Presented by Bud Light
Fri, Apr 7
Sun, Apr 9
2017 SouthSounds Music & Arts Festival
Explosions in the Sky, The Wild Feathers, JoJo's Slim Wednesday, Big Freedia, Dirty Dozen Brass Band, THE MARCUS KING BAND, All Them Witches, JEFF the Brotherhood, Royal Teeth, Diarrhea Planet, Muddy Magnolias, Humming House, Roadkill Ghost Choir, Sweet Crude, Blair Crimmins & The Hookers, Doc Holiday, Cupid, The High Divers, Jamell Richardson, Tyler Kinchen & The Right Pieces, The Underhill Family Orchestra, Young Mister, Future Elevators, The Krickets, Lustravi, Eleanor Tallie, Eric Erdman, Ranch Ghost, Marco Pave, Alfred Banks, And The Echo, Nick and The Ovorols, Paper Lights, Blackwater Brass, Post Pluto, Jukebox Brass Band, The Artisanals, Paw Paw's Medicine Cabinet, Fort Defiance, The Difference Machine, The Dirty Lungs, Bon Bon Vivant, Baak Gwai, Jimmy Lumpkin & The Revival, Infant Richard and the Delta Stones, She Returns From War, BLACK TITAN, A Sunday Fire, The Burning Peppermints, Eterniti Everlasting, Curse The Flesh, T.V. Mike and the Scarecrowes, Bantam Foxes, Mr.88, Beamin & Timmy, Unicorn Bounty Hunters, 10th Letter, Slide Bayou, Sexy Dex and the Fresh, The Red Clay Strays, Josh Preston, Abe Partridge, The Hallers, Roadside Glorious, Multi N' Funk Band, Redfield, Glass War, Robin Colman, Alvin King & The Kazoola Jazz Band, Ras Apollo Yahson, Deception Show, On The Rox Band, Chad Parker Duo, Mark Smith Band, MixUp Band, The McCrates, Suhmer Brown, DJ Charles III
300 Conti St
Mobile, AL, 36602
2017 SouthSounds Music & Arts Festival
FOUNDED IN 2011, SOUTHSOUNDS MUSIC & ARTS FESTIVAL IS THE FIRST FESTIVAL IN THE COUNTRY DEDICATED TO SHOWCASING THE BEST NEW SOUTHERN MUSIC AND ART.
SOUTHSOUNDS IS HELD ANNUALLY ON THE SECOND WEEKEND IN APRIL IN VARIOUS MUSIC VENUES AND ON OUTDOOR PUBLIC STAGES THROUGHOUT DOWNTOWN MOBILE, ALABAMA.
SOUTHSOUNDS 2016 BROUGHT AN ESTIMATED 4,000+ PEOPLE INTO DOWNTOWN MOBILE TO WATCH OVER 65 SHOWS IN 10 DIFFERENT VENUES OVER A 3-DAY PERIOD. MUSICAL ARTISTS SPANNED AN ARRAY OF MUSICAL GENRES (INCLUDING AMERICANA, INDIE, COUNTRY, BLUEGRASS, ROCK, ALTERNATIVE, METAL, SOUL, FUNK, BLUES, R&B AND HIP-HOP) AND CAME FROM THROUGHOUT THE SOUTHEAST, WITH AT LEAST 9 DIFFERENT STATES BEING REPRESENTED. SOUTHSOUNDS 2016 WON THE LAGNIAPPE WEEKLY “NAPPIE AWARD” FOR “BEST LOCAL MUSIC FESTIVAL,” AND WAS NAMED BY CHARLESTON CITY PAPER AS “A SOUTHERN MUSIC FESTIVAL WORTH THE ROAD TRIP.”
SOUTHSOUNDS OPERATES AS A NON-PROFIT ENTERPRISE THROUGH SOUTHSOUNDS MUSIC & ARTS FESTIVAL, INC., WITH SUPPORT FROM VARIOUS CORPORATE SPONSORS, NON-PROFIT ORGANIZATIONS AND INDIVIDUAL DONORS.
SOUTHSOUNDS MISSION STATEMENT:
• TO BE THE FIRST AND MOST SUCCESSFUL FESTIVAL IN THE COUNTRY DEDICATED TO SHOWCASING NEW SOUTHERN MUSIC AND ART
• TO HELP SOUTHERN MUSICIANS AND ARTISTS FORM PROFESSIONAL CONNECTIONS TO ADVANCE THEIR CAREERS
• TO CREATE AN OUTSTANDING CULTURAL AND COMMUNITY-BUILDING EVENT FOR SOUTHERN ALABAMA AND THE GULF COAST
Explosions in the Sky
The Wilderness is Explosions In The Sky's sixth album, and first non-soundtrack release since 2011's Take Care, Take Care, Take Care. True to its title, The Wilderness explores the infinite unknown, utilizing several of the band's own definitions of "space" (outer space, mental space, physical geography of space) as compositional tools. The band uses their gift for dynamics and texture in new and unique ways—rather than intuitively fill those empty spaces, they shine a light into them to illuminate all the colors of the dark. From the electronic textures of the opening track to the ambient dissolve of closer "Landing Cliffs," The Wilderness is an aggressively modern and forward-thinking work—one that wouldn't seem the slightest bit out of place on a shelf between original pressings of Meddle and Obscured By Clouds.
The first EITS album not produced entirely by the band, The Wilderness finds them working with long time collaborator (and Grammy-winning producer) John Congleton in a co-producer role for the first time, and the band's most ambitious songs to date branch into unexpected new dimensions accordingly: "Logic Of A Dream" lives up to its name, its celestial symphonic swells overcome by relentless tribal drum patterns that dissolve into a gentle Krautrock outro. The cacophonous washes that open "Disintegration Anxiety" resolve into a locked groove marking a rock solid midpoint of the journey, followed by a deconstructed ambient soundscape "Losing The Light." "Colors In Space" is particularly beautiful and brave, cycling through sublime atmospherics and motorik drive before building to a whiplash-inducing halt.
Arguably the most progressive instrumental rock album since The Earth Is Not A Cold Dead Place, The Wilderness is a bold, experimental work combining the EITS song craft that has sold hundreds of thousands of albums and tickets with the cinematic sensibility that has elevated the band to the level of regard and demand they enjoy as film composers. It is an album where shoegaze, electronic experimentation, punk damaged dub, noise, and ambient folk somehow coexist without a hint of contrivance—and cohere into some of the most memorable and listenable moments of the band's expansive body of work—"proper" studio albums and major motion picture soundtracks alike.
The progressive ambience of early Peter Gabriel, the triumphant romanticism of The Cure in their prime, and the more melancholy moments of Fleetwood Mac all inform the curious beauty of The Wilderness. The uncanny ability to reconcile the tension between discordant, nightmarish cacophony and laid-back, Laurel Canyon-inspired folk-rock is a cornerstone of this album, and the center of Explosions In The Sky's remarkable evolution. If The Earth Is Not A Cold Dead Place was the defining album of Explosions In The Sky's career, The Wilderness is the band's [re]defining album.
Explosions In The Sky is: Chris Hrasky (drums), Michael James (guitar, bass), Munaf Rayani (guitar), Mark T. Smith (guitar).
The Wild Feathers
All signs point to The Wild Feathers becoming the next great American rock 'n' roll band. It's not a matter of omens or conjecture either, but rather time and facts. The Nashville-based group— Ricky Young [guitar, vocals], Taylor Burns [guitar, vocals], Joel King [bass, vocals], Preston Wimberly [guitar, vocals], and Ben Dumas [drums]—spent more than two years on the road supporting their 2013 debut self-titled full-length album. Their diligence slowly but surely started to pay off as the record hit #1 on Billboard's Heatseekers Chart, and they received invites to appear on Jimmy Kimmel, Conan O Brien, Seth Meyers, Craig Ferguson, ABC's Nashville, and more.
Along the way, unanimous critical praise arrived courtesy of Rolling Stone, New York Times, Huffington Post, USA Today, and countless others. Simultaneously, the quintet turned casual listeners into staunch believers with incendiary and invigorating performances at festivals and touring with everybody from Bob Dylan to Gary Clark Jr. Throughout this whirlwind, they kept thinking about the next evolution and started writing songs for what would become their 2016 sophomore effort, Lonely Is A Lifetime
JoJo's Slim Wednesday
Hermann began playing with the local band Beanland after a friend of the band heard him playing on an old upright piano at the Hoka Club also in Oxford. After extensive touring of the Southeast with Beanland, he then went on to join Athens, Georgia based Widespread Panic in 1992 with whom he still plays keyboard and organ. JoJo is known for his lead vocals on many New Orleans style jazz and blues covers and originals along with gospel-style organ playing. He has been heavily influenced by artists such as Professor Longhair, Otis Spann, Junior Kimbrough and Otha Turner among others. In recent years JoJo has participated in several side projects, most notably JoJo and His Mojo Mardi Gras Band along with another side group consisting of Luther and Cody Dickinson of the North Mississippi Allstars.
Big Freedia, known as the Queen of Bounce, is a New Orleans-based rapper and ambassador of
Bounce music worldwide. A vibrant twist on hip-hop, Bounce is characterized by call-andresponse
lyrics over rapid-fire beats and accelerated—sometimes scandalous—booty-shaking.
After running the New Orleans club scene for over two decades, Big Freedia is now bringing the
Bounce movement to a world-wide stage with her hit reality show, "Big Freedia: Queen of
Bounce" on Fuse TV. The weekly docu-series, now in its fifth season, follows the life of a young
gay choirboy-turned international recognized Bounce performer, TV star, and author. In addition
to being the highest rated original series on the network, "Big Freedia: Queen of Bounce"
received the GLAAD Media Award in 2013 and was nominated for the award again in 2014.
In 2016, Big Freedia made a splash when she roared 'I Came To Slay' on Beyonce's 'Formation.'
In 2015, Big Freedia released her debut LP, Just Be Free. Named one of the 'best electronic
releases of 2014' by Rolling Stone, the album was critically acclaimed in outlets such as
Pitchfork, SPIN, USA Today, and Consequence of Sound.
More, Big Freedia penned her first memoir, Big Freedia: God Save the Queen Diva! on Gallery
Books/Simon & Schuster. The book was hailed in the press by outlets from Rolling Stone and
Pitchfork to OUT and BUST.
Big Freedia maintains a rigorous tour schedule which features her legendary shake team and
Bounce dance moves like "the twerk" (popularized by Miley Cyrus in 2013), "the shake" "the
wiggle," "the bend ova," and the "hands on the ground." She and her team are festival favorites,
known for stealing shows at Outside Lands, Fun Fun Fun Fest, and Bumbershoot.
In 2012, Big Freedia made her television network debut on Jimmy Kimmel Live! She has
appeared on Last Call with Carson Daly, Watch What Happens Live, NPR's 'All Things
Considered,' NPR's 'Marketplace,' CNN, MSNBC, "VH1's Out in Hip-Hop" and daytime TV's
A collaboration with pop-vocalist Sia for "Eye of the Needle" was released in 2015 as part of the
Adult Swim Series along with her new single "Crazy."
Big Freedia's latest single "I Heard" was released last month and is off her forthcoming Fall
Dirty Dozen Brass Band
In 1977, The Dirty Dozen Social and Pleasure Club in New Orleans began showcasing a traditional Crescent City brass band. It was a joining of two proud, but antiquated, traditions at the time: social and pleasure clubs dated back over a century to a time when black southerners could rarely afford life insurance, and the clubs would provide proper funeral arrangements. Brass bands, early predecessors of jazz as we know it, would often follow the funeral procession playing somber dirges, then once the family of the deceased was out of earshot, burst into jubilant dance tunes as casual onlookers danced in the streets. By the late '70s, few of either existed. The Dirty Dozen Social and Pleasure Club decided to assemble this group as a house band, and over the course of these early gigs, the seven-member ensemble adopted the venue's name:The Dirty Dozen Brass Band.
Thirty-five years later, The Dirty Dozen Brass Band is a world famous music machine, whose name is synonymous with genre-bending romps and high-octane performances. They have revitalized the brass band in New Orleans and around the world, progressing from local parties, clubs, baseball games and festivals in their early years to touring nearly constantly in the U.S. and in over 30 other countries on five continents. The Dirty Dozen have been featured guests on albums by artists including David Bowie, Elvis Costello, Dr. John, Widespread Panic, Modest Mouse, Dave Matthews Band and the Black Crowes.
THE MARCUS KING BAND
Songwriter. Guitarist. Singer. Bandleader. At only 20 years of age, Marcus King's dazzling musical ability is evident throughout The Marcus King Band, the young phenom's 2nd full-length LP and first for Fantasy Records. Operating within the fiery brand of American roots music that King calls "soul-influenced psychedelic southern rock," the album highlights King's gorgeous, rough-hewn vocals, soaring guitar work and heartfelt songwriting all amidst a group of masterful musicians who, together, are quickly becoming one of the country's most sought after live acts.
Raised in Greenville, South Carolina, King was brought up on the blues, playing shows as a pre-teen sideman with his father—bluesman Marvin King, who himself was the son of a regionally-known guitarist—before striking out on his own. Going beyond the sonic textures of his acclaimed 2015 debut album, Soul Insight; The Marcus King Band broadens his sound, touching upon everything from funky R&B to Southern soul and Americana in the process. His band gets in on the action too, stacking the songs with blasts of swampy brass, a lock-step rhythm section and swirling organ. Ever the multi-tasker, King bounces between several instruments, handling electric and acoustic guitar — as well as pedal and lap steel — while driving each track home with his soulful, incendiary voice.
Having spent the past year tirelessly playing ever-larger venues and festivals to a burgeoning fan base, The Marcus King Band was written on the road and recorded during a series of live takes at Carriage House Studios in Stamford, CT. The album captures the energy of the band's blazing live show, as well as the talent of a rising young songwriter reaching well beyond his years.
"The majority of our songs are specific to situations I've lived," King explains. "I write as a form of therapy, to release my emotions into a musical expression. I want people to know they're not the only ones going through that pain. Music is the true healer. And when we perform, we want the audience to leave feeling as tired and as emotionally freed as we do. It's all about getting the stress of the day off your chest. It's like therapy."
The Marcus King Band features Jack Ryan on drums and percussion, Stephen Campbell on bass, Matt Jennings on keys and organ, Dean Mitchell on saxophone, and Justin Johnson on trumpet, trombone and backing vocals. Joining the band on the new album are a number of mentors and collaborators, including Derek Trucks (who plays guitar on "Self-Hatred").
No guest plays a bigger role than Warren Haynes, though. A longtime champion of King's songwriting and guitar prowess, Haynes produced every track on The Marcus King Band (and contributed his trademark slide guitar on "Virginia"), expertly capturing the group's live sound for a cohesive collection reflecting the band's expansive explorations.
"Marcus is the first player I've heard since Derek Trucks to play with the maturity of a musician well beyond his age," Haynes says. "He's very much influenced by the blues, but also by jazz, rock, soul music, and any timeless genres of music. You can hear the influences, but it all comes through him in his own unique way. He has one of those voices that instantly draws you in, and his guitar playing is an extension of his voice and vice versa."
A childhood introvert who leaned heavily on music as a way of expressing himself, King fills The Marcus King Band with a mix of biographical tunes and fictional story songs. "At the time I wrote 'Self-Hatred,' says King, "the girl I was seeing really hurt me. Broke my heart, took all of my insecurities and used them against me…she told me she hated herself for what she had said and done to me. I told her I knew exactly how it feels to hate yourself. 'Self-Hatred' is within you and me."
"Devil's Land" is loosely based on his grandfather, who worked on a farm during his younger years, while the story behind the track "Rita Is Gone" was inspired by the television show Dexter. Meanwhile, songs like "Guitar In My Hands" peek into King's personal life — a life filled with highway mile markers, truck stops, and a nightly rotation of stages, all waiting to be filled with the sound of a genre-bending band on the rise.
"This album is a big melting pot of different kinds of music," says King. "It's the sound of everyone taking their own influences and collectively coming together as a group. We're all really hungry to play, and we're so passionate about this music. I want people to feel the same thing we feel — to leave the show feeling some sense of release. It's almost like the show ends, and everyone can take a deep breath together."
$1 of each ticket sold will go to benefit the Big House Museum.
All Them Witches
SLEEPING THROUGH THE WAR (NEW WEST RECORDS)
"Sleeping through the war — this is what we're doing. There are so many terrible things going on in the world and we're just staring at our phones, and we don't see it so we don't care." Having just come in from practicing in the desert, Charles Michael Parks, singer/bassist for All Them Witches, elaborates on the very heavy times in which we all live. Parks and his bandmates — Ben McLeod, Allan Van Cleave and Robby Staebler — are enjoying a brief respite from the endless tour that saw them visit Europe three times in 2016. We've been talking for nearly ten minutes about Einstein's Theory of Relativity, among other things, before we cut through the cosmic fog that surrounds their new album Sleeping Through The War.
"It's tough to get past all the cat videos."
From their earliest days, there has a been a current in All Them Witches' music that has come from outside the continuum of our collective perceptions. On 2013's Lightning at the Door they drew a bigger chalk circle in the center of the crossroads and conjured a haunting occult- blues. On 2015's New West Records debut Dying Surfer Meets His Maker they dove the depths of oceanic canyons and surfaced with a shining psychedelia. Sleeping Through The War is the next step in that progression.
"We write in every way possible," says Parks. "There's no limitations on it, no I'm going to come to it with this song and this is how it's going to go. It's more like stretching your arms out and seeing who can grab what and seeing what fits together from there.
"This is the most I've ever sang on a record, so my writing process was a little bit different than on the other ones. We weren't relying on long, drawn out jam sections we were putting more of a storyline into the songs.
"The songs are catchier, they're faster and there's more singing. Or talking. Or whatever I'm doing."
The result is evidence of the adventure, beauty, and excitement that lies on the other side of the galaxy. The fundamental laws that govern Sleeping Through The War are the same fundamentals that have made ATW a cult favorite — big fuzz, deep grooves, cosmic vision — but the journey through the wormhole has brought something else.
"It's more brain than body," says Parks. "Everybody kind of knows where they are going even if nobody knows where the song is going. We're good at juggling the torch around, making sure everyone gets to play…
"Allan has this really unique approach to playing Rhodes. Robby's drums sound weird in soundcheck he has all of these weird tones but he knows where he's putting them in the mix himself. I have a weird bass tone, but somehow it clicks. We didn't come into it trying to blend our sounds together. That comes from relying on something you already have, relying on something that has its own unique personality."
Years of jamming their way across the country have elevated their performance. Years of interacting with audiences has made their songcraft more responsive. Years of psychic interactions between band members has lead them into a sonic-space headier, more dynamic than any equation could have predicted. In the five years since their formation, over hundreds of performances and thousands of miles travelled, All Them Witches have expanded their corporeality, absorbing ideas both audible and philosophical that push at the thin veil of existence. With three albums that each gained more heft than the one before, All Them Witches has accrued such an immense heaviness that when producer Dave Cobb entered their orbit the very nature of their reality was warped beyond recognition.
"We wrote it in about six days," says guitarist Ben McLeod. "Wherein the past we would have just gone ahead and recorded and written in the studio, we were like nah we're going to do it with Dave, let's be prepared."
"And Eddie Spear, the engineer, he loves doing 8 track records. We obviously didn't make an 8 track record [laughs] but in the back of our minds we were like this guy is gonna think we're a joke if we're doing all of this overdubbing shit. We wanted a record that you could crank. And we wanted girl backup singers."
It might seem like an odd detail — Erin Rae, Caitlin Rose and Tristen add a classic rock flourish, at odds with their earlier catalogs — but it makes sense within the context of the songs and within the context of their career. All Them Witches are at their Ummagumma moment, their Tres Hombres, their Bare Trees. They brought in a mellotron. Their sense of sonic experimentation is so finely honed that even the oddest, toughest moments are warm and relatable.
"We're trying to get to something better — not necessarily just as musicians — but as people," Parks explains. "I've always said that as we change as people, our music changes, that's why we can never make the same records. I can't be in one of those bands. I hope you'll never hear about 'another predictable album from All Them Witches.' There's no art in that."
Their sound has become so expansive you can her echoes of Dr. John's Gris-Gris and the glacial expanses of Sigur Ros, the fire and brimstone of Appalachian snake charmers and the meditative om of the East. It's the same balance of preparation and improvisation that helped drummer Robby Staebler conjure Sleeping Through The War's vibrant and foreboding cover.
"I'm really into weird, film cameras and that was the original direction of the cover," says Staebler. "Then Ben told me — after working on this for weeks straight, doing all of these layouts, scanning things, looking for old negatives digging things up — he told me 'Eh, this is kinda boring, dude'. And for 30 seconds I was really fucking pissed.
"But I knew he was right. I knew it wasn't what the record needed and so I just channeled some crazy Chi and the record cover came out. I just stopped thinking about stuff and got out film-negative dyes — for retouching films, it works really great on watercolor paper too — and the rest of it just came together. I found the channel."
Their musicianship is so dialed in, so fluid and adaptable that the most technically complex and sonically detailed passages are fun and fulfilling. All Them Witches are progressing but they have no intention of leaving anyone behind. In a world where so many are distracted and disengaged All Them Witches are seeking to connect on a more visceral, more human level.
"The hardest part was the song "Bruce Lee" — originally the song had this long introduction and not a lot of singing, just a long instrumental," McLeod explains. "And Dave stopped us, had us come into the control room and said, 'Guys, this is the kind of song that when people hear this they are going to want to listen to the rest of the record. You want people to hear the record and this song is your opportunity.'
"It was weird at first, we were like, but but this is how the song goes with the long intro and stuff. We played with some splices and it ended up being what it is now and I think it is groo-oovy."
Lead single "Bruce Lee" is a perfect distillation of the All Them Witches aesthetic — whirlwind guitars, way out vocals and propulsive rhythms that recall Springsteen's late-night power drives as much as they do Kyuss riding into the blood-red sunset. "Don't Bring Me Coffee" is an aggro blast of anthemic, 120 Minutes-grade powerfuzz, that toys with the power dynamic between the beautiful and the ugly.
"Alabaster" feels like William S. Burroughs intoning to South Bronx breakdancers while the album closer "Internet" sees the band slip so far behind the beat it feels like they've slipped from the grasp of space-time itself. These tracks make the case that the gravity of All Them Witches is warping the space-time in which we all exist and that Sleeping Through The War is the sort of heaviness these weird times demand.
"If everybody would look out for everybody we wouldn't have any problems," says Parks. "If everybody had enough space to breath we wouldn't have any problems…the hardest part is that everybody wants to be happy but nobody knows how to get there."
JEFF the Brotherhood
JEFF The Brotherhood is an art project started by brothers Jake and Jamin Orrall in 2002 in a basement in Nashville, TN. Their work is influenced by many types of music including jazz, black metal, motorick rhythm and hard rock, as well as many artists and environments including the film work of Werner Herzog, the choreography of Kate Bush, and the rivers of Tennessee.
Over the last decade their art has taken them all over the world including Hawaii, New Zealand and Russia. They have given well over a thousand live performances and created countless art objects including zines, puppets, videos, and eleven full length albums.
JEFF The Brotherhood was started with one goal in mind, to do or create whatever they feel with no rules or boundaries. Their latest offering is an experimental rock album called "ZONE". It was recorded and co-produced by Collin Dupuis in a converted warehouse called Club Roar. Alicia Bognanno (Bully) makes a guest appearance on the album, she is the lead vocalist on the song "Roachin". The album took about two weeks, 4 racks of ribs, a few dozen chicken wings, 3 pork chops, some sausage, a brisket, and a whole lot of smoke wood to make. It is the third installment in a spiritual trilogy of albums including Heavy Days (2009) and We Are The Champions" (2011). It is available worldwide August 12 from Dine Alone records.
When not making art, Jake and Jamin spend most of their time backpacking, gardening, and riding bicycles in Nashville, TN.
Royal Teeth's new EP is called Amateurs, despite the fact that, after five years, three cities, two albums, various personnel changes, and hundreds of days on the road, the Louisiana pop quartet is definitely an ensemble of well-seasoned pros. The title is a literal etymological reading of the word: the French amateur from the Latin verb "to love", applied in this case as a mission statement and a reminder of why they do what they do.
In 2011, the effervescent electronic pop of the band's debut EP, Act Naturally, attracted the attention of Dangerbird Records, which re-released both that project and its full-length follow-up, 2013's Glow. The spirited anthem "Wild," driven by the sparkling vocal chemistry between singers Nora Patterson and Gary Larsen, propelled the band to multiple TV, film, and video game placements, guest appearances on Last Call with Carson Daly and American Idol (at the personal invitation of fellow Louisiana native Harry Connick, Jr.) and slots at festivals, including Austin City Limits, Bonnaroo, Firefly, SXSW, CMJ, New Orleans Jazz & Heritage Festival, and the Voodoo Experience.
On Amateurs, Nora Patterson's passionate lead vocals are showcased front and center, emerging from the more layered production of earlier releases. "Kids Conspire", the infectious lead single, buoys her up on a wave of ringing synths and propulsive, Afropop-inflected beats, as she demands, "take me all the way up, take me all the way up." It's a clear relative of "Wild", an anthem of possibility, but with more muscle and urgency.
"Children have a wild imagination," Patterson explains. "They make up a plan for what they're going to be when they grow up. They don't hold back in terms of what they feel like they can accomplish, which is something that a lot of people lose over time." In writing the song, she wanted to channel that untamed joy, the feeling of unlimited potential and steadfast conviction. "It's about going back to when you thought you could do anything," she said. "It's nice to remind yourself of that."
Promoting Act Naturally and Glow, Royal Teeth averaged more than 200 live dates per year, earning a glowing rep for exuberant, sweaty, high-energy live shows as explosive as their signature confetti cannons. The addition of guitarist Thomas Onebane, an inveterate, crafty tinkerer, has also led the band to take more risks in the studio.
"Thomas was a game-changer creatively," says drummer Josh Hefner. "He's a secret weapon. We spent a little more time in the studio – more experiments, more fine-tuning. And it was more fun, with less pressure."
Both the sounds and the overarching themes on Amateurs are tougher, more mature and more surehanded than Royal Teeth's previous outings. They play like a band that's honed itself down to its core chemistry, musicians who know what they want to do and how to do it. But they also play with pure joy, ease, and love of what they're doing – like amateurs.
The gravitational pull of Diarrhea Planet is strong; once you get caught in the
orbit of its stadium-sized riffs and blistering solos, it's hard to escape. The Nashville
six-piece has been melting faces since its debut 7" Aloha first started making
waves outside the leafy campus of Belmont University, where its members first
met. What started as a dorm room dick joke between two friends bored by the
music-business ladder-climbing of their classmates has grown into one of the
biggest—and loudest—rock acts to come out of Nashville since their big bros and
labelmates in JEFF The Brotherhood. As they toured the country behind their
critically acclaimed 2013 LP I'm Rich Beyond Your Wildest Dreams, the likes of
Billboard, Rolling Stone, SPIN, and even BuzzFeed have taken notice. Ignore
them at your own peril.
On their latest LP for Infinity Cat Recordings, Turn to Gold, the Planet boys worked
with Vance Powell, the Grammy-winning engineer and Jack White confidant. Powell
used his expertise in recording live sound to capture some of the energy of the
Diarrhea Planet live experience—they tracked the main guitar and drum tracks live,
in the same room, for a record that's both massive and frenetic. It's easily the most
sophisticated and complex music they've ever made, but still carries the joyous
irreverence that minted thousands of RAWK fans across the country.
The band's rhythm section, which features drummer Ian Bush (a.k.a. Tuff Gus) and
bassist Mike Boyle, is the bedrock on which the foundation is built, but what makes
Diarrhea Planet explode is the raw power of its four guitars. Not one note is wasted,
and each ax slinger plays a role; Jordan Smith writes soaring power pop singalong
hooks; Brent Toler brings a classic rock sensibility and chunky, fuzzy riffs; Emmett
Miller's wields classical training and a wizard-like five-finger pick-less technique for
mind-bending, finger-tapping solos; and Evan Bird is the glue that holds them all
together, capable of playing any part (or instrument) as needed.
Diarrhea Planet is a nationally touring band, playing a punishing schedule of more
than 200 shows a year. But they cut their teeth in the clubs and house shows of the
Nashville DIY scene, built by the likes of JEFF, Heavy Cream, Natural Child, Pujol,
and shaped in legendary spaces like the old police precinct that would come to be
known as Glenn Danzig's House. As they've graduated from living rooms to clubs
to festivals, the energy has remained constant—just ask the ladies in the mosh pit
or the crowdsurfing dads you're sure to find at any Diarrhea Planet show. They're
carrying the torch for the past, present and future of rock, and you'd be wise to take
notice—everyone else sure has.
All of this would be better
if we live together.
—from "Leave It to the Sky"
American music is a mile-wide river that beckons black and white, urban and rural, dreamer and doer alike to launch their vessels. All the streams of style and genre flow into it; its tributaries are blues and jazz, mountain and folk, rock, soul and R&B.
The release of the debut album by Muddy Magnolias, Broken People, marks the launch of a great new vessel onto that waterway. The album showcases a confluence of style and sound as colorful as it is unlikely, steeped in that river of influence, yet bracingly fresh.
With Broken People, Jessy Wilson and Kallie North take us on an 11-song journey with its origins in two widely divergent backgrounds that came together in a friendship and creative partnership with world-changing resonance.
North was raised in southeast Texas and began singing with her family and studying piano at an early age. She grew to love rich vocal harmonies singing in church choirs and listening to artists like the Carpenters, Alison Krauss, James Taylor and the Eagles. By her early teens, she was singing lead parts in church and in musical theater productions at her high school. Her palette grew when a friend turned her on to the Grateful Dead, and after high school she spent every spare moment in the clubs of Austin, absorbing everything from alt-country and jam bands to New Orleans funk. She met her husband at a concert and moved with him to his native Mississippi. There, on their isolated farm, she had her awakening, starting a career as a photographer, capturing the spirited, deep history of the Mississippi Delta.
"To me, the Delta is the most overlooked and mysterious place," she says. "It was the birthplace of America's music, and all the legends were influenced by everything that came out of it. I went on this personal exploration to learn about the Delta blues and the region's history. I picked up a camera and started taking pictures, blogging about what I was experiencing, and I tapped into all the creative energy lying dormant inside me." When her husband gave her a guitar, she began spending her days on the porch of their farm learning how to connect her first chords. From there, the songs began pouring out and she knew she had to find a way to get to Nashville and write songs professionally.
Wilson, raised in Brooklyn, was in love with music from her earliest days. She was singing before she could talk, and was 5 when her mother recognized her passion for music. "I would cry because I couldn't hit the high notes in Whitney Houston and Mariah Carey songs," she says. Influenced by greats from Aretha and Smokey Robinson to Lauryn Hill, Mary J. Blige and The Notorious B.I.G., she began auditioning in the highly competitive New York entertainment scene and was working professionally in musical theater by the age of 10. Her mother took her to nightclubs where she experienced a variety of live performances. She attended New York's top performing arts schools, including La Guardia High School, the "Fame" school, where she discovered her love for gospel music and took part in the gospel chorus for four years. She worked at Cafe Wha? in Greenwich Village, making $500 a weekend while still in high school.
She sang backup for Alicia Keys in her teens, then worked four years with John Legend, and through him with legends like will.i.am, Kanye West, Raphael Saadiq and Babyface. Legend mentored her in songwriting and recording before she began writing songs on her own for American Idol winner Fantasia Barrino and others. Inspired by her evolving love of songwriting, she too moved to Nashville, looking for a wider creative palette. There, while meeting with then-BMI executive Clay Bradley, her eye settled on a photograph of "a rundown juke joint piano" in his office.
"I want to meet whoever took that photo," she said. The photographer was North—it had been taken during her creative awakening in Mississippi—and the subsequent meeting led quickly to collaboration and an epic friendship.
"The first day we wrote together," says North, "there wasn't much thought that we were blending genres and worlds. That never came up. It was just natural. She had never written a country song and I was writing them every day. We sat down to write one but when we listened back it was a country R&B song. And we decided to become songwriting partners." Before long, they had their first cut as collaborators, and they were off and running.
"The spirit of the Muddy Magnolias existed from the moment we met," says Wilson, "but we didn't know we were the Muddy Magnolias yet." North was toying with the idea of a solo career; Wilson had aspirations of making history as an African-American female songwriter in Nashville. Their new friendship was a game-changer.
"We spent a whole year writing, trying to understand what our message was when we combined our stories," says Wilson. Then one day over afternoon wine at Burger Up, their favorite hangout in the 12 South section of Nashville, both admitted to be being at a crossroads. "The next thing you know," says North, "Jessy said, 'What if we made a record together?' It was like all of our dreams in one."
"We went back to that same office on Music Row where I saw the photograph," says Wilson, "and sat down side by side in Clay's office and said, 'We've got something to tell you. We're going to make an album together.'" Bradley believed enough to sign on as their manager. They held three days of band auditions and found four best friends who had been playing together since college, primarily doing jazz. The fit was perfect, providing just the right sonic backdrop for their soulful approach and high-energy delivery.
As they continued to write and perform, opening for the likes of The Zac Brown Band and Gary Clark, Jr., they put together a project that crosses genres effortlessly, showcasing two voices that soar together in a blending of cultures as electrifying as if Janis Joplin and Tina Turner, or Whitney Houston and Lee Ann Womack had joined forces.
Broken People combines poetic imagery and vocal passion, with the musicianship and production of Motown or Muscle Shoals by way of the raw honesty of Sun Records. Of course it deals with love, longed for and unleashed, in songs like "I Need A Man," "Why Don't You Stay" and "Devil's Teeth," but the album soars as it reaches for bigger themes, dealing with the need for hope in "Take Me Home," for love on a societal scale in "Shine On" and "Brother What Happened," and hope for the future in "Got It Goin' On." With "Leave It To The Sky," the two, joined by John Legend on vocals and piano, make a powerful case for spiritual solutions, and few songs in the modern lexicon are as steeped in present-day reality as the gospel- and R&B-tinged title track.
"Ultimately," says North, "this album is a result of an unlikely friendship and is a testament to what can happen when you diversify your relationships."
"It's about getting out of your comfort zone and being rewarded with a great friendship," adds Wilson. "We've both felt the power of that."
"Our path is so much better and our lives are so much richer because of it," says North, "and we want to bring people along on this journey."
"We want to see what society would be like if we all reached out in ways we normally wouldn't," adds Wilson.
And that is the magic and the message. The music of Muddy Magnolias, live and on record, comes from a place where the Mississippi meets the A-Train by way of Nashville. Whether yours is the back porch or the front stoop, Spanish moss or window box garden, dusty country lane or crowded subway car, rural honky-tonk or uptown club, this is music that beckons. Muddy Magnolias are collaboration without boundaries, musical healing in a landscape of the heart, and all of us who treasure creative energy, honest art and the possibilities of love and unity, are better for their arrival.
For fans of The Ballroom Thieves, Stephen Kellogg, and The Lone Bellow, Humming House is back! They received such a positive response when opening for Drew Holcomb & the Neighbors in 2015 that we had to have them return to StageOne.
Humming House embodies Nashville's modern day blend of edgy, independent artistry with its legacies of folk, soul, and bluegrass. These five musicians have worked together on a sound that balances passion and energy with thoughtful arrangements, performing at major festivals and prestige music venues across the nation.
"Infectious and grin-inducing" - American Songwriter Magazine
Roadkill Ghost Choir
"Sweet Crude is an extremely exciting new group with haunting and mesmerizing vocals sung in Louisiana French and English." –PopMatters
"Whether you speak English, Cajun French, both or neither, this is genuinely enjoyable music that breaks language barriers. If you're a fan of many-membered pop ensembles like The Polyphonic Spree or The Most Serene Republic, you may very well dig these guys too." -Brooklyn Vegan
Louisiana bilingual pop project Sweet Crude is a young 6-piece composed of New Orleans musicians creating a sound that sets English and Louisiana's native French dialect to decidedly non-Cajun music. The band, boasting surnames like Marceaux, Arceneaux, and Chachere, seeks to reconnect with their lineage in the context of 5-part harmonies, tribal rhythms, and pop hooks.
"We're making the quirky, energetic compositions that we'd otherwise come up with given our indie rock influences. We've got five people playing drums, we've got everybody singing, shouting, and dancing. We're just singing a lot of the time in Louisiana French. We want to show that the language is still alive and kicking, and that it sounds great in any genre," says primary lyricist Sam Craft.
Sweet Crude debuted in Spring 2013 and have hit the ground running. Music from their EP Super Vilaine can be heard in FX's American Horror Story and the band has been receiving generous amounts of plays nationally and internationally on public, satellite and internet radio, especially in Francophone areas. Sweet Crude has tested their frenetic sound on the road, packing venues from New Orleans to New York. Additionally, the band has been making the festival circuit throughout North America. Sweet Crude's debut LP Créatures comes out in the Spring of 2017.
Blair Crimmins & The Hookers
Blair Crimmins began his current music career in Atlanta, Georgia, with a determination to bring Ragtime and 1920's style Dixieland Jazz to new audiences. While playing small rock clubs around the Southeast he developed a sound that is at once modern while being deeply rooted in the past. Now four years, and five hundred shows later, he has toured the country playing large venues and has opened for acts such as Mumford & Sons and Preservation Hall Jazz Band. A multi-instrumentalist and music academic, Crimmins writes songs and arrangements for a classic New Orleans style horn section consisting of Trumpet, Clarinet and Trombone. His debut 2010 release "The Musical Stylings Of" became a college radio sensation on WRAS Atlanta making him the most requested band on the air. In 2012 Crimmins showed his musical diversity by writing and recording the full score for the independent short film "Old Man Cabbage". The following year, Crimmins was the critics pick for Best Song Writer of 2013 in Creative Loafing's Best of ATL issue. His last album entitled "Sing-a-longs" went to #21 on the EuroAmerican radio chart and earned him a nomination at The Georgia Music Awards for Best Jazz Artist. Blair Crimmins has now finished his 4th studio album "You Gotta Sell Something" to be released in February 2017. Crimmins continues touring in anticipation of the album release and performs unreleased tracks from the record as well as old favorites from his past recordings.
Alabama Blues Punk from Tuscaloosa AL
Doc Holiday is an American Blues-Punk band originally formed in Pendleton, South Carolina, currently composed of Aaron Langford, Seth Burden, Spencer Burden and Daniel Parker. The group relocated to Tuscaloosa, Alabama in January of 2016.
The High Divers
Indie Roots Rock from Charleston SC
There is no hiding that each member of The High Divers hails from South Carolina. A subtle twang dots the roots rock n' roll
landscape from which the band pulls its sound and feel. "Riverlust", the group's debut album, is full of southern tinged
imagery that places you in the deep woods of South Carolina. It becomes clear after just a few verses that The High Divers,
though mining a vein uniquely their own, have a hard time getting the sounds from Laurel Canyon, Muscle Shoals, and The
Basement Tapes out of their head.
Setting out to make a record that no one could ever label as "slick," their music has edges that make it human, and infinitely
more honest. That is evident from the opening track, "Rising Water," as Luke Mitchell's powerful voice emits, "Can't Stand to die here, Working from morning till the day is dead, What good is money if you've got no friends?" With these lines, a theme emerges that weaves throughout the record: restlessness rooted in the need for change. Before The High Divers, frontman Luke Mitchell was playing for tourists 8 hours a day— singing other people's songs for folks who really could care less—all while watching his friends live their musical dreams, and sprint down their creative path with no fear. Tired of being a spectator to this, The High Divers were formed and an escape plan was hatched. All four members moved to Charleston on the same day and began recording, "Riverlust" shortly after. "Riverlust" is an album about pursuing the things you love with reckless abandon. It's a celebration of not giving up on your "kid dreams," as mentioned in the song "Troubles."
The history between the members existed long before the group became The High Divers. Luke (lead vocals and guitar) and Kevin Early (bass and backing vocals) played together in a 60's and 70's cover band at the ages of 14. Drummer Julius DeAngelis was recruited fresh out of high school by a Southern Rock band, and hit the road for a year of touring before joining up with Luke and Kevin. Mary Alice Connor joined the group just as the band arrived in Charleston, and filled the need for piano and additional vocals. With a wide range of influences, and thousands of hours logged, The High Divers create music that nods to the southern rebelliousness of Tom Petty, the raw beauty of Neil Young, and the genre clashing of Wilco, yet is leaning forward all the time.
Mr. Jamell Richardson was born in Meridian, MS and raised in the small town of Butler, AL
Jamell's musical journey all started shortly after the day he was born. His Grandmother who was a church pastor carried him to church with her every chance she could. By the age of one Jamell, was already being influenced by all the church musicians, with his grandmother taking notice to his interest in music she decided to buy him his first guitar. By age 11 he was already an active studio and church musician as well as a vocalist. With his inspiration spawning from being raised in the church, Jamell groomed his skills playing behind numerous gospel quartet groups, from Rance Allen, Paul Beasley, to Donnie McClurkin, Marvin Sapp and a number of other well- known gospel acts. As he matured, Jamell began to expand his horizons by listening to B.B. King, Jimi Hendrix, George Benson, Eric Johnson, and many more which lead to his growing interest in other genres especially the blues. By 2012 he was on the road touring and recording with the legendary Southern Soul Bluesman Mel Waiters. There is where he quickly began to shine being featured as Mel Waiters' "Young Gun" and "Phenomenal Guitar Player" capturing every moment he was called on for his electric solos, he became a youtube sensation and one of the most memorable parts of the show. Fall 2013 with Jamell's music career taking off he also got introduced to acting, when he was cast as guitarist Jimmy Nolen in the upcoming movie "Get On Up," (August 1, 2014 – Produced by Mick Jagger and Brian Grazer- Featuring, Chadwick Boseman, Dan Aykroyd, Jill Scott, Tika Sumpter, Craig Robinson, Nelsan Ellis) Not only did Jamell play James Brown's long time friend and musician Jimmy Nolen, but he also worked as the movie's guitar instructor and coach. He taught everyone from Top 10 Billboard recording artist Aloe Blacc to Keith Robinson (Dream Girls), and a number of other cast members from the film. So far in his short career as a musician he has had the opportunity to share the stage with legends such as Bobby Womack, Lenny Williams, Bobby Bland, Latimore, Al Green, Shirley Brown, Denise LaSalle, Millie Jackson, and many more blues legends.
Performing on stage today, Jamell is known for his "B.B. King-like" facial expressions, Jimi Hendrix style guitar tricks, his strong soulful voice and his incredible stage presents. When asked how he would describe himself to his fans he responded, "I am a hard-working, humble, and lovable musician. I have a strong passion for perfection. I love to joke around and make people laugh, but when it comes to music there is nothing I love more than entertaining my fans and sending them home knowing they got their moneys worth."
On April 26, 2014 Jamell released his debut EP "Gulf Coast Blues Boy" which is available on iTunes, Amazon, Spotify, etc.
With his unforgettable, diverse style, Jamell is truly a one-of-a-kind Performer.
Tyler Kinchen & The Right Pieces
From New Orleans, LA by way of Ponchatoula, Tyler Kinchen & The Right Pieces are reaping much acclaim and attention, traveling from New York City to Los Angeles and around the South, impressing an ideal of true Southern gentlemen. Their energetic style of R&B/Funk is eclectic and electric, soulful and natural. With Tyler's voice and composing leading a tight, foundational rhythm section embellished by horns, Tyler Kinchen & The Right Pieces are the emerging musical unit of the US South and the future of R&B.
Their record "Acoustic Disdrometer" is a standout record of the region with a growing fanbase around the world. It is the epitome of their sound, diverse and eclectic, while maintaining their inimitable identity.
TK & The Right Pieces will be playing New Orleans' 2017 Jazz & Heritage Festival this coming spring.
The Underhill Family Orchestra
The Underhill Family Orchestra is a rowdy, warpaint-wearing, arm-swingin'-foot-stompin' 6-piece Rock-and-Roll//Americana outfit from the Alabama Delta. Since their formation in 2009, these twenty-somethings have produced two albums worth of music and played all over the southeast and the midwest bringing their sound, which mixes gypsy//jazz//folk//spiritual//soul//rock-and-roll and other surprises, to the ears and hearts of thousands of people.
The Before Time
Steven Fiore picked up his first guitar at age 14 for the same reasons as most fellows that age – to become the next Paul Simon and to impress girls. However, when many others lost interest, Fiore stayed at it, pulling inspiration from life experience, old alien movies, stray cats and children's stories, creating songs that appeal to the imagination and a sense of nostalgia. Traveling back and forth between Charleston and Boston in his early 20s, Fiore won over fans busking on street corners and crooning in living rooms at house shows. Word of his songwriting talents traveled as he toured with Jay Clifford (of Jump, Little Children), Slow Runner and many others, and he signed to Universal Music Publishing Group in 2009. Fiore has released four EPs and one full-length album, Youth and Magic
"Is it early Peter Gabriel or a more articulate Thom Yorke that Charleston-native Steven Fiore conjures on stage? Either way, the force of his expression is vital, passionate, and beyond mimicry. " - Poetry in Motion, Charleston Magazine
Young Mister is songwriter Steven Fiore, accompanied by a merry band of talented musicians from the southeastern United States. After years of creating music under his own name with three EPs and two full-length albums, Steven is trying something different and stretching his legs in new musical territory, with an album to be released on Refresh Records in Spring 2016.
Future Elevators is the new project from Michael Shackelford of The Grenadines.
Michael Shackelford first wrote down the words "FUTURE" and "ELEVATORS" a few years ago on a rough instrumental demo. Recorded at his home studio outside of Birmingham, Alabama, the music never grew into a finished song, but that simple, surprisingly evocative phrase stuck with the multi-instrumentalist. "I liked the phrase so much that I thought I would name the band that," Shackelford explains. "It's about trying to rise above and be the best possible version of yourself, and for some reason I kept thinking about the glass elevator in Willy Wonka as a visual metaphor for this band I was putting together. We try to achieve this feeling of elevation."
It's an apt phrase for one of Birmingham's most original musical acts. Like Roald Dahl's fictional creation, Shackelford—the group's founder, mainstay, and guiding creative force—is something of a pop confectioner who thinks up impossible sounds and makes them a reality. His self-titled debut as Future Elevators expertly mixes whimsy and gravity, the fantastical with the everyday. Even as he grounds his lyrics in real-world issues, Shackelford fills his songs with new and improbable combinations of familiar sounds: the jagged pastoral folk of "Alabama Song," the Rube Goldberg blues riffs of "Machine Maker," the retro-futuristic r&b of "Modern World," the warm drone of the ten-minute instrumental closer "Aphrodite."
Ceremonial Black Metal from Youngstown, Florida
Greetings to the congregation of Lustravi. We are here to invoke antediluvian rites that breeds in the souls of the wicked before us. All your devas are only manifold children of the evil mind and the great one who worships lies and deceits; beside the treacherous acts for which you are notorious throughout the seven regions of the earth. You have invented all evil which men speak and do, which is indeed pleasant to the deities invoked through us and the minds of the righteous shall perish before the insight of the truth of the wise. Shamhamforash my brothers and sisters and welcome to the beginning of the enlightenment of the masses.
American music and Israeli roots meet in our Cultural Fusion Concert Series with a performance by Eleanor Tallie. A vocalist, songwriter, performer and multi-instrumentalist, Eleanor has been captivated by the groove of American music since her childhood in Israel. She began writing original lyrics and music when she was 12 years old. After completing her studies, she traveled throughout Israel performing original Hebrew songs. In 2011, Eleanor joined a blues band and traveled internationally as the lead vocalist and songwriter. In 2013, she made Memphis, Tenn., her home and has developed her own sound, which she defines as neo-funk: a blend of funk, R&B and hip hop.
This concert is part of Daniel Pearl World Music Days, an international network of concerts that use the power of music to reaffirm our commitment to tolerance and humanity. Since 2002, Daniel Pearl World Music Days has grown to include the participation of 13,900 performers in 140 countries.
WHEN the conditions are just right in South Alabama, a jubilee occurs along the banks of Mobile Bay. The waters virtually erupt with a harvest of seafood as the creatures lunge to the shore for more air.
Singer/Songwriter Eric Erdman was born and raised along those shores and it seems as if he has that water in his veins. His songs are introspective but fun, quirky but accessible, profound and palatable but they all seem to have sprung up from that salty Mobile water.
Eric has performed his songs while serving as the lead singer for the funk rock band, The Ugli Stick, since 1999. The Ugli Stick's powerful live shows and unique songs have captivated audiences worldwide. They have performed three USO tours for the US Military overseas as well as released four albums and had their song "Put It On The Wood" used as the theme song for "Drag Race High" on the SPEED network.
However it is obvious there has always been something more to Eric Erdman that had yet to rise to the surface.
In 2012 he recorded his solo album, My Brother's Keepers. This collection of brand new songs tells of love found, love lost, inspiration and desperation but more importantly it shows Eric Erdman's true essence as a songwriter and performer.
When you hear My Brother's Keepers you get the feeling that conditions are just right for another jubilee….and this one will stretch much farther than the shores of Mobile Bay.
The noise that emanates from these ruffians is heavily reliant on the vibe. Imagine that lone, solitary man on the front porch in Mississippi, playing only for the God within and around, suddenly splitting open – wild with color – Think Blind Willie McTell giving Ray Charles an Indian rug burn and The Kinks bleeding all over them. This should give you a good sense of what it's like to hear Ranch Ghost.
There is a rebirth brewing on the Memphis Hip Hop scene and up and coming local artist, Marco Pave`, is poised to lead the revival.
This born and bred Memphis native is an amazing lyricist with a distinct style and charisma that appeals to the triple crown of rap enthusiasts: the purists, the radio lovers and the eclectic hipster. With a laid back demeanor that contradicts his energetic music and performance style; Marco explains: "I make music for everyone. I like to cross genres, rock with hip-hop, hip hop with dub step, etc. but what I love most is to just drop straight through on a beat, telling a deep ass story that will make people think".
A rapper since the age of 8; Marco begin seriously pursuing music in 2012. While he originally thought that being a rapper was only about making music, he slowly came to realize that it takes more than releasing music to actually build a fan base. Fast-forward to 2013 and Marco Pave` begin his performance assault on the local music scene.
Starting out on the open mic scene Pave honed his skills at local events such as The Word and HypeLife Local Artist Showcase. After a couple of months his hard work paid off and Marco Pave` found himself opening up for Skewby at the Historic Hi Tone.
Committed to his community as well as his music, Marco Pave` begins to use his music to positively impact those around him. Marco Pave` created "Books on Beale" a benefit concert that promotes literacy in the Mid-South. The concert featured over 12 local acts and over 15 sponsors who collectively pooled over 20,000 in resources. Books on Beale led to Nat Atkin, the Director of Storybooth at Crosstown Arts, to name a future library after him.
Rounding out an astounding 2013; Marco Pave` was featured in best-selling author Dr. Joyce Knudsen's book , "Successful Failures". The book featured a Grammy award winning artist, a top ten American Idol contestant and many more.
Marco was chosen by Mayor AC Wharton to create a song that focused on several key issues affecting the City of Memphis. That led to the creation of his single "Dividends" featuring DJ Quinn Raynor. "Dividends" has been featured in over 30 blogs and is scheduled to air on WYPL Channel 18 in early 2014.
Marco was also honored to work with Koopsta Knicca from 3 6 mafia on a song for MTV's "True Life" documentary. The episode "True Life: I'm in a mixed weight relationship" is scheduled to air sometime in 2014.
2013 ended with Marco Pave` appearing on several local television shows and signing a publishing deal with Simply Grand Music.
After seeing how far his talent and drive has taken him in a short period of time, Marco Pave` knows that the possibility for 2014 is endless. Marco plans to continue his momentum and success Into 2014; beginning with his performance as a featured artist during DreamFest Weekend's Memphis Hip Hop Unplugged.
In February Marco Pave` is scheduled to hit the road with YMCMB's newest artist, Kevin Gates. When asked what his fans can expect from in the year 2014? Marco Pave` answered simply "The unexpected".
Hip Hop from New Orleans LA
The emergent New Orleans rapper Alfred Banks has already garnered critical acclaim from some of Hip-Hop's most esteemed publications. In addition to being named one of Complex's 10 upcoming New Orleans MCs, Banks was featured prominently in DJBooth's list of best indie rappers from Louisiana. Having performed at renowned festivals like Atlanta's A3C and Austin's SXSW, Banks has also made considerable headway in the European market, starring in a Volkswagen ad campaign featuring his song "HomeComing" in addition to achieving notable performances in Germany and Spain.
In 2014, Banks joined celebrated MC and former XXL Freshman Mickey Factz's 15-city Red or Blue Pill Tour as an opening act, an accomplishment which earned him the accolade of Charles Hamilton, another XXL Freshman Class MC. Thus far, Banks has also shared the stage with Snoop Dogg, Chris Brown, Lupe Fiasco, Mac Miller, and A$AP Ferg, and his live show earned the attention of RevoltTV, who crowned Banks the winner of their Local Love Tour. Additionally, he and Bay Area superstar G-Eazy teamed up on the song "My Style."
Most recently, Banks released his 2016 EP, A Beautiful Prelude. Inspired by his brother's struggle with mental illness and his eventual suicide, the EP serves as a springboard for his forthcoming LP, The Beautiful. Slated for a Spring 2017 release, his third album is his most ambitious to date and features a conceptual approach dealing with schizophrenia and the complexity of identity.
Banks, who struggled with homelessness while attending Loyola University on a full-ride scholarship, opted to leave academia behind and pursue MCing full-time. Outside of music, the New Orleans native has made a name for himself through his unapologetic sense of personal style, and can often be seen sporting a fresh pair of sneakers and a scarf tied around his mic. His sense of individualism is something he applies to his life mantra, which is embodied by his Underdog Central movement. Created in 2012, Underdog Central represents a place where the overlooked are embraced and encouraged to finesse their potential.
And The Echo
Based out of Oxford, Mississippi, And The Echo is a project born out of a mutual love of ambient, electronic pop between Winn McElroy and Morgan Pennington. Begun in March 2014, the duo is working on a full-length studio album and playing shows throughout the Southeast. An upcoming 45 will be released in mid fall 2014.
Nick and The Ovorols
Anchored by music since 1986, Nick Peraino has considered a lifestyle with easier, predictable, or more lucrative paths absent of music on many occasions, but he has always been drawn back to it. Originally inspired to play classical piano by his father's performances of Chopin's nocturnes, Nick was grasped by true musical addiction when his brother started a band and brought home Stevie Ray Vaughan's Live at El Mocambo, then a VHS release. With great obsession Nick learned the performance note for note, wearing out the rewind button on the VCR. Copping SRV's guitar style so diligently rocketed Nick's guitar playing, and far faster than anything he'd learned on the piano. It was this vein-pumping, retina-dilating excitement that got Nick hooked - he became a lifer.
Years later, Nick cut his teeth performing on the world-renowned Chicago Blues circuit, what Nick refers to as music boot camp. "The clubs always had bodies filling them, tourists from all over the world. There was and is a standard on that scene that one must live up to. And that genre commands a specific musical language; one which I feel can only be learned through speaking (playing) it in a live setting, in front of an audience. So all these people came to see THAT, and you must give it to them. And for me this was with Joanna Connor on an average of 3 hours a night and 4 nights a week for 6 years."
Twenty years after those initial transcriptions on guitar, and five self-produced CDs later, Nick is not only a frontman for Nick and the Ovorols, but also a producer, songwriter, singer, and guitarist. His music has a strong balance in all areas, not favoring one over the other. "Guitar solos can get old after awhile; there needs to be MORE going on to engage an audience: lyrics, passionate singing, fun or moving songs." Peraino - once a mono-faceted blues/rock guitar soloist - has adopted a less exclusive approach to music, taking into account all the important aspects for an engaging record or concert. "This does not mean I've lost my passion for guitar playing, don't get me wrong, I love to play guitar, and I'd like to believe that I play with a style I can call my own, but I don't feel that it's my one and only strong suit. It's most important to me that people get into the songs, vocals, lyrics and the groove. I do however allow myself to be more adventurous on guitar in a live setting and feel that the guitar aspect can lend to a more energetic show. There is a tendency for someone in my genre to be pegged as a guitarist and only a guitarist. It's my goal to catch people off guard. I think fans will find over time that all my records have a different vibe to them. I don't just go in the studio with the band and record live takes of tunes. The studio is a playground to me and I like to find different timbres and experiment with things during the songwriting process. I find this helps me think outside the box when arranging a song and can really shape the end result in a unique fresh way."
Nick and the Ovorols kicked off 2013 in style with a new record titled Telegraph Taboo and a Gulf Coast tour with stops in Nashville, TN. They have since made this route a routine. They continue to build their following playing around Chicago and are planning to tour every month or two for the rest of the year. Aside from critical acclaim on their recent indie record release, they continue to gain recognition and are slowly and consistently building their following and industry network. They realize that bringing their music to as many people as they would like requires dedication, hard work and perseverance. But the journey doesn't have to be an arduous means to an end and the band makes a conscious effort to enjoy the journey thru bringing fiery, energetic, and emotional performances to their audiences.
As an alternative/pop band from Atlanta, GA, Paper Lights have honed a large and cinematic soundscape within their music. Over the last two years they have toured nationally, opening for acts such as Allen Stone, The Fray and Miike Snow. Their music has also been featured in placements including commercials for Coca-Cola, Land Rover, Boeing, MTV, ESPN, Chick-fil-a and Outdoor Magazine.
The band released their first full-length album, Great Escapes, in March of 2016 followed by several national tours. The ability to create live experiences in unconventional venues is among the things that make the band unique. From festival stages to private backyards, Paper Lights creates a memorable and movie like atmosphere.
Post Pluto is here to make you boogie. Mixing the improv roots and unexpected covers of the jam world with the groove of funk and the originality of today's indie scene, the five-piece Pensacola band has built a reputation for gettin' people movin'.
It's music made by friends for friends. After years of playing music individually and going to shows and festivals with each other, they finally asked themselves, "Why can't we make this happen together?".
Music can be many things to many people. These guys embrace it for what it is to them – fun. Their sound rocks and rolls. It peaks and soars. It reaches the depths of an entirely fresh universe that is unabashedly and undeniably Post Pluto.
Paw Paw's Medicine Cabinet
Paw Paw's Medicine Cabinet is Gabriel Willis on bass and vocals, Mike Jernigan on guitar and vocals, Ethan Snediger on drums and percussion, and Jeremy Ault on lead guitar.
Formed in February 2015, Paw Paw's Medicine Cabinet made waves after just a handful of shows along the Gulf Coast. In March, the band was featured on Studio10 which airs on WALA Fox10. Video of the performance was shared across multiple platforms and featured on more than a dozen local television stations across the country.
PPMC has hours of material covering everything from The Fugees to John Mayer to Eminem to the Bee Gees. Be sure to check out the sample set list for details. Paw Paw's Medicine Cabinet doesn't stop at covers. They also have more than an hour of soulful, funky and dancy uptempo originals.
For more laid back evenings, PPMC can tone it down for an easy listening acoustic set. No matter what you're looking for, Paw Paw's Medicine Cabinet is ready to deliver.
Fort Defiance is high-energy folk trio from Nashville, Tennessee, born from the solo careers of multi-instrumentalists Jordan Eastman and Laurel Lane.
The Difference Machine
There are many planes of consciousness, but in the one that we call the here and the now, The Difference Machine are a psychedelic hip-hop group from Atlanta, Georgia. Since 2011, they've been at the vanguard of the city's underground scene, creating gritty, mind-expanding anthems that explore the unifying lines between conscious rap and abstract soundscapes, the dividing wall between the blood-stained realities of twenty-first century urban America and the sublime mysticism of an opaque universe.
The group's latest sonic attack, The 4th Side of the Eternal Triangle, bumps and soars, breathing additional fire and compositional daring into their already formidable style. Your guide on this stark metaphysical journey is rapper Dustin Teague whose scathing cultural surveys and dimensional truths help give shape to producer Dr. Conspiracy's warped beats and nuclear mystical trash alchemy. Rounding out the group's songwriting core is longtime drummer Radley Fricker and DJ Obeah who handles most of the cuts on the record. Meanwhile, Cyrus Shahmir, formerly of psych rock cosmonauts the N.E.C., was recruited to conjure his hallucinogenic atmospheres and shamanistic vibes on guitar and keys. The result of this collaborative effort is a more expansive sound architecture layered in primal energy and head-swimming celestial sophistication.
Psych Army Intergalactic.
The Dirty Lungs
If you've spent any time in Birmingham, Alabama, you've seen a Dirty Lungs sticker slapped on something. Though the city's musical landscape has changed dramatically since the band formed in 2006, the Dirty Lungs are still standing--and they're just as gritty and focused as ever.
Several tours and member changes have contributed to the constant evolution of their sound. The Birmingham-staple garage-surf outfit has continuously reinvented itself and now moves forward as a four piece. They've shared the stage with bands such as British Sea Power, Jacuzzi Boys, The Clientele, and many others. This summer they prepare to release their Communicating Vessels debut.
Their new record is not, by any means, the archetypical Nirvana-esque rehashing of an old Kinks record that seems to egress from every garage in America these days. The influences beneath Dirty Lungs are indeed abounding, and Mitchell's vocals are the force that unites them all.
To compare Dirty Lungs to any particular album would be unfair--their latest release is an extension of their own sound reinforced by a focused exploration into new musical realms. Produced and Engineered by Michael Shackelford (studiophonic) with mixing by Lynn Bridges, they assured the band's music would leave listeners anxiously anticipating the future of this long-standing Birmingham band.
Bon Bon Vivant
Baak Gwai was formed in 2004 by John Snowden (vocals/guitar), Adam Pate (bass) and Chris Zeiler (drums). We play Rock N Roll.
Jimmy Lumpkin & The Revival
Straight out of a cabin in the backwoods of South Alabama, Jimmy Lumpkin belts out sublime sounds that are altogether Country, Rock, Soul and Blues. Jimmy is a singer, songwriter and guitarist with an intoxicating voice and a stirring, soulful bend to his own brand of music. With the voice of a 100-year-old angel from the delta, the soul found in Jimmy's music is like no other. Jimmy, together with bassist Quintin Berry, guitarist Morris Barosa, and drummer Chris Ozuna form the band known as Jimmy Lumpkin and the Revival. Influenced by each member's distinctive musical background, their music has a rich velvety texture that is both nostalgic and relevant all at once. Skate Mountain Records is proud to present to the world music from a point of view they have never heard before. In the likes of Sturgill Simpson, Bo Diddley, The Black Keys and Marvin Gaye, Jimmy Lumpkin & The Revival sets the bar higher than any other with the upcoming release of their new album - a unique blend of soulful roots rock and Americana.
Infant Richard and the Delta Stones
She Returns From War
She Returns From War started out as a folk duo. Formed in 2012 by two singer songwriters from South Carolina. Jesse Ledford and Hunter Park played together under just their names for about a year and a half before creating a band name to work behind. A lot of the songwriting comes from hardships that neither quite understand, but by performing music together they hope to carve out a much richer life for themselves and the people who hear their music.
Stoner/Sludge from Mobile, AL.
Thomas A. Kilpatrick
Clayton H. Bates
Ian D. Taylor
A Sunday Fire
The Burning Peppermints
While their name evokes candy-colored images of rock revivalists like The White Stripes, The Burning Peppermints' sound is hard to pin to any single influence. Rock champions like Jack White and Led Zeppelin clearly served as early influences, but the Peppermints have fused a visceral combination of dingy garage rock and West Coast surf, all delivered via an infamously aggressive live performance.
Jake Wittig's workhorse guitars are laden with fuzz, and alternate between groove-heavy riffs and devastating chords in tandem with rhythm agent Ahmad Farzad. Wittig's tonal dynamics recall the monstrous crunch of Thee Oh Sees' John Dwyer, while vocals suggest the manic charisma of Ty Segall.
Farzad administers bass and baritone via guitar, allowing him a sweeping range of unfathomable low registers and sharp, cutting notes. Daniel Powers' keys provide a fluid layer of retro character and synth effects, from moody drones to siren calls. Ryan Colebeck holds the entire volatile ensemble together with airtight percussion.
The Burning Peppermints formed in 2012, after Wittig began jamming on garage rock tunes with an abandoned drum kit. Lineups changed and styles evolved over time, and the Peppermints gigged relentlessly throughout the erupting music scene in Birmingham, Alabama. The band quickly earned an enthusiastic following, playing in alleyways, breweries, and lately working their way into genre-defying music festivals.
The group has shared the stage with touring acts like The Dirty Lungs, Diarrhea Planet, and St. Paul & the Broken Bones, and have developed a reputation for their genuine intensity. The Burning Peppermints put on a viciously engaging show, and audiences can't help but move to the driving sounds generated by the frenzied band.
"If a band is just going to play their music for an audience and not perform the hell out of it and try to connect with them, then you might as well just plug someone's iPod into the venue's PA and everyone can just sit and listen to it together," says Wittig.
While composure is ripped away on stage, the musicianship never fails- It takes over. Many artists explain that their instruments are an extension of themselves, but The Burning Peppermints are clearly the mortal conduits of a wild and instinctive sonic force.
Their powerhouse sound was captured on their first album, the live-recorded Dirty Rainbow, and will be expounded upon in the upcoming Witch Mountain.
Eterniti is an American born Hip Hop/Spoken Word Songwriter, Performance Artist and Producer. He has been writing and recording music professionally for 12 years. His eclectic style has garnered adulation from a variety of listeners. He has sought to bring everything from political and social issues to kickback and party anthems that combine to create a sound that only can be described as his. Priding himself on infusing hip hop 808's, with crossover synths, and touches of orchestra and rock. His style has evolved over the years to create a sound that he can call his own. He is currently working on his fourth album, "Evolutionari" on his own imprint Mer$iless Myndz Productions. Despite the years of change, one thing remains the same...his slogan "We're Listening...Are You?"
Curse The Flesh
T.V. Mike and the Scarecrowes
T.V. Mike and the Scarecrowes are a Cosmic Twang Stomp band hailing from the West Coast via Indiana. Their songs follow the aesthetic of the Great American Songbook. The core of the group moved to California in 2007 and have been rolling up and down mountains and deserts since.
TV Mike aka Mike Klinge began playing music in Bloomington, IN in 1999 under The Pious Companion. The group went on a tour and had the pleasure of opening up for The Constantines and My Morning Jacket. In 2005, TV Mike met Andrea DelaRosa and gathered a backing band called the Scarecrowes. The group then moved to California and has rotated through a lot of members with the core of TV Mike, Andrea DelaRosa, Matt Lundquist, and Aaron Deer staying consistent.
TV Mike and the Scarecrowes have shared the stage with: The Avett Brothers, The Blank Tapes, Austin Lucas, Rev. Peyton's BDB, Horse Feathers, Beachwood Sparks, The Fruit Bats, Jessica Lea Mayfield, The Easy Leaves, Dead Winter Carpenters, Hillstomp, Rose Windows, Love as Laughter, tUnE-YarDs and many more."
Rock and Roll from New Orleans LA
Bantam Foxes' formation in October 2011 arrived with a promising challenge: "We are building a religion / We are making a brand," sang Cake's frontman John McCrea as he guided a well-earned cult at New Orleans' Mahalia Jackson theater. Jared Marcell and Collin McCabe watched side-by-side in press seats – gifts from local music writers who saw promise in their pairing. Two days later, Collin's brother Sam joined the debate: How does a band build a religion? How much work is required to form a cult in front of you?
Bantam Foxes' aesthetic borrows from elements they believe answer these questions. They combine the fuzz and fervor of garage rock, the dirty emotional grit of the blues, and the pop tendencies of the late 90's alternative rock movement. The McCabe twins Sam and Collin front the band on guitar and bass, respectively, splitting control of lead vocals while sprinkling in the occasional electric mandolin and analog synthesizer. Jared Marcell drums behind them, providing intermittent vocal support.
Waiting for no outside directive at its formation, the trio immediately established themselves as a well-oiled machine. In the three years between their formation and the McCabes' college graduation, constant content release reinforced their energetic, unpredictable, polished live show. In that short time, Bantam Foxes produced their full-length album Triumph, a myriad of singles and music videos, and 3 EPs including the CMJ-Top-200-charting Another Image, Another Frame. These releases stacked up while they blazed a staggering trail throughout the deep American South. In just their first three years while persistently growing their recorded catalog, they logged more than 100 shows throughout Louisiana, Mississippi, Alabama, Eastern Texas, and Georgia. Featured among these shows include opening slots for the Whigs and the Features as well as shared bills with Baby Bee, the Boxing Lesson, Purple, and many others.
Collin McCabe // Bass / Mandolin / KORG / Vocals
Sam McCabe // Guitar / Bass / Vocals
Jared Marcell // Drums
Mr. 88 is an up-and-coming Hip Hop artist whose catchy hooks, vibrant beats and deep lyrics place him at the forefront of the next wave of Hip Hop Artists.
Beamin & Timmy
Beamin & Timmy Lewis - also known as "Ebony & Ivory", a fresh new Hip-Hop tandem comprised of 2 of the south's dopest solo acts/MC's. These guys are guaranteed to absolutely blow the roof off any venue they book. Delivering sets full of both Original and Remixed classics, topped with and surprisingly entertaining request for crowd participation, you never know what these guys are up to... BUT, it's guaranteed to be a fun a memorable event that you'll easily become addicted to.
Unicorn Bounty Hunters
Sexy Dex and the Fresh
New Orleans guys and gals that play music made for giving your insides some soul.
The Red Clay Strays
I am but a lone musician wrestling with demons and wringing poetry from a desolate condition, yet with an undiminished emotional sensitivity.
Loud Indie Rock coming to a town near you.
Multi N' Funk Band
Redfield is a blues-rock quintet that is based out of the Western suburbs of Chicago, and is the culmination of vast musical influences to create an experience that is equal parts unique, fresh, and accessible to all listeners. Drawing from acts like John Mayer, Eric Clapton, Fleetwood Mac, the Civil Wars, The Beatles, and many others, Redfield has focused particular attention to the importance of the song and strives to enhance their appeal through the use of flowing musical arrangements, compelling lyrics, and dynamic three-part vocal harmonies.
From the depths of trial and error, the light of new beginnings, and the musical marriage of two vastly different backgrounds and styles, the churning, hammering, careening beast known as Glass War was born.
Glass War consists of a duo of old friends finding a balance between pop and soul, between indie and punk rock, between catchy hooks and cutting lyrics. Always bold, whether loud or soft. Yelling, jumping, striking, and sweating out stories about love, drugs, and life.
Take a shot, grab a beer, and come give it a listen. They'll make sure you won't regret it.
$22.50 - $90.00
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