All Sandwiches are Served with a Side of House Potato Chips; Substitute French Fries for Add'l $1.49 / Sub any other Side for $2.49
Sticky Fingerz Sandwich
our classic original sticky fingerz mozzarella cheese, cheddar cheese, lettuce, diced tomato and creamy dill dressing
Chicken Cordon Blues
original chicken fingerz swiss cheese, dijon mustard, smoked ham on an Arkansas Fresh Bun
smoked turkey, pineapple, bacon, cheddar cheese on hoagie roll w/ creamy dill dressing side
Pesto Chicken Salad
house made pesto chicken salad with feta cheese, lettuce and diced tomatoes served on sliced jalapeno cornbread
house smoked chicken, swiss cheese, bacon, lettuce, sweet mustard on fresh bun
grilled fajita chicken, red onion, pepperjack cheese, bell peppers, sour cream on hoagie roll
swiss cheese, smoked turkey, lettuce, basil pesto mayo on a honey wheat wrap
Kickin Chicken Wrap
sticky fingerz, parmesan, onion, lettuce & caesar dressing in a honey wheat wrap
house smoked pulled pork garlic sriracha slaw, pickle onion served on fresh bun
Fowl Mouth Jerk
grilled chicken in jerk sauce lettuce, tomato, pickled onion, mayo on a hogie roll
smoked ham, pepperoni, mozzarella, cheddar cheese, creamy dill dressing, pepperoncini on a hoagie roll
house smoked pulled pork, swiss cheese, parmesan cheese, horseradish sauce served w/ side of Au Jus
house smoked pulled pork, ham pickle, swiss cheese, mustard on sliced jalapeno cornbread
For Our Veg-Heads
Pepperjack Grilled Cheese
pesto mayo, pepperjack, cheese, tomato on jalapeno cornbread
red onions, bell peppers, tomatoes, mushrooms, lettuce, swiss cheese, mayo, mustard on jalapeno cornbread
All Burgers are Served with a Side of House Potato Chips; Substitute French Fries for Add'l $1.49 / Sub any other Side for $2.49; Our Burgers are served on Fresh Bun (Unless Noted Otherwise); Extras Chili $0.99 / Bacon $1.49 / Jalapeno $0.79 / Grilled Mushrooms $0.99 / 1/3 lb Bagel Patty $1.99
Back Porch Burger
lettuce, tomato, creole mustard, pickle, red onion
FGT Patty Melt
on jalapenos cornbread, fried green tomatoes, pepperjack cheese, spicy sriracha dressing
petit jean smoked ham, swiss cheese, pickle, dijon mustard
chicken-fried chicken breast topped with homemade cream gravy
indicates a spicy dish
Mango, coconut, pineapple & spiced rums, pineapple juice & grenadine
Don julio anejo, elderflower liqueur, cranberry & lime juices
Effen cucumber vodka, fresh mint, lime and pineapple juices, simple syrup and club soda
Long Strange Trip
American born apple pie moonshine, peach liqueur, orange juice
Dazz & Brie's Momotional
Deep eddy orange vodka, champagne, orange juice
Blue moon, deep eddy grapefruit vodka, pink lemonade
Deep eddy cranberry vodka, blue curacao, pineapple & cranberry juice, grenadine
It's orange, it's vodka, it's delicious
Traditional, mango, or strawberry
Deep Eddy Lemon Vodka, Smirnoff Raspberry Vodka, Pink Lemonade
Bourbon, Muddled Orange and Cherries, Lemon Bitters, Club Soda
Blackberry Mint Julep
Birddog Blackberry Bourbon, Fresh Mint, Simple Syrup, Club Soda
Sailor Jerry Spiced Rum, Kraken Dark Rum, Blood Orange Liqueur, Pineapple, Cherry & Orange Juices
Light, Dark and Spiced Rums with pineapple & Cranberry juices and Mango Puree
Apple Crisp Gimlet
Skyy Honey Apple Crisp Vodka, Lime Juice, Caramel Simple Syrup, Brown Sugar Cinnamon Rim
Midnight Rambler Mule
Titos Vodka, Blackberry Liqueur, Ginger Beer
Mango Ginger Mocktail
Mango Juice & Ginger Beer (non alcoholic)
Foxbrook White Zinfandel
Gnarly Head Pinot Grigio
Rex Goliath Pinot Noir
Rex Goliath Merlot
Bota Box Moscato
Dos XX Especial
Abita Big Easy IPA
Sierra Nevada Tropical Torpedo IPA
Cock's Bull Ginger Beer (N/A)
Mother's Lil Helper IPA
Oskar Blues Pinner IPA
Ozark Cream Stout
Lost Forty Bare Bones Pilsner
Oskar Blues Dale's Pale ale
Core Arkansas Red
Coop Elevator Wheat
Lagunitas Twelth of Never
Pabst Blue Ribbon
Coors Original (Khaki)
Diamond Bear Pale Ale
Lost Forty Love Honey Bock
Stickyz Beer of the Month
Deliciously Brewed in Arkansas
Date: 2018-07-13; Time: 8:30pm; Location: No Opening Act All Ages; Venue: Bad Habit ; Four high school musicians formed BAD HABIT in 2015 and have been rocking the Little Rock music scene ever since. They have enjoyed considerable success playing the local club circuit, community events, and private functions. With live sets that span the classic rock of the 70s, 80s, and 90s, complemented by more modern hits from today, live entertainment by Bad Habit is the perfect choice to make your good event a great one!
Date: 2018-07-14; Time: 9:30pm; Location: with TBA 18+; Venue: Kool Keith; After single-handedly redefining "warped" as the mind and mouth behind the Bronx-based Ultramagnetic MC's, Keith Thornton — aka Kool Keith, Big Willie Smith, Dr. Octagon, Dr. Dooom, and Tashan Dorrsett, among other personas — headed for the outer reaches of the stratosphere with a variety of solo projects. Keith's lyrical thematics remained as free-flowing here as they ever were with the N.Y.C. trio, connecting up complex meters with fierce, layers-deep metaphors and veiled criticisms of those who "water down the sound that comes from the ghetto." His own debut single, "Earth People" by Dr. Octagon, was quietly released in late 1995 on the San Francisco-based Bulk Recordings, and the track spread like wildfire through the hip-hop underground, as did the subsequent self-titled full-length released the following year. Dr. Octagonecologyst Featuring internationally renowned DJ Q-Bert (of Invisibl Skratch Piklz) on turntables, as well as the Automator and DJ Shadow behind the boards, Dr. Octagon's left-field fusion of sound collage, fierce turntable work, and bizarre, impressionistic rapping found audiences in the most unlikely of places, from hardcore hip-hop heads to jaded rock critics. Although a somewhat sophomoric preoccupation with body parts and scatology tended to dominate the album, Keith's complex weave of associations and shifting references is quite often amazing in its intricacy. The record found its way to the U.K.-based abstract hip-hop imprint Mo'Wax (for whom Shadow also recorded) in mid-1996, and was licensed by the label for European release. Mo'Wax also released a DJ-friendly instrumental version of the album titled, appropriately, The Instrumentalyst. First Come, First Served The widespread popularity of the album eventually landed Keith at DreamWorks in 1997. The label gave Dr. Octagon (retitled Dr. Octagonecologyst) its third release mid-year, adding a number of bonus cuts. In early 1999, however, Keith's alter ego Dr. Dooom unfortunately "killed off" Dr. Octagon on the opening track of First Come, First Served (released on Thornton's own Funky Ass label). Kool Keith signed to Ruffhouse/MCA for his second album under that alias, 1999's Black Elvis/Lost in Space. Records released as Kool Keith followed in 2000 (Matthew) and 2001 (Spankmaster), while the 2002 collaboration Gene appeared as KHM (Kool Keith plus H-Bomb and Marc Live). His next project was a four-rapper group named Thee Undatakerz with Keith taking on a new persona, Reverend Tom. Kool Keith Presents Thee Undatakerz hit the streets in May 2004. Keeping busy, Keith released Diesel Truckers in August of the same year with old friend/producer KutMasta Kurt. Official Space Tape As if 2004 hadn't been filled with enough Kool Keith releases, some truly oddball ones started to appear that year. The Official Space Tape borrowed from previous releases to create the ultimate Keith mixtape; the R&B-leaning Personal Album was released in a limited edition of 500 and with a high price tag; plus the Real Talk label issued Dr. Octagon, Pt. 2, an unauthorized release that had little to do with the original and was quickly pulled from the shelves by court order. The next year was much calmer, with the Global Enlightenment, Pt. 1 DVD released at the beginning of the year, followed by Lost Masters, Vol. 2 in the summer. Nogatco Rd. from 2006 introduced a new character, Mr. Nogatco ("Octagon" backwards). The UFO-obsessed album was a collaboration with producer Iz-Real. The two-CD Collabs Tape compilation and The Return of Dr. Octagon followed soon after. The Best Kept Secret In early 2007, Keith was part of an Ultramagnetic MC's reunion that yielded Best Kept Secret. Tashan Dorrsett, another concept-driven release from Keith, was released in 2009 with the remix album The Legend of Tashan Dorrsett following in 2011. His 2012 album, Love and Danger, hinted at retirement with songs like "Goodbye Rap, " but he was still in business in 2013, making a guest appearance on the Yeah Yeah Yeahs album Mosquito. In 2015 he collaborated with L'Orange and received co-billing with the producer on their album Time? Astonishing! He also collaborated with Ray West for an album titled A Couple of Slices, which was released as a standard LP as well as a limited deluxe edition packaged in a pizza box with a bonus 7″ and cassette. A third Tashan Dorrsett album, The Preacher, as well as Feature Magnetic, which featured guest appearances by MF Doom, Godfather Don, Sadat X, and others, arrived in 2016. Keith revived Dr. Octagon two years later with Moosebumps: An Exploration into Modern Day Horripilation.
Date: 2018-07-17; Time: 8pm; Location: with TBA 18+; Venue: C.W. Stoneking; C.W. Stoneking is the embodiment of what some would say is a bygone era of music. From his rasping jungle-rock-blues, to his well-oiled locks, and his familiar all white clothing ensemble, he has converted fans across the world to his unique style. A first generation Australian of American-descent, C.W. Stoneking was born in the top end of Australia's Northern Territory and spent his childhood growing up in Central Australia, Sydney and rural Victoria. He has travelled the world from Egypt to New Orleans (where he worked as a hoodoo doctor's assistant) to Trinidad, where he learned about Calypso music. He has lived in isolated farmhouses working as a handyman, and been involved in and survived a shipwreck, spending time in Africa, and touring internationally as a recording artist. After spending the past half of a decade stamping his inimitable stylings across the UK and Europe, C.W. Stoneking once again settled down in the Northern Victorian countryside to record his latest release, Gon' Boogaloo. Far from the sepia toned tales of marooned adventures in the tropics of his latest release, Jungle Blues, C.W. entered into the world of electricity – replacing his much-loved Banjo with a shiny gold Fender. Released to critical acclaim in May 2015, Gon' Boogaloo has seen C.W. embark on multiple jaunts across Australia and Europe with his delightful band in tow, including singers Vika & Linda Bull stepping in as backing vocalists. He's set a pace that is not looking like it will slow down any time zoo, as C.W. continues to entertain and delight crowds of all ages.
Day of Show$15.00
The Rad Trads
Date: 2018-07-18; Time: 8:00pm; Location: with TBA 18+; Venue: The Rad Trads 8pm. When The Rad Trads formed in the Spring of 2012, they were meeting each other in New York City's East Village for the first time, looking to play with the best musicians they could find. Making rent playing 4 hour gigs in every bar and beer hall that would have them, the guys dominated New York City and Brooklyn with their punk-rock energy and showmanship, powerful horns, driving rhythm section, and four captivating lead vocalists. Within due time, they decided to take their show on the road. Almost 5 years later, the Rad Trads have played on 4 Continents, headlining tours and opening for acts such as Lake Street Dive, Tom Jones, Charles Bradley, Buddy Guy, Taj Mahal, The Lone Bellow, Con Brio, and Dustbowl Revival. They have toured Europe seven times, the Middle East and played in 14 countries and 33 U.S. States. Following the release of their first full length album (Must We Call Them Rad Trads – Dala Records) in May 2016, the band is slated to release their second LP of original music in the Spring of 2018. The record is highly anticipated in it's creative direction and sound. Members of The Rad Trads have performed or recorded with St. Paul & the Broken Bones, Deer Tick, Lee Fields & The Expressions, Jon Batiste & Stay Human, Sarah Jarosz, Christopher Paul Stelling, David Duchovny, Lenny Pickett, and Red Baraat as well as leading their own critically acclaimed bands.
Date: 2018-07-19; Time: 9:00pm; Location: with Move Orchestra All Ages; Venue: Elephantom.
Date: 2018-07-20; Time: 8:30pm; Location: with Grandson 18+; Venue: Joywave.
Date: 2018-07-21; Time: 9:00pm; Location: with Lingua Ignota 18+; Venue: The Body; On No One Deserves Happiness, The Body's Chip King and Lee Buford set out to make "the grossest pop album of all time." The album themes of despair and isolation are delivered by the unlikely pairing of the Body's signature heaviness and 80s dance tracks. The Body can emote pain like no other band, and their ability to move between the often strict confines of the metal world and the electronic music sphere is on full display throughout No One Deserves Happiness, an album that eludes categorization. More than any of their genre-defying peers, The Body does it without softening their disparate influences towards a middle ground, but instead through a beautiful combining of extremes. No One Deserves Happiness is an album that defies definition and expectations, standing utterly alone. Buford and King are outliers at their core, observing the world as if apart from it. They strive for music without a category. They embody many contrasts. They are open and playful as well as thoughtful and disciplined. Live, they deliver punishing volume and scale with their spare duo set up, expanding their sound through a complex set of effects on both guitar and drums. For records, they approach things entirely differently and expand their group in the studio to include Seth Manchester and Keith Souza from Machines with Magnets (their long-time studio), as well as Chrissy Wolpert of The Assembly of Light Choir. The list of instruments used on No One Deserves Happiness is an unexpected collection that includes 808 drum machine, a cello and a trombone. The band employs instruments in their unprocessed state for the simple beauty of the sound, and then in equal measure push them to their most extreme (for example, the sounds at the end of "The Fall and the Guilt" are created by a guitar and a cello). Because they create an entirely singular sound, The Body is in high demand for collaborations with artists across the musical spectrum, from The Bug to Full of Hell to The Haxan Cloak and beyond. They build albums that are as lush and dense as a rain forest and as unforgiving. Building an album as layered as No One Deserves Happiness is a complex process. Striving for harshness, dynamics and detail all at once poses some technical challenges: It requires that tracks are built up, deconstructed, processed and re-built. Manchester explains that as an engineering team for The Body, Machines with Magnets must always consider the mix — they never go in and record the basics and then mix it. In order to get the immersive experience that is No One Deserves Happiness, they must experiment with and constantly re-evaluate every construct. While they do employ an 808 on this album, they use pre-fabricated samples very sparingly. To get the contrast they are looking for, they experiment with a huge variety of their own sound samples and varying levels of distortion. Reprocessing a few samples of a track can often result in a remix to retain the balance and dynamics they are looking for. Delicate, ethereal vocals, courtesy of Wolpert and Maralie Armstrong (who wrote and sings the lyrics for "Adamah" and contributes vocals at the end of "Shelter Is Illusory") sharply juxtapose King's distinctive, hellish cries. Album opener "Wanderings" is the perfect introduction to No One Deserves Happiness: Wolpert's angelic calls to "go it alone" build until utter despair takes over, her voice drowned in guitar distortion, and as it is swallowed, we hear the desperate cries of Chip King. The Body then completely switches approaches, starting again with bare drums, but this time more processed and more industrial. The march is quickly augmented by electronics and King's distant shrieks — this continues to build to the apex of Wolpert's vocals rising from the oppressiveness and elevating it with her melodies. The contrasting composition and employment of textures on these two songs highlight the Body's songwriting and arrangement skills. Each track is at once melodic and bleak, employing many of the same instruments but never in the same manner. The band's musical tastes are broad, and that is reflected in the wide variety of inspirations they cite for the tracks on No One Deserves Happiness. "Two Snakes" started with a bass line that was inspired by Beyoncé and went through several mutations as the band remixed and reprocessed core elements, vocal melodies morphing into distorted keys, all carried by the foundational bass line. The core duo of The Body has clear ideas of what they want to achieve, but they are completely open to ideas on the execution. This collaborative, open approach allows for a lot of creative input into the building blocks or sounds of a composition that The Body then meticulously arranges. In the same manner as the music, the lyrics are inspired by a variety of literary reference points, from the spoken word piece on "Prescience, " written by Édouard Levé, to the Joan Didion quote inscribed in the album artwork. The Didion passage succinctly sums up an overriding theme of loss and isolation: "A single person is missing for you, and the whole world is empty." In the past two years alone, The Body has joined forces with the metal bands Thou, Sandworm, and Krieg, recorded with Wrekmeister Harmonies, and collaborated with electronic producer The Haxan Cloak. They are currently working on a collaboration with The Bug and grindcore band Full of Hell. They have toured with Neurosis (playing large venues) and toured with Sandworm (playing house shows). This unexpected list of collaborators and unpredictable touring approach further emphasizes the demand for the band's distinctive sound and their open, exploratory nature.
Day of Show$12.00
Date: 2018-07-25; Time: 8:30; Location: with TBA 18+; Venue: Dorothy; Standing there in her full rock regalia, messy hair, leather boots, and that glimmer of confidence in her eyes, Dorothy Martin, singer/songwriter and namesake of the Los Angeles rock band Dorothy, takes the microphone in superstar producer Linda Perry's studio and goes into full rock star mode. She was on fire. She thought she nailed it. Not quite. "I was like, 'I don't know what's up with you, " recalls Perry (P!nk, Christina Aguilera, Gwen Stefani), who produced, engineered, and co-wrote several tracks on Dorothy's second full-length album, 28 Days in the Valley, for Jay Z's Roc Nation. "You just made this incredible band sound like fucking shit and there's not one vocal I can keep here. Are you drunk?" The singer was up partying until 5 a.m., so when she rolled into the studio at 11 a.m. the effects of the night were on full display. So Perry, who also manages the band, kicked Dorothy out of the studio with this firm warning: "If you feel you can't do this, tell me now because you're wasting my time. You are better than this. Call your sponsor, go to a meeting, get your shit together because these songs are great and we are going to make a fucking great record." It was a major turning point, for sure. "I hit my rock bottom that day, " admits the Budapest-born, San Diego-raised artist. I sounded like shit. I felt like shit. I looked like shit. I was making my band suck. I was erratic. I was crying. Linda sat me down and handed me my ass." It was the wake-up call the artist needed. It was that of a phoenix rising from the ashes moment. Martin began to look inside for the answers and found the strong, confident, empowered woman that she had been hiding. Not only did she make an evolutionary turn as an individual and artist, but the band – which also includes guitarist Owen Barry, guitarist Leroy Wulfmeier, bassist Eliot Lorango, and drummer Jason Ganberg – made that "fucking great record" Perry had hoped for. "It was very humbling, but necessary, " says Martin. "This was a spiritual journey and very healing, and because of that it's an unapologetically honest record. Somehow Linda knew I had more to give as a singer and writer. I used to hide behind the tough girl sound, but she taught me that there is power in my vulnerability and that's what you get on this record." "Flawless, " the first single, is one of those vulnerable songs. The boot-stomping rocker kicks off the 13-track album with the heartbreaking lyrics, "You said you loved me, but you threw me out in the garbage/Now I'm starting to stink but everybody thinks I'm flawless, " but by the end of the song Martin's pain turns to an uplifting feel-good anthem of love as she sings, "Coming out of all my darkness/Now that I'm flawless/ Can you feel it?/Can you feel it?" "It's about an ex who really did a number on me, " reveals Martin. "This one came fast to me. It was very subconscious… like I'm channeling them. Linda pulled the lightness out of me, both personally and musically. This record is definitely still bold, but it's happier. It's kind of like the butterfly coming out of the cocoon, which is why the band logo now is a butterfly." The bluesy rocker, "Pretty When You're High Boy, " dives further the emotional rollercoaster of her bad romantic choices. "We've all dated that beautiful boy who likes the ganja too much. He looks like an angel, but was anything but. It's kind of an ode to those surfer stoner boys and girls of the world. I worked out a lot of stuff on this record, " she laughs. Even with more tender moments, 28 Days in the Valley still has the in-your-face bluesy, gritty rock and roll fans loved on 2016's ROCKISDEAD, and their recent standalone single, "Down To the Bottom, " which hit No. 35 on Billboard's Mainstream Rock chart and which Rolling Stone called the "perfect mix of blues thunder and alt-rock guitar crunch." But, added to that thunder this time around are more layers of emotion fueled by less metal, more California desert rock vibes. The powerful '60s-tinged "Who Do You Love" takes you down the fast lane of psychedelic desert rock perfection, while "Ain't Our Time To Die" harkens back to the band's trademark dirty rock sensibilities. The record takes several uplifting turns as heard on "Mountain, " "Freedom, " and "White Butterfly" where it's hard not to feel the spiritual journey and awakening Dorothy has embarked on. It's the kind of record that has a pulse and beckons to be played live from beginning to end… and there's a good reason for that. "We recorded the old-school way like the Stones did. After writing, we did a good amount of pre-production and worked out the energy and vibe of the songs and then we went in and recorded live, usually in just a few takes. Nothing on this record is programmed. It's raw and real and honest, " explains Martin, who led meditation sessions with her band before each session to set the right intention and loving energy. Coming off an album with as much critical acclaim and fan love as ROCKISDEAD – which hit No. 1 on Billboard's Heatseekers Chart, No. 5 on Top Hard Rock Albums, and featured two songs ("Raise Hell" and "Dark Nights") in the Top 40 on Billboard's Mainstream Rock chart – can be intimidating for most bands going into their sophomore record. Critics compared Martin to some of the greatest female artists of our time, such as Amy Winehouse, Patti Smith, and Grace Slick, even calling her "a revved up Adele teetering on the brink of chaos." The praise was equal for the band as Rolling Stone magazine named Dorothy one of the best 50 Best New Artists, while Billboard likened the group's "Wicked Ones", which was featured in Levi's and Gatorade spots, to a blend of Black Sabbath and the White Stripes, and Vice's Noisey dubbed "After Midnight, " which featured actress/model Suki Waterhouse in the music video, "the perfect modern rock concoction." Those kind of accolades are enough to make any young band shake in their boots. But, not Dorothy. "I had no fear coming into this record, " Martin proudly states. "We were in capable hands and I finally felt empowered to be even more of a songwriter than I was before. I finally learned to trust my intuition and my heart, and to get out of my head. You know, the main message of this album is to not live in fear; it's to transform everything in your life to be on the frequency of love, which is so powerful and all healing. That's what this record is all about". VIP tickets includes: Meet & Greet and Photo Opp w/ Dorothy; 2 Song Soundcheck Performance; Early / Preferred Entry; Signed Poster; Commemorative VIP Laminate.
Date: 2018-07-26; Time: 8:30pm; Location: with TBA $10 18+; Venue: Red Shahan; As career trajectories are measured, Red Shahan has covered a hell of a lot of ground in the three years since the release of his debut, Men and Coyotes — not to mention since his salad days a decade ago, when he began haunting the Lubbock club circuit and made the fateful decision that music would be his life's path rather than baseball, rodeo, or firefighting. After a few more formative years of honing his chops and confidence as a songwriter, singer, and versatile musician in different projects throughout the region, he relocated to Fort Worth and began focusing in earnest on launching a solo career and recording the album that would serve as his official introduction to the Texas music world at large. Men and Coyotes was originally released in the summer of 2015 with little fanfare, but the red-headed troubadour with the lonesome howl and penchant for somber portraits of busted boom towns and gritty, white-knuckled anthems wasn't long in hitting his stride and building a loyal audience the old-fashioned way: organically, from the ground up. That grassroots success would in turn land him both a booking deal with the Beverley Hills-based Paradigm Talent Agency and the honor of being the first artist signed to fellow Texas artist Randy Rogers' Big Blind Management roster. The next thing Shahan knew, he was playing his first official showcase at the Americana Music Festival in Nashville. After the set, a duly impressed English gentleman with shoulder-length silver hair approached him to enthuse, "You guys were great!" Shahan thanked him, but didn't learn until after the fact that he'd just met Robert Plant. "It was such a dark-lit room that I didn't even recognize him," Shahan confesses today with a self-effacing chuckle. "I guess I dropped the ball on that one!" Clearly, the gifted young troubadour from Bluff Dale, Texas is already off to a great start — and Shahan's now poised to reach an even bigger audience with the March 30 release of his sophomore album, Culberson County, on Thirty Tigers. But as the new album's title track makes pointedly clear, far from being swept away by any of his forward momentum to date, Shahan is still proudly rooted heart, mind, and soul in the West Texas earth from which he sprang. And yes, he's still got a thing for coyotes, hearing in their wild cries not just the music of wide open spaces, but a defiant note of stubborn resiliency that speaks to his own instincts as a hardscrabble independent artist compelled to write about the all-too-often unsung — and unseen. "If anybody ever had a 'spirit animal,' I would definitely say mine is a coyote," he insists. "It's just a very resilient animal — something that thrives off of the bottom rung of what people leave behind." But as much as he admires the metaphoric potential of the scrappy underdog, as a storyteller Shahan is far too honest to ever cheapen his narratives with false hopes. In "Culberson County" when he sings, "let's keep the lonely places / lonely as long as we can," his wish is tempered with the realist's fatalism that the wilderness and coyotes can't hold out forever, because "it won't be long before they pave it down and just the highways whine." Likewise, even though he loves his native Lone Star State as much as any other former college rodeo performer who grew up on a cattle ranch, more often than not when Shahan sings about Texas, he's not rhapsodizing about bluebonnets and carefree nights at the dancehall. "I really like to try to paint a picture of the real Texas, because there's a lot of stuff about Texas that people don't talk about," he says. Take, for example, the album's harrowing "Enemy" — a documentary-style report from the frontlines of backwoods meth country. "I mean, I'm with the next guy that wants to throw on a pearl-snap shirt and hoot and holler over a case of Busch Light, but at the same time … how often are those people really happy? Because a lot of them come from some really hard and darker sides of Texas, and those are the things I want to bring light to." Other tales from that dark side include "6 Feet," about an incarcerated drug dealer dreading the cartel justice awaiting him on the other side, and "How They Lie," whose opening verse unspools a world of heartbreak: "Sister's in the backseat crying to her daddy, 'When we gonna move back home?' / He said it's not our house now, Daddy made a few mistakes and now they've taken everything we own / Sign the wrong dotted line in a stack of papers and everything is gone." Just for the record, Shahan (who recently became a first-time daddy to a baby girl) has never been cheated by an oil company out of a family farm, let alone buried a bag of stolen drug money in the desert. But he infuses those stories with as much conviction as he does his more personal and "confessional" fare such as "Hurricane" and "Idle Hands," two songs that address the emotional tug-of-war of a traveling musician weighing the temptations of the road against the comforts of home (and fidelity.) And although much of Culberson County may be as unapologetically, well, grim as Men and Coyotes, there's a handful of songs here that reveal a lighter touch and even a flash of tongue-in-cheek humor. In the opening "Waterbill," a broke musician's lament served over a rollicking bed of Creedence-worthy riffage, Shahan finds himself stranded on the side of the road in Bandera, too drunk to call for help but just sober enough to dread spending the night in mountain lion country, because "I hear they love a redhead delight." In the rollicking singalong "Someone Someday" (a rare co-write for Shahan, penned with Brent Cobb and Aaron Raitiere), he sings a line about "rubbernecking all the outlaws" that lands as both a laugh-out-loud commentary on the modern Texas/Americana music scene and a playfully self-aware admission of his own aspirations and insecurity. And then there's the politically charged (albeit by Shahan's admission, deliberately non-partisan) fist-in-the-air anthem "Revolution," which really isn't funny at all — but it does flat out rock. Like any self-respecting Texas singer-songwriter worthy of the title, Shahan can hold his own playing any of his songs solo acoustic, just like he writes them. But Culberson County is no one-man show. Like Men and Coyotes before it, this is very much a full-band affair, with Elijah Ford (an acclaimed solo artist in his own right) returning to the producer's chair, Matthew "Paw Paw" Smith (formerly with Ryan Bingham) back behind the drum kit and Shahan's old Lubbock buddy Parker Morrow on bass. Shahan himself played rhythm electric and acoustic, while special recruit Daniel Sproul was called in to handle most of the lead guitar for the sessions. Guests on the album include fellow Texas songwriters Charlie Shafter and Bonnie Bishop on background and harmony vocals, as well as Shahan's own mother, Kim Smith, who sings on the song "Memphis." It was his mother who taught Shahan his first chords on guitar, telling him, "If you want to learn more, you can take this and go from there." "I just wanted to have her on the album as a way of saying thank you for always supporting and believing in me," he says. "She was a little hesitant at first, but she knocked it out of the park." The same can be said for everyone else on the record, too, which of course made it especially hard for Shahan to have to wait more than a year after its completion for its belated release date this spring — really the only concession (necessitated by the kind of big-picture scheduling and strategizing that comes into play anytime an artist breaks through to the next level) that he's had to make to date in his career. He candidly admits that, left entirely to his own "blow-and-go" impulse, he might well have had three records out by now — and hopes that maybe he will come this time next year. But right now, he couldn't be happier to finally get to share Culberson County with his fans — especially those who already know the handful of songs the band has previewed live well enough to request them by name. "People will say 'Are you going to play 'Revolution' tonight?' And I'm like, 'How do you even know that song's called 'Revolution'?" he marvels with a laugh. "But it's been very cool to see that, and I'm just really excited to get the whole album out now and to get people's reactions and input to the rest of the songs. We're all extremely proud of this record. I still feel like we haven't even scratched the surface of what we're capable of yet, but … this is a great window into what's to come".
Date: 2018-07-27; Time: 9:30pm; Location: No Opening Act 18+; Venue: Tragikly White; The group has earned a reputation as The South's premier party band, playing dance favorites from the 70's to 2009 and always delivering a top notch show making them one of the most popular and highly sought-after touring bands in the Southeastern United States. Voted "Best Band in the Mid-South" (KROC 103.7, Little Rock), "Best Cover Band" by Free Press Magazine, and is consistently listed in The Arkansas Times' annual "Best Of" edition as one of Arkansas' favorite live acts. With Tragikly White you'll hear all your favorites, from Usher to the Bee Gees, from AC/DC to Kanye West, from Chuck Berry to Buck Cherry – all delivered with an intensity that is completely over the top!.
Date: 2018-07-28; Time: 9:00; Location: with Arkansas Dave $6 18+; Venue: deFrance; Hailing from deep within Arkansas, deFrance is a new breed of Rock n Roll. Cut from the roots of only the best in southern music, deFrance blends elements of true folk & country music with the classic songwriting styles of Tom Petty, Neil Young & Ryan Adams into a fresh take on Rock n Roll. The band put out it's first release "HOME" in September of this year, and the group has been on a steady string of national dates in support. They are currently working on their second release titled "Second Wind" expected in December.
Date: 2018-07-29; Time: 8:00; Location: with Holy Smokes!, Golden Week and The Chemtrails All Ages; Venue: Pancho Casanova.
The Steel Woods
Date: 2018-08-09; Time: 9:30pm; Location: with The Great Whiskey Rendezvous 18+; Venue: The Steel Woods. A quartet of Southern rock traditionalists from Nashville, the Steel Woods lay claim to the sound pioneered by Lynyrd Skynyrd. Like Skynyrd, The Steel Woods balance heavy blues-rock with Southern poetry, and they add a bit of plainspoken outlaw country to the mix, as evidenced on their 2017 debut, Straw in the Wind. Prior to forming the Steel Woods, guitarists Wes Bayliss and Jason "Rowdy" Cope were both pursuing musical careers. Cope found work as a session musician and played in Jamey Johnson's band, but once he met Bayliss at a Nashville gig, the two clicked. First they became friends, then they wound collaborating, adding bassist Johnny Stanton and drummer Jay Tooke to round out the lineup. An eponymous EP came out in 2016, and the next year saw the release of Straw in the Wind on Thirty Tigers/Woods Music. ~ Stephen Thomas Erlewine, Rovi.
Day of Show$12.00
Ha Ha Tonka
Date: 2018-08-10; Time: 8:30pm; Location: with TBA 18+; Venue: Ha Ha Tonka; A week into recording their fifth album Heart-Shaped Mountain, Ha Ha Tonka was forced to start over. A massive hardware crash at the studio deleted everything. Following a wave of shock, the band regrouped and refocused, trying different approaches to song structures that they otherwise wouldn't have, and made a resilient album of positivity and triumphant effervescence. After all, music has the power to overcome. At its core, Heart-Shaped Mountain is an album about love and growth. At a time when divisiveness fills the headlines, Ha Ha Tonka is fighting the good fight and building narrative tributes to friends and loved ones, memories past, and prospects of the future. They five-part harmonize on intimate familiarities – the nascent stages of relationships, deep and lasting bonds, maturation, fear and loss. This is a call to pause and glance back, inhale inspiration, and forge ahead with renewed purpose. On Heart-Shaped Mountain the quintet expands their creative palette. Once aptly summed as "indie-Americana, where Alabama meets Arcade Fire, " Ha Ha Tonka unveils balanced, sublime, pop radio-accessible heights and an emotionally broader, post-punk songwriting range, a la early Delta Spirit or a less enigmatic Jónsi. This isn't a betrayal of their discography, though. Rather, Ha Ha Tonka treks to new vistas, crosses uncharted ridges, and unfurls their flag with the confidence and excitement that comes from exploration. Few craft ear-worming melodies like singer/guitarist Brian Roberts and guitarist/singer Brett Anderson. "The Party" is anchored with a bright, whistled hook and a lingering sequence of notes, reflecting the song's lament ("Why do we always seem to be the last ones here at the party"). The band's versatile recent additions of Hoots & Hellmouth drummer Mike Reilly and The Spring Standards multi-instrumentalist/singer James Cleare catalyzed the group to stretch simple themes into sonic dimensions with dynamic results. In "Everything, " the intro and choruses are conspicuously optimistic, with a chest-expanding joy tailor-made for the opening credits of any Pixar movie ever made. The verses – replete with galloping snare and foggy keyboards – mingle landscapes from Tom Petty's earnest heartlands and Jeff Lynne's complex stratospheres. The song delves into vivid-but-dust gathering memories of fond days past ("fireworks show on the fourth of July… meeting your daughter for the very first time") only to reinforce the guiding mantra of the future ("I hope it was everything you thought it would be"). Along the journey there are moments of nostalgia and indie rock balladry, like on "Race to the Bottom, " which brings to mind a Midwestern incarnation of TV on the Radio. "All with You" brings together HHT's signature acoustic instrumentation with atmospheric synth out of the Phosphorescent handbook. Deeper within there's Southern rock and jangly revelry ("Arkansas"), and signature, bigger-than-life Tonk ("Height of My Fears"). Experiences and textures blend together and stack up like the pages of a book. If you take the analogy further, this is their autobiographical magnum opus. Ha Ha Tonka formed in 2004, when four friends from the Ozarks of Missouri started playing music together. They recorded four critically acclaimed albums, played Lollapalooza and Austin City Limits, and appeared on Anthony Bourdain's No Reservations. Through it all, the individuals made friends, found love, some members got married, some had kids. Especially now, there's a maturity in being able to assess life's scenery and look toward the future. And there's something altogether more powerful in making others want to feel the same exact way. After all, Heart-Shaped Mountain has the power to overcome.
Day of Show$13.00
Date: 2018-08-11; Time: 8:30; Location: with TBA 18+; Venue: Calliope Musicals; To label Calliope Musicals a band might be selling them short, because—while the six-piece group's primary medium is music—their live show is an auditory, visual and genuinely transportive experience. The group's roots date back to 2009, when frontwoman Carrie Fussell and guitarist Matt Roth began playing head shops around town. Soon Fussell's boyfriend, now husband, Josh Bickley joined the band on drums (a choice they made hesitantly, for fear of "Fleetwood Mac drama"), and—with the addition of Craig Finkelstein, Andrew Vizzone and Chris Webb—the trio transformed into a six-person musical tribe. While the band describes their style as psychedelic party folk, the actual sound—a harmonious blend of drums, guitar, bass, a hybrid instrument known as a xylosynth and Fussell's powerful voice—is hard to define and varies substantially by song. What is consistent, however, is the element of storytelling that courses through every track in the Calliope catalogue. "Our music centers around a certain energy more than a certain style, " the perpetually barefoot Fussell says. "We'll do rock, then dance-y disco, then some slow sit-down [songs]. At the end of the day, it feels like the music revolves around imagination and adventure more than it does a specific type of music." But lyrics and sound aside, perhaps the most captivating aspect of the group's show is the integration of props. During most performances, beaming audience members can be found swaying with sparklers, bouncing with balloons, and singing along while waving cardboard signs hand-crafted from Shiner Bock boxes—all handed out by animal-costume-attired friends of the band. (Calliope has also been known to wield a confetti canon, to the chagrin of bar-backs everywhere.) It's these extra touches that encourage more crowd interaction and involvement than you're likely to find almost anywhere else, making for a truly magical performance. "The vibe we want to create is the feeling that the audience is part of the creative process and part of the performance, " says Fussell. "I think we always just hope that people leave our show feeling empowered and inspired—like they can do anything." – Sam Sumpter, TRIBEZA.
The Pink Spiders
Date: 2018-08-13; Time: 8pm; Location: with TBA 18+; Venue: The Pink Spiders. Few bands have been able to cash in on their bad habits, dirty minds and questionable life choices quite like power-pop band THE PINK SPIDERS. The band, made up of members Matt Friction (Vocals, Guitar), JoCo (Bass) and Joey B-Side (Drums) have gained almost as much notoriety for their exploits, attitude and iconic look, as they have for the catchy and explosive sound they generate. The band had been enjoying a brief hiatus until a wildly successful pop-up show in late 2016 celebrating the ten year anniversary of 2006's Teenage Graffiti LP laid the framework for an auspicious future and another full length record. Pre-orders for that album, titled Mutations, have begun and the 12" pink vinyl is set for release July 31, 2018 on Mean Buzz Records. This newest record, tracked and mixed in the band's hometown of Nashville, TN, is eleven songs of power-pop perfection recalling the sweet hooks and blistering pace of the SPIDERS' second LP Teenage Graffiti. Lead singles "Black Dagger", "I Can't Get Down Without You", "Mutations" and "Capital F" will each debut music videos in Summer 2018 and the band is setting off for a nationwide tour in August to celebrate the release. Infamy and chaos have followed THE PINK SPIDERS since they first stormed onto the Nashville music scene in 2004 with their self-released debut EP The Pink Spiders Are Taking Over. It was that notoriety that translated into immediate results, as the band signed to their first indie deal less than 6 months after forming. The guys quickly generated a big buzz with their 2005 indie label release Hot Pink, an infectious dose of dark pop detailing fast getaways and cheap thrills. Less than three weeks after the Hot Pink release, and in the midst of a nationwide tour, the band found themselves at the center of a major-label bidding war. THE PINK SPIDERS landed a deal with Geffen Records, and in short order released their highly praised major label debut, Teenage Graffiti. Produced by hit-maker and legendary frontman of THE CARS, Ric Ocasek, Teenage Graffiti stood out from the pack with the hit "Little Razorblade," which exploded on radio stations from coast to coast as well as on Total Request Live, with MTV describing Teenage Graffiti as "a collection of sweaty, fist-pumping anthems" and declaring that THE PINK SPIDERS' "rock and roll assault was underway." That album, coupled with the band's no-holds-barred live show, earned them a summer-long appearance on the Van's Warped Tour, a post-game headlining concert in the outfield of Dodger Stadium, and heaps of praise from such respected media outlets as Spin, Billboard, Blender, USA Today and more. Alternative Press named THE PINK SPIDERS one of its "Bands You Need to Know in 2006", while Rolling Stone said they have "enough catchy charm and ass-kicking propulsion to suggest a ballsier WEEZER or a punk-schooled CHEAP TRICK…the SPIDERS are ready to spin a power-pop revolution." Entertainment Weekly appreciated their "ideal blend of sweetness and crunch," and Spin declared the album "angst-ridden, smart-assed and slickly catchy". THE PINK SPIDERS released their third LP Sweat It Out on Friction's own label Mean Buzz Records, via Adrenaline Music. With producer Brendan O'Brien (Pearl Jam, Stone Temple Pilots, Bruce Springsteen) at the helm, the band released the singles "Gimme Chemicals" and "Seventeen Candles," the latter of which the band performed to over 11 million viewers on the hit reality. show Hell's Kitchen. With the upcoming release of their finest work to date, Mutations, and plans for non-stop touring, The Pink Spiders are, once again, taking over!
Day of Show$12.00
The Brook & The Bluff
Date: 2018-08-15; Time: 8pm; Location: with TBA All Ages; Venue: The Brook & The Bluff. Established in Birmingham, AL, The Brook & The Bluff is a four-man band that consists of frontman Joseph Settine, drummer John Canada, guitarist Alec Bolton and bassist Fred Lankford. The guys have quickly become recognized for their evocative blend of instrumental talent and vocal harmony. These elements are readily apparent in the band's debut track, "Masks." Having initially gained momentum via Spotify, the song has helped spur the band forward in their musical pursuits. The group's first year as a full band has been widely successful. From charting on Spotify's US and Canada Viral 50 Playlists, performing at the NAMM shows in both Nashville and Anaheim, and selling out shows in Atlanta, Birmingham, Huntsville, Nashville and Opelika, the band has had an exhilarating first year. Originally an acoustic duo, Alec and Joseph started turning heads in local venues with clean vocals and expert guitar work. John noticed the talent and potential of the duo and offered to play drums and sing with the guys. Soon after, he officially joined the group, expanding their sound with driving rhythm and an added voice. The trio instantly locked in and have been playing together ever since. With their new bassist Fred Lankford, The Brook and The Bluff relocated to Nashville in 2018.
Boy Named Banjo
Date: 2018-08-16; Time: 8:30pm; Location:with TBA 18+; Venue: The Stolen Faces; Born and raised in Nashville, TN, the original three of Boy Named Banjo consists of members Barton Davies, William Reames, and Willard Logan, all of whom share a love for songwriting, performing, and roots music. The three long-time friends and former high school classmates assembled in 2011 and have built a strong following in the Southeast through both their studio releases and live performances. Since the band's first full-length release in May of 2012 "The Tanglewood Sessions," Boy Named Banjo has added two members: Sam McCullough (drums) and Abe Scott (bass). Though staying true to its acoustic roots, the band's sound has developed tremendously since the "Tanglewood" days, as Willard (greatly influenced by jam band guitarists Trey Anastasio & Jimmy Herring) has taken his electric guitar playing to the next level, while Sam and Abe have provided a solid, yet subtle, Rock foundation. While the band's sound has evolved tremendously, the quality of the songwriting, the hair raising three-part harmonies, the crafty musicianship, and the band's passion for what they do will always be a constant.
Day of Show$10.00
Kalu and The Electric Joint
Date: 2018-08-19; Time: 8pm; Location: with TBA 18+; Venue: Kalu and The Electric Joint. Austin, Texas, has long been a breeding ground for fantastic musicians. Not only has the town birthed some of the best players one could ever hope to hear, it also attracts peerless musicians from all over the world. Kalu and the Electric Joint not only live up to Austin's caliber of playing, they infuse it with worldly rhythms that give their music a sound all their own. This musical chemistry comes from the bond forged by frontman Kalu James, who emigrated from Nigeria at age 18 to claim Austin as his new home, and guitarist Jonathan "JT" Holt, who adds a touch of American soul to Kalu's West African heritage. Kalu and JT connected through the hustle of the Austin music scene, writing songs together and discovering immediately that the talents of each complemented the other. JT is a master song craftsman, and he also can rip a mean solo. He's just as comfortable holding down the groove with his magnificent chording and rhythm as he is busting out a blistering guitar lead. The musicians honed their vision during a weekly residency at Austin's Continental Club Gallery that was initially intended to last only a month but eventually stretched to three years. Drummer & Percussionist, John Speice, who had a longstanding Austin connection with JT also had spent his life mastering rhythms Kalu had grown up with, making him a perfect fit for the group. Time Undone, Kalu and the Electric Joint's forthcoming album, testifies to the band's talent and mission with tight arrangements, stunning vocals and a deep well of influences. Time Undone is sonically woven with the low end theory of hip hop, yet it has the drive of heavy-hitting rock and roll and futuristic psychedelia. The resulting boogie-down blend of ethno-funk and neo-soul packs dance floors and tantalizes eardrums. Kalu and JT wrote the album's songs, perfecting them during their nights at the Continental Club Gallery. The group recorded the album with producer Brett Orrison, known for his work with The Black Angels and Widespread Panic, over a year's time at Nest Recording in Driftwood, Texas. The album features guest appearances by members of Widespread Panic, The War on Drugs, The Sword and Grupo Fantasma. The ensemble's sound palette integrates masterful songwriting and electrifying performances. With deep lyrics, ethereal arrangements, youthful exuberance and a positive message, Kalu and the Electric Joint make a lasting impression on everyone who hears them. Starting with the sounds of his homeland and a lifelong passion for the unorthodox approach, Kalu blazes an inclusive trail for himself that could not be more genuine. He embraces not only the creative attitude of his adopted hometown but also the traditions of his past. Remaining deeply in tune with the traditions of his upbringing, he balances his responsibilities to his family in Nigerian while pursuing his calling in the US. Having recently become an American citizen, he's ready to add to this country's greatest export — its music. Whether seeing Kalu and the Electric Joint throw it down in the clubs of Austin's bustling South Congress scene or hearing the music of Time Undone for the first time, it's blatantly obvious that this music evokes a wide range of emotions. This band delivers a positive message in turbulent times, uplifting their listeners and compelling them to get up and dance. With amazing vocals, beautiful arrangements and a funky modern beat, Time Undone is sure to be a modern classic.
Date: 2018-08-23; Time: 8:30pm; Location: with TBA 18+; Venue: T-Rextasy.
Date: 2018-08-31; Time: 9:00pm; Location: with TBA; Venue: Young Dubliners 9pm; The Young Dubliners are about to begin their 2018 US summer tour. It will include many festivals and club dates throughout the country. Having just returned from a month long winter tour of Ireland and Denmark with their new guitarist (Justin Pecot) they are now putting the final touch on a set to delight summer audiences. The band has released eight albums of original material and one Irish song cover album. This meant that there was a lot of material for Justin to learn. He has managed to not only learn the material but also to make it his own. The live show is now as exciting for the band as it is for the audience with a growing chemistry between the band members that seems to reach new heights at every show. Writing has also begun for a new album, which the band hopes to start recording at the end of this year. In recent years the Young Dubs have appeared on ABC's Jimmy Kimmel Live!, had songs featured in TV shows (Sons Of Anarchy, Human Target) and toured extensively as a headliner and as the opener for such a diverse list of artists as Collective Soul, Jethro Tull, Johnny Lang, Los Lobos, Chris Isaak and many more. Although the Young Dubliners sound is most commonly called 'Celtic Rock', that label, as labels can often be, is misleading. The Irish influence is there, certainly, but it's not the only influence that rears its head on their albums, or in live shows. After all, several of the band members have no Irish roots of any kind. "That was always the idea", explains Keith Roberts (Lead singer and acoustic guitarist). "The sound was always intended to be a hybrid because we all come from different backgrounds. Even though two of us are from Ireland, a lot of the music we listened to growing up wasn't Irish at all, but when we got here, we got homesick and developed a new appreciation for Irish Music. In truth the Celtic riffs can just as easily come from the American band members. Everyone writes now so you never know what you'll end up with" The band will be drawing from all nine albums for these upcoming shows with a few performances of the entire "With All Due respect, The Irish Sessions" album at various Irish summer festivals. +$2 under 21.
Day of Show$12.00
Under 21, 18+
Date: 2018-09-01; Time: 9:00; Location: No Opening Act 18+; Venue: The Shame.
Date: 2018-09-16; Time: 8pm; Location: All Ages; Venue: GGOOLLDD. The day after GGOOLLDD frontwoman Margaret Butler graduated from art school in Baton Rouge she packed a Uhaul and headed west. "I was like, yeah, I'm not going to live here anymore," she recalls, laughing. Her first stop was Portland, Oregon, where she subsisted mostly on "ramen noodles and pumpkins people stole for me from Home Depot," she remembers. "You sauté them down and add lots of black pepper and curry powder and soy sauce. It's actually pretty good!" Butler was riding high on that particular sense of freedom that comes when you've decided your life plan is to just say yes to pretty much everything. So you don't really care that you're broke and subsisting on stolen jack-o-lanterns, because you're not in your suburban high school anymore, hiding your disdain for the cheerleaders. You're in a weird and cool new town, hanging out with musicians and designers and artists. You're free to mess around. Explore. And just when you're starting to get a little over living "four people deep," as Butler puts it, in your tiny apartment, another friend says, hey, come out to Wisconsin for a while. So you do. (Because: say yes!) And a while later, when, boozy in a bar one night, you hear some beats you think you'd like to write lyrics to, even though you've never so much as held a microphone in your life, you go for it. (Say. Yes.) And the next thing you know, you're fronting a dynamic, dirty, synth-pop carnival of a band, hearing your single on the radio, and touring the country. That's Margaret Butler's story. And that's the story of her band, a group as inspired by the shimmery decadence of Queen as they are by the primal yowl of Black Sabbath as they are by the madcap joy of Yeah Yeah Yeahs. GGOOLLDD is one of the most resolutely celebratory rock acts to emerge in years. It's not hard to understand how someone like Butler, a woman with seemingly limitless natural charisma and an obsession with dressing up in outrageous costumes (Halloween is her favorite holiday) would eventually find her way onstage, but the singer insists that rock stardom was never part of her plan. "I never even considered being a musician, I always wanted to be a clothing designer, or a chef," she says. "I've always created with my hands." Butler's father is jeweler, and technically that's what she was studying to be as well. But she learned all her really important college-years lessons bartending at the Spanish Moon, a legendary venue in Baton Rouge. "It was the only cool place to go and watch music in the city," she says. "I got to see every amazing band as they were coming up, from TV On the Radio to Of Montreal to Dirty Projectors". Even though Butler's always loved music (she's an obsessive of the first order) aside from the one time she "got really stoned and watched a John Bonham documentary then went right out and bought a pair of blue 1970s Ludwigs," she never tried to become a serious musician. "I have great internal rhythm, I'm just too A.D.D. to sit down and actually play," she says. "I own eight different instruments and I've gotten as far as like a week on each of them." But her culture, her people, her tribe has always been connected to music. The people she met in and around the Spanish Moon were the ones she moved to Portland with, and it was through that world that she wound up, one random early fall afternoon in 2013, recording vocals, in the foyer of her house in Milwaukee, to what would become GGOOLLDD's breakthrough debut single. "It was the first song we ever wrote and it was called 'Gold,'" she recalls of the soulfully grimy track, on which bassist Nick Ziemann, guitarist Thomas Gilbert also played. (They added drummer Mark Stewart and synth player Nick Schubert soon after). "We were like, 'Oh we need a name for the band – I guess it should be the same thing as the song title." A quick Google search revealed "eight other bands named Gold," but they were all basically unsearchable because the word is so widely used, "so we just decided to double letter it." Thinking nothing of it, they threw the song up on Bandcamp, planning to go back to their day jobs, but that's when the serendipity hurricane began. "Somehow college radio picks it up," Butler recalls. "And it starts getting really good responses. And then it's on their list of top-ten-plays list, which is just insane." So they figured, why not keep this going for a while? "We were like, this is fun! Let's write like three more songs, do a cover, and throw a party for Halloween where we can all wear gold costumes!" The Halloween party is now the stuff of GGOOLLDD legend. "I was Santigold, but instead of dressing up like the singer, I made an all gold Santa costume," Butler recalls, laughing. "We played a terrible show to eight-some people crammed into our attic and it was one of the funnest nights ever! After that, people just kept asking us to play". Butler, who had by this time opened a vintage clothing business with her friends, initially thought of the band mostly as a good excuse to express her most playful sartorial impulses. "We had our next show two weeks later so I made this weird tassled vinyl gold overlay on top of a crushed velvet gold romper," she remembers, but it wasn't long before they all realized this band had become more than an excuse to dress up. After that second show, CMJ picked up "Gold," from the local Milwaukee radio station, 91.7, and from there, other college radio stations around the country began playing the track as well. The same un-mixed, un-mastered version they had made on Garage Band. "After about a year I was like, people like this a lot better and they want to pay me a lot more than they do for vintage clothing, so I think I'm just going to do this instead," Butler recalls. "It's been three years and we have ten songs that are out right now, and we're working on the next album". GGOOLLDD isn't like other bands. They formed on whim, decided to play their first show mostly as an excuse to host a killer party, and they eschew the traditional gotta-get-a-record-deal game in favor of playing a lot of shows and releasing their own material. That sense of whimsy blended with resolute autonomy is all part of the signature GGOOLLDD aesthetic. And it feeds into their sound, especially lately. "Undercovers," their new single, is a soaring banger that conjures wind-in-your-hair glittery romanticism. Co-produced and mixed by Ben H. Allen (MIA, Animal Collective) it reflects that core tension in GGOOLLDD between winging it and great artistry. "I'm not going to lie, I'm great at writing a hook," Butler says, and is quick to point out that her bandmates are "amazing," musicians. "But if you ask me what I do, I'm going to tell you that I'm a performer before I tell you that I'm a musician." She pauses and cracks up. "Unless you don't know me at all," she continues. "Then I'm going to say I'm a musician, because if I say I'm a performer, you're going to automatically think that I'm a stripper, which is totally ok too but not my current profession".
Date: 2018-09-21; Time: 9pm; Location:with Dawson Hollow 18+; Venue: Flatland Cavalry. At some point between Lubbock and Midland, the land shifts from endless cotton rows and rich farmland into pump jacks and mesquite tree filled pastures. Lubbock roots-country outfit Flatland Cavalry straddles that line between the Panhandle and the badlands of West Texas with their bright, earthy country ballads and gritty folk ramblers. Vocalist and chief songwriter Cleto Cordero's honest, smooth songwriting revolves around the vernacular world of West Texas that he's constructed with dusty, sun-soaked character sketches, brooding self-evaluations, and candid love songs that all have the ability to turn into singalong anthems. Formed in the fall of 2012, the quintet was rounded up by Cordero after stretches of acoustic outings around the Panhandle town of Lubbock. With guitarist Reid Dillon, fiddler Laura Jane, bassist Jonathan Saenz, and drummer Jason Albers joining Cordero, Flatland quickly began to garner the attention of the masses with the release of the debut EP, Come May, in the spring of 2015. Building off successes of Come May, Cordero and company have been recording their full-length follow-up, Humble Folks, during the winter months of late 2015 and early 2016.
Date: 2018-09-26; Time: 8pm; Location:with TBA All Ages; Venue: Sunflower Bean. Sunflower Bean Set to Return with "Twentytwo in Blue," a Second Album Made For Today Blue, as Julia Cumming of Brooklyn's Sunflower Bean points out, is something of a "loaded color." The word is of course often synonymous with sadness-certainly blues music isn't known for its laughs. But blue is also the United Nations' internationally recognized color of peace; the stripe in the rainbow on the Pride flag that represents serenity; and the "emotional color" of Sunflower Bean's upcoming sparkling second album, Twentytwo in Blue. "We definitely don't want it to come across as a sad record," explains Cumming. "Blue is kind of hopeful, and we wanted to explore that color with this record." The new LP by vocalist and bassist Cumming, drummer Jacob Faber and guitarist and vocalist Nick Kivlen is many things: rousing, romantic, topical, empathetic and insightful. But defeatist it's not. All three band members will in fact be 22 when Twentytwo in Blue is released in March of 2018, almost two years and two months after Sunflower Bean's hazy, charming debut LP, Human Ceremony. They were two momentous years for the trio, who've now toured the world multiple times over on headlining stints and as support for indie rock essentials like DIIV, Best Coast, The Vaccines, Pixies and Wolf Alice. By the month, they only grew in accomplishment, and gained a newly confident voice they bring to the second album, one that doesn't shy away from addressing the other events of those two years-political changes and cultural shifts that have left America and the world stupefied. "This has been such an unbelievable time," says Kivlen. "I can't imagine any artist of our ilk making a record and not have it be seen through the lens of the political climate of 2016 and 2017. So I think there's a few songs on the record that are definitely heavily influenced by this sort of-whatever you want to say what the Trump administration has been." "A shit show," offers a helpful Faber. The resistance is full-throated on Twentytwo in Blue, on tracks like "Burn It", a rollicking power pop opener that declares war on the status quo: "The street it has my name/ I burn it to the ground." "Crisis Fest" is a call to millennial arms, melding pop shimmer and drive with the personal and political. "2017-we know/ Reality's one big sick show/ Every day's a crisis fest", Cumming sings. There are references to missile tests, "80 grand" in school debt, and a "coup" in the country, and an urgent, determined rave-up hook that puts the establishment on notice: "If you hold us back, you know that we can shout/ We brought you into this place/ You know we can take you out!" "It's less a song about Donald Trump than it is about more of a generational divide," says Kivlen. "And the ideals of tomorrow and progressive-leaning groups versus people who want things to stay the same or go backwards. It speaks to how our generation are demonized or seen as lazy, when actually we're the most educated. People call us 'snowflakes' because we have sensitive ideals. But being sensitive is a good thing, because we're attuned to people who've been tread on throughout history." Elsewhere on Twentytwo in Blue, the twangy gem "Sinking Sands" delves into Kivlen's fascination with alarmist, conspiracy-laden podcasts and where that can lead in the era of "fake news", and marries his droll, Beck-like lead vocal with a dreamy chorus from Cumming. The two share vocals again on "Puppet Strings" a proper glam rock stomper and sure-fire crowd pleaser in Sunflower Bean's live shows, and on lead single "I Was a Fool", released in November along with a darkly funny "misfit prom" video. And there are even echoes of our ongoing moment of cultural reckoning with generations of sexual harassment and abuse by men in power on "Twentytwo", a breezy mid-tempo track with a sweetness that belies the dark truth at its core. "Busted and used/ That's how you view your girl/ Now that she's 22," sings Cumming, who's not only been part of an emerging young band, but also spent time in the youth-besotted fashion world. A telling line: "If I could do it I would take her in my arms/ I would unwrong all his wrongs." "I'm not saying I want people to feel uncomfortable," comments Cumming about the song. "But it is supposed to make you think, about age or being a woman or just the time frame in which you have to do things. And fighting against that." "Twentytwo" is only one example of a gentler side of Sunflower Bean that's on display on the new album. While the trio remains a guitar band at its core, new and different textures were allowed in this time around. "What we've figured out in the couple of years since Human Ceremony is I think that we did a lot of the rock stuff, and didn't get much time with the sweeter side," says Faber. "And it just kind of felt right to explore this sweeter side and dive deep into that." For the drummer that meant, "allowing each element its own space to live and breathe." And for Cumming, that space meant room to truly sing like never before, on the sublime "Memoria" and "Only a Moment", the closest Sunflower Bean has ever come to a ballad. "We're a rock band, and we would never want to be a ballad-y band," she says. "But also I think when you're like 18 and 19, you need to scream, you know? And in life you'll always need to scream. But I think before I was a little afraid to show myself as a singer, even to my band mates. And in fact they actually welcomed it, and we were able to push ourselves. I think if anything, after making this we're the most well-rounded we've ever been". Unlike Human Ceremony, essentially a compilation of songs Sunflower Bean had created while still in their teens, over the first two and a half years of the band's life, Twentytwo in Blue was built in a more compact, dedicated time frame. When Kivlen, Faber and Cumming completed a near 200-show world tour on Thanksgiving of 2016, the plan was for the trio to take a well-earned and extended break. But soon enough, the creative juices were flowing. "By mid-December we were already back in Jacob's basement on Long Island just working on ideas," recalls Kivlen. Once again, the band collaborated with longtime producer and champion Matt Molnar (Friends) and engineer Jarvis Taveniere (Woods), while new to the creative team this time was Jacob Portrait (Unknown Mortal Orchestra), on board as co-producer and mixer. "He and Matt kind of worked hand in hand to take the record to the next level," says Cumming. In three months the "bones" of the songs were written, and several got live test runs in March of 2017, at New York's Terminal 5. Tracking began in early summer, with mixing in early fall-the songs mutating and evolving along the way. "I think we're constantly trying to push ourselves to make something better," explains Faber. "And so I think with this we just wanted to dig deep into the songwriting process and really just try to focus on crafting these songs, and building them up. And also having the record just sound really incredible." When all was said and done, says Cumming, "It was basically a year-December to December". If there was a ragged beauty in the gauzy, groovy wall of sound of Human Ceremony and its predecessor, the 2015 EP Show Me Your Seven Secrets, there's a new directness to these songs, a product of the band's growing maturity and the insanity of the times we're in. Twentytwo in Blue is a record made by millennials in solidarity with their own-the most progressive, even revolutionary generation we've ever seen. Is it, sonically, a record that suits might call "more accessible"? It's not hard to imagine the band picking up new disciples because of it. But while Sunflower Bean welcome anyone to the party, unlike our president they're not concerned so much with the size of a crowd as with connecting with every person in it. "I think one word that always comes to mind when I think about this record is lovable," says Cumming. "I think we all really want the record to be lovable. I want the songs to be something that someone can get attached to, and have be a part of them. Because that's what I look for in songs myself, and that's the kind of experience we want to give to others. It's cherished by us, and we just want to share that with people, and communicate that with people".
Day of Show$15.00
The Big Dam Horns
Date: 2018-09-29; Time: 9:30pm; Location: No Opening Act 18+; Venue: The Big Dam Horns; Formed in May of 2012 The Big Dam Horns consist of musicians from all around central and southwest Arkansas who met while attending Henderson State University in Arkadelphia. More than your average rock band but smaller than a big band, The Big Dam Horns consist of 12 members playing music from the 1930's through today. Taking it's name from Little Rock's Big Dam Bridge, The Big Dam Horns deliver a horn infused, one-two punch of jazz, blues, soul, and R&B with the left and delivering the knock out blow of rock & roll with their right.
The Nude Party
Date: 2018-10-05; Time: 8:30pm; Location: with TBA 18+; Venue:The Nude Party. The Nude Party congealed as one unit in the southern mountain town of Boone, NC in 2013 and gained their namesake very literally. Bonded by isolation, house party debauchery, a religion based on pushing the limits of bad taste, and a precocious predisposition towards the Kinks, the Animals and the Velvets, they have burgeoned into a rock and roll act to be reckoned with. As the hysteria at their local shows steadily increases, so does their reputation with local law enforcement, forcing them daily more to seek employment anywhere but home. While snooping cops seeking to stamp out indiscriminate behavior scour the borders of their homestead the Nude Ranch, the group has prodigally exiled themselves and are staying scarce with a string of self booked tours and one night stands which have linked them up with with such likes as The Growlers, The Oblivians, La Luz, Night Beats, and King Gizzard and The Lizard Wizard. Their stripped down and bare bone sound, akin to the British Invasion being transplanted back into the Carolina mountains, has so far proven to have been unrecordable… until now. The secret? Sticking to the obvious and going down into a sweaty basement with a few mics, fewer clothes and a revolving door of comrades and goddesses falling by for as long as they can take the heat. Lately the Nudes have even gotten good at playing with their clothes on. However if any audience member feels the need to participate in the spirit of exhibitionism the stakes at the Party will unblinkingly be called and raised.
Under 21, 18+
Date: 2018-11-14; Time: 8:00pm; Location: with TBA; Venue: Birdtalker; Zack and Dani were married in 2012 and soon after their wedding tried writing a couple songs together. They liked it, so they wrote a couple more. Andy, a friend from college and very talented drummer, was into the songs and started beating on stuff while Zack and Dani played them. It sounded good. While these 3 were playing the songs at Shakespeare in the Park one August afternoon, Brian became interested in adding his immense talent to the mix as well and began playing along with mandolin and guitar. It sounded even better. Birdtalker as these 4 members wrote and practiced for about a year when yet another talented friend and Birdtalker's biggest fan, Jesse, expressed interest in lending his bass sounds to the band. It is the combination of each member's specific offerings that gives Birdtalker the life and sound that it now possesses. And it doesn't hurt that they all like each other a heck of a lot, too. Zack and Dani write songs as a way to share ideas they care about and sentiments they feel deeply. Playing music has proven to be a powerful avenue for connection and communion, within the band as well as with listeners. Birdtalker's hope is simply that the more music they write and share, the more true and vulnerable interactions may be born from it.
Day of Show$15.00
Under 21, 18+
The Stolen Faces
Date: 2018-11-17; Time: 9:30pm; Location: No Opening Act 18+; Venue: The Stolen Faces; The Stolen Faces play the songs of the Grateful Dead with the spirited and soulful center of a well-seasoned jam band. Based in Nashville, TN, this group was formed from a mutual love of the classic American songbook created by the Dead. Truckin' around the Southeast, they take their set lists from that deep catalog of material, plus a few songs the band covered. In the spirit of the Grateful Dead, The Stolen Faces interpret this timeless music with their own unique musical energy and style.
Day of Show$10.00
disclaimer:pricing and availability subject to change.
STICKYZ ROCK N' ROLL CHICKEN SHACK is Little Rock's original gourmet chicken finger and live music shake shack located in the beautiful River Market District.
We're a live music & tasty food joint, located in downtown Little Rock in the heart of the River Market. Come listen to some tunes and enjoy some of our famous chicken fingers!