7/4

Closed. Happy 4th of July!

18 & Over | 8 pm

Closed. Happy 4th of July!

MORE INFO COMING SOON!



    7/5

    Smackdown Trivia

    18 & Over | 6:30 pm

    Smackdown Trivia

    MORE INFO COMING SOON!



      7/6

      Open Mic

      18 & Over | 8 pm

      Open Mic

      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 openmic@thebottlenecklive.com. 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.

      9:30- 10:10
      10:30-11:10
      11:30-12:10
      12:30-1:10

      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.

      OUR LINKS


      7/8

      Dank

      18 & Over | 8 pm

      Dank

      MORE INFO COMING SOON!



        7/10

        DJ TVRNT

        Yung Grandpa

        18 & Over | 8 pm

        DJ TVRNT

        MORE INFO COMING SOON!



          Yung Grandpa

          MORE INFO COMING SOON!



            7/17

            The North Fork

            3 Son Green

            18 & Over | 8 pm

            The North Fork

            The North Fork is a Lawrence, KS progressive folk rock band started in February of 2013 when songwriter Cole Eisenmenger, recording solo, heard violinist/bassist Russell Clark practicing violin in a nearby practice room, and asked him to record record on the track "Dancing on Apples." Cole, who had been playing with drummer Ben Johnson, started playing more often in the trio setting, eventually adding up to four members--forming The North Fork. The band has gone through numerous changes in instrumentation, band personal, and sound--including the shift from being originally acoustic to having electric guitar, bass, and drum set to drive the sound and give more variety to the live show.

            OUR LINKS


            3 Son Green

            Since 2007, 3 Son Green has been interweaving their vast web of sound, sense, and solidarity into the ever‐evolving architect it has become. Their RockJamJazzFunk style breaks genre bylaws, and pulls crowds out of their seats everywhere they play. 3 Son Green’s intricate songwriting combined with their natural improvisation is guaranteed to satisfy every music lover’s palette. Their well fueled, expanding flame has, even now, lapped at the feet of the music world at all manner of festivals across the Midwest. These Kansas City grown virtuosos are vaulting to new heights, and leaving no slack behind.

            Jamie Anderson – Guitar/Vocals
            Evan Carlson – Guitar/Vocals
            Steven Pearson – Drums
            Trey Green – Bass/Vocals

            OUR LINKS


            7/21

            Wild Child

            | All Ages | 8 pm

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            Wild Child

            Wild Child is a band from Austin, TX.
            2013 Austin Music Award winners for Best Indie Band and Best Folk Band

            OUR LINKS


            7/22

            Fresh Hops

            18 & Over | 8 pm

            Fresh Hops

            Fresh Hops is a 4-piece band from the Tri-Town Area of Northwest Indiana. The band has played nearly 1000 shows in 10 different states. After 6 years of being together, their sound continues to evolve, as the fans and family continue to grow. Fresh Hops has created a love for the "live" show, incorporating the concept of "having fun" as the main idea. Each show is different, consisting of a mixture of creative originals, and catchy/crafty instrumental cover songs. Fresh Hops puts the emphasis on real music while blending their influences into something brand new. The band celebrates the rich history of each instrument playing bluegrass/classical songs through the violin, classic soul/jazz, and heavy metal with distorted guitar. Somewhere along the way all the elements combine to create a truly unforgettable experience.

            OUR LINKS


            7/23

            Bass Hertz Official Takeover

            18 & Over | 8 pm

            Bass Hertz Official Takeover

            Bass Hertz Productions was founded in January 2013, consisting of Topeka-based producers and dj's: Always 420, DJ N8, sTrap Back, Azoic Realm and Kraang. In March 2013, visual producer Dilate visuals joined the crew.

            Bass Hertz Productions is a self-contained collective who not only put on their own shows, but also operate their own live events. They provide their own sound rig, lighting, visual projections/installation, and create their own marketing campaigns utilizing both internet marketing strategies, and flyers/posters.

            The Bass Hertz crew is no stranger to the Lawrence and Kansas City scenes, as they have networked themselves with some amazing people and companies that operate out of those cities. Expect Bass Hertz Productions to become a familiar name with a reputation for hosting some of the most amazing live music events the Midwest has ever witnessed!

            Co-Founders of Bass Hertz Productions:

            Dylan K., Jesse H., Shane H., Nate H., Michael T., Quintin T., and Marshall O.

            OUR LINKS


            7/26

            Smackdown Trivia

            18 & Over | 6:30 pm

            Smackdown Trivia

            MORE INFO COMING SOON!



              7/31

              Blue Orleans

              18 & Over | 8 pm

              Blue Orleans

              Blue Orleans is a mixture of zydeco, Bourbon Street Rock ‘n’ Roll, Blues, Reggae, Ska and Caribbean, thrown in a pot of gumbo and mixed with the Mardi Gras spirit when they hit the stage. Blue Orleans covers it all with seasoned pro experience and tight five-vocal harmonies. Mixing New Orleans standards with a twist on some covers that will have the folks bumpin’ and grindin’ out on the dance floor.

              Bunny Rodina: Percussion, Tamburica, Electric Mando, vocals, sex-appeal, (Caribe, Contraband, Rodina). An impassioned vocalist and student of World Champion Accordian player Don Lipovac, Bunny is a veteran of the K.C. music scene who knows how to get the good times started and the crowd dancing. And for those in the crowd who don’t like to dance, just sitting back and watching Bunny is still one of the best times you can have with your clothes on.

              Vaughn Cowden: Squeezebox , keys and vocals (Caribe & Common Ground). Vaughn has played with numerous bands in Lawrence and Kansas City, but Caribe was the first to play real latin Carribean sounds in the midwest. A prolific songwriter, vocalist & accordion player.

              Michael Helton : KC sax and flute vet , started on the blues circuit centered around Minneapolis’ West Bank after high school, then joined Guyana-born guitarist/singer John Bayley on tour throughout Colorado and Arizona. Back in KC, Mike performed and recorded with groups including Max Groove, then toured extensively with the region’s number one Caribbean band, Caribe where he met Vaughn, Paul, Mike and Bunny.

              Paul Matthews: Drums, assorted percussion and vocals (Caribe, Bagdad Jones,Billy Ebeling & the Late For Dinner Band, The Salty Iguanas,Random Aztech, Rubber, Fang-o-Love,The Love Squad, Redhammer, Ricky Dean Sinatra, The Big Rigs,, LogRhythm,….the list goes on). The drummer that never stops, Paul is the most in-demand rhythm man in the Lawrence & Kansas City area and has produced & played on cds with some of the best. Versitile in all styles. Paul is the man!

              Mike Roberts: Electric and acoustic guitars and vocals (Blue Condition, Shake & Trick Bag) Out of Texas, Miker has traveled the south and the midwest playing acoustic / electric blues and slide guitar. His vocals have the growl of Dr. John and his guitar playing shows years of performing.

              Doug Osburn: Bass guitar and vocals (Rockhill, Rodina, Howard Iceberg & The Titanics) Doug began with the Wichita area experimental rock group Rhynohyni after college and migrated to K.C. in the late 80s, playing with a wide variety of groups before meeting Bunny and Mike H. in Rodina. A solid vocalist and songwriter, his bass style has the swing of the blues and the thump of rock with a big fat focus on the bottom end.

              OUR LINKS


              9/1

              X

              All Ages | 8 pm

              X

              X were the quintessential L.A. punk rockers before they grew into a world-class rock & roll band and live band; however, enthusiasm for their unique, intelligent and humorous work never quite reached critical mass.

              Formed in 1977 after songwriter and bassist John Doe (b. Feb. 24, 1956) met (and later married) Exene Cervenka (b. Feb. 1, 1956) at a Venice poetry workshop, with rockabilly veteran Billy Zoom (b. Feb. 20, 194?) on guitar and D.J. Bonebrake (b. Dec. 8, 1955) on drums, the band garnered an immediate following. "Discovered" by ex-Doors keyboardist Ray Manzarek, he took the band into the studio for the recording of Los Angeles in 1980. It was curious, at a time when punks were supposed to hate hippies, that X's merging with an ex-Door was not only tolerated, but earned them stature as California's preeminent punk band when the record earned across-the-board raves. 1981 saw the release of the similarly punked-up Wild Gift, while their 1982 album, Under the Big Black Sun, began what would be a long career in merging hard rock, country and folk into their fiery mix. The band successfully began to mix in their populist politics with an eye toward matters of the heart.

              As the band began to reach wider audiences, both Doe and Cervenka enjoyed outside careers in the arts — he as an actor in films like Great Balls of Fire and Roadside Prophets, and she as a poet and spoken-word artist, collaborating with Lydia Lunch and Wanda Coleman.

              In 1983, the rootsy songs on More Fun in the New World lent themselves to acoustic performances which the band had taken to trying live. They took it one step further on their side project, the Knitters (with Dave Alvin) which yielded one Slash album, Poor Little Critter in the Road, in 1985. Ain't Love Grand was a harder rock album in 1986 and was followed by Zoom's departure. He was momentarily replaced by Alvin, but for recording purposes, the band recruited Tony Gilkyson (formerly of Lone Justice) for See How We Are, the band's most decidedly hard-rock record in the catalog. Gilkyson stayed for the recording Live at the Whisky A Go-Go in 1988 before the band took some much-needed time off, although they never broke up. In the interim, Doe and Cervenka had since divorced, and the pair continued to work as solo artists, releasing Cervenka's Old Wives Tales (Rhino, 1989) and Running Sacred (1990) and Doe's Meet John Doe for Geffen in 1990.

              By 1993, the band got together for the recording of Hey Zeus!, a collection of new songs, but the response was underwhelming, and it was back to solo work. Doe released Kissingsohard for Rhino in 1995. Exene also released Surface to Air Serpents for the 2.13.61 label, as well as a reading of the Unabomber Manifesto, after changing her name to Cervenkova. During their frequent hiatuses, X would occasionally appear in Los Angeles and San Francisco and during one stay, recorded a live album in San Francisco in 1995, Unclogged, and self-released it. Cervenkova's latest project is Auntie Christ with Bonebrake and Matt Freeman of Rancid. Gilkyson also works as a solo artist. X also appeared in three films: Penelope Spheeris' punk documentary The Decline of Western Civilization, Urgh! A Music War, and a documentary of their lives and times, The Unheard Music. Beginning in 1998, founding member Billy Zoom returned to the fold for a series of on-again/off-again shows and limited touring; a pair of 2004 Los Angeles concerts were recorded and videotaped for Live in Los Angeles, released both as an audio CD and video DVD in the spring of 2005.

              OUR LINKS


              9/10

              FIDLAR

              | All Ages | 8 pm

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              FIDLAR

              FIDLAR - A biography

              "Thanks for coming, man. Want some bum juice?"

              "What the fuck is in this shit?"

              "Tampico and Everclear. It's pretty gross."

              When they started in 2009, seeing FIDLAR meant showing up to a house party and eventually having this exchange with one of them. Zac Carper, The bands guitarist and singer (well, one of 'em) would hand you a red cup , throw an arm around your neck and probably end up blurting out how fucked up he was. Their set list would read more like a grocery list of party supplies than a list of songs: "Cocaine. Cheap Beer. Chinese weed. Four Loko."

              After a few years of being a band Zac still plugs in his pedals attached to a skate deck ("Pedal board", get it?) and says "Hi We're FIDLAR: F-I-D-L-A-R. It means 'Fuck It Dog, Life's a Risk". Seeing a FIDLAR set consists of drinking and dancing with people that are twice as drunk as you are while the band rips through songs about what they know best: The girl doesn't call, my ex is a whore, I lost my phone, my car is a piece of shit, my friends are pieces of shit, I do too many drugs, I'm really awkward, I love Del Taco.

              FIDLAR is Zac Carper, Elvis Kuehn, Brandon Schwartzel, and Max Kuehn. Elvis and Zac met at Kingsize Soundlabs in LA and recorded a ton of demos with the band before playing a live show. Their first show was on a FMLY bike ride at a skatepark in Culver City. Three years later the band has played with Black Lips, OFF!, Japanther and toured with The Hives. They've released two EP's and just got back from touring Europe.

              Listening to them, you can tell that the band did their homework on punk rock and seem dead set on inflicting lessons on anyone willing to listen. Any given song will give you a Germs influenced guitar solo, the catchy "Ooo's" and "Ah's" of The Misfits , and lyrics in the same family as Black Flag's "Six Pack" and "TV Party" . On the same token they can just as easily be compared to any of the bands they cover (Blink 182, FEAR, CCR, Warron Zevon), yet it all comes across entirely their own: Surfier, Faster, more fuzzed out, more personal and a lot more drunk.

              FIDLAR's first LP is coming out via Mom + Pop and Wichita recordings. Recorded at their home studio, The album is set to be 14 tracks long and out January 22nd. FIDLAR are your dumbass friends that find a beer, scrape the shit off their shoes, and tell you how the hardest thing about waking up late and trying not to fuck up your life is having to do it with no job, no money and everyone bumming your cigarettes.

              OUR LINKS


              9/13

              Albert Hammond Jr.

              | All Ages | 8 pm

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              Albert Hammond Jr.

              The kernels of this new full length began with his five-song strong EP, AHJ, released on Julian Casablancas’ label, Cult Records, back in October 2013. AHJ showcased a bolder stance, his vocals are deeper, pulled to the fore, with less effects applied, each song is anchored by a more muscular rhythm section. Crucially, his approach to music has shifted; he’s flipped the page.

              “I feel like my writing, for the most part, has been emotion and excitement and I just ran with it and where it stopped, I let it be—either due to being fucked up or laziness or whatever,” he says. This time around his compositions were more sharply honed, fired by a desire to write and rework his music until he was 100 percent satisfied. Additionally these songs were brought into focus with the help of Grammy-winning producer Gus Oberg—who’s worked extensively with The Strokes and happens to be one of Hammond Jr.’s closest friends; he was the album’s benevolent taskmaster.

              “If I wasn’t getting it right he’d make me do it over and over and over again,” he recalls. “He was really hard on me—harder than he’s ever been. It was fun though, I’m not complaining. If anything, it’s nice to have someone who pushes you and I could tell how excited he was about it.”

              Initial sessions for Momentary Masters began as a three-day stint in June 2014, an experimental getaway to test the water with his new band. Having established a solid unit touring the AHJ EP, he was keen to see how Hammarsing Kharhmar (the frontman of Mon Khmer; who’s been playing guitar with Hammond Jr. since 2008), guitarist Mikey Hart (Bleachers), bassist Jordan Brooks, and drummer Jeremy Gustin (Delicate Steve, Marc Ribot), would work together on his new material. Along with Oberg they convened at Hammond Jr.’s home in upstate New York, a converted barn he calls One Way Studios became their HQ. The space is half gearhead heaven, half welcoming living room, with high ceilings and windows that look out onto the woods. First up: working through demos for “Born Slippy,” “Caught By My Shadow,” and “Drunched in Crumbs.”

              The sessions were extremely relaxed—they’d wake up, go for a run, play frisbee, maybe chop some wood, and then get down to it. Work days were followed by big family-style dinners cooked up in the evenings by Hammond Jr. and his wife Justyna; they’d all unwind watching John Oliver, Game of Thrones, or Boardwalk Empire. It was this summer camp-style environment that encouraged space for creativity and collaboration, which continued when they returned in September to lay down the rest of the record. (Apart from Bob Dylan cover, “Don’t Think Twice” which, with addition of a few overdubs, remains largely in its original, bedroom-demoed form.) The result offers a new kind of dynamism: you can hear it in “Power Hungry,” with its Morricone-esque grooves and a Mellotron manipulated to sound like violins; or in the aggressive stomp and anxiety-inducing guitars of “Caught By My Shadow.” Even on “Side Boob”—titled so because, hey, why not celebrate a good thing?—there’s a jittery energy that leaves the listener excited.

              With the instrumentals largely complete, it was time for Hammond Jr. to retreat and write melodies, pouring over notebooks filled with impressionistic scraps, observations, and oxymorons, which he set about stitching together in lyrical form. The presence of these notebooks at all is thanks to a friend whose influence imperceptibly threads through much of Momentary Masters. A voracious reader herself who was constantly jotting down her thoughts, she encouraged Hammond Jr. to do the same, turning him onto poetry, and Anne Sexton in particular. She swooped into his life by chance—bonding initially over a mutual appreciation of Richard Pryor—and two short weeks later she passed away. This record is dedicated to her: Her name is Sara.

              “I was already in that spot where I was really soaking things in: you’re sober so that’s what happens; you’re absorbing everything,” he explains. “She started showing me stuff that changed my idea of how to write and how to come up with ideas. I’d have never guessed I’d be talking about her now, but it was so magical that she came into my life for those two weeks.”

              “Coming to Getcha” sees her presence expressly addressed—an imagined conversation between them sketched out, fragmented emotions that left an imprint, captured here so they’ll never fade. Momentary Masters is a record that reflects on missed opportunities, choices made, wasted time, and paths not chosen. He calls it “a love letter to my past self.” The music might be largely buoyant—spry, breezy guitar lines locking together and dancing apart—but melancholy frequently seeps into even the sunniest of toplines. It’s a record of acceptance too. Tucked in the song is an exploration of the reconciliation of two halves: the best self that you present to others, and the self that slips through and lies exposed when your guard drops.

              “You know how you hang out with someone and there’s things you wouldn’t tell people? You portray that one side which you find to be most attractive, but eventually, if you become close enough, you reveal another side. Most people want to push that away and pretend it doesn’t exist. As good a person as you are, there is also darkness, and if you don’t believe that, you’re just lying to yourself. To be complete, you need to integrate that into your life and accept it as a whole.”

              For Hammond Jr. there’s an unwavering thrill in creation and completion, and a hunger too for what’s next: he’s excited to get these songs on the road. Momentary Masters may be concerned with the duality of the human condition, and the recognition that life with all its peaks, plateaus, and lows is a mere blip—“enjoy the weirdness, because it’s all so fleeting”—but ultimately, in these succinct rock songs he’s communicated something that will morph in meaning through time, both to himself and to those who are listening.

              - Kim Taylor Bennett

              OUR LINKS


              9/27

              The Growlers

              | All Ages | 8 pm

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              The Growlers

              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
              “Good Advice.”
              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.”

              OUR LINKS


              10/7

              Built to Spill

              | All Ages | 8 pm

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              Built to Spill

              Twenty years on from first signing to Warner Bros. Records, Built To Spill is set to return in 2015 with its eighth studio album, Untethered Moon. That’s now two complete decades that one of America’s leading “indie rock” bands has happily made its home on a major label, and in the process redefined that clumsy descriptor of independence by operating wholly and consistently under its own steam, taking the proper time to craft timeless songs and playing endless, epic shows to a growing grip of fans each year. Under the command of its constant leader, Doug Martsch, as well as a new rhythm section, Built To Spill’s creative process continues to ebb, flow and evolve in its own orbit, reemerging on record for the first time since 2009’s There Is No Enemy with ten new songs that fit at once into the band’s resonant catalog while infusing fresh energy into that signature sound.

              In the summer of 2012, Martsch and his longtime bass player Brett Nelson and drummer Scott Plouf recorded an album’s worth of new songs and then went on tour. Martsch was unsatisfied with his performance on the recordings, feeling that he had had too few “eureka moments” in the studio and planned to tweak his parts after tour. Then, citing tour burnout, Nelson and Plouf quit the band, leaving Martsch to scrap the recordings and essentially start over. Adding longtime musical comrades Jason Albertini on bass and Steve Gere on drums, and along with guitarists Jim Roth and Brett Netson, the new Built To Spill emerged a month after reforming to play more shows in 2013 than any other year in the band’s existence. Energized by the new blood as well as marathon rehearsal sessions, Martsch decided to revisit the recording process as a trio, without the other guitar players. “With fewer people it’s easier to focus and communicate during the songwriting process,” says Martsch. “Also we wanted to make the record a little more stripped-down, a little rawer than our last one.”

              Over much of the next year, the band would travel to Portland, Oregon, to record with producer Sam Coomes, the Quasi founder whose keyboard playing appears on several earlier Built To Spill albums. “Working with Sam was awesome. He would come to rehearsals and take notes and record us on various little devices. He had ideas for the songs, structural changes, and things like that, but most importantly, he was enthusiastic. We had rehearsed a ton and were maybe losing perspective a little, so to have someone we admire and trust telling us we were on the right path was huge. He also shared our vision of leaving out shit that’s not necessary.”

              Acknowledging the intricate, bombastic drumming from Gere and Albertini’s effortless ability to “keep it in the pocket and move the song along,” Martsch found inspiration and confidence. He completed the songwriting with his usual method of piecing together scraps of guitar and instrumental parts from tapes of jams from previous eras of creation, along with the easy cohesion of the trio on new material, which they had practiced and demoed endlessly before setting foot in the studio.

              “When we get together and pick up our instruments, I always believe that something magical is going to happen. And it often does, but it’s a magic that maybe only we can feel, in the moment, and doesn’t necessarily translate to tape or to other people. So we keep messing with it until it feels like real music to us. The songs evolve over a long period of time through trial and error. There’s a lot of ideas that don’t go anywhere, and it’s just a matter of leaving them out and including the things that work.” Whether a call by Coomes to abandon a trumpet in favor of a tripped-out guitar, or a killer drum beat evolving from a simple exercise pattern, or even a coincidentally connected artistic inspiration from Alejandro Jodorowsky, the tarot and a photograph of pets, there was no shortage of eureka moments during the making of Untethered Moon.

              The album begins with the hard-hitting trio of “All Our Songs,” “Living Zoo,” and “On the Way,” songs that are as complex and compelling as anything on previous Built To Spill outings. Ripping solos, warm tones, vague and familiar Martsch themes of subconscious connection, human commonality and memory, Neil Young influences—it’s all there. “Never Be The Same” is a song from Martsch’s past, redone and encouraged by Coomes, while “C.R.E.B.” is a meditation on the scientific process of forgetting. The album ends with the eight-minute standout “When I’m Blind,” with solos echoing in and out of a drum-tight jam held down to perfection by the new guys. All in all, it’s the unmistakable sound of Built To Spill, but with a new energy that hearkens back to Martsch’s beginnings all those years ago in Twin Falls, Idaho.
              Two decades on a major label and even more as a successful musician, the fire and focus haven’t changed for Martsch in the least. “We like making music and that's why we do this. Of course if everyone else hates this record, we’ll be bummed. We are trying to make music that people will enjoy."

              OUR LINKS


              10/8

              Bully

              | All Ages | 8 pm

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              Bully

              Led by Alicia Bognanno, Nashville's indie rock outfit Bully parlayed a 2013 self-titled EP and 2014's "Milkman" single into a deal with Startime International, an imprint of Columbia Records. Bognanno's experience as a sound engineer under Steve Albini at Chicago's Electrical Audio surely influenced the band's classic '90s indie rock sound.

              OUR LINKS


              10/14

              Lydia

              Seahaven
              Turnover
              The Technicolors

              | All Ages | 8 pm

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              Lydia

              MORE INFO COMING SOON!



                Seahaven

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                  Turnover

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                    The Technicolors

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                      10/29

                      Jon McLaughlin

                      Tess Henley

                      | All Ages | 8 pm

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                      Jon McLaughlin

                      Jon McLaughlin has been playing piano and making music since childhood. He was born and raised in Indiana, and eventually ended up at Anderson University, also in Indiana. With the support of the university’s record label, Oranghaus, a few friends and an old Chevy van, McLaughlin wrote and recorded music, and toured extensively throughout his college years
                      before he was signed to Island Records in 2006.

                      The following eight years had one common denominator for Jon McLaughlin: writing and producing songs, releasing albums, driving around the country playing music with his band and collaborating with fellow artists like Sara Bareilles, Demi Lovato, Xenia and Need to Breathe, among others. He has shared the stage with artists such as Kelly Clarkson, Adele, One Republic,
                      Bon Jovi, Colbie Caillat, Parachute, and Duffy. And, in 2014, a dream came true when Jon
                      supported the legendary piano man himself, Billy Joel, in selected dates across the country.

                      This coming fall, Jon will be touring with fellow Nashville singer songwriter, Ben Rector. Jon has also made his mark in music for film and television. In 2008, McLaughlin had a cameo appearance in the Disney movie, Enchanted, and performed the Oscar nominated song “So Close,” both on the film’s soundtrack and at the 80th Academy Awards. Jon’s songs have been
                      featured in major films such as Georgia Rule and Bridge to Terabithia. Jon’s music has been
                      featured on TV shows such as Scrubs, So You think You Can Dance, Ghost Whisperer, The Event as well as major network promotions. Jon has appeared on talk shows such as The Tonight Show with Jay Leno, CBS Saturday Morning, The Today Show, and The Bonnie Hunt Show, among others.

                      Selected Discography:

                      2007 Indiana (Island)
                      2008 OK Now (Island)
                      2011 Forever If Ever (Independent Release) 2012 Promising Promises (Razor and Tie)
                      2013 Holding My Breath (Independent Release) 2014 The Christmas EP (Independent Release)

                      OUR LINKS


                      Tess Henley

                      MORE INFO COMING SOON!



                        11/10

                        That 1 Guy

                        | All Ages | 8 pm

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                        That 1 Guy

                        With an extensive and amazing track record of unique and imaginative performances featuringhis curious instrument and copious amounts of originality, Mike Silverman aka That1Guy has set himself apart as a true one-of-a-kind talent that rivals any other artist currently in the entertainment industry. Averaging 150-200 shows a year all over North America and Canada, he has been a consistent favorite at such festivals as: Wakarusa, Electric Forest, Big Day out, All Good, Bella, High Sierra, Summer Meltdown, Montreal Jazz Festival, and many more. He was also the ʻTap Water Awardʼ winner at the Edinburgh Fringe Festival for best musical act. His legendary collaboration and multiple tours with Buckethead as The Frankenstein Brothers has further cemented his virtuoso story as a creative visionary as well.

                        His innovation continues to soar with the announcement of another tour kicking off in January 2014, which will feature live video projections on a completely unique rig invented, created and operated by the guy himself. Along with his pioneering main instrument, The Magic Pipe, a monstrosity of metal, strings, and electronics, facilitates the dynamic live creation of music and magic in ways only That1Guy can conjure, expect to see magic as well now integrated into the already clever performance. With this addition of incorporating magic seamlessly into his live shows, he has legitimately achieved an all inclusive audio/visual performance unlike anything experienced before. “So much of my music has miraculous qualities to it because itʼs hard to tell whatʼs going on. There are lots of slights of hand and sonic misdirection. It feels like I was meant to do magic”.

                        Silvermanʼs backstory is very similar to many musicians that have come before him. He grew up a self proclaimed music geek, soaked in the influence of his jazz musician father, and enrolled in San Francisco Conservatory of Music before joining the local jazz scene himself as a sought-after percussive bassist. This is where the similarities end, though, and where That1Guy truly began. “In my case, being a bass player, I just felt very restricted by the instrument itself,” he says. “Iʼve always wanted to sound different and have my own sound. I was headed that way on the bass, but for me to fully realize what I was hearing in my head sonically I was going to have to do it my way”. His influential and innovative double bass style eventually evolved into what we see today as That1Guy and ʻThe Magic Pipeʼ.

                        As his story continues to develop, Billboard has famously noted, “In the case of Mike Silvermanʼs slamming, futuristic funk act… the normal rules of biology just donʼt apply.”

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                        Bands We want to see

                        Writing-a-list-post

                        Hey everyone! This awesome new website allows for a lot more interaction! Just one way we want to talk with you is by inviting you Bottleneck fans to post your concert wishlists here.

                        To start, here are a few bands I can think of off the top of my head that I would love to see at the Bottleneck:

                        2:54

                        Neutral Milk Hotel

                        Abney Park

                        Ozric Tentacles

                        Just to name a few.

                        Tell us what bands you think should play at the Bottleneck! Can’t wait to hear from you!

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