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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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PATRICK CONWAY

As the frontman, guitarist and songwriter for the band The Lost & Nameless Orchestra, Patrick Conway has spent the last fifteen years gigging all over the U.S. and playing every major folk festival and songwriter friendly venue in Texas and beyond. Highlights from his travels with his band include performances at the Americana Music Festival in Chicago, Kerrville Folk Festival, Old Settler’s Music Festival, Folk Alliance International, Fischer Festival, Minnesota State Fair and The Wildflower Festival in Dallas, as well as House Concerts and all of the wonderful listening rooms and grocery stores in his hometown of Austin, Texas. Patrick never turns down a gig for a listening crowd and tirelessly works to entertain when given an audience and a microphone.

With years of working in recording studios and multiple releases under his belt, Patrick has a new album called “MERIDIAN”. The album is a celebration of and tribute to all that is important in Patrick's life. Love, Home & Family are some of the themes on “MERIDIAN”. It also touches on the inevitable, but beautiful... Loss. The album was produced mostly at home, late at night with everyone in the house sleeping, but features some amazing guest musicians on drums, violins, organ, backing vocals and saxophone.

Patrick also composes instrumental music for an electronic and ambient music-for-film project called ENDELØS. Selected compositions are available for licensing through MusicVine.com in the UK and all other commissions are available at endelosmusic.com.

When he’s not writing, recording and performing his own music, Patrick works as a freelance music producer and audio engineer. With over twenty seven years experience working in studios and performing as a singer, Patrick enjoys assisting other singer/songwriters and bands with their music and is always open to assisting other dedicated artists.

BUFFALO HUNT

Buffalo Hunt is the songwriting moniker of Austin, TX, multi-hyphenate Stephanie Hunt, who when not acting, writing or hosting, is composing thoughtful “take-a-puff-and-put-on-the-headphones” kind of songs with lyrics that cleverly upend your expectations or surprise you with metaphor. Touting a sound that seamlessly blends psychedelic pop, Laurel Canyon-style songcraft and midcentury honky-tonk touches, she makes music you are meant to spend time with. An artistically formidable effort, her debut album “Ambitions of Ambiguity” is the sort of record that’s easy to love on first listen, while also being lauded by Rolling Stone, FLAUNT, Americana Highways, KUTX & The Austin Chronicle among others.

With additional appearances on songs with James Petralli (White Denim), Ghost Songs with Alex Maas and Christian Bland (of The Black Angels), Pope Coke, her outfit with Jazz Mills (Cowboy & Indian) and duets with her husband Shakey Graves, she’s proven a diverse collaborator with a wide palette of musical taste.

Now a mother, with a dose of new perspective, she approaches the next phase of Buffalo Hunt with a wide range of contributors, touring prospects and new music in tow.

TAMECA JONES

Austin, TX singer and performer made a name for herself locally as the “Empress of Austin Soul.” Toured nationally and opened for Gary Clark Jr, Leon Bridges, Willie and Lukas Nelson, St Paul and the Broken Bones, Jill Scott, and more. Her songs have been featured in movies and television shows such as Hulu’s “Black Cake” and “Walker Texas Ranger.” Tameca’s highly anticipated debut album Plants and Pills dropped in 2024 and netted her distribution deal with Greater Distribution as well as an exclusive sync deal with Koze Music.

SUZANNE SANTO

Suzanne Santo has never been afraid to blur the lines. A tireless creator, she's built her sound in the grey area between Americana, Southern-gothic soul, and forward-thinking rock & roll. It's a sound that nods to her past — a childhood spent in the Rust Belt; a decade logged as a member of the L.A.-based duo HoneyHoney; the acclaimed solo album, Ruby Red, that launched a new phase of her career in 2017; and the world tour that took her from Greece to Glastonbury as a member of Hozier's band — while still exploring new territory. With Yard Sale, Santo boldly moves forward, staking her claim once again as an Americana innovator. It's an album inspired by the past, written by an artist who's only interested in the here-and-now. And for Suzanne Santo, the here-and-now sounds pretty good.

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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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ALI HOLDER

Ali Holder, a standout figure in the Austin music scene, is recognized by Austin Monthly as one of the city’s premier songwriters. Over the past decade, she has released two EPs and two LPs, including her latest album, "Uncomfortable Truths," which blends traditional singer-songwriter roots with contemporary indie influences. Her work is celebrated for its raw, unflinching honesty, particularly in exploring themes of feminism and self-discovery. No Depression praises Holder for her ability to craft songs that traverse the vast Texas landscapes while capturing the complexity of intimate, often troubled relationships.

The Austin Chronicle describes Holder’s music as a mix of Fiona Apple and Aimee Mann, with breakthrough confessions and compassionate anthems that resonate deeply with listeners. Rooted in folk and drawing influences from Willie Nelson to Florence + the Machine, Holder’s sonic journey has gained national attention, including sync placements on top television networks.

In addition to her music, Holder is a mentor at GRAMMY U and has participated in numerous music and writing residencies. Her storytelling prowess and evocative melodies continue to captivate audiences across the country. New music is slated for release in fall 2026.

SUZANNA CHOFFEL

Known for her distinct voice and reggae-inspired guitar technique, Austin native Suzanna Choffel's music has been described as "a unique sound equal parts Beat poetry, smoky soul grooves and indie-pop eccentricity." (Jim Derogatis). Having made appearances at ACL Music Fest, SXSW, Voodoo Fest, as well as on screen in movies like "Catfish" and NBC's The Voice (earning singular praise from Rolling Stone as "the only artist you'd want to listen to a complete album from"), Choffel feels equally at home singing in a dimly lit club as she does front and center in front of (literally) millions.

Over the course of her two decade career Choffel has shared the stage with a diverse array of artists like Buena Vista Social Club, Suzanne Vega, Crystal Gayle, Solange, Carrie Rodriguez, Davíd Garza and many others. As a songwriter she has won multiple awards in both the John Lennon Songwriting Contest and the International Songwriting Contest and her albums have appeared on top 10 lists across Texas.

Choffel was born and raised in Austin and cut her teeth as a teenager singing in beloved hometown haunts like Saxon Pub and Broken Spoke. She moved away to Santa Fe to study music at a small “hippie college” as she likes to call it, improving her guitar & songwriting chops, moved back to Austin & recorded her first album Shudders & Rings and hit the clubs hard, developing a following at places like Momo’s, Strange Brew, (both have closed) and Cactus Cafe. She started to appear on many “one to watch” lists in Austin & in 2009 won Best Indie Band at Austin Music Awards.

Since that time life has had huge changes for her; she did a short stint on reality tv (NBC’s The Voice), moved to New York, toured in France, gave birth to two daughters, recorded & released two more albums, toured internationally and became a radio personality/DJ on Austin’s Sun Radio (100.1FM). Her unique “radio” voice landed her a gig as the voice of Whataburger in 2023.

Choffel released her fourth studio album Bird by Bird on Sept 27th, 2024. Choffel teamed up with Grammy-winning producer Davíd Garza for Bird by Bird, which was recorded in both Los Angeles and the Sonic Ranch studio complex outside of El Paso. The album does keep its Austin bona fides: Adrian Quesada, of the Black Pumas and Grupo Fantasma, and fiddle phenoms Carrie Rodriguez and Warren Hood play on the album.

S.L. HOUSER

Active in the Austin music scene for over a decade, Sara L. Houser’s contributions have never been singular. Much of her career has been defined by her behind the scenes roles as a sought after collaborator in the studio world (Spoon, Golden Dawn Arkestra, Walker Lukens) and as a touring musician for big name acts Zella Day and Matthew Logan Vasquez.

In 2021, she departed from her long standing indie rock outfit Löwin and started releasing music as S. L. Houser. Her new record, Hibiscus, was released in November of 2023 via Spaceflight Records. Houser was a recipient of the City of Austin Live Music Fund which contributed to the the album’s release. Hibiscus, is a spyglass look into the mind of a self-described recovering workaholic. The 6 song EP has been added to rotation at 64 non-comm stations nationwide and has charted in NACC’s Top 200 since its release. Hibiscus is slated to be reissued on vinyl with bonus tracks in August 2024 in partnership with Try Hard Coffee and Spaceflight Records.

S. L. Houser was the KUTX January Artist of the Month in 2024 and nominated for Musician of the Year in the Austin Chronicle’s Austin Music Awards. Houser is a producer, arranger and music educator. She was one of 10 producers selected to participate in Jim Eno’s Project Traction - bridging the gender gap in music production. Since Project Traction, she has gone on to produce albums for other artists in addition to her own music.

She is currently working on music direction assistance for Zella Day’s upcoming second China tour, prepping for a spring tour run with Matthew Logan Vasquez, finishing recording new singles to be released this summer and writing string arrangements for 2 separate projects.

DANNY MALONE

Danny Malone is an Austin-based singer & songwriter celebrated for his ultra-inward songwriting and lyrically captivating universe. Malone’s music and writing invite you on a journey by way of intensely intimate memories and engaging emotional touchpoints in his life. His music conveys truth, love and passion combined into an incredible gift of storytelling that is backed by indie-pop phrases which remain in your conscious well after the song has ended.

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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, Darin Murphy & 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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Since their debut EP, receiving stunning reviews, Oakland Rain has released a number of EPs, two albums written for Ibsen theater, and a Norwegian album with critics honoring their lyricism, amassing more than 3 million cumulative Spotify streams. The sisters have also written for Norwegian and international film, and released a pop project in 2021 that was recommended by Billboard. Their work with Ibsen has gained attention from The Norwegian Ibsen Company and Ministry of Foreign Affairs, who wishes to work together on sharing and guarding the cultural heritage of Ibsen and the less known portfolio of his poems. In 2024, Oakland Rain was invited on tour with folk legend Judy Collins on her East Coast tour in the US, and got invited back for the West Coast tour. They will be joining their third, and longest, US tour with Collins in 2025. The duo is among the few musical acts chosen for the official showcase at the Folk Alliance International Conference in Montréal, Canada, in February 2025.

The duo has toured extensively in Norway and throughout the U.S. and Europe. Back home, Oakland Rain has performed at prestigious festivals and halftime shows at major football stadiums; appeared on national television and international radio; and had the honor of being chosen to play for the Norwegian Crown Prince and Crown Princess due to their engagement of the UN goals and the fight for a better future. The duo’s songwriting has also been mentioned on Billboard’s list of recommendations.

Within Maren and Charlotte are many contrasts that shape their sense of selves, both as individuals and as twin sisters. For example: Maren creates music through a melodic perspective and feelings, while Charlotte uses a lyrical entrance and is more analytical. For the Norwegian duo’s double full-length debut, they explore these paradoxes and other puzzles of identity. The conceptual and thoughtfully curated project is organized by color and genre. “Twin Flames Part I: The Evergreen” (the “green” side), takes on realism and showcases Oakland Rain’s affinity for earthy Americana. “Twin Flames Part II: Heavenly Blue” (the “blue” side), is about escapism and gracefully delves into Nordic fleeting alternative pop. Throughout, the sisters get more personal about the symbiosis of being twins, and express their strong bond that is the main pillar of their art. They also examine the inner conflict between fear and freedom, and how we as humans cope with both sides. The colors are a visual symbol of woods and land; what we can see and what we know, in contrast to waters and the sky; what we cannot see and what we don’t know.

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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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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.

Doors @ 7pm
Show @ 8pm
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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.

Doors @ 7pm
Show @ 8pm
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Singer/Songwriter Max Gomez grew up in Taos, New Mexico, where he fell under the influence of country blues early on and developed a songwriting style that was uniquely his. He received critical acclaim upon the release of his debut album Rule The World (2013, New West Records); and his subsequent EP, Me and Joe (2017, Brigadoon Records), contained a freshly minted classic, “Make It Me,” which has gained over 4 million listeners on Spotify alone.

As a budding performer, Max apprenticed in the rarefied musical micro-climate of northern New Mexico, where troubadours like Michael Martin Murphey and Ray Wylie Hubbard helped foster a Western folk sound both cosmic and country.

He has shared billing on hundreds of stages with stalwarts of the genre like James McMurtry, Buddy Miller, John Hiatt, Patty Griffin, Tommy James & The Shondells, Jeff Beck, and Johnny Depp. Judging by the company he keeps, Gomez is poised to emerge as a prominent voice of Americana’s next generation.  The forthcoming album, Memory Mountain, will release this summer.

Doors @ 7:00pm
Show @ 8:00pm
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OLD NO. 1 AT 50 – Celebrating The Spirit of GUY CLARK – Performances by Sam Baker, Rosie Flores, Verlon Thompson, Bukka Allen, Jack Barksdale, Mike Meadows, Waylon Payne, Presley Haile & Graham Weber

On Friday October 24, some of Austin area’s best singers and songwriters will gather at The 04 Center to pay tribute to the legendary songwriter Guy Clark, whose debut album Old No. 1 was released 50 years ago, in the fall of 1975. While not an immediate commercial success, the album was filled with songs that became instant classics: “L.A. Freeway,” “Desperados Waiting for a Train,” “Rita Ballou,” “Texas 1947,” “Let Him Roll,” and “That Old Time Feeling.” No one could have known then that Old No. 1 would inspire generations of American songwriters, troubadours, and music fans.

The Guy Clark Family Foundation, a 501(c)3 nonprofit dedicated to supporting songwriters, is celebrating the 50th anniversary of Old No. 1 with a series of concerts around the country to bring awareness to the organization, and to boost songwriters who work in the spirit of Guy Clark. Artists that night will perform songs from Old No. 1 and the rest of Clark’s catalogue, as well as their own original compositions. Ticket sales will help benefit the Guy Clark Foundation.

Doors @ 7:00pm
Show @ 8:00pm
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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”.

Doors @ 7pm
Show @ 8pm
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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.

Doors @ 7pm
Show @ 8pm
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The Damn Torpedoes have it: attitude, mojo, chemistry, skill, and determination… and use those qualities to pay tribute to an American band who for 4 decades were the pure embodiment of the same, Tom Petty and the Heartbreakers. This time around, they're paying tribute to the great Neil Young for his 80th Birthday!

Join us as we celebrate this true American artist with songs from his whole catalog by Ty Hurless featuring members of The Damn Torpedoes and The Pepperland Players!

Doors @ 7:00pm
Show @ 8:00pm
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Many people consider the Grassy Hill Kerrville New Folk Songwriting Competition to be the soul of the Kerrville Folk Festival. Every year since 1972, songwriters have been invited to submit two songs to be considered for this prestigious competition. From the 1,200 submissions in 2025, 24 artists are invited to come to the Kerrville Folk Festival and perform their songs before an adoring and enthusiastic audience. A panel of professional touring singer songwriters selects six “award winners” from the 24. Each year those six award winners are invited to participate in a tour of central Texas.

This year, 5 award winners will join us at Sycamore Creek Concerts and share their incredible songs and musicianship. The sixth award winner, Katie Dahl, had previous commitments and is not able to join the tour.

ARTISTS:

Sara Beth Go, Nashville, TN

Starting out in New Orleans as a blissfully awkward 13-year-old girl playing an out-of-tune, dark brown, upright piano. At age 18 she moved to Nashville. Welcome to Sara Beth’s Neighborhoodof Noise, 2nd Edition. It's strong and shimmery, clunky and uncomfortable, heartbreaking and hopeful, mental and, like a 13 year old, funny as hell.

https://www.sarabethgo.com/

Cindy Kalmenson, OJAI, CA

Cindy Kalmenson is on a rollm she has won numerous songriting competitions before becoming an awar winner in the Kerrville New Folk Songwriters Competition. FolkWax sus it up: “As a singer, Kalmenson has a gift for storytelling and phrasing well suited to the stories she writes. She sings in a light yet powerful soprano that reminds a bit of FolkWax favorite and artist of the year Gretchen Peters.”FolkWax. https:cindystylemusic.com/

Abigayle Oakley, NASHVILLE, TN

From Las Vegas to Nashvegas, Abigayle Oakley blends the melodic richness of folk pioneers with the lyrical honesty of today’s confessional singer-songwriters. Her songs explore the complexities of life and the existential questions that shape us, often with a sharp, tongue-in-cheek wit that adds layers of humor and insight. Check out her website to experience some of her music. https://www.abigayleoakley.com/

Madeleine Roger, WINNIPEG, ONTARIO - CANADA

Madeleine Roger is a singer-songwriter from Winnipeg, Canada. She can easily silence a room, uniting her lyrical prowess with breathtaking melodies that linger long after they are sung. Her newest collection of songs (Nerve) is a deeply personal body of work and is the result of three years of soul-digging, experimentation, and fine-tuning. She has toured extensively across Canada, Europe, USA, and the UK. She is also a regular collaborator with JUNO award winning string quartet The Fretless, appearing with them in performances and on recordings as a vocalist and co-writer. www.Madeleineroger.com

Martin Gilmore, DENVER, CO

Martin Gilmore released his debut self-titled record in 2009 featuring a number of well know artists. He teaches music and has opened for a long list of note worthy artists. He has also won a number of songwriting competitions in addition to he win at the Kerrville Folk Festival.

Https://www.Martingilmore.com

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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. 

Doors @ 6:00pm
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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.

Doors @ 7pm
Show @ 8pm
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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.

Doors @ 7pm
Show @ 8pm
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Save the Date! Sue Foley and her Band are coming back to the 04 Center in Austin, TX on November 20th.

GRAMMY® nominee, Sue Foley delivers her own brand of high energy, guitar driven Texas blues along with her band. Foley’s seasoned rhythm section responds to her every move as she sways, rocks, and digs in deep with equal parts ease and intensity.

“Foley has a killer voice, an impossibly alluring blend of sex and innocence to go with those blazing guitar chops." Philadelphia Inquirer

“Sue Foley has a way of making the blues explode from the bandstand." Americana Highways

“Lively it is!...Straight from the hip and from the heart groovaliciousness. Rock on!”–Billy F Gibbons, ZZ TOP

Sue Foley is a multi-award-winning blues guitarist, singer, and songwriter. Her latest release, One Guitar Woman: A Tribute to the Female Pioneers of Guitar, was nominated for the 2025 GRAMMY® Award for Best Traditional Blues Album. On it, Foley delivers a masterclass in acoustic guitar, honoring the trailblazing women who shaped the instrument’s history—from Maybelle Carter and Sister Rosetta Tharpe to Ida Presti and Lydia Mendoza.

Foley’s guitar tone—whether drawn from her signature pink paisley Fender Telecaster or a handmade Mexican flamenco guitar—is a voice unto itself: lyrical, commanding, and unmistakably hers. With painted fingernails and pinpoint precision, she fuses fiery Texas blues with delicate fingerstyle flourishes, channeling a poet’s sense of purpose through every note.

Raised in Ottawa, Canada, Foley was drawn to the guitar at 13 and performing professionally by 16. After relocating to Austin, Texas in her early 20s, she signed with Antone’s Records—home to legends like Stevie Ray Vaughan—and released her 1992 debut, Young Girl Blues, to widespread acclaim. She has since toured internationally and shared stages with B.B. King, Buddy Guy, Jimmie Vaughan, and Billy F Gibbons, earning her place among the top tier of modern blues artists.

A five-time winner of the Blues Music Award for Traditional Blues Female Artist (2020–2025), Foley also holds a Juno Award, the 2024 Maple Blues “Blues With a Feeling” Lifetime Achievement Award, and numerous other honors. She is not only a performer but a scholar: her forthcoming book, Guitar Women: Conversations with the Heroines of Guitar (Sutherland House, 2026), chronicles her interviews with groundbreaking female players. Foley also holds a PhD in Musicology from York University.

Her performances—stripped-down or electrified—exude conviction, grace, and grit. As The Philadelphia Inquirer put it, “Foley has a killer voice, an impossibly alluring blend of sex and innocence to go with those blazing guitar chops.” With One Guitar Woman, she opens new musical and historical territory, affirming that women have always had a place in the pantheon of guitar greats. “We’ve been here all along,” she says. “Now we’re claiming it.”

Doors @ 7pm
Show @ 8pm
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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.

Doors @ 7:00pm
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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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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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The best storytellers always do a careful dance. Details offered, details withheld. Drawing you in one raised eyebrow at a time, whispering here, bellowing there. Are you listening? These are secrets being told, not to mention joys, sighs, even – if you can detect them – sly bits of advice. Lean into it. Close your eyes. They’ll carry you softly home.

It’s a dance singer-songwriter Emily Gimble performs on her debut album “Certain Kinda,” with songs as soulful as they are winsome, broody as they are beautiful. It makes sense for a woman who grew up with music in her blood, singing and playing on-stage since she was seven years old. Maybe it couldn’t be helped: when your dad is Dick Gimble, beloved guitarist and upright bass player, and your grandfather is Johnny Gimble, one of the most beloved fiddle players of all time, there’s really no choice but to play, is there?

Piano beckoned Emily early on – in fact, the Austin Music Awards named her “Best Keyboards” of the city three times (2013, 2014, 2018) – as did another instrument, full of natural range and feeling: her voice. “A Case of the Gimbles,” the 2005 album she recorded with her father and grandfather, showcased her vocals and launched Emily on a national family tour, playing folk festivals and charming audiences across the country. 

“The time I got to spend traveling around the country playing music with my Dad and Grandpa are the most cherished musical memories of my life,” says Emily. “It was then that I really started learning how to communicate through music, speaking with my dad and grandpa through solos and spaces on stage.”

It wasn’t long before other musicians started to take notice of Emily, including Marshall Ford Band, where she romped on some western swing, and Warren Hood and the Goods, where she explored jazz, country, folk and pop. In 2012, that band started touring nationally, then went on the road the next year with Hayes Carll as his backing band. 2013 would also see the release of a record, “The Warren Hood Band,” produced by Charlie Sexton, and in 2014, Emily joined the iconic, Grammy Award-winning country band, Asleep at the Wheel. It was an opportunity that put Emily in touch with a lot of her heroes: nothing beats playing on “Austin City Limits” (twice), except maybe for recording a duet with one of her idols, Merle Haggard. 

A storied musical history, to be sure. But in many ways, Emily’s story was just beginning. 

“On New Year’s Day of 2015, I was having dinner with some of my buddies, and we were going around the table with our resolutions. That’s when I suddenly burst out: ‘welp, I’m going to make a record this year. It’s time.’” 

A week later, Emily got a call from Andrew Trube of Greyhounds, who invited her over to hear some new tunes. A week after that they were recording, holed up in a small house and recording space run by fellow musician Sam Patlove, near Austin’s 12th and Chicon St. corner.

“What came out of that day really shocked me,” admits Emily. “It brought tears of joy to my eyes when I heard it. I kept thinking of this project, this thing with Andrew, as a fun little experiment, unsure of what would come of it. But the four tracks we did on that first day made me completely fall in love. I kept listening, and it kept moving me.” 

The song “East of Kerns” came out of those initial sessions, seducing the listener into a jazzy, blacktop road trip, letting us gaze out the window with a heart full of longing and a head full of memories. “With One Eye” finds Emily defiant and truth-telling, belting out proclamations to a frustrating lover before giving way to percussive, sultry vocals. “Canyons of Gold” is an arms-stretched-wide embrace of growing up, with a touch of gospel vocals for good measure. Title track “Certain Kinda” is soft and thoughtful by turns, assurances to a companion undercut by notes of ambivalence. “It’s a wonder that we ever made it,” Emily sings, but this album – cut, mastered, and mixed with the likes of Jimmie Vaughan is just the opposite. 

“Certain Kinda” was mastered at Ardent Studios in Memphis, whose catalog includes the likes of Bob Dylan, The Raconteurs, and The Staple Singers (a huge influence on Emily), as well as Texan natives the Vaughn Brothers and ZZ Top. Well-honed musical ears will appreciate a production that feels unfussy but pristine, vintage but clean. It’s the result of a musician who’s spent decades learning her craft, and a lifetime building her musical family. If this arresting debut album is any sign, we’ll be hearing the name “Emily Gimble” for many years to come.  

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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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Conceived in a cabin overlooking the Delaware River in upstate New York, Son Little’s latest album,Like Neptune,trades in the existential dread permeating previous work for unbridled joy and self-acceptance. In this verdant space of freedom, Son Little transmutes the chronic pain of self-doubt into a beautiful opus about overcoming generational trauma, decorating the altar of the primordial blues and elevating the labor of healing to high art.

"In the beginning of lockdown, I went into a closet full of junk and found a couple of boxes full of my old writing books,” Livingston explained. “There turned out to be 72 books in there.” “The oldest book I got as a Christmas present when I was 9,” he continued. “In it, I wrote letters to myself about what was happening in my life. One page refers to a neighbor in Queens who abused me sexually around age 5. It was the first and only time I’d ever acknowledge this fact until after my 19th birthday, when I told my mother what had happened. She begged me go to therapy. I went under protest. My attempt wasn’t sincere. I wasn’t ready. I thought I could just power through it.” Years of anxiety, depression, panic attacks and the aforementioned existential dread ensued, often dulled or numbed by the effects of alcohol, drugs, or sex. A frightening car crash and arrest finally led him back into therapy in 2017. Aggressively employing progressive methods like EMDR and somatic healing, Livingston, with the help of a trusted therapist, began identifying the roots of his trauma, and where it lives in the body. But the biggest breakthrough came from Internal Family Systems, a methodology that recognizes responses to trauma triggers as distinct entities or ‘parts’ within the person, and requires the patient essentially have conversations with the different traumatized personalities within them.

“One day in therapy I started talking to myself– to that annoying inner voice that criticizes everything when you mess up. I asked them how old they were and they said ’10’. I asked if they knew who I was, or how old I was and they said ‘no'! Strange as it all seems it’s had some amazing results. I’m able to soothe and comfort my inner...children.” The open exchange with his wounded inner self challenges a tradition of silence that masks the trauma coursing through the bedrock of the genre; the impact of abuse has infamously undergirded the catalogs and upended the lives of some of R&B’s most iconic musicians. Like Neptune, however, counters that no student or practitioner of the tradition should believe trauma to be a necessary component of their sound.

“I’ve always felt as though I was making music because I had to, something inside compelled me. Fueled me,” Little shared. “This the first time in a long time I’m making music for the pure joy of creating.” Delving into his journals and happily cooped up inside due to the pandemic, Son Little returned to beat making to craft the core of Like Neptune using apps on his iPad–– a method originally tasked with satisfying the nagging urge to create on a daily basis on the road; later he fleshed out the programming and added live instrumentation in Ableton live— while micro dosing LSD and immersing himself in the sounds of ‘70s era David Bowie and psychedelic Amazonian cumbia of the same period. Like Neptune also marks a return, to Livingston’s origins in the east coast underground hip-hop and soul scene, which lead to collaborations with The Roots (“Guns Are Drawn” and “Sleep”) and Icebird partner and frequent-collaborator RJD2 (“Crumbs Off The Table”), and later Portugal. the Man (“Woodstock”). With these DIY bedroom productions, many made with a cassette 4-track and a MPC drum machine, Livingston honed and refined the unique sound he would later employ producing soul music legend Mavis Staples’ 2015 Your Good Fortune EP (including a GRAMMY Award-winning cover of “See That My Grave Is Kept Clean”) and writing and producing with blues soul singer Deva Mahal. The entirety of this timeline of artistic growth and influence forms the foundation of his latest release. Noticeably confident from the opening note, Son Little prioritizes his signature rasp as the chief instrument of every song on a 12-track meditation on the mortal struggle to achieve inner peace. Doling out a pearl-strung collection of successive epiphanies he engages each of his re-invigorated parts, empowering them to finally speak freely, with him as the vessel “Think of them as my inner R&B Boy Band, son little,” Livingston explained. “A different version of me takes lead on each song.” Beginning with the opening track, Son Little lets loose in this expansive creative landscape. "drummer" is a chronicle of the artistic struggle punctuated by the expert timing of master percussionist Aaron Draper, Livingston’s inner critic delivers a spirited ode to the rigors and value of creative work. The anxious worrisome part, the part that sets the alarm because you stayed up all night worrying about sleeping through the alarm, describes the ongoing effort to repair a fraught relationship with sleep on "6 AM." And a once overly macho part finds power in vulnerability: "inside out” places balance and directness over possessiveness and toxicity with a groove inspired by both RZA and Prince, while "deeper" alludes to Son Little's long-standing desire to understand the human experience beyond mortality, someplace closer to the essence of the divine. On the title track, Livingston’s voice does the heavy lifting – supported again by Draper’s percussion – and delivers the playful lyrics he attributes to his youngest and most wildly imaginative part, Neptune. Neptune is also responsible for “stoned love” which finds him cooing stoner wordplay flanked by the otherworldly synth work of Deshawn ‘Dvibes’ Alexander. The lustful album closer “what’s good” practically oozes joy as a once angry, impatient part of him imagines reuniting with a would-be lover after a very long absence. This song demonstrates a depth of emotion with slick pop melodies and spare guitar to stomping gospel organ and brash arpeggios that scratch the psych-rock itch. Like Neptune establishes Son Little as the polyglot translator and rightful torchbearer of the celebrated musical tradition known as rhythm and blues. Continuing to revolutionize the modern understanding and expectation of the R&B sound, Son Little delivers an unadulterated transmission of Black American music performed in its praying and pleading mother tongue. With it, he completes the daunting tasks of confronting himself and pushing his sound to completion. The result is a timeless body of work reflective of his deep internal desire to inhabit the most radiant version of himself and become a positive force in the lives of people around him. It’s been a long time coming, so what’s good?

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Chloe Jobin, also known as “Blue Girl,” is an American-Canadian independent artist based in Dallas-Fort Worth. She open-heartedly weaves the stories of her individual experiences through her vulnerable lyricism, captivating voice, and a mixed bag of indie pop, alternative, rock, experimental, and downbeat sounds. Spreading her roots throughout the DFW music community over the past few years, Chloe has consistently flourished and proven herself as an undeniably distinct talent with a clear-cut vision.

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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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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.

Doors @ 7:00pm
Show @ 8:00pm
Full Bar
Free On-site Parking
All Ages

Join us for the 3rd Annual Beat Root Revival Christmas Show, "Christmas Cracker!"

BEAT ROOT REVIVAL is a multi-instrumentalist roots duo, combining elements of Folk, Blues, Country, and Rock n Roll to create a melodic sound, made up of powerhouse harmonic vocalists Andrea Magee and Ben Jones.

Originally from England and Ireland, Ben Jones and Andrea Magee came to the USA 4 years ago like their ancestors before them, looking for a new life and to share their music far and wide. With just a guitar, a Bodhran and a hunger in their harmonies and songs, Austin, Texas became their adopted home and they have developed an ever-growing fan base gigging regularly while writing prolifically. The band's CD sales are higher than any other support act we’ve had at our label in years and they just recorded three brand new songs with legendary producer Paul Leary (Sublime, Slightly Stoopid, Ballyhoo!, Meat Puppets, Butthole Surfers), which includes a great rendition of Thunderclap Neman's, Something In The Air.

Doors @ 7:00pm
Show @ 8:00pm
Full Bar
Free On-site Parking
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.

Doors @ 7pm
Show @ 8pm
Full Bar
Free On-site Parking
All Ages

Tony Kamel (Wood & Wire) and Kym Warner (The Greencards, Robert Earl Keen) have formed a musical duo after a decade-long friendship and shared musical experiences.
Both GRAMMY nominated, multi-instrumentalists and vocalists, Tony and Kym have had success with their previous bands The Greencards and Wood & Wire. The Austin TX based duo is receiving high praise for their unique compelling vocal and instrumental arrangements and strong original compositions rooted in the Americana genre with roots heavily planted in bluegrass and the acoustic forms.
Instrumentation of acoustic guitar, mandolin, banjo, along with bouzouki, electric mandocaster and harmonica create a tight-knit, lush yet edgy, high lonesome yet smooth, old time yet fresh sound drawing on influence from John Hartford to Mark Knopfler.
Their touring history includes Telluride Bluegrass Fest, Merle Fest, Red Rocks, The Ryman, Lollapolooza, Austin City Limits and Carnegie Hall.

Doors @ 7:00pm
Show @ 8:00pm
All Ages
Full Bar
Free On-Site Parking

Madison Cunningham

Depending on the game, an Ace can be the highest or lowest card, zero or infinity. A breakup feels similar—one path crumbles, while all others remain infinitely possible. How do you write about heartbreak when you’re going through it? Ace, GRAMMY award-winner Madison Cunningham’s third record for Verve Forecast, tracks every part of it: falling out of love, having your heart broken, and then falling in love again. Co-produced by Cunningham and Robbie Lackritz (Feist, Rilo Kiley, Bahamas, Peach Pit), the fourteen-track album is honest and full of heart, even as it breaks.

Ace builds off of the success of Revealer (2022), a darkly funny portrait of an artist that won Cunningham her GRAMMY for “Best Folk Album,” but it is a different record. A slow burn until it wasn’t. It follows a period of writer's block. On Revealer and her debut album Who Are You Now (2019), Cunningham says that she was writing songs about heartbreak, but they weren’t about her heartbreak. They were sketches, observations. Cunningham wanted Ace to be emotions first. Heartbreaking and lush and bold.

Cunningham’s first single from Ace, “My Full Name,” was released to praise by PASTE who calls the lyrics, “simultaneously sprawling and intimate,” recalling “an ancient work of poetry.” On Ace, which Cunningham serves as co-producer, she wanted piano to move into the foreground. “I wanted it to feel like a mountain peak,” says Cunningham, “I wanted Ace to feel like a mountain we built together.” Ace is a record that feels alive and lush in all the ways Cunningham hoped for when she started writing. It is a record of mastery and honesty. Cunningham loves every single song on it. You can tell.

Doors @ 7:00pm
Show @ 8:00pm
All Ages
Full Bar
Free On-Site Parking

Madison Cunningham

Depending on the game, an Ace can be the highest or lowest card, zero or infinity. A breakup feels similar—one path crumbles, while all others remain infinitely possible. How do you write about heartbreak when you’re going through it? Ace, GRAMMY award-winner Madison Cunningham’s third record for Verve Forecast, tracks every part of it: falling out of love, having your heart broken, and then falling in love again. Co-produced by Cunningham and Robbie Lackritz (Feist, Rilo Kiley, Bahamas, Peach Pit), the fourteen-track album is honest and full of heart, even as it breaks.

Ace builds off of the success of Revealer (2022), a darkly funny portrait of an artist that won Cunningham her GRAMMY for “Best Folk Album,” but it is a different record. A slow burn until it wasn’t. It follows a period of writer's block. On Revealer and her debut album Who Are You Now (2019), Cunningham says that she was writing songs about heartbreak, but they weren’t about her heartbreak. They were sketches, observations. Cunningham wanted Ace to be emotions first. Heartbreaking and lush and bold.

Cunningham’s first single from Ace, “My Full Name,” was released to praise by PASTE who calls the lyrics, “simultaneously sprawling and intimate,” recalling “an ancient work of poetry.” On Ace, which Cunningham serves as co-producer, she wanted piano to move into the foreground. “I wanted it to feel like a mountain peak,” says Cunningham, “I wanted Ace to feel like a mountain we built together.” Ace is a record that feels alive and lush in all the ways Cunningham hoped for when she started writing. It is a record of mastery and honesty. Cunningham loves every single song on it. You can tell.

Doors @ 7pm
Show @ 8pm
Full Bar
Free On-site Parking
All Ages

The Cleverlys is a one-of-a-kind, unique comedy and music experience. From the groups humble beginnings in the Ozark Mountains, to currently headlining festivals and PAC's all over the country, even performing regularly on the coveted Grand Ole Opry stage. One thing is for certain, there is no other show like this out there.

Dr Digger is the master churner of all things buttery and smooth. "His comedy is a hybrid of Homer and Jethro and the office" said Rolling Stone Magazine.

"If Dolly Parton, Earl Scruggs, and Spinal Tap spawned a litter of puppies, it would be The Cleverlys" says the New York Times.

"The group has evolved over the years and the comedy and musicality is the best it's ever been. Our show is now on the top shelf." says Digger Cleverly.

The group is comprised of Dr. Digger, his Son, Ziggy Cleverly, his nephews, Steven Tyler Dale, Plug,and Sock Cleverly.

This group is a master class of comedic timing, showmanship, and world class musicianship.

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Best known for the wildly popular viral video series, “Guy On A Buffalo,” Jomo & The Possum Posse have made a name for themselves with their unique blend of cynicism, dead-eyed soul and anti-machismo honky-tonk.

Three-time Winners Best of Fest Frontera FestThe band is led by Jomo Edwards, who’s award-wining lyrics tend to skate the line between the sardonic and the arcane. In September 2021, Jomo took home first place in Merlefest’s Chris Austin Songwriting Contest.

In 2020, the band was selected “Best of Fest” at FronteraFest for the 3rd year in a row at the long-running Austin Fringe Festival. The band’s original programs highlight their brand of original music and comedy and are shown exclusively at this live theater event.

The band released their third full-length studio album, Take a Number, Satan in 2019 on CD, vinyl and digital. The album received excellent critical reviews, including an Englishman’s review that described many aspects of the album as “fine.” The band believes “fine” to mean “really good” in British version of the language, but they could be wrong.

The album was featured in 2020 on Jack Ingram’s Texas Music Scene.

In 2017, the band released LIVE AT THE HIGHBALL on Get Off My Lawn Records features 18 tracks and captures the energy of the band’s live shows.

Recorded at The Highball (Alamo Drafthouse) on South Lamar in Austin, the band performed a significant portion of its set synchronized to video projected on a massive screen behind them.

Jomo & The Possum PosseTheir second studio album, Local Motive was released in 2016 and skews heavily toward roots rock & roll.

Doors @ 7pm
Show @ 8pm
Full Bar
Free On-site Parking
All Ages

There are songwriters who chronicle life, and then there’s David Wilcox—an artist who metabolizes it. He has long been a quiet force in American folk music; a musician’s musician, a writer’s writer, and a seeker whose gift lies in making the personal feel universal.

With the upcoming release of The Way I Tell the Story (2025), Wilcox proves, yet again, that resilience isn’t just a survival skill—it’s an art form. The record shimmers with musical sophistication but leaves just enough space for the listener to feel what Wilcox has always done best: tell the truth, gently but without apology.

The music he’s creating now comes from a place that can’t be faked. In recent years, Wilcox’s life has been shaped by his wife’s Parkinson’s diagnosis—a shift that reordered his priorities and redefined his sense of time, love, and presence. But rather than retreat, Wilcox leaned in. “Times get tough, and music gets good,” he says, and means it. These songs don’t dramatize. They don’t resolve neatly. They sit in the complexity of living—open-eyed, unafraid, quietly brave.

Wilcox’s career began in earnest in the late 1980s, when his self-released debut The Nightshift Watchman caught the attention of A&M Records. His major-label debut, How Did You Find Me Here (1989), became an unexpected hit, selling over 100,000 copies largely by word of mouth and live shows alone—an unheard-of feat for a debut folk record. Critics took note of his deft guitar work and emotional clarity, but it was the unassuming wisdom threaded through his lyrics that truly set him apart. Rolling Stone praised his “soulful insight,” while The New York Times called his music “a kind of open-hearted therapy.”

What followed was a string of acclaimed albums—Big Horizon (1994), Turning Point (1997), What You Whispered (2000)—each one refining his reputation as a songwriter who knows how to say hard things in soft, lasting ways. Over the years, he’s shared stages and collaborations with artists like Shawn Colvin, Patty Larkin, Pierce Pettis, and John Gorka—fellow craftspeople committed to song over spectacle. But Wilcox has never followed the current. He’s followed the work, and in 2018 Wilcox won top honors in the 23rd annual USA Songwriting for his effervescent “We Make the Way by Walking” from his album, The View From the Edge.

That work has earned him quiet but enduring respect. His songs have been covered by k.d. lang and Tony Rice; his guitar work studied by those who understand that precision, when rooted in care, becomes its own kind of virtuosity. His influence runs deep, especially among younger artists trying to build something real in a world obsessed with surface.

Wilcox’s music still resonates, especially now, because it doesn’t try to outpace the moment. It meets it. In his world, craft is a form of care. Introspection is a public offering. And staying soft in a hard world isn’t a liability—it’s a kind of leadership.

For audiences seeking something more than noise, more than nostalgia, Wilcox’s songs remain a rare kind of company. Not flashy. Not loud. Just deeply, generously alive.