It’s Monday, so that means there’s a free show at the Mothlight. This week’s show should be killer with The Messthetics headlining. The Messthetics are a new trio featuring Fugazi’s rhtythm section of Brendan Canty and Joe Lally, along with guitarist Anthony Pirog. So needless to say, this will rock. Fitting opener Shane Parish will provide the icing on the cake.
Free Mothlight Monday! The Messthetics (guitarist Anthony Pirog & Fugazi’s rhythm section) w/ Shane Parish 9pm //Free The last time drummer Brendan Canty and bassist Joe Lally were in a band
Free Mothlight Monday!
The Messthetics (guitarist Anthony Pirog & Fugazi’s rhythm section) w/ Shane Parish
The last time drummer Brendan Canty and bassist Joe Lally were in a band together, they were the rhythmic architects for Fugazi, an organization whose decade and a half of disciplined progressivism provided a necessary bridge between the zenith of late-punk ex- pression and everything alternative in rock that followed. In 2016, the two were enlisted by guitarist Anthony Pirog in a conspiracy to subvert and reimagine the power trio, bringing fully into the 21st Century a form that may have reached near perfection with Hen- drix’s Band of Gypsys on the very first day of the 1970s.
With a self-titled recording scheduled for release in the Spring of 2018 on Dischord, the Messthetics will widen the reach of a decisive instrumental music that so far, they have only shared with a privileged handful of east coast and southern audiences. Across its eight original compositions and one cover, Anthony guides the sound through complex changes and harmonic densities that might com- pound, but never confound or muddy its connection with the listener’s body. Recorded by Brendan in their practice space, the group’s debut gives Anthony ample opportunities to swap guitar textures and styles as freely as an octopus changes patterns.
Brendan’s kit has a big heavy bell that he brought back from the Fugazi days. He maneuvers through this rhythmically shifty music with a fluid briskness that is periodically disrupted by the clang of his bell. Joe spent 8 years in Italy, among other things, woodshed- ding on eastern rhythms counted in 7 and 13, perfect preparation for the oddly-metered work of the Messthetics. He brings a rock- solid foundation to the groove at the same time playing a harmonic complement as ambitious and interesting as Anthony’s lines.
Bands can be dangerous when their members have accrued enough mileage to see their chops season into something like musical wis- dom. When that understanding has the rare opportunity to percolate through a collaborative environment founded in love and anchored in gratitude, well, then shit can get rather intense. Anthony Pirog writes difficult music because original music usually is. Yet the ideas that he feeds through the Messthetics, are embraced by the Canty-Lally time machine, not just with precision and nuance, but with soul, joy, and groove. These last three are, indeed, the big guns in this spiritual war that music must become in the post-Trump era.
Their performances and this debut recording have a lift and buoyancy that reflect back into the audience the love and gratitude at the foundation of this trio’s journey.
(Monday) 9:00 pm
701 Haywood Rd West Asheville NC 28806
It only gets better with the incredible Circuit des Yeux at The Mothlight on Tuesday night. Slightly, reminiscent of Tim Buckley, singer-songwriter Haley Fohr aka Circuit des Yeux may only be scratching the surface but she’s already one of the most singular talents around with her off-kilter song structures and unforgettable voice. Not to be overlooked both supporting acts, Marisa Anderson and Nathan Bowles Trio are definitely worth catching. Don’t miss this one!
Circuit des Yeux http://circuitdesyeux.com/ w/ Marisa Anderson music & Nathan Bowles Trio Vocalist, composer, and producer Haley Fohr has been Circuit des Yeux since she was eighteen years old. Born in the
Circuit des Yeux
w/ Marisa Anderson music
& Nathan Bowles Trio
Vocalist, composer, and producer Haley Fohr has been Circuit des Yeux since she was eighteen years old. Born in the year of the Dragon in Indiana’s own “Star City” – that’s Lafayette IN – she released records regularly over the past decades; four full-length albums, along with several mini-albums and singles. Meanwhile, she has played shows everywhere, touring all the time. She has been based in Chicago since 2012.
All this was endeavored to be done out of necessity, in order for Haley to be Circuit des Yeux and for Circuit des Yeux to be Haley. The records and shows have been done in primarily DIY fashion, as a means of navigating the world, genuflecting with Sagittarian energy. Circuit des Yeux reflects from a singular angle, looking deeply, at times unblinkingly, at connections and collisions of the cerebral and the physical, with a sense of colloquial grit and an equally opaque transcendent spirit in her words and her music.
Circuit des Yeux is an ardent collaborator, numbering Glenn Branca, Lee Renaldo, Bill Orcutt, Bitchin Bajas & Bonny ‘Prince’ Billy and Olivia Block among her fellow performers. Circuit des Yeux has received enervated and affirmative commentary from The Quietus, NPR, New York Times, Chicago Reader, Brooklyn Rail, Pitchfork and The Wire, among many others. They have all made interesting speculations on her brand of entertainment. All we can tell you in addition is that she has a 4-octave range – at least on days when it isn’t raining.
(Tuesday) 9:00 pm
701 Haywood Rd West Asheville NC 28806
Tuesday night is really just an incredible night. Aside from Circuit des Yeux, there’s at least two other incredible shows that night.
So if Circuit des Yeux is a little too weird for your tastes, great Canadian folk act The Weather Station will be at Ambrose West.
Worthwhile Sounds Presents: The Weather Station w/ Dyado WHERE: Ambrose West, 312 Haywood Road, 28806 WHEN: Tuesday April 10, 2018 DOORS: 7pm | SHOW: 8pm GENRE: folk AGES: all ages
Worthwhile Sounds Presents: The Weather Station w/ Dyado
WHERE: Ambrose West, 312 Haywood Road, 28806
WHEN: Tuesday April 10, 2018
DOORS: 7pm | SHOW: 8pm
AGES: all ages
TICKETS: $12 adv. / $15 d.o.s.
SEATING: standing room only
WEB LISTING: http://www.ambrosewest.com/theweatherstation
The Weather Station:
HEAR SOME MUSIC: https://theweatherstation.bandcamp.com
SEE A VIDEO: https://youtu.be/m8WV_nhPj64
The Weather Station is the fourth—and most forthright—album by The Weather Station, the project of Toronto songwriter Tamara Lindeman. Her most fully realized statement to date, it is a work of profound urgency, artistic generosity, and joy. Self- titled and self-produced, the album unearths a vital new energy from Lindeman’s acclaimed songwriting practice, marrying it to a bold new sense of confidence.
“I wanted to make a rock and roll record,” Lindeman explains, “but one that sounded how I wanted it to sound, which of course is nothing like rock and roll.” The result is a spirited, frequently topical tour de force that declares its understated feminist politics, and its ambitious new sonic directions, from its first moments. On past records, Lindeman has been a master of economy. Here her precisely detailed prose-poem narratives remain as exquisitely wrought as ever, but they inhabit an idiosyncratic, sometimes disorderly, and often daring album that feels, and reads, like a collection of obliquely gut-punching short stories.
Her previous album Loyalty was recorded at La Frette Studios in France in the winter of 2014 with Afie Jurvanen (Bahamas) and Robbie Lackritz (Feist). Nominated for the 2015 Polaris Music Prize, it earned praise from The Guardian, Pitchfork, NPR Music, Uncut, and MOJO, among many others, who celebrated its delicate, carefully worded verse, filled with double meanings, ambiguities, complex metaphors, and rich details of the everyday.
Lindeman and her band have toured extensively in North America, Europe, Australia, and Japan, both as a headliner and as support for artists such as The War on Drugs, The Mountain Goats, Damien Jurado, Bahamas, and Basia Bulat.
website : dyadotheband.com
music : dyado.bandcamp.com
videoss : https://www.youtube.com/watch?v=mkTC-WrNpEE
“Watching them perform, you might think Dyado: cousins Louisa Stancioff and Matt Lohan, were raised from zygotes in some Red House Records incubator, and forced to play music together at cruelly young ages, like some folk Jackson Five. Then, you look at them onstage and realize they’re having fun, sneaking dumb looks and setting each other off, like real cousins.
I met them at a house show in the backyard of a commune in Portland, Oregon. They’re nothing if not flexible if music is the reason. We performed to a modest audience perched on hay bales and were paid with salad and homemade cookies. We were all pretty happy about it. They’ll perform in a stranger’s living room, or unannounced to a bar of locals. They’ll play at farm parties, on beaches, on giant theatre stages, or at weird little venues on the edge of the woods, and always they play with the same verve and dedication, and always they catch people’s ears.
They catch people’s eye, too, trucking around in a neon-blue Ford Focus with a cow skull wired to the front grill, the car packed with weeks-worth of gear for camping and playing music. Onstage, it’s a pleasure to see Matt relax into himself when a song starts, or watch Louisa switch seamlessly from breathless, red-faced laughter into a heartbreaker of a song. Self-described shitheads, they’re not precious about music – they’re scrubby, passionate, realistic. They put in the time, they make the long drives and sleep on the ground, and when you hear or see them play it’s obvious that the only people pushing them to be this good are themselves.” – Izaak Opatz, singer-songwriter. Los Angeles, CA.
(Tuesday) 8:00 pm - 11:00 pm
312 Haywood Road Asheville NC 28806
Speaking of great folk shows, the lineup at The Grey Eagle on Tuesday night is also really terrific with Anna & Elizabeth, House and Land, and Shane Parish all on the bill.
Anna & Elizabeth Their show is like no other. Through their immersive creative process and bold interpretations, Anna & Elizabeth’s visionary partnership pioneers new ways of presenting old songs and stories
Anna & Elizabeth
Their show is like no other. Through their immersive creative process and bold interpretations, Anna & Elizabeth’s visionary partnership pioneers new ways of presenting old songs and stories to modern audiences. Since 2011, with a deep and shared love of old Appalachian music, they stand at the vanguard of tradition and the avant-garde, transforming traditional music with innovative, modern arrangements. Their captivating performance integrates visual art, movement and experimental film with breathtaking harmonies.
The performance magic comes from unique strengths of each artist: Elizabeth LaPrelle, lauded as the finest traditional singer of her generation, is rooted in rural Virginia and a lifetime of singing ballads. Anna Roberts-Gevalt’s musical path has led her from the kitchens of Kentucky banjo elders to sessions in Brooklyn’s thriving experimental music world. A master instrumentalist, Anna is the band’s arranger and driving force.
In winter 2018, Anna & Elizabeth will release their third full-length album; a continuing progression of their evolving sound. It is co-produced by Anna and Benjamin Lazar Davis (avant-pop outfit Cuddle Magic) and features Jim White of The Dirty Three on drums, and lauded experimental pedal steel player Susan Alcorn (Mary Halvorsen Octet).
In the spring, Anna & Elizabeth will tour the US, UK & Europe to support their new project, with additional accompanists to recreate the expansive sonic landscape of their album. The spartan simplicity of their voices and acoustic instruments will include percussion, synth, pump organ, woodwinds, field recordings, film projections, choreography, and crankies — illustrated, hand-cranked scrolls depicting songs and stories as they are performed.
Anna & Elizabeth has appeared on stages across the world, including the Cambridge Folk Festival, Brighton Festival, Newport Folk Festival, National Sawdust, Atlanta Museum of Modern Art, Old Town School of Folk Music, Brooklyn Folk Fest; intimate theaters across the U.S., U.K. & Europe; and fellowships to develop their work at the MacDowell Colony, Virginia Center for Creative Arts, and Centrum. They have released two acclaimed full-length albums–Sun to Sun (2012) and Anna & Elizabeth (2015).
Anna Roberts-Gevalt is a voracious and curious musician who nestles in the space between ancient ballads and new sounds. After spending years in Baltimore’s underground art scene, she now resides in Brooklyn, NY. She fell in love with the sound of banjo in college, moved to the mountains, and learned with master musicians in Kentucky, Virginia, and North Carolina. She has been a fellow at the Berea College Traditional Music Archive and OneBeat (Bang on a Can’s Found Sound Nation); three years artistic director of Kentucky’s traditional music institute, the Cowan Creek Mountain Music School; and co-curator of Baltimore’s Crankie Festival. She is a summer 2017 fellow at National Sawdust in Brooklyn, and recently studied in a workshop with Meredith Monk.
Elizabeth LaPrelle is a world-renowned ballad singer who resides on a farm in Rural Retreat, VA. The student of master singer Ginny Hawker and National Heritage Fellow Sheila Kay Adams, LaPrelle was the first recipient of the Henry Reed Award from the Library of Congress at age 16, and won the 2012 Mike Seeger Award at Folk Alliance International. She has been hailed as “the best young Appalachian ballad singer to emerge in recent memory” by UK’s fRoots Magazine.
We’re really excited for their new record on Smithsonian! Here’s a little information on that as well…
Rarely does an album based on traditional folk music resonate so strongly in modern times, but Anna & Elizabeth’s new album The Invisible Comes to Us taps into their imagination-fueled arsenal to present a work of unique, genre-bending storytelling and sonic exploration. Lauded by many well-known musicians and widely loved for their moving minimalist arrangements, Anna & Elizabeth’s partnership pioneers new ways of presenting old songs and stories to modern audiences. Co-producer Benjamin Lazar Davis (of Cuddle Magic) and musicians like legendary avant-rock drummer Jim White (The Dirty Three, Xylouris White) assist in the duo’s vision of breathing life and new perspective into the crackling and disintegrating recordings and artifacts of the past. The Invisible Comes to Us is Anna & Elizabeth’s third full-length album and first with Smithsonian Folkways Recordings, available Spring 2018.
House And Land
House and Land is the duo of Sally Anne Morgan (fiddle, shruti box, banjo, vocals) and Sarah Louise Henson (vocals, 12-string guitar, shruti box, bouzouki). Sally and Sarah started playing together after Sarah opened for The Black Twig Pickers for whom Sally plays the fiddle. The duo quickly discovered that they were both interested in the same very specific forms of traditional music. Additionally, they both viewed it through the lens of their shared love of modern, experimental and minimal music. “We honor what two voices and bodies can do in one moment in time. It totally shapes our sound.”
Guitarist, Shane Parish. How does one arrive at the creation of an album like “Undertaker Please Drive Slow”?
Here is a boy who, at age 14, picks up a guitar for the first time and decides “this is it!” This is the escape hatch from the tragedy and trauma of an unstable childhood in the sweltering heat, chaos and congestion of sunny Fort Lauderdale, Florida. In music Parish finds stability and eternity and truth, elevated beyond the work-a-day grind and fight for mere survival. There is no music in his childhood home aside from what is being administered on the TV and radio, so music must be sought out and discovered, in the days before everything is instantly discoverable. There is jazz and blues and Cuban and classical music in South Florida. There are innumerable Florida death metal bands and Marilyn Manson is an unsigned local act. Riffs by Iron Maiden and Metallica and Pink Floyd are being passed around by friends, and the friends form bands, and write songs, and try to be original. The ego is broken down and made permeable by the ingestion of psychedelics, and music and life become integrated on a cellular and spiritual level… Naturally, school and work hold very little interest at this point, and the boy Parish drops out and tells everyone he is going to just play guitar.
Here is a young man who, at age 26, has just played his first international jazz festival in Austria with his confrontational, no-holds-barred, avant-garde, instrumental rock band, Ahleuchatistas [AH-LOO-CHA-TEES-TAS]. It’s really just a punk band in this incarnation, almost like Fugazi meets Captain Beefheart. The crowd loves it and the world feels less lonely. Parish is on the cusp of wrapping up a university degree in philosophy, in which he becomes deeply immersed in the anarcho-musico-Buddhist ideas of composer John Cage. He has long dipped his toe in different styles of guitar playing, but has barely scratched the surface, really. Parish’s explorations are now led by an ethos of wide open curiosity and awareness. Jazz is an obsession and John Coltrane is a guiding light in any situation. There is a radio interview with Coltrane in the early 60’s, just before he goes on to record “A Love Supreme”, in which he talks about how he is currently trying to “deepen his roots” because he “skipped over a lot of stuff”. This conversation leaves a lasting impression.
Here is a family man who, at age 38, makes his living playing gigs and teaching lessons. Still very much the experimentalist, touring musician and collaborator, with over 20 albums in his discography, he has spent the past decade cultivating a more embodied approach to playing the guitar: how to pull out the most beautiful sound, or whatever desired effect, by following the breath and touching the string just so. Parish has taught himself classical guitar, as a practice like meditation or Yoga or Tai Chi. As a boy he thought the tape was warped and that was why Andres Segovia’s guitar sounded like flowing water. Now Parish knows that being completely in the moment is the real cause. He turns to the blues and folk music where a universal magic is being shared and passed down generations and permeating every other form of music. Elizabeth Cotten and John Hurt hypnotize and heal with a simple root-five bass line, like a pulse, in four-four time and fill up all the cracks with sparkling melody. Parish sings folk songs to his young daughter and, through her new ears, begins to truly appreciate the regional music of his adopted home in the Appalachian town of Asheville, North Carolina. One winter’s night, just before bed, he thinks, “I’ll write an arrangement of ‘The Cuckoo’ for solo guitar.” Instead, Parish records 45 minutes of music, twelve folk songs, in a trance-like effortless stream of free association. He goes to sleep. It’s as if someone else played it, and he listens to the recording in the coming days twenty or more times. He sends it to friends and labels. The music catches the ear of the great and famous composer and saxophonist, John Zorn, who lives up in New York City. Zorn asks Parish if he would like to record on better equipment, offering him a small budget, and tells him that he can record it whenever he feels ready.
Six months later a recording session in a cabin in the woods yields a 15-song album of original arrangements and improvisations of gospel, folk, blues, field hollers, Child ballads, Scottish traditionals, and Appalachian tunes. Undertaker Please Drive Slow.
“A long time resident of the Appalachian town of Asheville, North Carolina, Shane Parish is the mastermind behind the cutting edge rock band Ahleuchatistas.
Here he steps out with a remarkable and soulful acoustic solo project that digs deep into Appalachian roots. Taking classic old timey folk songs, Shane has abstracted them in utterly fascinating ways evoking the haunting and brooding world of the American South.
At times reminiscent of John Fahey and Robbie Basho, at times of John Cage and Morton Feldman, Shane uses these beautiful songs as launching pads for his creative flights of fancy, at times boiling them down to their very essence.” -John Zorn
“Shane Parish is one of the most interesting new guitar voices to come out of the country blues tradition of Mississippi John Hurt, Lightin Hopkins… via John Fahey, and the folkie fingerpickers….this recording finds Parish standing at the cross-roads between playing the country blues and… deconstructing? Devolving? Destroying?…them.
Some of the miniatures are stunning, haunted by an Anton Webern-like economy. Check it out!” -Marc Ribot
(Tuesday) 8:00 pm
The Grey Eagle
185 Clingman Ave.
Wednesday night at The Grey Eagle features a pair of up-and-coming indie rock acts in Motel Radio and Quiet Hollers.
Motel Radio Motel Radio is an indie rock band hailing from New Orleans, Louisiana. The band was born out of a songwriting collaboration between college roommates, Ian Wellman and Winston Triolo,
Motel Radio is an indie rock band hailing from New Orleans, Louisiana. The band was born out of a songwriting collaboration between college roommates, Ian Wellman and Winston Triolo, that has since grown into a full band consisting of Eric Lloyd (drums), and Andrew Pancamo (bass).
Early writing and recording culminated in the summer of 2015 with the band’s independently released EP “Days and Nights”. The EP earned them supporting slots for national acts such as Drive-By Truckers and Kurt Vile in addition to festival performances at Firefly, New Orleans Jazz and Heritage Festival, and SXSW among others. The band was named “Best Emerging Artist” at the 2016 Big Easy Awards in their home town of New Orleans.
Motel Radio’s atmospheric, harmony-driven sound and unique dual frontman arrangement garnered the attention of Roll Call Records, who released their EP ‘Desert Surf Films’ in September 2016.
Quiet Hollers formed in Louisville around the songwriting of singer/guitarist Shadwick Wilde, who originally formed the group with the idea of playing only one show—the CD release of his solo effort, Unforgivable Things, in 2010. The group’s debut, I Am the Morning, followed in 2013. The alt-country styled album was a limited success, spawning a cult following in the US and some international critical praise, allowing the band to continue touring on the DIY circuit, where changes in personnel and taste saw the band exploring territory beyond the genre.
In 2015 the band’s self-titled sophomore album Quiet Hollers introduced them to a much broader audience, drawing praise both for the breadth of its influences and for Wilde’s lyricism. Consequence of Sound called it a “beautiful portrait… breaking the confines of roots music” with PopMatters aptly noting the band’s “strong post-hardcore influence.” The album brought the band to Europe for the first time, selling out shows there and back at home stateside. Breakout singles found their way onto TV shows, coffeehouse playlists, and a #9 debut on the FMQB college and indie charts.
Quiet Hollers signed with the indie label SonaBLAST! for their third album, Amen Breaks. The album draws parallels between the modern entertainment landscape and the cultural crossover of the 1970s– another decade marred by division, political corruption, and terrorist bombs. Their shape-shifting palate makes use of orchestral strings and brass, vintage drum-machines and samples (including the Amen Break, the most sampled piece of music in history). Amen Breaks explores themes of spirituality, sexuality, and mental illness.
(Wednesday) 8:00 pm
The Grey Eagle
185 Clingman Ave.
The big indie rock show of the week comes Thursday at The Orange Peel with the double bill of Black Angels and The Black Lips. Where the Black Angels set an atmosphere of haunted psychedelia, garage-rockers the Black Lips shows are notorious for their complete madness. Maybe they’ve toned it down a little over the years, but expect a wild performance from the Black Lips.
Since Aristotle, man has organized his knowledge vertically in separate and unrelated groups—Science, Religion, Sex, Relaxation, Work, etc. The main emphasis in his language, his system of storing knowledge, has
Since Aristotle, man has organized his knowledge vertically in separate and unrelated groups—Science, Religion, Sex, Relaxation, Work, etc. The main emphasis in his language, his system of storing knowledge, has been on the identification of objects rather than on the relationships between objects. He is now forced to use his tools or reasoning separately and for one situation at a time. Had man been able to see past this hypnotic way of thinking, to distrust it (as did Einstein), and to resystematize his knowledge so that it would all be related horizontally, he would now enjoy the perfect sanity which comes from being able to deal with his life in its entirety.
It is possible for Man to alter his mental state and thus alter his point of view (that is, his own basic relation with the outside world which determines how he stores his information). He then can restructure his thinking and change his language so that his thoughts bear more relation to his life and his problems, therefore approaching them more sanely.
It is this quest for pure sanity that forms the basis of The Black Angels.
(Thursday) 8:00 pm
The Orange Peel
101 Biltmore Ave Asheville NC 28801
Shift gears on Friday night at Ambrose West with the delightful folk of Underhill Rose.
WHERE: Ambrose West, 312 Haywood Road, 28806 WHEN: Friday April 13, 2018 DOORS: 7pm | SHOW: 8pm GENRE: country soul AGES: all ages TICKETS: $10 adv. /
WHERE: Ambrose West, 312 Haywood Road, 28806
WHEN: Friday April 13, 2018
DOORS: 7pm | SHOW: 8pm
GENRE: country soul
AGES: all ages
TICKETS: $10 adv. / $12 d.o.s. / $20 VIP (guaranteed seating in 1st 3 rows!)
SEATING: seated general admission
WEB LISTING: http://www.ambrosewest.com/underhillrose
HEAR SOME MUSIC: https://underhillrose.bandcamp.com/
SEE A VIDEO: https://youtu.be/i5cBz9TRvCg
“ONE OF THE MOST PROMISING ROOTSY WOMEN ARTISTS IN THE AMERICANA SCENE.”
– No Depression
Harmonies. Soul-touching lyrics. Eye-catching stage presence. Underhill Rose has become synonymous with beautiful music, charming personalities, and rippling success. In the last four years, the band from Asheville, North Carolina has independently released two albums in the top of the Americana Music Association Airplay Chart and Roots Music Report Chart, all the while garnering critical acclaim from around the globe.
Get to know the joyful soaring voice of Molly Rose and her acoustic guitar and the distinctive styling of Eleanor Underhill’s open-back banjo and salty-blues vocals. Their close harmonies and charisma make most think they are sisters, and with their song-centered original compositions, Underhill Rose creates music that is real and inspired. See them on PBS Television, hear them on nationally-syndicated radio and at live performances, and you will know how Underhill Rose has carved out a distinctive place in the Americana-folk scene.
For their most recent release, the authentic, live sound was captured in their home state over two starry nights. Featuring original songs from their three studio albums, Underhill Rose’s Live covers the depth and joy of nearly a decade of musical partnership. The stripped-down sound highlights the soulful harmonies that originally brought Eleanor and Molly together to play music. By removing the bells and whistles of past recordings, Underhill Rose reveals the fundamental elements of their sound: a powerful partnership in full bloom.
The successful completion of two crowd-funding campaigns raised over $50,000 and freed the group to independently release two noteworthy and charting albums. Their sophomore release, Something Real, peaked at number 18 on the AMA Chart, was named an AMA Top 100 Album of the Year, and claimed a spot in the top 25 of the EuroAmericana Chart, Freeform Americana Radio, and The Alternate Root “Roots 66” charts. In 2015, the band’s tertiary album, The Great Tomorrow, released to wide acclaim, reached the Top 30 of the AMA Airplay Chart once again, and took hold at number 1 on The Roots Music Report’s Progressive Bluegrass Album Chart for over nine weeks. R2 Magazine notes, “The Great Tomorrow is simply top-class country music, seasoned beautifully and seamlessly with earworm hooks and bluesy edges, all delivered with instrumental panache and supremely confident singing.”
Molly Rose and Eleanor Underhill’s friendship is the result of a chance meeting at a makeshift performance of John Prine’s “Angel from Montgomery” between classes at Warren Wilson College. Their affinity for the music they make has kept them together for more than 10 years. Underhill Rose formed in 2009 and has since blossomed into an internationally-recognized band known for blending aspects of Americana, R&B, country, and bluegrass into an authentic sound that is all their own—“Heartfelt Country Soul.” Armed with a fresh sound and an extraordinary ability to blend a multitude of musical genres, Underhill Rose will touch your heart.
Juan Holladay & Katie Richter:
Originally a folk artist from Tucson, Arizona, Juan Holladay is now a genre bending singer-songwriter involved in various Asheville bands, including the Secret B-Sides, Stephanie Morgan & the Mercurists, Billy Jonas Band, and more. Katie Richter is a transplant from Buffalo, New York who moved to Asheville as a singer, trumpeter, and percussionist with the band Midnight Snack, and is currently a free agent in the local music scene. What Katie and Juan create as a duo is soulful and unique.
(Friday) 8:00 pm - 10:30 pm
312 Haywood Road Asheville NC 28806
Catch a bill of NC rappers on Saturday night at Sly Grog Lounge with Newman, Benny Okoto, and SIYAH all taking the stage.
Original music from regional and local rap artists! Come check the talent! Newman is an American rapper, singer/songwriter, producer, and co-founder of the digital media/art/music collective TEN $TEPS AHEAD from Raleigh,
Original music from regional and local rap artists! Come check the talent!
Newman is an American rapper, singer/songwriter, producer, and co-founder of the digital media/art/music collective TEN $TEPS AHEAD from Raleigh, NC. He has worked on his live show through experiences such as open mics, rehearsals with friends in bands to house shows and venue shows — showcases hosted by Virginia Tech’s college radio WUVT FM and the Students of Hip Hop Legacy (SoHHL), 250+ capacity venues such as King’s Barcade (Raleigh, NC) and Sycamore Deli (Blacksburg, VA), — as well as opening for artists such as Chaz French and Chance The Rapper (Verge Campus Tour at Virginia Tech).
Through open mic events, contests, showcases, and festivals Benny has performed with a wide variety of artists for a wide variety of venues and audiences. In performing in house venue shows in Virginia to live performance shows that were 250+ capacity such as King’s Raleigh (Raleigh, NC), Spider House Ballroom (Austin, TX), Sycamore Deli (Blacksburg, VA), etc. , Benny has been able to build a powerful stage show through years of experience.
Local mastermind, SIYAH (a backronym for Strugglin’ Improves Your Ambitious Hustle) is a lyricist and Hip-Hop artist whose aim is to promote positivity in his message, honesty in his storytelling and originality in his composition. Originally from Oakland, SIYAH spent summers in Los Angeles until his permanent move to the Carolinas. He currently dwells along the eastern seaboard in Asheville, North Carolina where he’s taken to the craft of songwriting and performing at a local level.
The goal of his music is to preserve the artistry of hip hop by returning to lyrical traditions in the rap genre. As he pursues a career in music, he wants to be more than a persona, seeking to be true to himself, as a man of faith, family and community.
(Saturday) 9:00 pm
Sly Grog Lounge
271 Haywood Street Asheville NC 28801