highlights for Invoke include a residency at the Moss Arts Center at Virginia Tech, as well as performances presented by Strathmore Mansion, Newport Classical, Carthage College, Garth Newel Music Center, and many more. In March 2024, Invoke performed two concerts for Lincoln Center Moments, a program specially designed for individuals with dementia and their caregivers. Invoke was part of the feature on Lincoln Center Moments on CNN, which was broadcast on major news networks across the country. The group also hosts a monthly collaborative workshop series in Austin called "Invoke & Friends: Under the Hood," performing with numerous artists across various genres including singer/songwriter/multi-instrumentalist Daniel Fears, and R&B/Soul artist Micah Motenko.  ​

Invoke is sponsored by and endorses Dolfinos products and utilizes both their Miniput music stands and chinrest systems.​ Invoke endorses the Buffalo Trace line of Kentucky Straight Bourbon Whiskey, Soda Shaq cream sodas, and Kirkland brand everything.

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Dubbed by Rolling Stone as "a genre unto herself," Brooklyn, NY-based Kaki King has proven to be just that. Her career has taken her all over the world, sharing stages with Dave Grohl of Foo Fighters, contributing music to award-winning films (Sean Penn's Into The Wild), and performing at the Kennedy Center, the London Jazz Festival, and the Paris Les Femmes s'en Melent. Her explorations into the guitar and multimedia have led to the creation of groundbreaking work such as The Neck Is A Bridge To The Body, Modern Yesterdays, SEI, and her newest show for audiences of all ages, BUGS. Kaki continues to create, perform, and lend her musical voice to the forefront of contemporary music.

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Grace Rowland (formerly Grace Park) is an artist/musician from Central Texas. She makes cut paper, stained glass, graphic art, and is frontwoman of Austin psych-folk band The Deer.

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CURTIS MCMURTRY:

Curtis McMurtry is a singer-songwriter, composer, and multi-instrumentalist from Austin, TX. Influenced by Fiona Apple, Billy Strayhorn and Tom Waits, Curtis' songs combine sinister lyrics with sophisticated orchestration. His latest album, The Pollen & The Rot released on May 31st 2024, and is the first of four forthcoming albums inspired by seasons (in this case, spring). Curtis' music has been featured on NPR's Weekend Edition, and his song "Wrong Inflection" was included in the soundtrack for comedian Tig Notaro's Amazon Prime series One Mississippi.

Curtis was born and raised in Austin, Texas and grew up surrounded by local musicians. He studied music composition and ethnomusicology in college, primarily writing contemporary chamber works for banjo and strings. After graduation, Curtis moved to Nashville to sharpen his songwriting by co-writing with elder statesmen including the legendary Guy Clark. He has since moved back to Austin where he performs as a trio with cellist Diana Burgess (of Mother Falcon) and upright bassist Taylor Turner. Curtis' goal in songwriting and composition has been to integrate the Classical and Jazz orchestration techniques he learned in college with the lyric-driven, Texas singer-songwriter style he absorbed growing up.

DIANA BURGESS:

Diana Burgess is a cellist, educator and composer based in Austin, TX. Diana holds a Bachelor's of Music in Cello Performance at UT Austin and focuses primarily on writing, performing, touring and collaborating with artists in a variety of genres.

Since 2010 Diana has been a member of Austin orchestral pop band Mother Falcon, and with the group has toured throughout the United States and Canada, performed for NPR’s Tiny Desk Concert, and collaborated with artists including Ben Sollee, Kaki King, Amanda Palmer, Todd Reynolds, and Gina Chavez. In addition to performing, Diana contributes to the writing process in Mother Falcon, most notably in the creation of an original score for their collaboration with Glass Half Full Theater in a production of Petra and the Wolf, a Texas-based adaptation of Peter and the Wolf, which began touring the US in 2017.

Diana is the co-founder, outreach director and cello teacher for the Mother Falcon Music Lab, a unique music education program encouraging young musicians to discover their creative voice through collaborative songwriting.

As a solo artist, Diana creates lush, haunting songs featuring layered vocals, cellos, tenor guitars and more. Her debut album You Run was released in 2020, and was featured on NPR Music's All Songs Considered.

Diana's next album, Menagerie (releasing fall 2024) is an all instrumental album. Each composition is inspired by a different North American animal, including mountain lions, raccoons, armadillos and more. Another project, called Small Sounds is a series of short instrumental pieces scored to videos of natural phenomena (flora, fauna, water, clouds, etc.) The music features unique instrumentation including cello, charango, kalimba and found sounds.

SYDNEY WRIGHT:

Hey, thanks for tuning in.

I’m an artist and songwriter here in Austin, Texas. I grew up in Snyder, a tiny town in the west Texas panhandle. By age 5, my mom had my three sisters and me signed up for piano lessons. All the ladies on Mommy's side can play. I remember the joy of finally being able to stretch my fingers to play a full octave, and the discovery of the elegant sustain pedal once my legs were long enough to reach. I learned to sing harmony from singing along with Mom at church. My dad played guitar and was most content in moments when we would all sing together. His favorites were bluegrass, hymns, and the Marshall Tucker Band. Music’s been all over my life since the start.

I got to finish high school and study Ethnomusicology at North Texas University. After that, I moved to Austin, the 'Live Music Capital of the World'. My work is creating, performing, and amplifying art as a solo artist and performer, sometimes DJ, and freelance live sound engineer mixing behind the sound board for my friends.

I released my first album, Seiche, in 2018, and followed it up with several singles and collaborations. I've recentyl released 'Fool's Gold', the first song for an EP I'm aiming to have out by this year.

HONEY SON:

Honey Son is the brainchild of songwriter Mars Wright that typically lives somewhere in the vicinity of R&B.

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JO JAMES:

Jo James has a gift for songwriting and entertaining a crowd. From heavy-hitting stages to intimate heartfelt performances, Jo James continues to captivate audiences in a powerful way. His style consists of Americana, soul, and blues. Jo James has supported legendary acts such as Dr. John, Leon Russell, Robert Randolph & the Family Band, Marc Broussard, and more. He also played guitar for Capitol Records artist Fletcher, and was featured on season 17 of NBCs The Voice.

LEW APOLLO:

Lew Apollo is a rising force in neo-soul, captivating audiences with his soul-stirring melodies and poignant songwriting. Hailing from rural Barnum, MN, Lew's musical journey is deeply rooted in his home state's rich musical heritage.

His debut EP JUNGLE, produced by BLK ODYSSY, has made an indelible mark on the music scene, amassing 150,000 streams in under two months. Lew's sound blends the cinematic songwriting of artists like Hozier with the powerful energy of Arctic Monkeys and the sultry, soulful voice of Leon Bridges. This unique fusion creates a deeply resonant and evocative musical experience.

The tragic loss of his father in Fall 2022 profoundly influenced Lew’s artistry. Channeling his grief into his songwriting, he uses his music to normalize conversations about isolation, anxiety, and depression. Through heartfelt lyrics and a soulful voice, Lew aims to remind listeners they are not alone, offering a beacon of hope and understanding.

Lew has captivated audiences with sold-out shows at iconic Austin venues like The Pershing and Antone's Nightclub. His dynamic stage presence and electrifying performances with his 5-piece band leave a lasting impression.

Building on the momentum of his EP’s success, Lew is set to release his debut full-length album in Spring 2025. Fans eagerly anticipate this new chapter in his musical journey, looking forward to delving deeper into Lew's soulful world.

With a clear vision and a dedication to using music as a means of healing, Lew Apollo is emerging as a powerful voice in neo-soul. His exceptional talent and compassionate storytelling continue to touch hearts and inspire, leaving a lasting impact on the music world and beyond.

ELIJAH DELGADO:

Austin, Texas native, Elijah Delgado (22), officially began his career in 2021, with the release of his first EP, ‘When I Was On Cloud 9,’ bringing in over 700k streams on Spotify. His music is best described as Indie Rock Lullabies.

In the last two years, Elijah has released three more singles, opened for national and international touring acts such as Better Than Ezra, Zach Person, and Sister Hazel, has played Old Settler’s Music Festival, UtopiaFest, ACL Radio’s Drop In series playing to a crowd of over 1k music lovers, and dozens of Austin’s renowned music venues, including Meridian’s first sold out show. In November 2024, he headlined Stubbs Indoors after Dayglow to an audience of 150 folks, making it his biggest headlining show to date. Elijah is currently gathering all assets for his second EP, ‘Moonboy’, which is funded by the Economic Development Department of the City Of Austin. The in-your-face track, “Hide + Seek”, is the first single of the EP releasing January 31st. Moonboy the EP will be released June 2025. (See ‘Music’ section to hear.)

Elijah’s sound is characterized by heartfelt lyrics, melodic guitar riffs, and soulful vocals. Drawing inspiration from a wide range of artists, his music resonates with authenticity and emotional depth. Whether he's exploring themes of love, self-reflection, or personal growth, Elijah’s songs are crafted with a keen attention to storytelling and a genuine connection to his experiences.

Over the past two years, Elijah has released three more singles, each showcasing his evolving artistry and resonant storytelling. His tracks often feature intricate instrumental arrangements and dynamic shifts that keep listeners engaged from start to finish. The fusion of indie rock’s raw energy with the intimate, gentle singer/songwriter flair creates a unique, dynamic, and compelling juxtaposing sound that sets Elijah apart in the music scene.

His live performances are known for their captivating presence and emotional intensity, drawing audiences into the world of his music. In addition to headlining his own shows, Elijah has also opened for several regional and national touring bands, further establishing his presence in the live music scene.

Elijah’s captivating live performances and distinctive sound have earned him a dedicated following. He is currently working on his next EP, set to be rolling out late 2024 / early 2025. With each new project, Elijah continues to push the boundaries of his musical expression, solidifying his place in the indie music scene. Keep an eye out for his upcoming releases and live shows, as he promises to bring more heartfelt and compelling music to his growing audience.

GRITTY SUNSET:

Whether headlining a show, festival, theatre stage or touring the globe, former New Yorkers Courtney Gayle and Eli Menezes now based in Austin have been performing locally and abroad for well over 15 years. Their paired tenure in vocal performance and guitar brings a memorable and dynamic experience!

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Since the debut of his album My Tribe, two-time GRAMMY® nominee and multi-award winner Blessing Offor has established himself as a true artist’s artist with a voice as bright and authentic as his personality. My Tribe debuted in early 2023, and quickly hit Top 20 on THREE Billboard charts. The album’s lead single, “Brighter Days” became a bastion of mainstream radio, hitting Top 25 on the mainstream AC radio charts with over 150 million views on TikTok and his duet, “The Goodness” with TobyMac became his first #1. Building on his success, Blessing has performed twice on TODAY with Hoda & Jenna, has appeared on Good Morning America, Kelly Clarkson and The Jennifer Hudson Show, and was named an Amazon Breakthrough Artist and Pandora Artist to Watch. Blessing spent most of 2024 on the road with Lauren Daigle as the support act for her Kaleidoscope Tour, and made his Stagecoach Festival debut in 2025.

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THE SPEAKER WARS is an Americana-Rock band formed by Rock & Roll Hall of Fame member, Stan Lynch, and Texas singer-songwriter, Jon Christopher Davis (JCD). They co-wrote and produced a collection of songs for their self-titled release that’s the culmination of their long-time collaboration, revealing rock, country and gospel influences with a new, but already famous sound.

Stan’s widely-known as one of Rock’s most tasteful time-keepers and a founding member of Tom Petty and the Heartbreakers. The Hall of Fame drummer, singer-songwriter and producer has written songs for Don Henley, Ringo, Toto, The Byrds, Rita Coolidge, Meredith Brooks, Tim McGraw, Eagles, Sister Hazel, Eddie Money, The Mavericks, and The Knack. He’s also played on and produced some of the most critically acclaimed and commercially successful albums in the industry. Stan brings those skills to his first band project since Tom Petty and the Heartbreakers. Beyond producing and playing grooves for THE SPEAKER WARS, Stan lends his guitar, keyboard, bass and vocal chops to the mix.

Jon Christopher Davis (JCD) began his career as a singer-songwriter in Dallas, Texas. He sharpened his craft by working in bars, theaters and concerts halls for over 30 years. JCD spent ten of those years in Nashville, garnering major-label record deals and writing songs for several major-label artists. It was in Nashville where JCD and Stan met. Stan was selected to produce JCD’s solo album. They quickly struck up a friendship and professional collaboration that led them ultimately to form THE SPEAKER WARS. JCD lends his vocals, guitar, bass, piano and harmonica to the album.

Rounding out THE SPEAKER WARS - Jay Ellis Brown (keyboards/vocal), Brian Patterson (bass/vocal), Steve Ritter (percussion/vocal) and Jay Michael Smith (lead guitar).

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Karla Bonoff has been described as one of the finest singer/songwriters of her generation. That description is not hyperbole.

Bonoff has enjoyed critical acclaim, commercial success, enduring popularity, and the unwavering respect of her peers. Karla has seen her songs become hits for Bonnie Raitt, Wynonna Judd, and Linda Ronstadt. Many of Bonoff’s ballads are classics.

Karla has continued to record and tour extensively, playing sold-out shows around the world. Hearing Karla’s moving vocals on her rich, expressive songs is like standing beneath a sparkling waterfall–refreshing, exhilarating, and restorative. Experiencing them live can be transformative. Fans and critics agree that Bonoff’s songs are timeless as are her recordings. Many prefer her versions, live with instrumentation that is clean and spare, giving Bonoff’s voice room to work its emotional magic.

In 2019, Karla released her first new album in over a decade, Carry Me Home, a 16-song set featuring brand new recordings of Karla’s classics along with new songs by Karla, Kenny Edwards, and a cover of a vintage Jackson Browne tune, Something Fine, which Karla performed on the 2015 compilation, Looking into You: A Tribute To Jackson Browne.

In late 2020, Karla released, Silent Night, her first collection of Holiday music, to wide acclaim, including a prominent listing on the New York Times Best New Holiday Albums of the Year. In 2021 Karla added two new songs to her Holiday collection including a duet with the legendary Michael McDonald.

The media continues to follow and shine a spotlight on Karla’s ongoing career milestones. She was featured in the acclaimed Linda Ronstadt documentary: The Sound of My Voice, highlighting her friendship with Linda and as the writer of several of her biggest songs, including Grammy Winner, All My Life. Bob Lefsetz, a longtime fan, interviewed her for his popular podcast and dug deep into her history as a pioneer of the Southern California Singer-Songwriter scene, Trisha Yearwood’s new album includes a lovely rendition of Karla’s, Home. Mary Sue Toohey of The Village on Sirius/XM hosted a performance & interview, and she was invited to sing on the longest-running radio program for acoustic music, Acoustic Café.

As dynamic as ever in her solo shows, Karla is also available to package with various accomplished musical partners, including a new offering, “Home for the Holidays” with Livingston Taylor (by arrangement with Paladin Artists)!

https://www.karlabonoff.com

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GIULIA MILLANTA:

Singer-songwriter, Giulia (Julia) Millanta, is a native-born Italian from Florence who now calls Austin, Texas home.

A creative and prolific artist, she has released seven solo albums, touring nationally throughout the USA and internationally. An accomplished guitarist, Giulia also plays ukulele and sings in four languages. She has been called smart, pensive and cool and credited with psychedelic grooveability whilst “baring her clairvoyant soul” to “deliver musical mojo.”

Giulia began her life in music as a child of eight years when taught to play guitar by her father she began to perform traditional folk songs. She continued to sing and began writing songs and making records. Performing at the Acoustic Guitar Meeting in Sarzana in the spring of 2010 her accomplished guitar style and songs earned her the “New Sounds Of Acoustic Music” award. This led to an endorsement by the renowned guitar makers Eko, choice of the most famous 60’s-80’s era singer-songwriters throughout Italy.

In 2008, she debuted with “Giulia and the Dizzyness” (Cavern Jatt Records.)

Then, in 2011, she released “Dropping Down” (Ugly Cat Music/Audioglobe) distinguished by her maturing skills as musician, producer, writer and arranger.

Deciding to expand her musical borders in 2012 she moved to Austin where she was soon embraced by the music community and its fans as a writer, collaborator and performer in the scene’s most prestigious singer-songwriter venues.

Shortly after she released “Dust and Desire” (Ugly Cat Music/Audioglobe.) Just a couple of years later in 2014 she broke new ground with “The Funambulist” (Ugly Cat Music) Surrounded by a host of new friends and fellow musicians as “between the lines” she conceptualizes the tightrope walk she has been through, writing and singing of all she has experienced, learned and become.

In 2016, Giulia released her fifth solo album “Moonbeam Parade”, 13 self-penned tunes fueled by a new direction on electric guitar. Produced by Giulia herself on her own label “Ugly Cat Music”, with her friend and producer George Reiff, with a stellar band featuring some of the best musicians in Austin, such as Charlie Sexton (Bob Dylan), Howe Gelb (Giant Sand), Glenn Fukunaga (The Dixie Chicks), Gabriel Rhodes (Willie Nelson),David Pulkingham (Patty Griffin) and many more.

​In 2018 Giulia releases “Conversation with a Ghost” produced by herself and Gabriel Rhodes. The record also features talents like Marc Ribot (Tom Waits) on electric guitar, Joel Guzman (Paul Simon) on accordion, John Mills (David Byrne) on horns.

​2018 was also a great year for awards for Giulia, since she won the Premio Ciampi for “Not You”, her version of Piero Ciampi’s song "Tu no" and was awarded with the Doc's Blues Awards 2018 as BluesWoman of the year by

Severn Fm Radio.

After 2 years of collaborations and after touring extensively in the US and Northern Europe, Giulia returns in the studio in early 2020 to record a new album. “Tomorrow is a Bird”, once again co-produced with guitar player and poli-instrumentalist Gabriel Rhodes, features some of the most influential musicians in the Austin music scene. The album is about re-evaluating life, about endings and beginnings, failures and opportunities, about changing direction, trusting that the wind will support your wings and get you where you need to go.

A self-published book entitled “Between the Strings” explores the other side of being a musicians, her life on and off the road, and marks Giulia’s debut as a writer.

In the summer/fall of 2021 Giulia records “Woman on the Moon” (out in April of 2022)

The record was almost entirely performed by Giulia and Gabriel with the exception of drum parts.

Some odd instruments were used in these recordings: a wet towel in the bathroom sink, puppet legs against a wooden box, various guitars played with cello bow, Giulia’s naked thighs … The record is a journey of separation and unity, through the masculine and feminine inside of us.

In the Spring of 2022, Giulia publishes her first novel “Fratture” with an Italian publishing company names Porto Seguro.

In April 2024, Millanta is poised to release her ninth solo album (her sixth in the US), Only Luna Knows, along with an Italian cookbook, “Dinner with Giulia - Flavors, Songs and Stories of a Florentine Troubadour”.

In the past few years Giulia has performed in some of the best rooms in the US and Europe such as:

The Kessler Theatre in Dallas, TX (opening for 10,000 Maniacs)The Heights Theatre in Houston, TX (opening for 10,000 Maniacs and Squirrel Nut Zippers)The 04 Center in Austin, TX, Club Passim in Cambridge, MA, Tin Angel, Philadelphia PA, An Die Musik, Baltimore, DE, Rockwood Music Hall, NYC, The Blue Door, Oklahoma City, OK, The Mucky Duck, Houston, TX, Opera House, Telluride, CO, Walnut Room, Denver, CO, In the Woods, Leusden, NL, De Harmonie, Edam, NL, Mandy’s Lounge, Homburg, DE, Teatro Romano di Fiesole, Florence, IT and more...

ERIN IVEY:

Erin Ivey is an Austin-based singer-songwriter whose intimate, confessional style, expressive voice, and emotionally powerful performances have won her a loyal following, national endorsements from Guild and Gretsch, and a 2025 Austin Music Award for Best Folk.

Texas Monthly called her a "superstar." Austin.com dubbed her the "queen of Austin songwriters." Roxy said she's "the darling of Austin's legendary music scene" and according to KUTX, Ivey has "quietly become one of our city's biggest critical successes."

In 2020, Texas Music Magazine named Erin's breakout album Broken Gold one of 20 "albums that defined Texas music over the past 2 decades."

Raised in a military family in Annapolis, Maryland, Erin moved to Austin to attend the University of Texas. She found her people keeping it weird and started playing open mics at the renowned Cactus Cafe. She has since performed countless shows around the world in various solo and band scenarios, sharing stages with Norah Jones, Emmylou Harris, HEART, Indigo Girls, Shawn Colvin, Ralph Stanley, Stanley Jordan, and many others.

Her latest album, Souvenir, is a country-folk collaboration with producer Brennen Leigh, created in 2024 while Ivey recovered from lung cancer. Souvenir was featured on The Best Country Music on Bandcamp, citing its "gently spirited country-folk songs that spill over with memorable melodies and slice-of-life wisdom about searching for a sure path in an disorienting world."

Erin's 2021 album, Solace in the Wild, was produced by film composer and guitarist Chuck Pinnell. This cinematic folk gem hit #5 on the international Folk Radio charts. It was on the 64th GRAMMY ballot for Best Folk Album, alongside the single “Dust Bowl,” up for Best American Roots Song, and it made the Austin American-Statesman's annual Top 10.

Erin's work has been featured in Forbes, HuffPost, and Adweek, in films, ads, and TV shows including Suits, The Client List, Coach Snoop, E! News, and numerous Hallmark movies. She has received artist grants from Black Fret, the City of Austin, and Howlin' Dog Music Group, as well as national guitar sponsorship from Guild, mandolin sponsorship from Gretsch, and a signature electric guitar from Skermetta Guitars. In 2009, the mayor of Austin declared April 29th "Erin Ivey Day."

Erin's six studio albums feature diverse collaborators including Tosca String Quartet, R&B/dub organ trio The Finest Kind, and rapper Mic Flo. She wrote and produced the acclaimed interdisciplinary "Kaleidoscope Project" at The Long Center for the Performing Arts in Austin and has collaborated with Blue Lapis Light aerial dance company and DiverseSpace Dance Theater. Erin's voice can be heard on albums by Christopher Cross, Moonlight Towers, Ryan Harkrider, Quiet Company, Mount Pressmore, and many more.

A frequent Critic's Pick at SXSW, Erin was the first artist-in-residence at Rumblefish in Portland, OR. She was the one woman selected for the Red Bull Music Lab in Dallas, TX and was chosen to be part of the first international Mashibeats Web3 Creator Club cohort.

Erin is active in the arts community, serving on the Board of Governors for the Texas Chapter of the Recording Academy and the Advisory Board for This Is Noteworthy. She speaks on industry panels at the intersections of creativity, culture, and commerce for organizations such as The GRAMMY Museum, INBOUND Conference, 343 Labs, and Folk Alliance International.

She also facilitates songwriting, creativity, and project management workshops, as well as volunteering as a songwriting and music business mentor at Song Rise Arts and GRAMMY U.

MICHAEL FRACASSO:

It's a long way from the steel mills of Ohio to the wide-open plains of Texas, especially if you get there via New York City. But that's exactly the circuitous route taken by singer/songwriter Michael Fracasso and it has worked quite well for him. Fracasso grew up amidst Italian, Polish, and Irish immigrants working for a better life in the mills of Mingo Junction, OH. The town's main claim to fame is that The Deer Hunter was filmed there, but with any luck, Fracasso will put it on the map in association with his career. Naturally outgrowing his roots, he ventured off to Washington State to finish college and eventually made his way to New York in 1979 to be a songwriter. For 12 years, Fracasso honed his craft by participating in open-mic nights and songwriter groups. His first stop was the Cornelia Street Café in Greenwich Village, which, at the time, was the chosen hangout for folks like Suzanne Vega, the Roches, and Steve Forbert. Fracasso dove right in, contributing tunes to various compilations. By 1990, things were shifting in the New York folk scene, so Fracasso felt a change was in order. Once again, he packed up and headed out to find his place in the world. Next stop: Austin, TX.

With his high lonesome voice and urban sensibilities, Austin was a pretty good fit. Soon enough, Fracasso carved out a niche for himself and within a year was voted Best New Artist in the Music City Texas poll of local musicians. His first official release of Love & Trust came in 1992, along with tours of both coasts and abroad. And there he was, alongside Lyle Lovett, Joe Ely, Hal Ketchum, and others in a television special highlighting the Austin music scene. Founding Bohemia Beat Records with some fellow musicians, Fracasso issued When I Lived in the Wild in 1995. Being very well received critically, it also found (and held) a spot on the Gavin Report's newly established Americana Top Ten. Continuing to tour in support of his records, Fracasso has slowly built a national following for his literate, beguiling songs and captivating vocal style. World in a Drop of Water was recorded with the help of fellow Texan Charlie Sexton and offered up for public consumption in 1998

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Join us for an unforgettable evening showcasing the extraordinary talents of Austin’s own McKenna Michels and Ruthie Craft. The concert will open with a special performance by the American Artists Project’s Variations Choir—an extraordinary ensemble of student artists on the Autism Spectrum. With powerful vocals and compelling artistry, these performers bring stories to life through song, weaving together passion, resilience, and heart. 

Get your tickets now and experience a concert that celebrates the unstoppable power of voice.

This project is supported in part by the City of Austin Economic Development Department.

“We have a limited number of underwritten free tickets available for neurodiverse individuals and their families. If you are interested, please email jwilliams@americanartistsproject.org. They're limited quantities and are first come first serve.”

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Songwriter Vienna Teng re-emerges this fall with her mashup song pair We’ve Got You - her first new music in over a decade - but her fans have been here the whole time. They’ve packed concert venues even in years between releases, crowdfunded an ambitious music video in hours, and joined by the hundreds when she launched her “music x climate action” Patreon in 2022.

That kind of devotion has poured forth since 2002’s Waking Hour, which landed her on NPR’s Weekend Edition, The Late Show with David Letterman, and the top of Amazon’s music charts. Across four more studio albums that followed - the chamber folk of Warm Strangers, the jazz-inflected Dreaming Through the Noise, the indie epic Inland Territory, the bright electro-pop in Aims - Vienna has paid homage to her genre-bending heroes like Paul Simon and Tori Amos, while carving a path all her own. Together with her captivating live performances and thoughtful online presence, her work has built a loyal following across generations and continents.

Vienna’s new mini-EP We’ve Got You reflects the complexity of her life over the past decade: climate change work, community building, parenthood. Two songs, each titled “We’ve Got You,” act like fraternal twins: one an indie-pop tribute to inspiring leaders, the other a chamber-folk paean to unsung caregivers. Played simultaneously, they reveal a new intricate whole: a mashup by design, and a love letter to social movements.

Appropriately, Vienna now also hosts climate action workshops on tour and online, which participants have described as “rocket fuel” and “the perfect antidote to despair.” It’s an exciting new chapter in the ever-evolving love story between an artist and her audience.

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AN EVENING WITH BEPPE GAMBETTA: TERRA MADRE

Beppe Gambetta is a guitarist, vocalist, researcher, and composer born in Genova, Italy. His distinct style of concert presentation brings American and European roots together with one voice, blending energetic grooves with passionate melodies and giving new life to sources from different times, periods, and places. In addition, his original music has contemporary influences on traditional roots music. Gambetta has focused primarily on his solo career since 2002, touring constantly between Europe and America, creating a musical fusion where American roots music and Ligurian tradition, emigration songs and folk ballads, steel string guitars, and vintage harp guitars not only co-exist but interact, weaving a deep dialog unaware of any rigid classification.

Terra Madre (Mother Earth) is a musical key to opening a world of tales and dreams related to the motherlands of infinite possible itineraries and to the cries of pain and hope that rise from them. 

"Terra Madre is a lovely continuation of his lengthy and harlequin catalog of recordings. It’s bilingual, cinematic, and thoughtful, while also impassioned and brash. But he’s never a one-note musician, so the collection is artfully subtle at the same time." Justin Hiltner - The Bluegrass Situation

"From the first note, the listener is presented with a horizon of relaxed virtuosity....one in the style of the very best Tony Rice recordings, where fantastically relaxed guitar work refines already great songs.... everything here is mixed with sensational sensitivity, a constant silky-clear living sound flatters the ears of the increasingly enthusiastic listener.” Michael Lohr - Akustik Gitarre

"Like life itself, Terra Madre is an opus of vast proportion, yet simple and straight forward......There’s more than just fantastic artistry to Terra Madre. There’s philosophy, reciprocity and perseverance in the face of adversity. It stirs great emotions within and reminds us to appreciate our lives." Karlos D'Agnostino, Bluegrass Unlimited  

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Ottmar Liebert’s global success can be attributed to a myriad of things – his creative vision, his determination, and a strong sense of melody. Born in Cologne, Germany, he began playing guitar at 11. Before the age of 19, Liebert had intended to stay in Germany and pursue a career as a designer and photographer. However, while journeying extensively through Asia and playing with other travelers and local musicians, he realized that he could not escape a life of music. After pursuing his dreams of playing rock music in Boston, he settled in Santa Fe, New Mexico. Santa Fe was a fresh start for Liebert in many ways and in addition to returning to the acoustic guitar, he remained open to letting the place define the music he made. It was this openness to the local landscape that defined what was to become his musical style, a mix of Spanish, Mexican and World elements, strong melodies tinged with a shade of melancholy, balanced with upbeat rhythms.

Liebert founded the first incarnation of his band, Luna Negra, in 1989. His debut album began as a self-produced release called Marita: Shadows and Storms, copies of which local Native American artist, Frank Howell, distributed in his art galleries. After the record made its way to radio stations, it began generating a buzz among programmers and received unprecedented response among listeners. Higher Octave Music picked it up and released a fully remastered version, Nouveau Flamenco. Recorded for less than $3,000 on an old analog machine in a shack beside a gravel pit, this CD became an international sensation, establishing Liebert’s unique border-style flamenco, and becoming the best-selling instrumental acoustic guitar album of all time:

2 x Platinum – USA
14 x Platinum – USA/Latin
Platinum – Australia
Platinum – New Zealand
Gold – Canada
Gold – Mexico

Visual art has always been essential to Ottmar Liebert’s world-view and even today he is an avid photographer. “My music is visual,” Liebert says. “Santa Fe has great light, that special thing you get in the high desert. Some days you can see for 100 miles, and think you can reach into the sky or walk off a ridge and keep flying. That’s how I felt when I recorded Nouveau Flamenco.”

Liebert has since become one of the most successful instrumental artists of the past decades, entertaining audiences around the world and releasing a catalog of 33 classic albums including live recordings, an orchestral album for Sony Classical, a binaural surround sound recording, remix albums, a lullaby and a flamenco-reggae album. During his career, he has played more than two thousand concerts worldwide. Ottmar Liebert and Luna Negra have played two concerts with the New Mexico Philharmonic featuring Liebert’s music arranged by bassist, Jon Gagan. These two concerts, to date, have broken attendance records for the New Mexico Philharmonic. Ottmar Liebert has been nominated for five Grammy awards.

Of Liebert’s thirty-three albums, there are some that stand out.

Borrasca (1991) was Grammy nominated, but it is exceptional in Liebert’s mind for another reason. Although everyone wanted him to make another Nouveau Flamenco, this album went in a different direction. He added horns and piano, giving the album a different vibe and sound.

Solo Para Ti (1992) featured two songs on which Carlos Santana played. Santana’s was the first concert Ottmar Liebert ever attended and he was a huge influence on Liebert’s melodic playing.

The Hours Between Nights + Day (1993), nominated for a Grammy, mixed the Japanese koto, with the flamenco guitar; on this album, Liebert used his electric guitar for the first time since the mid-eighties, and combined programmed drums with live percussion. He also ingeniously layered field recordings with the original music creating a musical odyssey that is dreamy and atmospheric. The album contains the only Spanish language version of the Marvin Gaye hit Mercy, Mercy Me

Opium (1996), again nominated for a Grammy, was the first album recorded in Liebert’s new studio in Santa Fe. Liebert received many accolades for this album from fans around the world and emails and letters from listeners describing how evocative Opium was.

La Semana (2004) was the first album Liebert engineered by himself. It was the first time there was no sound engineer on the “other side of the glass” and Liebert discovered that at first, he played what he had planned but then after he dropped this, it was just “pure play”.

One Guitar (2006), also nominated for a Grammy, was a milestone album for Ottmar Liebert in that it was his first solo guitar album.

Waiting n Swan (2015) is special to Liebert because to him it reconnects two branches of rhythm – tangos flamenco and reggae, proving that there is no such thing as “purity” in music.

slow (2016) is an album which Liebert felt it was incumbent upon him to make a statement against the sound of billions of smart phones beeping with the latest news, likes and comments, keeping us in a state of constant alarm. His album is framed around the notion that a slow tempo can change listeners’ heartbeats and blood pressure.

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Kalu and the Electric Joint blend the powers of psychedelic soul music with the driving beat of rock and roll and the ancient rhythms of Africa. This afropsych musical chemistry comes from the bond forged by frontman Kalu James, who emigrated from Nigeria at age 18, and guitarist Jonathan “JT” Holt, who adds a touch of American soul to Kalu’s West African heritage. While “Time Undone” (2017, sPaceflight records) is a sonic masterpiece of original tunes with a positive message and soul-stirring beats, The group’s new record, “garden Of eden”(2023) explores disruption in all its forms: the beautiful, weird, to the tragic. arrangements are masterfully crafted Their music invoking a wide range of emotions while influencing with an uplifting and empowering message. Opening for acts like THE BLACK KEYS, George Clinton & The Parliament Funkadelic, Trombone shorty, Vieux Farka Toure, Allen Stone, amongst many others, this band is carrying modern music forward while paying tribute to the inspirations of the past.

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Her Mana is a musical project created by Kate Robberson and Emilie Basez.

The Texan born artists, songwriters, and travelers that create an otherworldly soundscape that’s both refreshing and familiar. Like two currents that dance together, their sound forms swells of sonic intensity and rivers of mantric melody.

Their collaboration on stage captivates audiences through a tender, playful, and powerful presence. Lyrics in English, Portuguese, and Spanish are woven into swirling textures of samba, soul, and folk music.

Classical guitar, ukulele, and a variety of world percussion instruments accompany their vocal harmonies, transmuting an unwavering connection to each other, mother Earth, and humanity.

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Among the most prolific artists on the Americana scene today, Seth Walker is a multi-dimensional talent who combines a gift for melody and lyric alongside a rich, Gospel-drenched, Southern-inflected voice with a true blue knack for getting around on the guitar. With his 12th studio album Why The Worry, Walker further builds upon this reputation.

Set straight by the title’s mantra, Why The Worry finds the veteran singer-songwriter letting go of the worry about perception, the worry of over-preparation, and the worry that seeps in constantly from the news and noise of everyday life. Taking a page from Willie Nelson, Walker embraced the country music legend's sage wisdom, “I’ve never seen worry accomplish anything, so I decided not to do it.” Indeed, the album was just about finished when Hurricane Helene hit Walker where he lives in the mountains around Asheville, and as a result, the record almost didn’t see light.  As catastrophe took shape, the album’s importance wavered in his mind until the central theme came back into view. The worry wouldn’t undo any damage, and there was still service in song.

Growing up on a commune in rural North Carolina, the son of classically trained musicians, Walker played cello long before discovering the guitar in his 20s. When his introduction to the blues came via his Uncle Landon Walker, who was both a musician and disc jockey, his fate was forever sealed. Instantaneously, Seth was looking to artists like T-Bone Walker, Snooks Eaglin, and B.B. King as a wellspring of endless inspiration. The rest is history. He's released twelve albums, broken into the Top 20 of the Americana Radio Charts, reached No. 2 on the Billboard Blues Album Chart and received praise from NPR, American Songwriter, No Depression and Relix, among others.

Alongside his extensive songwriting and recording pursuits, Walker is consistently touring and performing at venues and festivals around the world. Along with headline shows, he's been invited to open for The Mavericks, Marc Broussard, The Wood Brothers, Raul Malo, Paul Thorn and Ruthie Foster, among others.

Prior to relocating to Asheville in 2020, Walker did stints residing in Austin, New Orleans and Nashville. He’s used those experiences wisely, soaking up the sounds and absorbing the musical lineage of these varied places. With a bluesman’s respect for roots and tradition, coupled with an appreciation for—and successful melding of—contemporary songwriting, Walker sublimely incorporates a range of styles with warmth and grace. Perhaps Country Standard Time said it best: “If you subscribe to the Big Tent theory of Americana, then Seth Walker—with his blend of blues, gospel, pop, R&B, rock, and a dash country—just might be your poster boy.”

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Blue Water Highway is an Austin-based Americana/folk rock band known for their soulful harmony singing, thoughtful songwriting, and live performances that are just as captivating and entertaining as their albums.

The band’s core consists of childhood friends Zack Kibodeaux and Greg Essington, who named the group after their coastal hometown highway that runs from the mouth of the Brazos River to Galveston, TX. Over a decade of national and international touring—from headlining shows to tours with Bob Seger, Reckless Kelly, Shane Smith and the Saints, Big Head Todd and the Monsters, Johnny Lang, and Turnpike Troubadours–they’ve made four full-length albums of original music. Blending modern and traditional sounds to create something timeless and familiar, yet fresh and unique, comparisons have been made to artists such as The Eagles, Bruce Springsteen, and Counting Crows.

Their third album, Paper Airplanes, was produced by Cason Cooley (NEEDTOBREATHE, Drew Holcomb, David Ramirez) and led to The Austin-American Statesman hailing them as “one of Austin’s best Americana acts,” with “legitimate national potential.” They are now excited to present their most ambitious project to date—a self-produced album entitled Year of the Dragon. “Musically and lyrically, it’s a bunch of story songs told in the Southern Gothic vein,” says lead singer/songwriter, Zack Kibodeaux. “It’s an album about what happens when the dragon comes to town. We wanted to meld the classic Americana world of fast cars, rock and roll, chain gangs, cops, and Delta Blues with the fairytale world of knights, queens, dragons, and troubadours.”

A prime example of this can be found in the dark, modern blues-tinged “Natural Man,” or the haunting Appalachian-influenced, “A Gun is a Killing Tool,” both of which could easily serve as a soundtrack to popular TV shows such as Yellowstone or Peaky Blinders. With a gritty, ominous, but groovy sonic landscape described by Greg Essington as “a Spaghetti Western mixed with Alfred Hitchcock,” Natural Man serves as the villain’s theme song, the metaphorical “dragon” tune. “But every album about a dragon needs a hero, a knight to fight it,” says Essington, and so it’s contrasted with another Kibodeaux penned song called “Old School,” written about his policeman father, and memories of growing up in a law enforcement family. For all the noir-tinged sounds and stories however, the band still manages to preserve the beauty, hope, and soulful energy that has become their signature, as evidenced in gospel-themed ballads such as “Newborn Child,” and the folksy closing number, “Morning Glory.” Other highlights that showcase the musical range of the band include the early rock and roll influenced, “High Cotton,” the Springsteen meets Killers-esque opening track, “Year of the Dragon,” and “Tears on a Hardwood Floor,” a homage to the classic, late 60’s blues-rock of The Rolling Stones, and Creedence Clearwater Revival.

We are in a great place, artistically,” says Kibodeaux. “We now know ourselves as a band, where to stretch out and where our boundaries are. It’s been great to incorporate all the traditional music we love, alongside current artists and sounds that inspire us.”

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Carbon Leaf’s fifteenth studio album, Time is the Playground is both a call to action and an embrace of the moment. Marrying nostalgic storytelling to nuanced, folk-infused indie rock, the Richmond, Virginia band embroiders heartfelt melody and harmony with acoustic and electric instrumentation to create a 12-song rumination on time, love and personal growth that’s equal parts urgent epiphany and contented exhalation.

“Everybody says people don’t listen to albums anymore,” mulled Carbon Leaf frontman Barry Privett, holed up in a coastal cottage. “So, the challenge for us was to make something that felt good to get through from beginning to end … to listen to like a story.”

Originally formed as a college cover band in 1992 and with over 3,500 famously enthused live shows together, Carbon Leaf helped to define the aughts indie rock that they ultimately outgrew and outlasted. They first earned national recognition with “The Boxer,” a song that won the American Music Awards 2002 New Music Award and made Carbon Leaf the first unsigned band to perform before millions on the AMAs.

“The Boxer” entered regular radio rotation, Carbon Leaf’s tours grew bigger and better, and within a couple of years they quit their day jobs and inked a record deal. The band’s fanbase snowballed, drawn to their infectious spirit of commitment, empathy, communion, and self-reliance – not to mention supremely crafted songs with ultra-relatable, thought-provoking lyrics.

After a trio of charting albums for Vanguard Records, multiple songwriting awards and headlining shows, Carbon Leaf opted to return to the complete creative control of their indie roots. Guitarist Terry Clark, who co-founded the band with Privett and multi-instrumentalist Carter Gravatt, converted his garage into the band’s Two-Car Studio, where they’ve recorded releases for their own Constant Ivy imprint ever since. Carbon Leaf’s DIY spirit even extended to re-recording their three Vanguard albums in order to regain the rights.

Due in September, Time is the Playground is Carbon Leaf’s first full-length album in a decade, during which they released two EPS and a 27-song live performance album and Blu-ray. Time is the Playground gathers the best of songs written, in fits and starts, over 15 years, alongside brand new ideas. Privett dusted off old demos and shut himself away for months to finish their stories, while also honing recent compositions. With Clark engineering, Carbon Leaf – completed by longtime bassist Jon Markel and drummer Jesse Humphrey – spent a year and a half recording and mixing the resulting songs.

“Thinking about these disparate pieces of music, I began ruminating on time itself,” Privett recalled. “The band’s been together a long time. You mature a bit and see yourself in place on the timeline … rolling around the scenes of love and growth.”

Masterfully melding saturated AC/DC guitar and squelchy Cars synth, “Backmask 1983” is a fun flipbook of evocative era emblems – Farah Fawcett, “Satanic Panic,” Time Life Books, Bigfoot and more – that traverses the simultaneous nexus of Privett’s childhood/adolescence and the world’s analog/digital ages. It’s about morphing into a new person and a new planet with wide-eyed wonder and a longing to believe. “Without a whole lot of information, the mystery of things felt so heightened,” recalled Privett of growing up pre-Internet. “I wanted to capture some of that but also have fun with it.”

“I want what we create to resonate with ourselves, to the level that we want to play it for a long time to come, and where we want others to hear it and experience it,” Privett concluded. “Hopefully, listeners can glean the pieces from it that they identify with.”

Time is the Playground will be accompanied by the tireless touring almost synonymous with Carbon Leaf, who’ve become a model for self-managing bands in the digital landscape.

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Walter Trout

Great artists take the pulse of their times. In his half-century as a street-level social observer and scaldingly honest songwriter, blues-rock’s resilient icon Walter Trout has never told his fans what to think, how to feel, where to stand politically, or what to scrawl on their protest placards. But in an era when his home nation – and the wider world – is ripping at the seams over the battlelines of modern life, the iconic US bluesman’s hard-rocking new album, Sign Of The Times, is the primal scream and pressure valve we all desperately need. “I wanted to convey the anger and angst going
on in the world,” explains the 74-year-old. “For me, writing these songs is therapy. They’re not just about what’s happening out there, but how it affects you in your head. Sign Of The Times just became the obvious title…”

Right now, it feels like the amps have barely cooled from 2024’s Broken (“That record debuted on Billboard at #1 – I was very, very pleased with that”). But the era-chronicling songs from Sign Of The Times wouldn’t wait, these urgent riffs flying off the guitarist’s fingers, assisted once again by Dr Marie Trout, Walter’s wife, manager and latterly co-writer, whose eloquent lyrics struck each subject on the head. “This album flowed pretty easily,” he reflects of the writing process. “I had so many song ideas and pages of lyrics from Marie. We could have kept going and made a triple album.”

With ten new songs written and arranged, Trout was ready to call up his studio band – longtime drummer Michael Leasure, bassist John Avila and keys man Teddy ‘Zig Zag’ Andreadis – for sessions at producer Thomas Ross Johansen’s Strawhorse Studios in Los Angeles. Immediately, the tinderbox subject matter sparked one of the toughest-sounding records in his catalogue. “Let me put it this way,” considers Trout, “after we finished recording the title track, my keys player Teddy said, ‘Well, you won’t be winning a blues award this year’. But I really felt like rocking on this album. We had
heavy things to talk about, and we went for it musically too.”

Ally Venable

Texas blues-rock singer/songwriter and guitarist extraordinaire, Ally Venable, entertains wherever she goes. With her signature glitter dresses and black knee-high boots, Venable comes off of the ropes swinging dazzling crowds on tour or throughout the festival circuit. "Venable pulls off a stunner of gritty and/or sultry blues rock tunes embellished with lots of tasty guitar solos." - Guitar Player Magazine. A Kilgore, Texas native, Ally began singing at church at four and picked up the guitar at age 12. By 13, she started her own band and through her early influence of Stevie Ray Vaughan captured the passion and yearning for more in the blues genre. Early releases No Glass Shoes (2016) and Puppet Show (2018) started her fanbase, charting radio play, and several East Texas Music Awards. It was 2019’s #2 Billboard Blues charting Texas Honey and rocking sets on Ruf’s European Blues Caravan tour that propelled her internationally. “Ally is the future of blues and the crossover music of American roots-rock.” - Mike Zito. In what silenced many musicians during the pandemic, Venable now in her 20’s, released another Blues Billboard charting album, Heart of Fire (2021), which challenged her to write not only about love but the unguarded honesty of feeling pain.”On this album,I really wanted to create a tone of overcoming your struggles and persevering through them,” she explains. Mentor and featured artist on this album, Kenny Wayne Shepherd, lends his guitar skills on XM Bluesville’s charted song, “Bring on the Pain.” In 2022, Guitar World Magazine named Ally #2 on the top 15  Young Guns Making the Gibson Les Paul Cool Again, and she received the Road Warrior award from the Independent Blues Music Awards.  Along with Ally’s own tour domestically and in Europe, her band has supported Buddy Guy and Kenny Wayne Shepherd throughout the US, as well as Colin James in Canada. She has performed as a featured artist on the Experience Hendrix Show at the ACL Live at Moody Theater in Austin, Texas. Fans are anticipating Venable’s upcoming spring 2023 release produced by Grammy award winning producer, Tom Hambridge, which includes a duet with the iconic Buddy Guy and a song featuring powerhouse guitarists Joe Bonamassa.
 

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On some other plane out there in the great big multiverse, Kelly Willis could well be the biggest Nashville country music star of the last 35 years. But things panned out rather differently for her here on this Earth. The Oklahoma-born Army brat was barely into her early 20s and still cutting her teeth fronting a spunky rockabilly band in Austin when a “check-this-kid-out” tip from Texas songwriter Nanci Griffith landed her on the radar of producer Tony Brown, who promptly signed her to MCA Records. How exactly her auspicious fireball of a debut, 1990’s Well Travelled Love, and even a plumb spot on the soundtrack to the following year’s Thelma & Louise, somehow failed to burn Willis’ name and voice into the mainstream consciousness remains a bone of bumfuzzlement for many a fan and critic to this day, but suffice it to say — Willis was still in her early 20s when MCA dropped her just two albums later. And that, perhaps goes the Kelly Willis story in yet another alternate universe, was that. But lucky again for all of us here in this reality, “our” Kelly Willis was just getting started. Liberated from the Nashville playbook and emboldened by a jolting shot of nothing-left-to-lose, she set about making her next record in Austin her way. The end result, 1999’s aptly-titled What I Deserve, changed everything. “A big part of making that record was me thinking, ‘I’ll probably never get to make another one after this, so if this has to be my swan song, I’m not going to compromise,’” she says today. “That was a really big sea change for me to take the reins like that, and it was incredibly satisfying and gratifying that it then found a home with [independent label] Ryko and did so well. It was a pivotal moment that fueled the rest of my career.” A bracingly assertive showcase not just for Willis’ masterful control of her “enormous voice” (per noted “Consumer’s Guide” critic Robert Christgau) but also for her burgeoning songwriting chops (be it solo or collaborating with the likes of John Leventhal and the Jayhawks’ Gary Louris), What I Deserve may not have made Kelly a household name on the order of Shania, Faith, or Reba, but it clinched her standing as a bona fide darling of the national (and international) alt-country scene. Writers from No Depression to Rolling Stone cheered her “comeback,” and fans in her adopted hometown voted it “Album of the Year” in the Austin Music Awards. A decade later would find her inducted into the Austin Music Hall of Fame. The six albums Willis has made since What I Deserve have only burnished her reputation as Austin’s reigning queen of Americana. Three of those albums, including 2019’s Beautiful Lie, were duo records made with her now ex-husband, fellow singer-songwriter Bruce Robison — who also produced Willis’ last solo album, 2018’s “richly satisfying” (NPR) Back Being Blue. The couple (who in addition to recording and touring together for years also raised four children together) announced their separation in early 2022, marking both the end of an era and the beginning of yet another “big sea change” for Willis. Looking ahead to the next stage of her life and career, she admits that the whole business of “starting over” — especially musically — can be scary, but she’s starting to get the hang of it. “I’m usually a few-and-far-between kind of person when it comes to writing, but I’ve been writing a lot,” she says with a laugh. “So I’m in the creative phase of figuring out a new album, which of course is going to be a ‘divorce record,’ because there’s no getting around those things. But I think there’s a lot of hopeful stuff in there, too, and there’s the potential there for it to be really good. So, I do feel like I’m going to be ok.” Willis says she hopes to have that new record out sometime next year, along with another project she’s been teasing of late: A 25th (!) anniversary re-release of What I Deserve, expanded with bonus demo tracks and maybe even a vintage live show — along with the album’s first-ever pressing on vinyl. But in the mean time, she’s happy just to be playing shows again post pandemic shutdown, connecting with fans old and new both as a full-time “solo” artist again for the first time in years, and as one-third of her favorite new joyride — a not-just-a-song-swap trio with her sister soulmates Brennen Leigh and Melissa Carper. “We started that a year ago, thinking we were just going to do a small run of shows together, but the shows went over so well that we just kept going,” she enthuses. “We’ve already played a few places outside of Texas, and this year we’re going all the way up to the North East together and then out West. And we’ve even talked about writing together. The whole thing has just been amazing and super fun. I’m loving it!” And deservedly so.--

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Raised outside Houston by first-generation Korean immigrant parents, educated at UT, BettySoo grew up listening to the Great American songbook and country radio.  Older sisters led her to the world of singer/songwriters, and nights spent at The Cactus Café and Hole In The Wall turned her on to the legacy of Texas song. 

Her 2007 solo disc, Little Tiny Secrets, garnered heavy regional airplay; 2009’s Heat Sin Water Sin produced by Gurf Morlix (Lucinda Williams, Ray Wylie Hubbard), provided building blocks to a national (and international) audience.  In 2014, When We’re Gone, co-produced with cellist Brian Standefer (Alejandro Escovedo, Terry Allen) placed her firmly in the first rank of songwriters working today. 

She’s won the requisite awards: New Folk at Kerrville, Songwriter of the Year at Big Top Chautauqua, The Dave Carter Songwriting Award at Sisters Folk Festival, Mountain Stage's New Song. 

She’s played the festivals – multiple South by Southwests, Kerrville, Calgary and more. And the radio shows – E-Town, Mountain Stage, WoodSongs, BBC 2 with Bob Harris. 

Her singing has been heard on Riverdale and Girl Boss, and her songs formed the musical backbone to Christine Hoang’s 2017 play A Girl Named Sue, singled out by Austin360.com in their review as “gorgeous, moving ballads comment(ing) on the themes of the scenes they punctuate.” 

Until the novel corona-virus shutdown, the Nobody’s Girl project was touring nonstop, and their intelligent lyrics and tightly-woven harmonies keep their audiences entranced.  The trio recorded a full-length album featuring players such as Charlie Sexton (Bob Dylan), J.J. Johnson (Tedeschi Trucks), Glenn Fukunaga (The Chicks), David Grissom (Buddy Guy, Allman Brothers, Ringo Starr), and Michael Ramos (John Mellencamp, BoDeans), who reprised his role as producer. She hit the road as dedicated support for songwriting heroes James McMurtry and Chris Smither.  You’ll likely see her onstage singing harmonies at shows for artists such as Eliza Gilkyson, James Hyland, Kim Richey, and more.  Music programmers have an embarrassment of riches to choose from, and listeners still have the opportunity to re-familiarize – or hear for the first time – the extraordinary talent that is BettySoo. 

In the Time of COVID-19, BettySoo cut a unique path through the broad streaming landscape -- and as with everything she does, she approached it in a way that invites authentic connection, encourages compassion, and merits listening.  Her weekly Nobody's Happy Hour via Zoom fostered an intimate and meaningful community and were hailed by many as one of the most creative streamed residencies anywhere.

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You're favorite Austin players return for another captivating night of retro rock-n-roll as Ben Jones, Bruce Hughes, Heath Allyn, Colin Brooks & Matt Patterson return to 1971 with full performances of John Lennon's "Imagine" album and Paul McCartney's "Ram" album. Join us for another amazing night of going back in time with The Pepperland Players!

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In the last ten years or so Nicholas Jamerson has put together a catalogue that reaches across broad spectrums in both substance and style. The eastern Kentucky native has endeared himself to fans in the region and beyond as a founding member of the duo, Sundy Best. In recent years Nicholas performed extensively solo and with his band The Morning Jays. Both with band and on his own Nicholas has made his mark on the most hallowed stages and events in the region, from the Grand Ole Opry and Ryman Auditorium to Americana and Master Musician Festivals. He is among an esteemed group of todays artists who have shaped, redefined, and expanded the notions of Appalachian and Southern music, and reminds people why they love it and enjoy its many splendors.

Jamerson’s songs are known for their attention to the natural world, warm hearted characters, and the plight and triumphs of the modern day hillbilly.  

The Morning Jays are comprised of gentlemen from across the state lines of Kentucky and Tennessee. A blend of country, rock, folk, bluegrass, R&B, and 4 part harmony creating sounds tailor-made for square dances to summer time, living rooms to laser shows.

• Jamerson’s debut solo album NJ, released January 18 , received glowing reviews from outlets like Rolling Stone and Still: The Journal.

• Tour history includes the Grand Ole Opry and the Rymann Auditorium in Nashville, Americanafest ( John Prine Headliner), Master Musician Fest (Jason Isbell, Charley Crockett, War and Treaty, Lost Dog Street Band, Cedric Burnside), Route 91 Harvest Music Fest- Las Vegas (Keith Urban, Lady Antebellum), Rail Bird, Bristol Rhythm and Roots, Floyd Fest, Eddies Attic - Decatur Georgia, and The Evening Muse - Charlotte

• Shared the stage with the following acts: Steve Miller, Lynyrd Skynyrd, Charlie Daniels, Clint Black, Randy Rogers Band, Chris Stapleton, Billy Strings, Tyler Childers, Cody Canada and The Departed, Joe Diffie, Elizabeth Cook, Brother Smith, Chelsea Nolan, Wayne Graham, Josh Nolan, Lilly Hiatt , Luna and The Mountain Jets, Laid Back Country Picker, Abby Hamilton

Nicholas can perform anywhere from solo acoustic to full band.

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Known for her comic as well emotionally intense songs, folk singer/songwriter Cheryl Wheeler was raised in Timonium, Maryland, and began playing the guitar and ukulele as a child.

She first performed professionally at a local restaurant, but soon graduated to clubs in the Baltimore and Washington, D.C., areas. In 1976, she moved to Rhode Island, where she became a protégé of country-folk singer/songwriter Jonathan Edwards, for whom she initially served as bass player. Her first recording, a four-song EP called Newport Songs, was released in 1983. Edwards produced her first full-length album, Cheryl Wheeler, released on North Star Records in 1986. One of the songs on the album, "Addicted," was covered by Dan Seals and became a number one country hit in September 1988. North Star licensed her second album, Half a Book (1988), to the short-lived Cypress imprint of A&M Records.

She then signed to the Nashville division of Capitol Records and released Circles & Arrows in 1990; Suzy Bogguss' cover of "Aces" from that album was a Top Ten country hit in 1992. (Subsequently, her songs were covered by Bette Midler, Juice Newton, Maura O'Connell, Linda Thompson, and others.) In 1993, Wheeler moved to the Philo imprint of the independent Rounder label for her fourth album, Driving Home (Rounder reissued Circles & Arrows in 1994). She followed it with Mrs. Pinocci's Guitar (1995) and Sylvia Hotel (1999). ~ William Ruhlmann & Jason Ankeny, Rovi

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Trout Fishing in America is the songwriting collaboration of Keith Grimwood and Ezra Idlet. For almost 50 years, their vibrant, percussive sound and dynamic stage presence have cultivated a multi-generational fan base at performing arts centers, clubs, and music festivals across the country.Trout blends rock-n-roll, blues, funk, folk, and jazz influences with lyrics that are simultaneously witty, whimsical, and poignant.They have released 25 albums on their own Trout Records label and traveled over a million miles while touring the United States and Canada.Trout Fishing inAmerica is a band of stunning contrasts.Those contrasts, their deep, abiding friendship, and their solid musicianship bring people out to Trout shows year after year.

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Dana Cooper's musical journey began at the young age of 2 when his father would prop him on the bar to sing along with the jukebox. Coming from Missouri, Cooper was surrounded by the sounds of classic country and folk music from an early age. He quickly became enamored with the guitar and taught himself to play and to harmonize vocally by listening to records. By his teenage years, Cooper was performing in coffee houses and clubs around Kansas City, honing his skills as a singer, songwriter and guitarist.

In the 1970s, Cooper landed a record deal with Elektra Records and released his acclaimed self-titled debut album in 1972. Backed by renowned LA studio musicians "The Section," including Leeland Sklar and Russ Kunkel, the album showcased Cooper's lyrical depth and virtuoso guitar playing.

For over a decade, he was half of the highly acclaimed duo - The Shake Russell/Dana Cooper band, who garnered a large following in Texas as well as appearing on Austin City Limits. Through the 70s and 80s, he built his reputation on the club circuit while also collaborating with artists like Lyle Lovett, Kim Carnes, Susan Werner, Kim Richey, Hal Ketchum & more.

Over his 50+ year career, Cooper has amassed a catalog of 30+ albums and continues to tour actively. He is set to release his highly anticipated 32nd studio album, “The Ghost of Tucumcari”, on May 17, 2024. Featuring an All-Star lineup of guest artists, the album marks a major achievement for the veteran musician. Artists lending their voices to this project are Lyle Lovett, Hayes Carll, Susan Gibson, Mando Saenz, Darden Smith, Shake Russell, Libby Koch and more.

“The Ghost of Tucumcari” takes listeners on a stirring musical journey across genres from Folk and Rock to Country and Americana. His critically acclaimed 2022 release, "I Can Face the Truth," encapsulates his evolution as a consummate storyteller. The album mixes his signature fingerpicking guitar and harmonica with poignant lyrics on love, loss and the current state of the world.

Central to Cooper's unique artistry is his ability to connect with audiences through his authentic stories and warm stage presence. His decades of experience shine through in the ease and humor he brings to both his playing and storytelling. Though he's performed with Folk and Americana greats, Cooper has always followed his own musical vision.

"Few artists can claim to make music for 50 years and still do so with the same eagerness and enthusiasm that marked their initial efforts." Lee Zimmerman, American Songwriter.

Dana Cooper remains driven by his pure love for songwriting and performing, bringing people together through songs. From coffee houses to major concert halls, his singular mix of virtuosity and vulnerability has earned him a lifetime of devoted fans.

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Judy Collins has inspired audiences with sublime vocals, boldly vulnerable songwriting, personal life triumphs, and a firm commitment to social activism. In the 1960s, she evoked both the idealism and steely determination of a generation united against social and environmental injustices. Five decades later, her luminescent presence shines brightly as new generations bask in the glow of her iconic 55-album body of work, and heed inspiration from her spiritual discipline to thrive in the music industry for half a century.

The award-winning singer-songwriter is esteemed for her imaginative interpretations of traditional and contemporary folk standards and her own poetically poignant original compositions. Her stunning rendition of Joni Mitchell's “Both Sides Now” from her landmark 1967 album, Wildflowers, has been entered into the Grammy Hall of Fame. Judy’s dreamy and sweetly intimate version of “Send in the Clowns,” a ballad written by Stephen Sondheim for the Broadway musical A Little Night Music, won "Song of the Year” at the 1975 Grammy Awards. She’s garnered several top-ten hits gold- and platinum-selling albums. Recently, contemporary and classic artists such as Rufus Wainwright, Shawn Colvin, Dolly Parton, Joan Baez, and Leonard Cohen honored her legacy with the album Born to the Breed: A Tribute to Judy Collins.

Judy began her impressive music career at 13 as a piano prodigy dazzling audiences performing Mozart's “Concerto for Two Pianos,” but the hard luck tales and rugged sensitivity of folk revival music by artists such as Woody Guthrie and Pete Seeger seduced her away from a life as a concert pianist. Her path pointed to a lifelong love affair with the guitar and pursuit of emotional truth in lyrics. The focus and regimented practice of classical music, however, would be a source of strength to her inner core as she navigated the highs and lows of the music business.

In 1961, she released her masterful debut, A Maid of Constant Sorrow, which featured interpretative works of social poets of the time such as Bob Dylan, Phil Ochs, and Tom Paxton. This began a wonderfully fertile thirty-five-year creative relationship with Jac Holzman and Elektra Records. Around this time Judy became a tastemaker within the thriving Greenwich Village folk community and brought other singer-songwriters to a wider audience, including poet/musician Leonard Cohen – and musicians Joni Mitchell and Randy Newman. Throughout the 60s, 70s, 80s, 90s, and up to the present, she has remained a vital artist, enriching her catalog with critically acclaimed albums while balancing a robust touring schedule.

Prolific as ever, Judy recorded a DVD special Judy Collins: A Love Letter To Stephen Sondheim, in her hometown of Denver, CO.  Along with the Greely Philharmonic Orchestra, Judy dazzled the audience with Sondheim’s beautiful songs and her lovely, radiant voice.  DVD and CD companion will be released in early 2017.   Judy also released a collaborative album in June 2016, Silver Skies Blue, with writing partner, Ari Hest. Silver Skies Blue has been GRAMMY nominated for BEST FOLK ALBUM in 2017, this is the first GRAMMY nomination for Collins in over 40 years. 

In 2012, she released the CD/DVD Judy Collins Live At The Metropolitan Museum Of Art which aired on PBS.  This special television program was nominated for a New York Emmy and won a Bronze Medal at the 2013 New York Festival International Television & Film Awards.  Based on its success, in 2014 she filmed another spectacular show in Ireland at Dromoland Castle.  Live In Ireland was released in 2014.  This program also won a Bronze Medal at the 2014 New York Festival International Television & Film Awards and the program will broadcast on PBS in 2014 and 2015.

Judy’s most recent collaboration with her as a singer-songwriter is the 2019 album Winter Stories, including critically-acclaimed Norwegian folk artist Jonas Fjeld, and masterful bluegrass band Chatham County Line. Winter Stories, is a collection of classics, new tunes, and a few surprises, featuring spirited lead vocal turns, breathtaking duets, and Judy’s stunning harmony singing.

Judy has also authored several books, including the powerful and inspiring, Sanity & Grace and her extraordinary memoir, Sweet Judy Blue Eyes: My Life in Music. For her most recent title to be released in 2017, Cravings, she provides a no-holds barred account of her harrowing struggle with compulsive overeating, and the journey that led her to a solution. Alternating between chapters on her life and those of the many diet gurus she has encountered along the way (Atkins, Jean Nidtech of Weight Watchers, Andrew Weil, to name a few), Cravings is the culmination of Judy's genuine desire to share what she's learned—so that no one has follow her heart-rending path to recovery.

In addition, she remains a social activist, representing UNICEF and numerous other causes. She is the director (along with Jill Godmillow) of an Academy Award-nominated film about Antonia Brico – PORTRAIT OF A WOMAN, the first woman to conduct major symphonies around the world–and Judy's classical piano teacher when she was young.

Judy Collins is as creatively vigorous as ever, writing, touring worldwide, and nurturing fresh talent. She is a modern-day Renaissance woman who is a filmmaker, record label head, musical mentor, and an in-demand keynote speaker for mental health and suicide prevention. She continues to create music of hope and healing that lights up the world and speaks to the heart.

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Willy Porter continues on a musical and personal odyssey spanning over two decades, 13 albums, and multiple continents. His journey has been defined by an inquisitive love for humanity and the language that describes what we all hold to be true. Porter’s songs weave a universal perspective about the questions, struggles, and triumphs of human existence. His live shows are guitar-driven grit, soul, silence and muscle– at times electrifying, dynamic, and unique in the way that Porter’s voice blends and fuses with his fret work.

A largely self-taught musician, Porter began treating audiences to his brand of guitar playing and wry storytelling in the late ‘80’s while living in Madison, Wisconsin. In 1990, he released his first full-length independent album, The Trees Have Soul, and the touring life has flowed steadily ever since. Porter has literally logged millions of miles across America, Canada, the UK, and Europe, touring solo, as well as with various incarnations of the Willy Porter Band and in support of artists like Tori Amos, Paul Simon, Jethro Tull, Sting, and Jeff Beck.

Porter’s breakthrough album, Dog Eared Dream, was released in 1994, and the song “Angry Words” quickly became a staple at the burgeoning AAA radio format. This led to a major label deal with BMG/Private Music in 1995. Unfortunately, Private was dismantled by BMG just as Porter was preparing to release his follow-up. With contractual freedom in 1998, Porter quickly signed with the San Francisco-based label Six Degrees. There he released three albums beginning with the studio gem, Falling Forward (1999), produced by multiple Grammy-winner Neil Dorfsman (Dire Straits, Sting). The eponymous Willy Porter (2001) followed featuring great guest performances by Ian Anderson from Jethro Tull and Tony Levin. His fan-favorite solo disc, High Wire Live (2003) was co-produced with Grammy-winner Ben Wisch (Marc Cohn, Shawn Colvin).

In 2005 Porter left Six Degrees and launched his own imprint, Weasel Records. Together with longtime keyboardist/ collaborator Dave Adler, Porter produced the atmospheric album Available Light in 2006. His work with Guild & Fender guitars over the next several years would result in the manufacture of the “Willy Porter Signature” acoustic guitar. Porter then took time to record and produce singer/songwriter Natalia Zukerman, on her whip-smart Weasel debut, Brand New Frame (2008). Porter released his next disc, How to Rob a Bank in 2009, the heavily Americana-flavored record featuring the contributions of the LA-based quartet, Raining Jane. Bank was followed with a live disc recorded with the Carpe Diem String Quartet in (2010). This collaboration produced a gorgeous EP featuring several of Porter’s most enduring tunes (“Breathe,” “Paper Airplane,” “Watercolor”), elevated and reinterpreted against a backdrop of lush string arrangements.

In 2011, Porter produced the second Weasel release for Natalia Zukerman, the driving Gas Station Roses. A partnership with Milwaukee-based singer/ songwriter Carmen Nickerson resulted in the album, Cheeseburgers and Gasoline (2013). This spartan production illuminates themes of life-longing and relationship repair, all while balancing the dream of self-actualization on the axle of a carnival’s Tilt-a-Whirl. The record also includes Porter’s brilliant cover arrangement of Peter Gabriel’s “Digging in the Dirt.” Porter’s follow-up release, Human Kindness (2015) incorporated all of his acoustic, electric, and multi-string chops to bear in service of a great selection of songs bearing the influence of soul, rock, blues/Americana, showcasing Porter’s growth as a writer, musician, and producer.

After touring extensively together for more than two years, Porter and Nickerson released a full-length disc of original co-writes: Bonfire to Ash (2016). Produced by Grammy winning producer Ben Wisch (Marc Cohn, Jonatha Brooke) and featuring Bassist Zev Katz and Drummer/Producer Ben Wittman, Bonfire to Ash is a record that charts the experiences bridging the intimate with the universal. Porter and Nickerson borrow from their strong stage chemistry to render the same kind of musical conversation that unfolds in performance within a studio setting. This dialogic style broadens to consider the connections and values forged in the communities we call home (“Living Proof”) and in the responsibility we have to the planet that gives itself to house us (“Plant A Garden”). Bonfire to Ash compiles candid snapshots of the human journey, exposing ideas such as hope, regret, love, loss, and connection that remain immutable against time, history, or place.

In addition to making a life in music, Porter finds ways to make an impact on local and international levels. He is an active supporter of Advocates of Ozaukee, a shelter and treatment facility for victims of domestic violence and abuse in Mequon, Wisconsin. His annual benefit concerts have raised more than $100,000 for this organization to date. He is also an Ambassador for Guitars for Vets, a Milwaukee-based International organization that works to improve the lives of veterans by providing them with guitars and music lessons.

Willy Porter lives in Milwaukee, Wisconsin with his wife and two children.

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Rachael Sage is a New York City singer/songwriter whose music playfully avoids simple categorization. Weaving together bits of folk, pop, rock, blues, jazz, and cabaret while stirring in Celtic and Middle Eastern accents, Sage has created an eclectic body of work that's witty, graceful, and powerfully intimate. A prolific songwriter and recording artist, she introduced herself with Morbid Romantic in 1996, and played with her eclectic orchestrated piano-pop sound across albums like 2004's Ballads & Burlesque, 2010's Delancey Street, and 2020's illness-informed Character. Her pandemic-influenced 15th studio album, The Other Side, arrived in 2023.

Born in Port Chester, New York, Sage developed a taste for music at an early age, listening to her parents spinning , , , and on the family stereo, and by the age of four she was learning to play piano. It wasn't long before Sage discovered she had a gift for learning songs by ear, picking out tunes she'd heard on the radio. By the time she was in second grade, she was honing her talent for writing and performing songs, finding it was a good way to distract the bullies at school, and in time she would formally study voice, drama, and dance (she was admitted to the prestigious School of American Ballet, and attended the MFA program at the Actors Studio).

When Rachael received a four-track recorder as a bat mitzvah present, she began learning the nuts and bolts of audio recording and production, and after enrolling at Stanford University, Sage was soon regularly performing at local coffeehouses. In 1996, Sage recorded her first album, Morbid Romantic, and released it on her own label. (In time, would grow into a successful independent label, releasing albums by , , and as well as Sage's body of work.) By 1999, Sage had released a second album, Smashing the Serene, and performed on the Village Stage on the 1999 Lilith Fair tour, as well as being chosen to open for on a tour of Europe. Sage released no less than a half-dozen albums during the next decade, beginning with 2001's Painting of a Painting and the next year's Illusion's Carnival, both of which found her working with a handful different producers. Issued in 2003, Public Record's collaborators included co-producer Andy Zulla, the Fab Faux's Jack Petruzzelli, and string and brass players. Featuring a similar crew, the following year's Ballads & Burlesque favored her tenderer side, and 2006's more assertive The Blistering Sun, while still collaborative, was self-produced, as was 2008's Chandelier.

Arriving in 2010, her ninth LP, the city-life-themed Delancey Street, included covers of 's "Rich Girl" and the movie theme "Fame." The more intimate Haunted by You appeared in 2012, and by the time Sage delivered Blue Roses in 2014 (which included Sage performing a duet of 's "Helpless" with her close friend and mentor ), she'd released 11 full-length albums and two EPs, brought home four Independent Music Awards, and won the grand prize in the Songwriting Contest. Sage is also a published author and an accomplished visual artist who has displayed her work in New York galleries and provided illustrations for her album packaging. Blue Roses found her working with an outside producer again for the first time in over a decade, namely John Shyloski. In 2016, she released the Zulla co-produced Choreographic, which contained material she'd composed for dancer Maddie Ziegler. Two years later, Sage returned with Myopia, which explored themes of vision and visualization. It won her an Independent Music Award for pop production (with Shyloski).

Produced with Zulla and released in March of 2020, Sage's next album, Character, was inspired by her recovery from endometrial cancer. The EP Character (Acoustic) followed three months later. Produced by Sage, Zulla, and Mikhail Pivovarov, her 15th studio LP, 2023's The Other Side, was informed by cancer treatments and the upheaval caused by the arrival of the COVID-19 pandemic. Another Side (Reimagined/Acoustic) saw release in 2024.

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Howie Day’s emotionally resonant lyrics and inventive melodies have earned him both critical praise and a legion of devoted fans. He is known for his energetic, heartfelt shows, where he connects with audiences through the strength of his songwriting and his quirky sense of humor. Day’s warm tenor voice “soars into fluttering, high registers, but also grates with real, pleading grit,” as one critic put it.

A native of Bangor, Maine, Day began playing piano at age five and guitar at age 12. By 15, he was writing his own songs and performing across New England. Shortly after graduating high school, Day became a fixture at college coffeehouses across the U.S. He wrote, financed and released his first effort, Australia, which was named Best Debut Album at the 2001 Boston Music Awards. Day began experimenting with effects pedals and loop-sampling techniques as he performed, layering live percussion with vocal harmonies and guitar parts to become a veritable one-man band. He went on to sell over 30,000 copies of Australia as he navigated the independent music scene and continued to hone his craft.

After signing with Epic Records, Day released his major-label debut, Stop All The World Now, and hit the road to support it. Since the release of this groundbreaking album 20 years ago, featuring 4x platinum single ‘Collide’, Howie Day continues to astound audiences with his everlasting music. Two additional studio albums (Sound The Alarm, Lanterns) and his incredible live show will no doubt cultivate life changing and poignant moments for people around the world for many years to come.

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Del Castillo is a cross-cultural power uniting music lovers of all ages, creeds and colors. Their original music blends rock, Latin, blues and world music into a cinematic celebration of sound that lifts your soul.

“Whether Del Castillo works in Spanish or English, it rocks righteously. The Spanish guitars’ flamenco vibe gives a dramatic flair, abetted by Alex Ruiz’s passionate vocals. They pull together Latin music’s romance and rock’s grit.” says Billboard magazine.

It started with two brothers, Mark and Rick del Castillo collaborating on a recording project that was initially intended as a gift to their parents and family members for the holiday season. As accomplished electric guitarists in different bands and not having played together, they decided to join forces on acoustic nylon string guitars, creating a rich, romantic, more traditional sound in honor of the Spanish music they grew up listening to at home. The brothers invited their long time, home-town musical friends to also play on the songs and the music soon came to life. Once the album was finalized, it was titled after their namesake, “Brothers Of The Castle” and they performed their first public concert for family and friends to celebrate the release.

Their plan was to perform “one night only.” However, the very positive turnout was unlike any of their other bands. From their inception, Del Castillo became something uniquely special and soon the word spread about the new band. The more the band played, the more their audience grew. They continued writing and recording music, building their repertoire, making more fans and quickly becoming one of Austin’s most recognized bands. One of the instrumental songs from the first album, “Spanish Castle Tango” was later hand picked by Robert Rodriguez and fueled the inspiration for, “Mexico and Mariachis”. Another track from their first album, “Dias de Los Angeles” was placed in the film and soundtrack for “Once Upon A Time In Mexico” starring Johnny Depp, Antonio Banderas and Salma Hayek.

“… tumbling brilliance on nylon-string guitars… These eruptions of technique and taste conjure images of Eddie Van Halen fronting early Santana (with an assist from the Gipsy Kings).” says Rolling Stone magazine.

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A. SINCLAIR

Every song that Aaron Sinclair writes has a certain underlying feeling. SPIN described it as “twitchy paranoia.” Baeble Music sensed a “strung-out urgency” in his voice, while the Austin Chronicle called his music “tension-driven” with “tight, rough riffs and sharp post-punk lines.”

It’s surprising then, that in person, Sinclair is a quiet guy – reserved, humble, and even-keeled. Not one for self-promotion, he often shies away from putting himself in the spotlight. As Paste put it, he “lets the music speak for itself.”

“Constant rejection, months on the road, lineup changes, various flirtations with some idea of ‘success’ – none of these things seem to affect his output as a songwriter,” says bassist Brendan Bond, describing the motivation behind his bandleader’s prolific creativity. “The guy is writing straight from the gut. He’s such a great storyteller that sometimes you don’t realize that he’s actually distilling something straight out of his own life into the music. I always trust that he’s got a vision that’s artistically valid and true to what and who he is.”

Once he takes the stage with his band, though, Sinclair holds nothing back, thrashing and slurring through a musical catalogue consisting of dozens (if not hundreds) of songs he’s written over his years in the DIY rock trenches, beginning in Boston as a teenager before moving to Austin several years ago. It’s that straightforward, working class style, along with a penchant for writing extremely smart pop hooks that has earned his band a loyal following around the country.

MIRANDA HANEY / OTHER VESSELS

Other Vessels is the ongoing musical project of singer/songwriter/barista trainer Miranda Haney. Often supported by a rotating cast of friends, Miranda's vivid lyricism plays with an ever-evolving sonic landscape created by those that join her on stage. In her solo performances, Other Vessels goes where the spirit wants to go, often fusing storytelling, comedy, and singalongs for an authentic performance that is never quite like the last.

Other Vessels' debut EP, "Empty Afternoon," was self-released on February 14, 2024. The latest single, “Sea Legs”, is available now on all streaming platforms.

MIKE HARMEIER / SILVERADA

Mike Harmeier was still in his early 20s when he formed Mike and the Moonpies. From the start, they were the definition of a workingman's country band, cutting their teeth with five-hour sets on Austin's dancehall circuit before spreading their music to the rest of America. By the early 2020s, they'd become global ambassadors of homegrown Texas music, flying their flag everywhere from Abbey Road Studios (where they recorded 2019's Cheap Silver & Solid Country Gold with help from the London Symphony Orchestra) to the Grand Ole Opry.

The growth was remarkable, but all that momentum left Harmeier and his four bandmates — drummer Taylor Englert, guitarist Catlin Rutherford, bassist Omar Oyoque, and steel guitarist Zachary Moulton — looking for something new. After all, their music had decidedly changed. Why shouldn't their name do the same?

Silverada marks a new chapter in the band's history. It's not just the title of the boldest release of the group's critically-acclaimed career; it's also the name of the reinvigorated band itself.

"Back in the day, all we wanted to do was play the Broken Spoke," says Harmeier, nodding to the hometown honky-tonk in Austin, TX, where Silverada began sowing the seeds for a sound that mixed timeless twang with modern-day dynamics. "We had different aspirations back then. We were still figuring out what kind of band we were gonna be, and that took a lot of time and a lot of records."

A lot of records, indeed. Silverada marks the group's ninth release, and it balances the strengths they've accumulated along the way — sharp, detailed songwriting that bounces between autobiographical sketches and character studies; gorgeous swells of pedal steel that drift through the songs like weather; a rhythm section capable of country shuffles, hard-charging rock & roll tempos, and everything in between — with a willingness to break old rules and open new doors. "Radio Wave" is a roots-rock anthem for the highway and the heartland, peppered with Springsteen-worthy hooks and War On Drugs-inspired atmospherics. "Eagle Rare" launches the band into outer space during its explosive middle section, which the band improvised in the recording studio. "Stay By My Side" showcases Silverada's road-warrior credentials — the band recorded the track live during a tour across the American Southeast, capturing it in a single take at Capricorn Sound Studios in Macon, Georgia — while "Wallflower" blends the organic with the otherworldly, finding room for harmonized guitar solos, driving disco beats, and 808 percussion.

"Going into the studio, everybody in the band felt inspired to do something bigger than what they'd done before," Harmeier explains. "We all knew we were at a precipice, and we wanted to jump. I brought in some songs that were metaphorical and not always straightforward, and that showed the guys that I wanted to take this music somewhere new… so they threw their own rulebooks out the window, too."

Harmeier wrote the bulk of Silverada in his backyard studio, surrounded by dozens of books he'd picked up at a local Goodwill. "We'd been on tour for so long, playing the same set for almost two years, and I wanted to write something that was a departure," he remembers. Jeff Tweedy's books on songwriting were a big help, but Harmeier pushed himself to get weird, too, finding inspiration in everything from astronomy texts to sci-fi novels. "I would read some, work a little bit, read some more, and work a little more," he says of the creative process. "I spent a full month in that studio, going there every night, making word ladders and highlighting lines and learning to free write."

Recorded at Yellow Dog Studios with longtime producer/collaborator Adam Odor, Silverada propels the band forward without losing sight of their roots. "Stubborn Son" — a loving, unsparing sketch of the family patriarch who set Harmeier's creativity in motion — unfolds like a close cousin to Steak Night at the Prairie Rose's title track, laced with fiddle solos from longtime George Strait collaborator Gene Elders. "Doing It Right" channels the same throwback, slow-dance ambiance that informed 2019's "You Look Good in Neon." "Load Out," which chronicles the grind of blue-collar jobs both on and off the road, could've found a home on 2021's One To Grow On.

There's a smart sense of history here — a celebration not only of where the band is headed, where they've been, too. Even so, Silverada doesn't spend much time looking in the rearview mirror. Instead, it keeps its gaze focused on the road ahead. This is a snapshot of a band in motion, chasing down the next horizon, writing the soundtrack to some new discovery. It's the sound of alchemy, of some new metal being forged. And like silver itself, Silverada shines brightly.

"We spent the first part of our career figuring out who we are and what we're good at," says Harmeier. "Now we want to evolve not only the sound of the band, but the dynamic of the live show, too. We're all lifers here. We're in this for the long haul. Silverada is us setting the stage for the next leg of the journey."

LC FRANKE

Inspired by the savoir-faire of artists like Frank Sinatra, Scott Walker, and Ella Fitzgerald, Still In Bloom sees L.C. Franke building a bridge between 20th-century nostalgia and post-millennial alienation, his barstool croon smoldering against a backdrop of woodwind trills and string quartet swells. In a previous life, L.C. Franke was known as Jeff Klein, an Austin-by-way-of-New York indie rocker who spent the better part of his youth garnering widespread acclaim as a solo artist, as a collaborator with countless other songwriters, and as frontman of the Southern gothic soul outfit My Jerusalem. But by 2017, Franke had hit a wall. Feeling lost and jaded, his mental health teetering, he decided to take a year off and reassess.

That hiatus turned indefinite with the pandemic and Franke found himself suddenly isolated and adrift, unsure whether he would ever get back to who he was. But then he realized, perhaps he didn’t want to. The opportunity for reinvention presented itself when his friend, the Bessie Award-winning dancer Melissa Toogood, asked him to compose the score for her performance with the Boston Ballet. Franke bought a Mellotron and began noodling around with the sounds of flutes, clarinets, and strings.

As he explored, Franke sat down at the piano and wrote “You and Me and Us Against the World,” the song that would become the lodestar for his new musical approach. The music brought him back to his roots – all those Brooklyn and Fort Lauderdale summers spent with his grandmother, Elsie Franke, losing himself in her dusty record collection filled with golden greats like Glen Miller, Blossom Dearie, and Jimmy Durante. In this music of his past, he saw a future. Borrowing inspiration from his grandmother’s records, and paying homage to her with his name, L.C. Franke was born.

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The Limeliters launched their career in 1959 at San Francisco’s famous Hungry i…

and before long, founding members Alex Hassilev, Lou Gottlieb and Glenn Yarbrough emerged as one of the dominant voices of the early 1960’s folk music scene.  For three years they were the musical representatives for Coca-Cola, and their rendition of the jingle “Things Go Better with Coke” became a national hit. A string of best selling albums for RCA Records and frequent appearances on every major TV show quickly made them a household name.

Time Magazine summed up their appeal with the following memorable quote: “If the button down scrubbed looking Kingston Trio are the undergraduates of big-time folk singing, The Limeliters are the faculty.”

In the ensuing years, the lineup of the group has featured several spectacularly talented new members, but The Limeliters have never deviated from the integrity of the fabulous sound that they pioneered. With their energy and enthusiasm undiminished, current members Andy Corwin, Daniel Boling and Steve Brooks remain as exciting an act as the genre has produced. Now more than ever, the surging vocals, thrilling harmony, and quirky sense of humor of this unique trio continue to earn them their title as…

“The Fabulous Limeliters”.

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The position that Radney Foster enjoys in the music landscape is remarkable. Mainstream country music and independent Americana tend to occupy separate orbits. Yet for 37 years, Foster has thrived in both as a songwriter, recording artist, live performer and producer. His songs—solo, with Foster and Lloyd and recorded by other artists—have topped the country, Americana, and AAA charts alike.

Foster developed his best-of-both-worlds sensibilities growing up in the small West Texas town of Del Rio, where he absorbed music from both the local pop radio station by day and the renegade country from border station XERF by night.

He first gained attention as half of the duo Foster & Lloyd. who, with “Crazy Over You” became the first duo in history to top the Country charts with their debut single. Their music appealed as much to college rock listeners looking for an edgy roots sound as it did country fans craving tradition, and they went on to release three ground-breaking albums for the label. He then established himself as a solo artist in the early 90’s with his critically acclaimed release Del Rio, Texas 1959.

Known as a songwriter’s songwriter, his songs have been recorded by everyone from Keith Urban and the Chicks to Hootie & the Blowfish and George Benson. His own hits like “Just Call Me Lonesome,” “Nobody Wins,” and “Texas In 1880” continue to be played on radio and by bands around the world.

His most recent project For You To See The Stars is in two parts, a book of short fiction, and a companion CD of the same name.

Foster has written eight number one hit singles, including his own “Nobody Wins,” and “Crazy Over You” with duo Foster & Lloyd. His discography contains countless cuts by artists ranging anywhere from country (Keith Urban, The Chicks, Brooks and Dunn, Nitty Gritty Dirt Band) to contemporary (Marc Broussard, Hootie & The Blowfish, Kenny Loggins, Los Lonely Boys, George Benson) and his songs have sold 50 million copies worldwide. He was recently inducted into the Texas Heritage Songwriter’s Hall of Fame.

He recently reunited with the Randy Rogers Band to produce their new album Homecoming, nearly 20 years after he produced the band’s debut Rollercoaster, and subsequent two albums.

Foster’s most recent project For You To See The Stars is in two parts, a book of short fiction, and a companion CD of the same name. He has appeared in film, TV and stage including as host of CMT Crossroads, in the feature film Beauty Mark, on stage in the acclaimed musical “Troubador.” He is currently working on another book of fiction, as well as developing film and TV projects.

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Show @ 8pm
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A singer-songwriter known for his lyrical acumen and plaintive harmonica style, Joe Pug dropped out of college and moved to Chicago where he worked as a carpenter before breaking into the city’s music scene. Since 2008 he has released a string of critically-acclaimed albums and toured heavily in the U.S. and abroad. Paste Magazine wrote of his music: “Unless your surname is Dylan, Waits, Ritter or Prine, you could face-palm yourself to death trying to pen songs half as inspired."

He has toured with Steve Earle, Levon Helm, The Killers, Justin Townes Earle, Sturgill Simpson, and many others. He has appeared at Lollapalooza, Bonnaroo, and The Newport Folk Festival. His music has appeared on NPR’s “Prairie Home Companion” and “Mountain Stage”. His music has been released by Lightning Rod Records, which features an alumni roster of Jason Isbell, Billy Joe Shaver, and James McMurtry.

Additionally, he is the creator and host of the popular podcast The Working Songwriter.

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Show @ 8:00pm
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Eliza Gilkyson is known for her intimate, insightful and spontaneous live performances, with songs ranging from the spiritual to the practical, from the mundane to the profound , in a soulful evening of music where heart, intellect, humor and craft all come into play. She has a reputation for bringing world class musicians with her on tour, and this show will be no exception with the inclusion of multi-instrumentalist/producer Don Richmond, who has produced and played with her on her last two records. Don will be accompanying her on a variety of instruments, creating colors and musical textures that enhance every song. 

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Born in Wheeling, West Virginia in 1954, Grammy winning singer songwriter and multi-instrumentalist Tim O’Brien grew up singing in church and in school. After seeing Doc Watson on TV, he became a lifelong devotee of old time and bluegrass music. Tim started touring nationally in 1978 with Colorado bluegrass band Hot Rize. His songs “Walk the Way the Wind Blows” and “Untold Stories” were bluegrass hits for Hot Rize, and country hits for Kathy Mattea. Soon more artists like Nickel Creek, Garth Brooks, and The Dixie Chicks covered his songs. Over the years, Tim has collaborated with his sister Mollie O’Brien, songwriter Darrell Scott, and noted old-time musician Dirk Powell, as well as with Steve Earle, Mark Knopfler, Dan Auerbach, Sturgill Simpson, and Steve Martin.

Living in Nashville since 1996, O’Brien’s skills on guitar, mandolin, fiddle, and banjo make him an in- demand session player. He tours in a duet setting with his wife Jan Fabricius on mandolin and vocals, and in a band the includes bassist Mike Bub, fiddler Shad Cobb, and Fabricius. A voracious reader who loves to cook, he has two sons, Jackson (born 1982) and Joel (born 1990). The International Bluegrass Music Association awarded him song of the year in 2006 and named him best male vocalist in 1993 and 2006. He was inducted into the West Virginia Music Hall of Fame in 2013 and into the Colorado Music Hall of Fame in 2022.

Recent releases He Walked On and Cup of Sugar wove stories of everyday life into socially conscious themes. Other notable O’Brien recordings include the bluegrass Dylan covers of Red on Blonde, the Celtic-Appalachian fusion of The Crossing, and the Grammy winning folk of Fiddler’s Green. His duet with Darrell Scott, Real Time, is a cult favorite, and he won a bluegrass Grammy as part of The Earls of Leicester. Tim O’Brien and Jan Fabricius released their first full collaboration Paper Flowers, in June of 2025. Its fifteen original songs serve as a narrative of the married couple’s life together.

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Shawn Phillips is one of most fascinating and enigmatic musicians to comeout of the early '70s singer-songwriter boom. The mere fact that he was a musician as much as a singer and songwriter made him stand out, and helped him attract a dedicated following. His refusal to shape his music – which crosses between folk-rock, jazz, progressive, pop, and classical -- to anyone else's expectations has allowed him to hold onto a large and dedicated cult following, without ever achieving the stardom that his talent seems to merit.

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45 years.

It seemed to go by in a blur, pounding the road, seeing the world, raising babies and sending them to college, mowing lawns, romances, marriages, high school drama, endless airports, the nights at the Hollywood Bowl, the night at the Red Barn in Louisville dodging various barroom projectiles, frozen diesel lines, blast furnace desert heat, hours of practice, late nights and early mornings, and lots and lots and lots of laughter.

No laptops, no cellular phones, no Google, no downloads, no Skype, no Tweets, no Apple, no Microsoft, no texting, no electric cars, no Uber. A different world. But there were three young men with drive and wit who wanted to keep a special music alive. They believed in preserving the heritage of Western Music and presenting it to a new generation. They believed in entertaining, and they did so… entertaining themselves as well as the audience! And they believed in creating original Western Music to continue the tradition, not just seal it in amber as a museum piece. What they did not realize at the time was that they would be doing the same thing 45 years later.

45 years ago, Ranger Doug, Too Slim and the late Windy Bill Collins played that first date on the bitter cold evening of November 11th, 1977 at Herr Harry’s Frank N’ Stein Rathskeller in Nashville, and small listening room dates followed. By August of the following year demand was building, and while Windy Bill left, Woody Paul joined, and the true professional beginnings of the band began at the Kentucky State Fair, where the trio played 10 days for $2500 - and bought their own rooms and meals out of that!

A first wave followed, including appearances on Austin City Limits; recording contracts with Rounder, then MCA, then Columbia; guest appearances on the Grand Ole Opry leading to membership in 1982; and a three-year run on The Nashville Network with a TV show called “Tumbleweed Theater,” which yet in turn led to a seven-year run on public radio with “Riders Radio Theater. People Magazine, interested in the Riders phenomenon, ran a story which happily caught the eye of a Hollywood producer.

And so the second wave broke, sending the boys to Hollywood to star in “Riders In The Sky” on CBS for a year on Saturday mornings, introducing them to yet another generation. More recordings, endless show dates, and television appearances followed for a decade before the fine folks at Pixar called and asked the quartet – by this time they had been joined by Joey the Cowpolka King – to sing a tune called “Woody’s Roundup” in the movie “Toy Story 2.” Thus, the third wave began, highlighted by a number of projects for Disney, including two albums, both of which won GRAMMY Awards!

The creation of satellite radio has recently given them a new platform, as they continue to produce episodes of the award-winning “Classic Cowboy Corral” on Sirius/XM.

Still more road dates and recordings (several on their own Riders Radio Records label) and other film and television projects have filled the days and weeks and years, and since the quartet has slowed up very little, the numbers begin to add up: an astonishing 7,200+ appearances, 35 years on the Grand Ole Opry, 40 records albums (well, now CDs,) and tours of all 50 states and all over the world.

Honors accumulated as well. In addition to the two Grammy Awards, Riders received numerous awards from the Western Music Association, including the highest: membership in the Western Music Hall of Fame; numerous Wrangler awards from the Cowboy Hall of Fame and Western Heritage Museum; awards from the Academy of Western Artists; enshrinement in the Walkway of Western Stars, and more. What began as a celebration of classic Western Music and an evening of hilarity has become a career, and that career has become a legend, one which, 40 years on, shows no signs of stopping or even slowing down much.

Ranger Doug, Too Slim, Woody Paul and Joey the Cowpolka King… 45 years on, “The Cowboy Way.

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Patterson Hood

Patterson Hood is an acclaimed singer-songwriter, guitarist, and co-founder of the Southern rock band Drive-By Truckers. Born in Muscle Shoals, Alabama, Hood grew up immersed in the region's rich musical heritage, with his father, David Hood, being a renowned session bassist for the Muscle Shoals Rhythm Section. Drawing inspiration from storytelling traditions and a passion for rock, country, and soul, Hood's music often explores themes of Southern identity, social justice, and personal introspection. While best known as front man, singer, songwriter, and guitar player for Drive-By Truckers, he is also a writer of essays, columns, and short stories as well as a solo performer and producer.

Since forming Drive-By Truckers in 1996 with Mike Cooley, Hood has been a driving force behind the band’s narrative-driven sound, blending gritty, guitar-heavy arrangements with evocative lyrics. Albums like Southern Rock Opera(2001) and The Dirty South(2004) have solidified their reputation as one of the most influential Southern rock bands of their generation.

Beyond his work with the Truckers, Hood has released solo albums such as Killers and Stars(2004) and Heat Lightning Rumbles in the Distance(2012), showcasing his versatility as a songwriter. His newest solo album, Exploding Trees & Airplane Screams, produced by Chris Funk (The Decemberists) will be released via ATO Records in February 2025.Whether fronting the Truckers or performing solo, Patterson Hood remains a vital force in modern music, celebrated for his ability to turn life's raw realities into compelling, soul-stirring art, and continues to be a powerful voice in contemporary Americana and Southern rock.

Craig Finn

Craig Finn is a Minnesota-bred singer/songwriter based in New York City, best known as the singer of The Hold Steady. Finn spent the ’90’s leading Minneapolis indie band Lifter Puller, which released 3 albums and an EP.  After relocating to New York, he joined with Lifter Puller member Tad Kubler to form The Hold Steady in 2003.  The Hold Steady quickly achieved critical acclaim and a worldwide fanbase with their unique pairing of dense lyrical narratives with big rock guitars.  The Hold Steady’s ninth album, The Price Of Progress, was released in March 2023, commemorating the band’s 20th Anniversary. 

Craig Finn released his 6th solo album Always Been on April 4. Produced by Adam Granduciel (The War On Drugs), the album features musical performances by Granduciel and members of The War on Drugs, Kathleen Edwards, Sam Fender, and more.

Always Been tells the story of a man who becomes a clergyman despite a lack of faith. The songs detail his rise, fall, and eventual redemption, while also shining a light to sharply reveal the other characters that populate the world he moves through. A limited edition, 92-page companion book Lousy With Ghosts accompanies the album and features 11 works of fiction by Craig Finn. These stories take place in the same universe as the record, giving deeper looks at the characters within.

Finn released his first solo album in 2012 with three additional solo LPs put forth from 2015 -  2019: Faith in the Future, We All Want The Same Things, and 2019’s I Need a New War - which coalesced into a sign-of-the-times musical trilogy. Finn’s fifth album, A Legacy of Rentals was released in 2022 and received universal critical acclaim.

That’s How I Remember It is Craig Finn’s podcast series, launched in 2022. Co-produced and distributed by Talkhouse, the podcast series examines the connection between memory and creativity. Each episode features a discussion between Finn and one creator – including musicians, authors, filmmakers, and more – about the role memory plays in their art. These exclusive conversations reveal the different ways each creator synthesizes their remembered life experience to tell stories about themselves and the world we live in. Podcast guests have included George Saunders, Fred Armisen, Bill Hader, Lucinda Williams, Johnny Marr, Jason Isbell, Duff McKagan, Adam Duritz, Ben Gibbard, and many more.

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Show @ 7:00pm
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People ask Warren Hood a lot of questions at the end of a show – what was the name of that song you played – it sounded like Stephane Grappelli maybe, right after the Doug Sahm cover? How did you learn to play fiddle like that? Are you playing anywhere else this week? How old are you? Warren always obliges to answer all of the questions, that’s just his character (the answers are usually something like, “Black Cat”, hard work and listening to the right records, yes, definitely, and older than you think). He cares deeply about the experiences of the people who come to his shows and buy his records and works hard to create memorable live performances and albums.

Warren started playing classical violin at age 11 in the school orchestra, later studying privately with Bill Dick. He won classical music competitions, including the Pearl Amster Youth Concerto Competition and the Austin Youth Award, which gave him the opportunity to perform as a soloist on “Lalo Symphonie Espagnole” with the Austin Symphony, conducted by Peter Bay. Warren later balanced studying at Austin High with touring with Charlie Robison and the South Austin Jug Band. After high school, Warren earned a rare scholarship to Berklee College of Music where he majored in Violin Performance, played with Steven Tyler and formed an acoustic string band, Blue Light Special. At Berklee, Warren earned the coveted String Achievement Award, an award chosen by faculty to honor talent and as a vote of confidence on future success.

Leaving Berklee, Warren returned to Austin and was in demand as a sideman, playing with Bruce Robison and Kelly Willis, Alejandro Escovedo, Joe Ely, and joining The Waybacks, a band he would play with for the next ten years. Through all of this, Warren played with the South Austin Jug Band when he could, especially as a part of their Sunday night residency at Momo’s on W 6th St in Austin. When the residency ended for SAJB, Warren gathered a group of friends and took over Sunday nights under his own name, starting his first solo venture and releasing his first studio record, “Warren Hood”, an eclectic mix of both songs and legendary Austin players including Marcia Ball, Cindy Cashdollar, and Ephraim Owens.

The Momo’s Sunday residency lasted seven years and was a testing ground for Warren where he found his sound, learned how to lead a band, and gave the artists he shared the stage with space to shine - something he had plenty of experience with from the other point of view, having been a sideman for 10+ years. The way Warren ran Sunday nights had a lot in common with the residencies he grew up around in Austin – his father, Champ’s, ‘Singin for your Supper’ at Threadgill’s (Marcia Ball, Butch Hancock, Ruthie Foster, Sarah Elizabeth Campbell, Jimmie Dale Gilmore) and Toni Price’s ’Hippie Hour’ at The Continental Club.

The band Warren plays with now (Marshall Hood and Willie Pipkin on guitar, Nate Rowe on bass, and Jordan Cook on drums) is the current version of the band he started back in 2004 at Momo’s. This band plays every week at ABGB, drawing a mix of “old Austin” and newcomers, musicians and music lovers, and dancers who stay on the floor from the first to last song. The Warren Hood Band plays a mix of their own songs, classic country, and blues, with a nod towards their Texas roots with a few Uncle Walt’s

Band songs mixed in. Warren recorded “Warren Hood Band” in 2013, an album produced by Charlie Sexton and released by Red Parlor Records. A multi-instrumentalist (violin, guitar, mandolin) and accomplished singer-songwriter, Warren is described in the press a lot of different ways: “virtuoso” ”seven time Austin Music Award winner - Best Strings” ”Texas fiddler” ”Chet Baker crooner” “bluegrass picker” – but for him it all kind of blends together into everything he does (and what he does doesn’t always have fiddle). Warren says slyly that “playing different styles of music is like speaking different languages - the difference between violin and fiddle is how you roll your Rs. The more languages you speak the more people you can talk to.”

Warren's greatest influence is certainly his father, Champ Hood. Champ was a member of Uncle Walt’s Band, an acoustic folk trio from Spartanburg, South Carolina that also included Walter Hyatt and David Ball. They moved to Austin in 1975, prime time for the zeitgeist of the Austin heyday, playing at Waterloo and the Armadillo and building a cadre of lifelong fans. Their intricate harmonies and creative songwriting inspired their contemporaries, many of whom are today’s best loved and most respected songwriters and artists, and continue to touch those who discover their records today. Warren spends as much time with his band as he does playing and recording alongside other artists: David Ball, The Bodeans, Hayes Carll, Joe Ely, Alejandro Escovedo, Robert Earl Keen, Ben Kweller, Little Feat, Lyle Lovett, Joan Osborne, Toni Price, Bob Schneider, South Austin Jug Band, Redd Volkaert, Jerry Jeff Walker The Waybacks, Bob Weir, Bruce Robison and Kelly Willis and more.

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CELEBRATING 30 YEARS!
We had only been a band for barely 5 years when we started getting courted by major labels in 1993. We signed with A&M, got paired up with legendary producer T Bone Burnett and moved to LA to record our major label debut. Before you knew it, there we were on Conan, in Rolling Stone, People Magazine and on the radio all over the world. In addition to tunes from their other sixteen Studio and Live albums, Jack and Cary will hone in on some of the classic tunes and stories from Bringing on the Weather that solidified the duo into the national and international music scene.
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A river runs through this swath of ranch land, snaking in serpentine contours through willows and winters, destined for the nearby fertile plain to the south. Just before she empties into the basin, she joins another moving band of water, on her own journey from headwaters in the same mountain range.

Their power and beauty is greater at the confluence.

I walk that river now, alone, almost there, lost in song.

Well, almost alone.

Are you haunted by your dreams/do you walk with ghosts/do they call out and you don’t know what it means/or do you make a stand/turn around and shake their hand/on 191st street.

I walk with ghosts, too, along this riverbank. Divorces, struggles with sobriety, crises of faith and confidence... we all walk with them, though we may call them by different names. And when we find the courage to shake those ghosts’ hands, brushing their fingers in mutual acknowledgment and respect, sometimes we can let them go.

For good.

And then, finally free, we can turn to the future, and run into the joyful arms of breezy melodies, joy, and hope.

Decline defeat politely/then we reassess/lift our heads up/on we press/don’t you know there ain’t no magic potion/life it ebbs and flows just like the ocean/ride the waves but don’t get carried away/turn those lemons into lemonade/ahhh-we’re back again.

Cary Pierce’s ‘Back Again’ is that joyous morning-after to Jack O’Neill’s ‘Cadillac Kings’ evening spent dancing with ghosts, the juxtaposition of dark and light reflected in their own deep pool journeys.

Jack and Cary started playing together at SMU in Dallas, TX, when music was shared via mix tape, not mp3. They’d spend the next 10 years recording albums and touring the world, sharing stages with the biggest names of the era.

Those names don’t matter here.

There’s does.

Jackopierce.

Their inaugural decade ended in a short-lived sabbatical, with Jack heading to New York to pursue acting and Cary embarking on a solo career. The duo reunited 5 years later, shook the dust off, and launched another twenty-year run of successful albums and tours, bookended by sold-out shows featuring an all-star backing band (Vertical Horizon, anyone?) and popular destination events.

Along the way, Jack and Cary’s personal journeys followed turns and drops unique to them, but familiar to us all. And now, as this river meets the next, both peace with the past and excitement for the forward-view is palpable.

And best heard through their songs.

Take a listen.

But not because they’ve been making music together for over 30 years, or because of their half-million albums sold, or late-night talk show appearances, or influence on an entire genre of acoustic-driven rock.

Listen because these two theater-major undergrads, with headwaters in the same late-80s collegiate mountain range, have stumbled over their own stones and through their own canyons over the last three decades.

And now, they meet again, where their power and beauty is the greatest.

Here, at the confluence.

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Despite the name, Matt the Electrician is no longer an electrician, focusing instead on a music career that has spanned the course of two decades, a dozen records, and thousands of shows. His music, however, remains rooted in his blue collar beginnings, with lyricism that embraces the day-to-day, the mundane, the beauty of the ordinary.

Before moving to Austin, TX and launching his career as a working-class folk musician, Matt Sever grew up on the West Coast. His parents played John Denver and Pete Seeger songs on the family record player, and Matt spent his earliest years surrounded by the things that would later fill his own music: acoustic guitars, timeless melodies, lyrics that celebrated the joys and heartaches of everyday life, and — above all else — a strong work ethic.

That work ethic served him well in the mid-1990s, when he moved to Austin in search of new horizons and better opportunities. Matt was already playing music by then, and in need of a steady day job, he began working as an electrician, spending his days wiring houses in the Texas heat. Once quitting time came, he'd grab his guitar and drive himself to an evening show, usually taking the stage in his work boots and sweaty clothes. "Hi; I'm Matt the Electrician," he'd tell the crowd, hoping his occupation would help explain his appearance. The name stuck, even after his growing fan base at home, as well as abroad, allowed him to hang up his pliers for good.

Matt’s most recent release, a double CD called The Doubles, is the culmination of a 2-year vinyl 45 collaborative project.

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Here’s what we know about Southpaw Jones:

He is a software developer by day (and some nights). Visit LinkedIn for all that.

By night, he makes music for open-minded folks who dig singable melodies and one-of-a-kind lyrics.

He responds well to prompted creativity, particularly when the prompter has a budget.

He can write a decent song about anything.

He is left-handed.

He plays a right-handed guitar upside down…

…without a high E string.

He treads lightly on the thin ice of irreverent honesty.

He has lived in Houston, Nashville, and Los Angeles.

He currently lives in Austin.

He performs solo if not with Matt the Electrician.

He has had the honor of opening for Dan Bern, Terri Hendrix, James McMurtry, Slaid Cleaves, Fred Eaglesmith, and Lisa Loeb.

He has performed with 5 instruments in 17 states during the past 20 years.

Critics say he has “that most amazing ability to be hilarious and heartbreaking at the same time.”

Author Spike Gillespie calls him “the left-handed Elvis Costello and the best songwriter in the land.”

Southpaw calls himself “Slim” and sleeps in the fetal position.

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“You should be playing stadiums!”. Ian laughs while hearing this after another blazing performance at the 2024 SXSW music festival. Is he laughing because he has played his fair share already, from shows with some of the most influential musicians of all time, from the Rolling Stones to Bob Dylan, to a long line of headline festival performances, or because he knows the folly of the music business? “I’m always aiming for the fences,” he says, but you can tell he’s also motivated by something deeper. Ian is a triple threat and an artist’s artist. He came up in Austin, mentored by the greats. Stevie Ray Vaughan famously gave him his first guitar, and you can hear the lineage in his fingers, but then you hear that voice...” I was obsessed with the soul singers as a kid,” he says, and you can hear those influences in his silky falsetto and his soulful phrasing. Spin magazine described him as a cross between Aaron Neville and Jimi Hendrix, and that duality sets him apart from so many other guitarists. There is a sensitivity within the fire and an economy in his playing that came from years and years playing with the greats as a young man, sharing stages with Willie Nelson, Albert King, Jimmie Vaughan, Albert Collins, Doug Sahm, and many others while still in his teens and early twenties. At the same time, Ian is always searching for new ways to expand and refine his music, working with groundbreaking producers like Mark Howard/Daniel Lanois(Bob Dylan, U2), Joe Chicarelli(White Stripes, Elton John), and more recently, Adrian Quesada, whose band ‘the Black Pumas’ was starting to hit as they were making Ian’s ‘Strange Days.’ He looks at songwriting through a lens just as serious as Guy Clark or John Prine, but through a scope that includes influences from country blues to brit pop and back. “Man, many people don’t even listen to lyrics anymore, but to me, it is the core of a great song, and if the core is hollow, the rest of it will echo that.” That solid foundation has led to four top 20 rock radio hits, countless TV appearances, and even a feature role In the film Slingblade, Billy Bob Thornton’s southern gothic masterpiece. With such a rich history, it would be easy to rest on his accomplishments, but Ian doesn’t see it that way. “When we pull into a town, nobody cares what we’ve done in the past; they want to be electrified, and our focus is to be the best thing they have ever seen.” Watching him play to yet another capacity crowd and leave them screaming long after he’s left the stage, you can see his dedication and hunger are just where they need to be. He’s staring down another touring season filled with festivals and marquee shows and gearing up to record later this year in what will be his twelfth release. It’s a dizzying pace, and you have to wonder how anyone can keep their focus and integrity with that much action and movement.“I have to speak from the heart.” He says. “It’s the only thing you have and the only thing that matters. Trends come and go. When you speak from the heart, you never go wrong.” Looking across the field and seeing thousands of fans completely immersed in his music, you can see a lifetime of soul smiling back at him.

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Show @ 8pm
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JENNY REYNOLDS:

Jenny Reynolds lives her life following her mission statement of “Work hard, be nice, keep moving.” She is currently at work on a new record with Mark Hallman and André Moran at Cedar Creek Studio.

Her latest record “Any Kind of Angel” was also produced by Mark Hallman and André Moran at Congress House Studio, and was released on June 19, 2020. The recording features Jaimee Harris, BettySoo, Warren Hood, Oliver Steck, and Scrappy Jud Newcomb. It is her fourth release.

A native New Englander, Reynolds has worked with Boston-based artists Duke Levine, Kevin Barry and Catie Curtis. She has played the Old Settlers Music Festival, the Kerrville Folk Festival, The Philadelphia Folk Festival, Club Passim, the Cactus Cafe, and the Bluebird Cafe, and has worked with Grammy winner Ruthie Foster and Rock n’ Roll Hall of Fame inductee Ian McLagan. She was an Official Showcase Artist at SXSW 2008 and 2018, and was named “Best New Local Act” in the Austin Chronicle’s 2005 Critics Poll.

Her music has been on major network television and independent film, including ABC’s “All My Children.” She is also the producer of Austin's “Williams Nite: A Tribute to the Music of Hank and Lucinda Williams,” a “kinda annual” show that will happen for the thirteenth time in 2025. Proceeds benefit the SIMS Foundation.

SUSAN GIBSON:

Susan Gibson knows all about blessings. Roundabout 28 years ago, she wrote herself a wish that grew up and went off on its own to become one of the biggest country songs of all time. Smiling at its success from afar, Gibson went on to happily live her own best life, free to hit the open road with a van full of happy dogs and a heart full of songs to share with attentive audiences across the country — and all the room in the world to "make the big mistakes" that a wide-eyed dreamer kinda gal could ever ask for. 

All that said, though, Gibson is not a lives-in-la-la-land kinda dreamer. Blessed as she's been, the award-winning songwriter also knows all too well that in the real world, sometimes there's just no avoiding "the hard stuff." Mind, not the kind she consciously swore off way back on Valentine's Day, 2010; after nine years of humble sobriety, it's easy enough, relatively speaking, for her to resist the temptation of a bottle of wine at a friend's table or politely decline the occasional unasked-for drink sent to the stage by a fan. But positive life choices and willpower alone offer no proof or protection against the kind of knock-you-on-your-butt shots that life itself can serve up on the regular. The best you can do, she's learned, is take each hit as it comes, get back up again, and try to find your wits and center of gravity before the next wallop lands. Because as sure as hearts break, van transmissions fail, and loved ones (both two- and four-legged) pass on, you can always count on another one coming.

ELIZABETH WILLS:

Texas-based singer-songwriter and Americana artist Elizabeth Wills has a voice that Dallas Morning News compared to “female singer/songwriter greats such as Carly Simon, Shawn Colvin, and Sarah McLachlan.” Her songs – real and riveting – keep listeners engaged start to finish.

Influenced by writer-artists Joni Mitchell, Carole King, and their contemporaries, Wills bases songs in honesty, goodness, and vulnerability. Fans relate, and the industry has taken notice as well. Wills is a past winner of the Dallas, Texas-based B.W. Stevenson Songwriting Competition and was a finalist in the New Folk Competition (Kerrville Folk Festival).

With her band and as a solo artist, Wills has played notable festivals like ACL, South by Southwest, Kerrville Folk Festival, Austin City Limits Festival, Southwest Regional Folk Alliance, The Backyard and more. She enjoys regular airplay on college radio stations across the country and NPR affiliates in Austin, Dallas, and Fort Worth, and she has guested on the nationally syndicated radio show "What D’ya Know."

JANA POCHOP:

Singer-songwriter and producer Jana Pochop (Jan-a Po-cop) is a wanderer with a penchant for folk-pop songs and universe pondering, particularly when it comes to art and the places it’s created.

Jana’s music, in large part, has been influenced by the culturally rich cities of Albuquerque, New Mexico, and Austin, Texas. The influence of the expansive American West is revealed with just a cursory listen to her work, from her initial release The Early Year in 2008 to the 2022 critically acclaimed The Astronaut. Listening to her songs with intent is akin to standing in the early morning desert, surrounded by a sonic landscape that enchants with both its scope and depth, slowly revealing and changing itself as the light of day passes into night.

Themes of time, space, and place that were born through years of touring nationally are woven into arrangements of music and lyrics that surround the listener with a succession of remembered and anticipated events. Whether it’s the distance between people and locations (“12-Hours By Car”), or feelings that overwhelm with doubt (“My Deepest Fear”) and desire (“Solar System”), Jana’s work is a testament to how people are forever changed by both the enjoyment and production of art.

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Show @ 8:00pm
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All Ages

MADAM RADAR is an Americana rock band that punches hard with their explosive harmonies, soaring guitar solos, and eclectic original tunes. The band is a tangled web of family and friends; Jace Cadle (rhythm guitar/vocals) is married to Kelly Green (lead guitar/vocals) who is the sister of Kody Lee (drums/vocals) who is married to Violet Lea (bass/vocals). Welcome to the Family.

Fronted by the trio of Kelly, Violet, and Jace, MADAM RADAR is a revolving door of high-energy singer-songwriters, each with their own perspective and style that magically seem to overlap like the layers of a kaleidoscope. With all four members of the band providing harmonies, MADAM RADAR is a wall of colorful sound that changes shape, demanding your undivided attention.

MADAM RADAR has shared stages with renowned acts such as Bon Jovi, Arc Angels, Lukas Nelson, Candlebox, 3 Doors Down, Hayes Carll, Jack Ingram, Shinyribs, Jackie Venson, and Comedian Ron White. They are a two-time Sonic Guild (formerly Black Fret) Grant recipient and were the first Austin-based band to perform at the Moody Center in Austin, TX.

MADAM RADAR released their first full length album under the name “The Texas KGB” in 2016 titled Songs in the Key of Pain. In 2017, they released their second full length album titled Welcome Home. Both were recorded at 512 Studios with Omar Vallejo.

MADAM RADAR announced their name change after being awarded their second grant from Black Fret in December 2019 at The Black Ball at ACL Live at the Moody Theater. They then released their self-titled album Madam Radar in February of 2020. It was recorded at The Finishing School in Austin, Texas and produced by Gordy Quist of The Band of Heathens and engineered by Grammy award winning Steve Christensen.

In October of 2021, MADAM RADAR went back into The Finishing School with Gordy Quist and Steve Christensen to record their studio album SPEAKS. It was released to a sold out show July 30th of 2022 at the 04 Center in Austin, TX. Kevin Conner of Austin’s Sun Radio called MADAM RADAR’s single Hands, “The best song to come out of Austin in 2022.”

During summer of 2023 MADAM RADAR rolled into Escondido Sound, the home studio away from home for Austin staples The Bright Light Social Hour, to work with Curtis Roush on their single Hole in My Head. The track was released August 27th, 2023.

After nearly three years on the road the band came home again to The Finishing School, this time with help from Grammy Award Winner Steve Berlin of Los Lobos and Grammy Award Winning engineer Michael Brauer. Together they created MOTEL, a love letter to the road and the people you meet on the long way home. MOTEL was released May 16th, 2025.

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The Reverent Few don’t chase trends or polish their edges. They play like it matters—because for them, it does. Rooted in gospel shouts, blues grit, and rock ‘n’ roll soul, their music isn’t just heard—it’s felt, deep in the chest.

Frontwoman Paige DeChausse delivers vocals that are raw and resonant, the kind that crack you open and stitch you back up in the same breath. At her side, Nick James layers in blistering guitar and grit-soaked harmonies, while Ashlyn Shanafelt and Spanky lock in a rhythm section that hits like muscle and memory.

Their debut record Ain’t No Place to Be dropped April 1st, 2020—into a world that stood still. But the songs kept moving. In small rooms, on quiet stages, and through the headphones of anyone who needed them.

Their newest single, The World Will Be Wood To You, is a rope swing of hope—equal parts tenderness and tenacity. It’s a reminder that beauty still lives in the burn, and resilience is a rhythm worth keeping.

This is music with marrow. Come ready to feel something.

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Garrett Jay Brown is a songwriter, multi-instrumentalist, and longtime student of groove and feeling. After fronting Jam Therapy and The Matters—sharing stages with acts like Big Boi, Vallejo, and the Goo Goo Dolls—he toured internationally with BLK ODYSSY, honing his craft on the road.

Now releasing music as Filthy Casual, Garrett blends soul, indie rock, and off-kilter pop with a self-aware edge, telling stories that are raw, reflective, and rooted in real life. His debut EP marks the next chapter in a lifelong search for truth through music—equal parts heartbreak and humor.