DOORS AT 8:00 pm
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Ask An Adult is a rock act from Lawrence, KS, formed in 2011.The band consists of four guys who found out they like making music, so they pursued random projects until coming together in the usual random ways you meet people. They began work together after several projects the members were involved in fell apart. After locking themselves in a storage unit for 8 long months to work on material, they began work on their first batch of recorded material that will be available in mid 2012. For some reason the first batch of songs were pretty heavy. Then they came back together and began focusing more on other genres. Until then, witness the musical madness, acrobatic antics, and signature schizophrenia of their altogether satisfying stage show.
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Think you’re smarter than everyone else? Now you have the chance to prove it.
Smackdown! Trivia began in 2000 and is the brainchild of Andy Morton, who also hosts local Channel 6’s “1 On 1 Trivia”, and was a recent contestant on VH1’s “Pop Culture.”
The premise is simple: answer the most questions right, and your team wins the cash prize. So gather your smartest friends, and head down to the Bottleneck where you have a chance to put your money where your mouth is. You know what else goes where your mouth is? $1.50 draws and $2.50 wells.
Sunday nights at 8 pm. $5 entry fee per person. In the event that there is a show that night, Smackdown! relocates to Conroy’s Pub (3115 W. 6th St.).
Don't miss the fun Sundays at the Bottleneck with our own twisted version of KARAOKE.
Deriving its name from two words, kara "empty/void", and okesutora "orchestra", karaoke has been taking the world by storm since it became popular in Japan in the early 1970's.
Come show off your singing skills (or lack thereof!) with your friends as you belt out "Back in Black", sing to your sweetie or test your vocal range with a little Nina Simone.
With our vast catalogue of music, there's something for everyone's taste and range. And don't worry, we'll help loosen those lips with cheap drink specials that'll have you crooning in no time! (Sundays at 11, after Smackdown! Trivia, unless previously scheduled event has been booked.)
Sunday is also our Service Industry Night. So all bartenders, waitresses, cooks, dishwashers, doormen & hostesses are encouraged to join in the FREE fun.
Karaoke is FREE for over 21 year olds and only $3 for under 21.
Drink specials: $1.75 draws, $2.50 well drinks
ALL KILLER, NO FILLER
If you're a fan of obscure horror films, then you've experienced extreme boredom. You've sat through lame red herrings, endless chase scenes, shower scenes with NO nudity, and all the talking and talking and talking... just for those very rare magical moments that only these films can provide.
Horror Remix takes forgotten horror classics and slices them down to a power-packed themed anthology. We dig through hours and hours of cinema boredom to find those magical moments that make obscure horror so amazing.
Whiskey Dik in it's current form consists of members Martin Farrell (banjo), Shad Morton (fretless bass), and Nate Nickel (acoustic guitar). This band was started by Shad and Martin when they met in the dorms, and anyone on that floor would be able to tell you about the experimental nature of their endeavors. Trusting time and aged whiskey in oak casks would propel this duo to fame, their bitter demise was quite apparent when they were taken hostage in a foreign country. For some time, the band played in palaces for South African royalty, and occasionally in front of the Hawk, desperately grasping for some conscious remnant of their short but whimsical past. Flailing in a sea of beer whiskey, they headlined Wishy-palooza 1 & 2, literally asking fans to pour pitchers of beer into their mouth while simultaneously playing their instruments. After their first album, "Blacked Out", their musicianship and general direction had become apparent, and no later than four weeks after the release, they dropped a new record entitled "Get F*cked". Rave reviews and commercial success followed, only for the two naive youngsters to fall victim to the oppressive nature of the music industry. Playing over two hundred live shows on the road in 2007, the friends found it absolutely intolerable listening to each other bitch and moan. After a fight between Martin and Shad over a bar maid, Shad was hospitalized when he was stabbed in the neck with a pool cue, while Martin was checked into a mental institution for six days after having a bottle smashed over his head. When the two emerged from the hospital, they parted ways and toasted one last time to their band, which was now dead. It would take years of emotional healing and whiskey before a man by the name of Nathan Nickel met Martin on the back dock of the Community Mercantile. This is their conversation....
Martin: "Hey, do you play guitar"
The rest is History. They've tried everything that Whiskey cures, but the pain endures. So heres the hurt, unscathed and unfettered. So you say you know what it's like to be too drunk to funk...
Originally a 2 piece but though out everything has just grown and grown and grown to become this 7 piece of destruction and energy. we have formed here in the great state of Kansas bringing in our experiences from all across the free state. Now we have become a force to be reckoned with using our huge sound and great harmonies and vocal variety. prepare for the end!
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Open Mic is the Bottleneck's earliest contribution to the Lawrence music scene, offering a stage for up-and-coming bands and artists. This long-standing tradition has existed since the conception of this historic and renowned venue, and it continues to this day.
Open Mic is generally held every Monday; however, it is subject to change due to previously scheduled acts.
There are usually members of Pipeline Artist Management & Bottleneck Booking in attendance to see whose performing.
To sign up, please email firstname.lastname@example.org. Please include your Band Name, Genre and number of musicians along with your preferred time slots. These slots are booked on a first come basis, so specific times are not guaranteed.
You MAY NOT sign up any sooner than 2 weeks of the date you wish to play. You may not sign up for two consecutive weeks.
The Talbott Brothers is led by brothers, multi-instrumentalists and singer-songwriters Nick and Tyler Talbott. This "rock band from the heartland" plays alternative rock and roll with a pop-like melody that you can't get out of your head, infused with blues that won't let your body stop moving, and harmonies that have been compared to the Everly Brothers and butterscotch chocolate.
“The Talbott Brothers draw on classic rock influences — nearly always open to harmony — with both the pop structure of a John Mellencamp song, as well as with that pop star’s America-by-birds-eye-view perspective.”
- Chance Solem-Pfeifer (Hear Nebraska)
Hailing from the rolling hills of Kansas, Tyler Gregory can regularly be found busking on city streets with his deep voice and steam-powered melodies bouncing off the street-side architecture. His sturdy songcraft takes cues from WWII-era blues bellowers like Leadbelly and Son House.
Gregory's mix of blues and roots music howls with a sense of passion and freedom. Singing songs portraying stories of travel, land, and the meaning of simplicity, Gregory goes full force on his guitar/stomp-box live performance arrangements.
End-Time Illusion is a punishing Metal band out of central CT. E-TI is driven to perform sick sets filled with killer riffs, searing solos, and mass head banging. The E-TI sound encompasses thrash, grind, death, harmonies, and breakdowns
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It’s true that the Reverend Horton Heat have been called a great many things over the course of their storied career: Perpetual Carriers Of The Rockabilly Flame, Genre-Shattering Problem Children, Filthy Drunks, and The Most Electrifying Live Act In America (150 shows every year can’t be wrong). But whatever you happen to call them, their country-flavored punkabilly and onstage antics have brought the Reverend Horton Heat a strikingly diverse fan base and a devoted cult following. The Rev himself, aka Jim Heath, leads the way with signature guitar riffs, while pounding out the bottom notes (often on top of) his upright bass is Jimbo Wallace, while Scott Churilla keeps time on the drums.
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Red Eye Gravy is a truly unique Oklahoma music experience. The band creates a stylistic blend of traditional country music with the fast-paced punch of punk – adding a few hints of bluegrass, rockabilly and blues along the way. Integrating that with the homegrown influences of red dirt music, the sound of Red Eye Gravy embodies a timeless, traditional sound punched-up through the modern lens of rock & roll – loud, fast and uncompromising.
The band pummels through an exhilarating live show that captures the audience form the first burst of piercing vocals to the last notes of their deep-rooted sound. Combining a drummer baptized in punk rock, raucous lap steel, swinging doghouse bass, gritty but melodic guitar and the feverish conviction of its vocalist, Red Eye Gravy will have you believing the Grand Ole Opry was just set on fire and burned to the ground. Whether playing original songs, traditionals, or the occasional cover, this band will deliver an unparalleled show.
Sadistik is not just another rapper, he is an artist in the most honest sense of the word. Hailing all the way from the scenic gloom of Seattle, Washington, Sadistik has quickly gained the hearts and ears of listeners by opting for a more personal and heartfelt brand of music by carefully circumventing the limiting cliches of rap music. By combining caustic honesty, clever wit and technical innovation, Sadistik has crafted a sound that he can truly call his own. While his writing style tends to be his signature, it not without the help of some of the most talented producers in the underground scene including multi-instrumentalist Emancipator, Blue Sky Black Death and Kno from The Cunninlynguists. From his work with such talented producers, Sadistik has created a signature of unpredictable and complex song structures draped with densely layered combinations of intricate sample work and live instruments that's more reminiscent of a Radiohead structure than a timeworn rap formula. Sadistik's collaborations are not limited only to the instrumental scene, however, but also some of underground rap's most revered wordsmiths such as Eyedea, Cage, Mac Lethal and Sage Francis, to name a few.
Producer and lyricist Maulskull, best known for founding Denver based hip hop outfit Black Mask, has been making noise in the indie rap scene for more than 6 years. Both solo and with full band backing, he has toured nationally promoting his pirate hip hop. Maulskull has played hundreds of shows, sharing stage space with respected acts like Grieves, Pharoahe Monch, Gza, Mac Lethal, Asher Roth, Slightly Stoopid, Mix Master Mike, RJD2 and even 80's rockstars Warrant just to name a few, as well as full scale national tours in 2012 and 2013 with DJ Abilities (Rhymesayers), Sadistik (Fake Four), The Chicharones (Camobear), Louis Logic (Fake Four), Sleep (Strange Famous) and many more. Fueled by the success of the most recent solo album (2012's "Us & Them") and Maulskull's Death By Thr33s EP series, which offered up a new 3 song EP every week for 19 consecutive weeks, he took his live solo set out for the entire summer on Warped Tour 2012, performing on the "Bring It Back" stage and distributing free music (over 7,000 copies of "Us and Them) hand-to-hand. In 2013, Maulskull has been hard at work producing tracks for his friends Sadistik, The Chicharones, Mane Rok, Prime Element, Verble and his Black Mask partners Aklock and AGFlux. Maulskull is also producing two new records for long time friend and touring buddy, Sleep of Oldominion (SFR) and the first is scheduled for release in the fall of 2013. You can check out Maulskull's amazing body of work for free at blackmask.bandcamp.com and enjoy a roller coaster ride of collaboration with artists like Tha Alkaholiks, Moka Only (Swollen Members) Josh Martinez, Celph Titled, Louis Logic, Verbal Kent (Molemen), Sleep, Verbal, Sole, Sapient and Eternia to name a few. Maulskull is currently in the studio recording his sophomore album "Un-amazing Grace" and working hard to bring his music to your doorstep in the coming year.
Nicholas Grooms is a hip-hop artist and poet hailing from Garden City, KS. A lifelong writer and fan of any words put together in a poetic nature, Grooms applied his wealth of experience in the realms of poetry and slam poetry to hip-hop and in 5 year span has become one of the most recognized name in the midwest.
2013 alone Grooms has achieved many successes including a stint on the Vans Warped Tour by way of winning the Ernie Ball Battle of the Bands and has found an even larger amount of success through a song called "Tradition (Hail to the Chiefs)" a song written for the Kansas City Chiefs organization that between all mediums has netted over 50,000 plays and 6,500 downloads. The song has drawn exposure from major radio stations in the KC area, the Kansas City Chiefs organization and even the NFL network.
Grooms plans to release a new record "Ugly Dude/Pretty Words" before the year concludes. Grooms is 100 percent about the fellowship and unity of music, he enjoys meeting the listeners and making sure he thanks every single one of them for the opportunities they have presented him.
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Josh Berwanger could easily be considered a veteran of the rock and roll wars. He first made a name for himself as a member of The Anniversary, a seminal Kansas band that released two glorious albums (2000’s Designing a Nervous Breakdown and 2002’s Your Majesty) and selling over 100,000 records before imploding in a breakup of Fleetwood Mac-style proportions while attempting to tour Japan. Undeterred, Berwanger put together a new band—a country-rock outfit called The Only Children–and would go on to release two criminally underrated records (2004’s Change of Living and 2007’s Keeper of Youth) before pulling the plug on that project and taking a job doing the next most logical thing possible– coaching high school basketball in Lawrence, Kansas.
Having experienced the highest highs and lowest lows involved with chasing his musical dreams for the better part of two decades, Berwanger found himself at a crossroads—should he finally hang up his guitar for good or should he soldier on, pulling together his best tunes and working with a group of friends to make the best music possible? Luckily, he chose the latter. “There’s this part of me that really wants music to be normal again. I don’t even know what I mean by that exactly, but I know what normal isn’t—designer outfits, fireworks, crazy gimmicks. I don’t know how to relate to that. I want to make rock and roll. I want to make something honest.”
Such sentiments make sense coming from a guy who, as a child, used his first communion money to buy Motley Crue’s Shout At The Devil on cassette. On his new record, Strange Stains, Berwanger manages to balance what have always been his primary influences—the spirit and ethos of classic rock with the kind of pop sensibility and knack for hummable melody that made The Anniversary such a great band back in their heyday. Tracks like “Time Traveler” and “I Can Feel the Moon” rank among some of Berwanger’s loveliest (and catchiest) tunes, while “Baby Loses Her Mind” is the kind of sing-along jam that wouldn’t have been out of place on a classic FM radio playlist.
For the recording of Strange Stains, Berwanger joined forces with old pal (and original drummer for The Anniversary) Michael Hutcherson, who brought not only brought the rhythm to the record, but a wonderful familiarity as well. “Josh and I met in 1996 while playing in local Kansas City pop punk bands,” recalls Hutcherson, “I am honored to be making music with Josh again. For all that’s changed in our lives over the years, we’ve still got a symbiotic musical relationship. No questions, no egos, just rock and roll. “
The new record—which also features additional playing from The Breeders’ Jim Macpherson—speaks not only to Berwanger’s tenacity as a musician, but also to his sense of humor as well. Even though his musical path has been strewn with a few left turns (and a couple of cliffs), he has always retained his ability to turn lemons into sweet, sweet lemonade. Regarding the origins of Strange Stains, he has this to say: “I started dating a girl and she said the only way she would continue to date me was if I got a job in corporate America that involved sitting in a cubicle. I said a quick ‘Fuck No’ and instantly started writing this new album.”
Berwanger’s songs are born out of love, heartbreak, fear and frustration. They sound as big and open and honest as a Kansas skyline and speak to the struggle, unique to someone trying to slug it out in the music business for most of their adult life. Berwanger is, any many ways, a visceral statement about what it means to keep doing what you love—even when it feels like you are doing so against all odds. ”It’s an honest and truly sincere rock and roll record,” he says. “It’s a record that speaks about love, heartbreak, idiots, and continuing to pursue what you love to do, no matter how hard that shit is.”
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Mountain Sprout is a highly energetic hillbilly music machine, spitting original tunes and blowing minds with original whitty lyrics and face melting musicianship. The Sprouts are a full time working band and play shows all year round for anyone who will listen. Whether it be Grayson VanSickle playing his machine gun banjo, singing out the novel of our lives or guitarist Adam Waggs, who yanks up the melody up by the ear and keeps you kickin'. With a smile on his face, Daniel Redmond pulls out cannon fire notes pounding the stand-up, dog house bass, and Blayne Thiebaux gives the crowd a spectacular show, burnin' rosin and bendin' air, exploding the fiddle while bursting into flames. Together, they are MOUNTAIN SPROUT.
Playing around 250 shows a year, including music festivals, concert halls and backwood hole in the walls. They have performed in venues large and small. From opening up for national icons Willie Nelson and Leonn Russel to performing with jam band titans such as Yonder Mountain String Band and Wide Spread Panic. You can find them hanging out with home grown legends like Split Lip Rayfield, Randy Crouch and countless other amazing musicians. Always opening up another beer or a sheltered mind at the local and not-so-local bars, MOUNTAIN SPROUT is always truly a crowd favorite.
After forming several renditions, the band made a final pact in ‘06. Since then MOUNTAIN SPROUT has released multiple recordings preceded by the infamous “Pornobilly”(2005) that earned a place in everyones heart. Then officially releasing their original debut album "One More for the Ditch"(2007), followed by a collection of traditional tunes entitled "Fambilly Hour"(2008), and tapped from source with another CD of original songs called "Into the Sun"(2009). With there latest smash hit album for the collection “Habits to Feed”(2010).
Now with much more to come from the Mudstomp Records family and the Pipeline Productions power house, Mountain Sprout is here to push the limits! Just make contact with plenty of advance notice so that you too can enjoy the live supernatural performance of the Mountain Sprout and if you all just want to party, well thats we do best, so let us set the mood for an amazing experience anytime; every time.
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Now hailing from Kansas City, KS – Get Busy Living is ready to be heard. Their freshman release entitled “Don’t Back Down” (2012) has the ingredients to fit in everyone’s playlist. With a mixture of driving drums, memorable melodies, and a “written- from-the-heart, sang-from-the-heart” relatibility – Get Busy Living will keep you listening. They take influences from hometown heroes and major label artists alike such as Four Year Strong, Hit The Lights, A Day To Remember and “that Midwest pop-rock sound”. You can call it pop-punk, power-pop, pop-core – in time, you’ll call it stuck in your head.
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The music of The Growlers is unmistakable.
Sure, you can hone in on some influences baked into the work of this California-bred band.
Heck, even they’d cop to a few, like Ricky Nelson and The Clash. But once those same RIYL
tags have been filtered through the minds and hands and voices of this five-piece, there’s simply
nothing else like it.
The Growlers took the phrase “Beach Goth” as an apt descriptor of their music. Sunburned and
salty, that term perfectly describes their distinctive melding of reverb heavy surf guitar and
Bakersfield-style honky tonk with ‘80s post-punk.
This is especially true of Chinese Fountain, The Growlers’ fifth full-length set to be released on
September 23rd via Everloving Records. The 11 songs found on it are some of the strongest that
they’ve committed to tape yet; a byproduct not only of eight years in the trenches together, but
finely honing their gypsy folk dirges and psychedelic sea shanties to fans at close to 150 shows
each year. The connection between vocalist Brooks Nielsen and guitarist Matt Taylor (the
principal songwriters of the group) has only grown deeper.
“The band played better than they’ve ever played,” says Nielsen. “We’ve got the process down
now. There’s less screwing around to get the songs laid out and we weren’t waiting around for
take after take. We knew it and we played without much time to spare.”
That confidence bleeds through every track on Chinese Fountain, with the band assured enough
to layer in shades of many new influences: the loping ska beat of “Dull Boy” and “Going Gets
Tuff,” the playful disco beat behind the title track, or the Teardrop Explodes-like agitation of
Not that the band left themselves much room to second-guess anything. The five spent about
three weeks writing the tracks, and about half that time in the studio recording them. That may
sound rushed, but it’s not as if you can hear any strain on the finished product; Chinese Fountain
is as rock solid and watertight as anything in their still-growing discography.
There’s evolution to be heard in Chinese Fountain as well, courtesy of some of Nielsen’s most
pointed and poignant lyrics to date. He takes our obsession with the online world to task on the
funky title track. When he drops the bomb that obliterates that most famous of Beatles’ claims
with "The internet is bigger than Jesus or John Lennon” he re-contextualizes Marshall
McLuhan's "the medium is the message" in the same breath. He urges positivity no matter the
obstacles (“Going Gets Tuff”). Too, he reveals a tattered heart to the world on tracks like “Rare
Hearts” and “Love Test.”
“This is my chance to let it all out,” Nielsen says of these songs. “I kind of bottle things up and
don’t really get emotional. But I think if I don’t open up, I’d be a really stale person.”
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If the details seem scarce, it’s because that’s how Tobacco likes to keep them. Hailing from an unspecified burg in rural Pennsylvania, somewhere north of Pittsburgh, he has successfully made a name for himself even as he’s avoided acknowledging that name’s legal counterpart. As both the frontman of Black Moth Super Rainbow and the sole creative engine behind Tobacco, he’s earned the eager ears and prying eyes of doggedly loyal fans and smitten critics alike – a kindness he’s repaid by granting few interviews, obscuring his face in photos, and seeming wholly uninterested in the subject of his own identity. Such things just get in the way of the music after all, so if it’s easier, you might think of Tobacco as music – a one-man genre made of equal parts analog crunch, earthy psychedelia, fuzzed-up hip-hop, and outside pop. All the same, here’s what’s known.
Tobacco has a sister. He grew up in a decent neighborhood. He was nearly strong-armed into elementary school band after an aptitude test suggested he play an instrument. He hated the idea, so he didn’t do it. He didn’t like music at all, in fact, until he discovered MTV – and hence, the Beasties’ “So What’cha Want” video – one long summer bridging the middle of middle school. The first concert he attended was Butthole Surfers, and it’s still his favorite. His favorite record of all time is Beck’s Mellow Gold. Sticking to his childhood guns, he typically doesn’t like music released earlier than the late ’80s.
As for high school, Tobacco could have done without the classes. An extracurricular interest in freestyle BMX – flatland – was soon replaced by a growing zeal for music, even though his first band, called Wood, didn’t employ any instruments to its cause. (Its two main ingredients were flyers and hype.) Acquiring a guitar and a four-track opened up new doors, to the purplish noise and busted ghetto-blaster tracks that now populate The Allegheny White Fish Tapes, which Tobacco self-released in 2009.
This was before the gritty analog synths, the murky vocoder-ing, and the hypnotic aural crush that came with founding Black Moth Super Rainbow. Tobacco rounded up the group’s members before graduation, and until last year’s Dave Fridmann-produced collaborative affair, Eating Us, roughly treated BMSR as a solo project, penning three albums’ and several EPs’ worth of sludgy pagan pop for his cohorts to realize live. He designed BMSR’s album art as well, which occasionally involved scratch-n-sniff elements or hair.
But Tobacco would come to crave a more pure musical identity, one steeped in guttural sounds that hit harder and flashed brighter. This fixation reared its ugly head as 2008’s beat-oriented Fucked Up Friends, Tobacco’s official debut. Two years later, with BMSR effectively on hiatus, the man is back and beastlier than ever with Maniac Meat, a record designed to bully his previous works into a corner, gut them, and leave ’em for dead. This is a good time to mention that Tobacco believes he is making pop music.
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One of today's finest new fingerstyle guitarists, Andy McKee is lauded by many critics and guitarists as the most promising fingerstyle guitarist to arrive on the scene in some time. Born in 1979 in Topeka, Kansas, Andy began playing guitar on his 13th birthday when his father bought him a classical guitar. It was not long after that Andy got his first electric guitar and began emulating some of his favorite music of the time; Metallica, Eric Johnson, Joe Satriani, and Dream Theater.
Andy's 16th birthday was a real pivotal moment in his life. A guitar playing cousin nearly had to drag him to an acoustic workshop by a guitarist named Preston Reed. It was a mind blowing experience for the young electric guitarist! Shortly after, Andy discovered the music of three other great acoustic guitarists; Michael Hedges, Don Ross, and Billy McLaughlin, all whom he considers as his primary musical influences today.
Composing was something Andy caught on to a little bit later and started writing when he was 20 year old. Andy released his first CD titled "Nocturne" in 2001 and competed in the prestigious National Fingerstyle Guitar Competition in Winfield, KS. He placed 3rd, making him the youngest competitor to ever place in the top 3.
In 2003, Andy began playing internationally beginning with a tour in Taiwan with renowned guitarists Jacques Stotzem, Isato Nakagawa, and Masaaki Kishibe. He also placed 1st in the Miscellaneous Acoustic Instrument contest in his home state of Kansas with the harpguitar. In 2004, Andy Released his 2nd CD titled "Dreamcatcher". With the title track, Andy won a competition to have a chance to perform on stage with bassist Michael Manring. Andy also won 1st place in the Kansas Fingerstyle Guitar Competition and 2nd in the Canadian Fingerstyle Guitar Competiton.
In the time since, Andy has performed in various parts of the world including Japan, China, Belgium, England, Canada, and will begin performing even more in the States now. In late 2005 Andy joined Candyrat record label alongside one of his biggest inspirations, Don Ross.
From Andy,"Most of all, I hope my music communicates something to the listener. I don't want to just play music with a lot of skill. I hope listening to my music is an emotional experience!"
“Melding a club-spawn, skull-shaking low end with a wall of guitars and talkbox pyrotechnics, the duo comprising Cherub also sport the silky smooth pipes to spread their appeal to all four corners of the dance floor.” – Nashville Scene
Cherub is a sexy, avante garde, electro-pop duo that is the dance love-child of 80’s funk, and pop-music from the future. The members of Cherub, Jordan Kelley and Jason Huber, share a love for honest original music and vibrant live performance, with a common goal to share a little bit of sex, a little bit of drugs, and a whole lot of love with people across the globe. Cherub’s music is a fresh electrified take on risqué pop music that brings to mind timeless artists like Prince, Zapp and Roger, and more contemporary Justin Timberlake. With a live show that is bouncing with energy, Cherub dances their way into the hearts of audiences from the first falsetto hook, until the very last delay filters out.
After completing studio work for Cherub’s first release, Man of the Hour, singer/songwriter Jordan Kelley joined forces with fellow producer/performer, Jason Huber, to polish Cherub’s live electro act and begin performing throughout the Southeast. Both Jordan and Jason have received recognition as producers and live musicians, previously performing as Schtompa and I.V.Y. League alongside renown acts, such as EOTO, Boombox, Count Bass D, GZA of Wu Tang Clan, Two Fresh, and many more. Since Cherub’s formation in late 2010, the band has shared the stage with highly regarded acts like Pretty Lights, Alex B, Big Gigantic, Bag Raiders, Miami Horror, and many others. The duo is looking forward to a number of high profile live dates throughout the fall of 2011, including dates in Mexico with YACHT and Nortec Collective, and a Halloween show supporting Pretty Lights in the band’s hometown, Nashville, TN.
Since the recording of Man of the Hour, Cherub has returned to the studio as a dynamic electro-pop production duo, to lay down tracks for their second collection of recorded material. This new batch of Cherub songs brings a fresh uptempo electro feel to the familiar pop sensibilities for which fans know and love Cherub. Jordan Kelley’s clever songcraft, slick production, and smooth falsetto, are complimented perfectly by Jason Huber’s on-stage production, tube-driven guitar work, and exciting vocal harmonies.
The Man of the Hour brings a new light to electro-pop music. The catchy hooks, tasteful synthwork, and dance-demanding rhythms work together with honest lyrics delivering a unique twist on accessible pop rock music. The Man of the Hour provides a musical package that keeps listeners bouncing around a club, and singing along the entire ride home. Drawing instant comparisons to contemporary favorites like Chromeo, Bag Raiders, The Dream, and MGMT, Cherub’s Man of the Hour brings new definition to live music and electronic music alike.
Jordan Kelley wants to “focus on making good music that is personally relevant, rather that pay attention to the conventions of any particular genre. That’s what made the Man of the Hour.” Cherub’s live performance of Man of the Hour captivates audiences with swooping vocals, soaring guitars and talkbox, and ethereal harmonies, from the drop of the first beat, until Jordan and Jason dance their way off stage.
The newer unreleased Cherub material brings a funky vintage vibe to a new-school electronic sound, with soulful stacks of falsetto harmonies, and a layered cake of talkbox and vocoders, reminiscent of Prince, or Zapp and Roger. These songs display Cherub’s versatility in songwriting and dance music production, ranging from grooving heartfelt ballads, to risqué club bangers that blur conventional genre barriers. Playful guitar licks and lush synthesizer textures dance around in the mix, as listeners are treated to sing-a-long hook after hook the entire way through the tunes. It’s fun. The Nashville Scene claims Cherub as their “nu favorite nu disco duo.”
“Instead of fearing the changes seen in music performance, with technology being so readily incorporated into everyday life, Cherub looks to embrace everything that is fresh and exciting, and we seek to pioneer a new school of music composition, production, and performance… Cheers to the future!” – Jason Huber
Ghost Beach are the latest pop pioneers to set the internet ablaze with only a couple singles floating around and without any major label backing. The New York-based duo of Josh Ocean and Eric "Doc" Mendelsohn take their '80s influences one step further with Ghost Beach. Only a few months old, they've already perfected a retro-future aesthetic that sounds like the holy trifecta of The Police, Depeche Mode, and Daft Punk, with a little Passion Pit sprinkled on top for good measure. Josh plays the jilted lover with vocal panache as Eric's soaring synths, guitars and forever young harmonies are plucked right out of Neverland. Ghost Beach is more about a time than a place, and that time is now.
- Andrew Hwang
Ghost Beach are seductively good, with endless factors shaping their sound. In parts it sounds like synth-laden ’80s pop, and on others resembles a punk-rock vibe with lengthy guitar solos, like on single “First Time”. Their confused adolescent genre is a result of influences from the likes of Depeche Mode, Daft Punk and The Police. The American pairing are reminiscent of an early Hot Hot Heat, with a semi-fem vocal, unashamedly bathing in a pop bath – and I don’t mean the bubbles. They produced something that’s a lot more grown up. Saying that, they have the fun factor, the nonchalant attitude, and a contagious “let’s not stop partying until we throw up” glitter factor
-Tim Osbourne (Obscure Sound)
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Moon Taxi is one of those rare bands that unites musical ingenuity with thoughtful lyrics and still somehow manages to wildly entertain and thrill a crowd. Their new record, Cabaret, is a layered, multi-dimensional endeavor that displays the band’s maturing sense of their own musical identity. A follow-up to their live album, Live Ride, Cabaret illustrates the challenges of defining yourself in a world that seems to be suffering from its own identity loss. Lead singer Trevor Terndrup says, “It’s about juxtaposition—putting together seemingly opposite ideas and finding a strange harmony.” Inspired by surrealist artwork and novelist Tom Robbins, Terndrup says, “I guess we are trying to say that things are not so black and white, or good or evil, but relative to your own perspective.”
Evoking the musical revolution of the sixties and seventies, Moon Taxi ignites their eclectic sound with unique melodies and energetic shows. The band has already formed a loyal fan base across the Southeast, selling out clubs and creating a strong grassroots following. Keyboardist Wes Bailey says, “It’s an incredible feeling to see people who we’ve never met before in a town we’ve never played before, dancing and singing our lyrics at the top of their lungs. That’s what really gets us off.”
The songs on Cabaret are stories in themselves, each contributing to the continuing narrative of ideals lost to youth and also newly discovered for the future—both of revelry and social-consciousness. On “Hideaway”, an anti-war protest is heard in the background. The chant was recorded on the spur of the moment when Trevor and guitarist Spencer Thomson followed an anti-Middle Eastern occupation march during a trip to New York City. Spencer opened his laptop to capture the moment, and the use of the chant, he says, shows the band’s hip-hop influences. Songs such as “Southern Trance”, “Whiskey Sunset”, and “Cabaret”, perpetuate youthful visions of campfires, torn jeans, and a good roll in the hay with the cutest stranger at the party. Spencer says about the variety of their songs, “Moon Taxi is unique because we don’t have preconceived notions about who we are supposed to be so there are no boundaries for what we are willing to do or try.”
Inspired by artists who push the envelope, such as minimalist composer Phillip Glass, Director Quentin Tarintino, and bands like The Beatles and Radiohead, Moon Taxi’s study of the greats is apparent on Cabaret. The record was recorded at Alex The Great in Nashville, where others such as Gomez, Yo La Tengo, and Be Your Own Pet have also sojourned. Cabaret was impressively produced by the band's guitarist, Spencer Thomson and Hank Sullivant (Whigs, MGMT, Kuroma), mixed by Grammy award winning sound engineer Vance Powell (Raconteurs), and features folk/hip-hop artist Matisyahu, who the band has also opened for, on the track “Square Circles”.
The band has worked hard to develop their well-executed stage presence. Drummer Tyler Ritter says, “What's great about our touring resume is that we've been able to create an interactive dynamic between the five of us that doesn't take away from the songs, but ultimately adds to a more energetic and (dare I say) ‘high octane’ live show. We constantly keep our eyes and ears open onstage, so we can change direction if we need to. It’s like a really intense conversation with your best friend at 2am, after several drinks, where every topic in the world is up for discussion, and you both have to be quick on your feet to follow each other’s train of thought.” Equally important as the practice of performing regularly, the guys have also shared life experiences that strengthen their sound and camaraderie. Tom Putnam (bassist) says, “Even experiences that weren’t directly recorded, (like the rally in NYC, or the lobby hotel sounds in Mississippi), influence our writing, like riding in a Lamborghini at 150 miles an hour with a drug dealer in Memphis, or when we were en route to St. Louis and watched the sky turned dark brown with tornadic winds and hail. Everyone in the band thought for a second we would die, and if they tell you different, ask Tyler for the video. That stuff changes you and your art.” It is the willingness to change and constantly evolve that will carry Moon Taxi through many records, and a long and successful career as a band.
Ryan Engelberger (bass)
William Kennedy (keys)
Andrew McFarland (drums)
Graham Ulicny (guitar, singing)
Poof Daunghty (percussion, keys)
J Boog is a man of many influences. The singer of Samoan descent was born in Long Beach and raised in Compton, California. Growing up in the rough streets of Compton, the strong sense of tradition and culture that J Boog absorbed from his family was instrumental in his path to stay off the streets and begin a successful music career.
At the age of four, after hearing his older sister playing the piano, he developed an interest and started watching her and learning about music. Soon, J was singing along to the notes & melodies he heard his sister play. A while later, she brought home a Bob Marley song book. Even at this young age, J knew Bob's name and his music. Upon hearing his sister begin to play, something clicked inside J. He hasn't been the same since.
The first time J Boog performed in front of an audience, he was nine years old. It was a large family reunion at a church and there were about 200 people present. J's mother and sister insisted for him to sing Whitney Houston's "One Moment In Time" and J obliged them. Though he was nervous, it went quite well.
J Boog's music career became serious in 2005, when a couple of brothers from his neighborhood brought him to one of J's favorite artists, George "Fiji" Veikoso". The two began working together immediately and J ended up moving to Hawaii in 2006 to continue developing his craft. After releasing his debut album "Hear Me Roar" in 2007, he joined the musical family Wash House Music Inc, a record label based in Hawaii and San Francisco.
A year later, in 2008, J Boog met Gramps Morgan of Morgan Heritage and there was an instant chemistry. Gramps was keen on working with J, and set out to make a way. Shortly after, Gramps, J Boog and other Wash House family members were in Jamaica recording in such prestigious places as Bob Marley's "Tuff Gong" Studio, Don Corleone's "Hit Maker", Bobby Digital's "Digital B", Shaggy's "Big Yard", Sugar Minott's "Youth Man Promotion" and more.
The results are apparent when listening to Boog's new music. It is authentic Island Music and genuine Jamaican reggae at the same time. Truly a new and exciting combination. There is a natural theme to Boog's writing: love. It recurs throughout his work and never once seems contrived. When you listen, you will feel he truly knows matters of the heart.
These days Boog is either in a studio, on a stage or catching a flight. Radio interviews have become a daily thing and it's a little overwhelming for the young artist, though he has been smart enough to keep his humility. He has a great sense of humor and an even better sense of reality. He can be overheard saying how blessed he is on a daily basis. It's easy to see why J Boog has been winning over fans when you meet him. He has the right spirit and attitude to carry him to the next level.
His new album, "Backyard Boogie" is slated for release September 27th 2011 and features Tarrus Riley, Jacob Hemphill (of SOJA), Peetah Morgan (of Morgan Heritage), Fiji and others.
Leading up to the release of his official new album, J Boog released the "J Boog EP" on June 14th 2011 via Wash House Hawaii/EMPIRE Distribution. The EP featured five brand new songs, along with three previously released songs, including his smash hits "Let's Do It Again" and "So Far Gone".
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Truckstop Honeymoon play tough, funny, hi-octane songs about interstates, pinball arcades and true love. Katie Euliss pounds a doghouse bass while Mike West punishes a banjo mercilessly. Together they charm festival crowds and drive roadhouse drinkers to the dance-floor.
Since hurricane Katrina washed them out of New Orleans, Truckstop Honeymoon have traveled to the ends of the Earth and back, performing in Australia, Holland, Germany, Britain and throughout the US. Their music tells a story so honest and strange you know they didn’t make it up.
Katie learned whore-house piano and bucket bass in the streets of the French Quarter. There she met Mike, a banjo-slinging grifter who sold CDs he claimed cured hangovers and small-mindedness. After a court house wedding, the pair hit the road. They spent their wedding night in a truck stop somewhere between Lafayette and the Atchafalya Swamp. And so Truckstop Honeymoon was born.
On August 29 2005, flood waters submerged their home base in the Lower 9th Ward of New Orleans. Truckstop Honeymoon were on tour when the storm hit and so on-tour is where they stayed. Mike and Katie played shows every night, lived out of their van and kept their two daughters entertained in convenience stores across America. But eventually, the road weary family parked their rig as far from any large body of water as they could get: Lawrence, Kansas.
Truckstop Honeymoon continue to tour and build a loyal following from Illinois to Norway. They have put out four CDs on Baton Rouge label, Squirrel Records, and a full length documentary film by Nathan King Miller, “I Won’t Let The Angels Take You Away”, will soon be available on DVD.
When they are not traveling, Katie and Mike run The 9th Ward Pickin’ Parlor, a small studio where they produce songwriters, bands and eccentrics from all over the United States
Fortunate Youth is a collaboration of South Bay Reggae stand-outs. Rising from various bands, they’ve created a phenomenal 7-piece masterpiece bringing more fire to the stage than ever before. Combining rootsy vibes and unique bass lines united with multiple harmonies, boisterous guitar solos, and heavy keys separates Fortunate Youth from every other mainstream Reggae band. With their high energy approach and positive stage presence they provide an unforgettable show to every music fan. Fortunate Youth’s objective is to ensure a performance that leaves you feeling euphoric and curious of what might happen at the next show.
In 2011 they supported Tribal Seeds on their nationwide Tribal Youth Tour to spread their conscious music to the nation. F.Y. linked up The Green, from Hawaii, for a Midwest/Westcoast run before jumping back in the studio to record. They have hit the masses promoting only their 6-song EP titled “Up-Lifted EP” and just released their full-length album, “IRIE STATE OF MIND” on July 1, 2011. Fortunate Youth will also be touring very heavily through 2011 including a Naitonwide CD Release Summer Tour.
Upon Releasing their full-length album they quickly rose to #2 on the iTunes Reggae Charts and also locked in a #13 position on Billboard Top 100 Reggae Albums. Receiving great praise for early success Fortunate Youth strives to spread their interpretation of Reggae music to Music Lovers worldwide.
They have had the honor to share the stage with bands such as Groundation, Toots & The Maytals, The Green, The Wailers, Katchafire, Tribal Seeds, The Expendables, Pepper, Dirty Heads, Natural Vibrations, Tomorrows Bad Seeds and Sashamon.
The third album from J. Roddy Walston & The Business, Essential Tremors borrows its name from a nervous-system disorder that’s long plagued the band’s frontman. “It’s this condition where my hands shake―sometimes not at all, but sometimes pretty bad,” says singer/pianist/guitarist Walston. “I’ve referenced it throughout all our records in some way, but it made sense to be more open about it on this album, which is partly about owning and embracing your weirdness instead of letting it hold you captive because you don’t even want to talk about it.”
For J. Roddy Walston & The Business―who formed in 2002 in Walston’s hometown of Cleveland, Tennessee―embracing weirdness means a mumble-out-loud celebration of that great and terrible burden of being human. Forcing the oft-clashing worlds of art and rock-and-roll to make nice, the band (including guitarist/vocalist Billy Gordon, bassist/vocalist Logan Davis, and drummer Steve Colmus) deals in a scrappy yet sublime sound that honors both their Southern roots and punk spirit. On Essential Tremors, J. Roddy Walston & The Business builds off that formula with a mix of heavy hooks and elegant melodies revealing their affinity for artists as disparate as Led Zeppelin, pre-disco-era Bee Gees, The Replacements, Randy Newman, and the Southern soul outfits that once populated the Stax Records label. Co-produced by Matt Wignall (Delta Spirit, Cold War Kids) and Grammy-winning producer/engineer Mark Neill (The Black Keys) at Neill’s own Soil of the South Studios (a Valdosta, Georgia-based facility where J. Roddy Walston & The Business were the first to ever record), the follow-up to 2010’s much-acclaimed self-titled sophomore album also finds the band crafting lyrics that ultimately serve as a secret language to the initiated listener.
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It’s all but inconceivable that J Mascis requires an introduction. In the quarter-century since he founded Dinosaur (Jr.), Mascis has created some of the era’s signature songs, albums and styles. As a skier, golfer, songwriter, skateboarder, record producer, and musician, J has few peers. The laconically-based roar of his guitar, drums and vocals have driven a long string of bands – Deep Wound, Dinosaur Jr., Gobblehoof, Velvet Monkeys, the Fog, Witch, Sweet Apple – and he has guested on innumerable sessions.But Several Shades of Why is J’s first solo studio record, and it is an album of incredible beauty, performed with a delicacy not always associated with his work.
Recorded at Amherst Massachusetts’ Bisquiteen Studios, Several Shades is nearly all acoustic and was created with the help of a few friends. Notable amongst them are Kurt Vile, Sophie Trudeau (A Silver Mount Zion), Kurt Fedora (long-time collusionist), Kevin Drew (Broken Social Scene), Ben Bridwell (Band of Horses), Pall Jenkins (Black Heart Procession), Matt Valentine (The Golden Road), and Suzanne Thorpe (Wounded Knees). Together in small mutable groupings, they conjure up classic sounds ranging from English-tinged folk to drifty, West Coast-style singer/songwriterism. But every track, every note even, bears that distinct Mascis watermark, both in the shape of the tunes and the glorious rasp of the vocals.
“Megan from Sub Pop has wanted me to do this record for a long time,” J says. “She was very into it when I was playing solo a lot in the early 2000s, around the time of the Fog album [2002's Free So Free]. She always wanted to know when I’d do a solo record. [Several Shades of Why] came out of that. There are a couple of songs that are older, but the rest is new this year. And it’s basically all acoustic. There’s some fuzz, but it’s acoustic through fuzz. There’re no drums on it, either. Just one tambourine song, that’s it. It was a specific decision to not have drums. Usually I like to have them, but going drum-less pushes everything in a new direction, and makes it easier to keep things sounding different.”
There is little evidence of stress on Several Shades of Why. The title track is a duet with Sophie Trudeau’s violin recalling Nick Drake’s work at its most elegant. ‘Not Enough’ feels like a lost hippie-harmony classic from David Crosby’s If I Could Only Remember My Name. ‘Is It Done’ rolls like one of the Grisman/Garcia tunes on American Beauty. ‘Very Nervous and Love’ has the same rich vibe as the amazing rural side of Terry Reid’s The River. And on and on it goes. Ten brilliant tunes that quietly grow and expand until they fill your brain with the purest pleasure. What a goddamn great album.
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Allured by pulsing incantations of cassette grain and VHS blips, live instrumentation and other found sounds, Kodak To Graph's Michael Maleki (22), delicately floats listeners through blooming clouds of synth-washes, haunting reverberations and propulsive rhythms.
Maleki's candle-waxed R&B and flower-trailed soundscapes weave together the nostalgic tones and colors reminiscent of a quiet childhood with the urban bounce and rhythmic disposition of the more modern spirit.
Michael Arlen Bont - Banjo
Dave Bruzza - Guitar
Paul Hoffman - Mandolin
Michael Devol - Bass
Anders Beck - Dobro
"Representing the genre for a whole new generation" - Rolling Stone
If you’re familiar with bluegrass music, then you’re tuned in to some of what Greensky Bluegrass does. They’re also known to throw a great party, rock n roll, and (if the critics are to be believed) they have great songs. They are unquestionably a team of friends that traverse the country making music they enjoy. What makes Greensky different than Bluegrass? Poignant rural ballads about real people? Dobro tone that Jerry (Douglas or Garcia) would love? Distortion Pedals? Grit and attitude from a whiskey soaked card game? Indeed, but that’s just the tip of the iceberg.
This quintet from Michigan has been staying up late at all the coolest festivals and stopping to play your favorite clubs and theaters across America for 11 years now. Nearly 175 shows per year has prepared them for the rigorous task of continuity. Greensky Bluegrass isn’t slowing down. They’re coming to your town to help you party down. Yeah. Really. Like you never thought possible.
At the start of the millennium, some of these guys met, then they met more guys. They thought Greensky was a clever name for a bluegrass band. Fast forward to 2011 when they recorded their fourth studio record, called Handguns. Among them, words like, proud, killer, and damn right! have been spoken in regards to the music of Handguns.
While they all may be accurate, we hope you’ll find far more than you expected, hell - even more than we expected contained in this piece work that may well come to define one of 21st Century Americas hardest working musical ensembles.
The latest Greensky release, "Five Interstates" is now available! Produced once again by Tim Carbone of Railroad Earth, and featuring newest member Anders Beck, this is a great compilation of tunes. Drop on by our website at Greensky Bluegrass , scoot around back to the store, and pick up a copy or two. For full tour information check us out on Jambase.
Twiddle, a Vermont based quartet, spins tall tales over an intricate soundscape of hi-def shred. Their fresh multi-genre approach conjures up jazz, classical, and bluegrass, but above all, masterfully blends reggae and funk. Obliterating laws of improvisation, their complex arrangements never fail to leave crowds lusting for more. With sage songwriting and unmatched variety, Twiddle’s thrilling infancy continues to exceed all expectation. After whimsically jamming in the fall of 2004, the founding members of Twiddle immediately recognized chemistry and a common seriousness. By the second semester at Castleton State, Mihali Savoulidis and Ryan Dempsey were already intertwining harmony and fantasy, birthing Twiddle staples like ‘Frankenfoote’ and ‘Gatsby the Great’. Brook Jordan, and Billy Comstock, Twiddle’s original bassist, complemented these melodies with a densely layered, and exciting funk rhythm This young foursome had taken Castleton by storm, toured the northeast, and composed an impressive catalog of original tunes before becoming upper-classmen.
Drew Holcomb is an American singer and songwriter who grew up in Memphis, Tennessee, and now calls East Nashville, Tennessee home. Holcolmb's wife, Ellie, performs alongside him in the band, Drew Holcomb and the Neighbors. Holcomb earned a considerable following after his 2005 album, Washed in Blue, was released and had multiple TV placements on Lifetime's Army Wives and Showtimes's United States of Tara, and A&E's The Cleaner. Holcomb and his band, The Neighbors, joined by his wife and singing and songwriting partner Ellie Bannister Holcomb, daughter of Brown Bannister, then recorded 2008's Passenger Seat.
Holcomb has gained most of his following with a heavy touring schedule, headlining regionally in the Southeast, and opening for National acts such as Susan Tedeschi, Ryan Adams, Los Lobos, Jon McLaughlin, The Avett Brothers, Robert Earl Keen, Marc Broussard, Dave Barnes, and Matt Hires. Holcomb is signed to Brite Revolution, alongside other independent Nashville acts Katie Herzig, Matthew Perryman Jones, Griffin House, and was also featured on Paste Magazine's November 2009 Sampler CD. In the fall of 2009, Holcomb appeared alongside Pat Green, Billy Joe Shaver, and Darryl Worley on the TV show, Legends and Lyrics.
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$2 micro and domestic draws | $2 wells
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