Southern Fried Sunday 13 Yr. Anniversary Mini-Fest w/ Matt Woods, Thomas & Olivia Wynn, Terri Binion, Laney Jones & More!

Southern Fried Sunday 13 Yr. Anniversary Mini-Fest

Sunday Jan 20th celebrate 13 years of Southern Fried Sunday shows with performances by 10 acts on 2 stages, outside Will's Pub on the Big Red Truck Mobile Stage and inside Lil Indie's. Break bread with a pay-per-plate BBQ dinner shared with your friends, family and community in the spirit of SFS!
Cover: $10 ADV/$13 ATD, Parents or legal guardians can bring their children to the outdoor stage. Kids 13 & under are free. Sorry, Lil Indies is still 21+ We love dogs, but please leave yours at home for this show. More details to come... Poster art by Tattoos by Noah Howell

Southern Fried Sunday is a early laid-back evening for bands to gather and create & for music lovers to gather and enjoy! You'll hear bands of the Alt-Country/Bluegrass/ Rockabilly/Americana/ Folk/Country variety. Plus there's always great BBQ!

Matt Woods

Matt Woods is an americana, country and southern roots songwriter from Knoxville, Tennessee who spends a hell of a lot of time on the road, playing his songs for anyone who cares to listen. "Some folks call what I do Americana, but I have a hard time putting a label on things like that. A lot of my songs are very much based in classic country music while others are grounded in straight forward and greasy rock’n’roll,” Woods explains. “I write what is ready to come out and try to be as honest as I can about it."

2014 brought the release of Woods’ 2nd full length studio album, With Love From Brushy Mountin, which was met with much critical acclaim. After performing over 400 shows in support of that album, several festival appearances including Gasparilla Festival, Muddy Roots, Moonrunners, Fest 13, Wildwood Music Festival and a recent European tour, Matt is touring the US in preparation for a mid-year 2016 release. Along the way, he has shared the stage with the likes of Chris Knight, Black Oak Arkansas, Bobby Bare, Frank Turner, Roger Alan Wade, Zac Brown, Drivin' n' Cryin', Will Hoge, Roger Clyne (of The Refreshments), CAKE, Robbie Fulks, The White Buffalo, The Black Lillies and others.

Thomas & Olivia Wynn

Friends, Family, Believers, Welcome.
Come close and listen, a new sound approaches. Out of the depths of our beings we bring to you an album rich in harmony, of both voice and soul. "Born Ready" is seven songs wrote of truth. Seven songs sang in truth. Seven songs searching for truth.
Their musical history begins with The Wynn Brothers Band (2005-2008) -- the first family endeavor co-led with older brother Jordan ( bass guitar) that also included Papa Wynn on drums. The band released Feel the Good (2006), the title track a signature song still performed today. But when marriages and other separate goals emerged, the Brothers' band became defunct . . . but by mid 2009, a new direction and desire to continue birthed the band as it's known today, with Thomas and Olivia at the helm . .

Terri Binion

Singer/Songwriter from Jacksonville, North Carolina.

From Jim White:

There's a stretch of road down in South Florida that's seared in my memory. Highway 27 headed north, just shy of Clewiston. It's a stretch of road most folks avoid; slow and winding. Visually it's not much to speak of; a daisy chain of desolate towns surrounded by sugar cane fields, suffocating expanses of palmetto and scrub. It was in the middle of one of those cane fields that I first heard Terri Binion sing.

I was doing a run of shows with Vic Chestnut, the first of which was down in Orlando. It was well attended by Florida standards---maybe 150 people. End of the night, walking out the side door as I loaded out my gear, this woman approached me and introduced herself as Terri. She chatted with me like I was just another Joe. It was a pleasant conversation.

The gear got loaded and I said I had to go. She shook my hand firmly, then offered me a CD she said she'd made. Her tone was dry, her delivery crisp---no brag, just fact. This happens a lot on the road. Everyone wants you to listen to their homemade CD. Some are so bad you can't get through much more than the first few notes. Occasionally you get a good one that you'd be inclined to sit through twice. I tossed it in the front seat and thanked her. I didn't take a second look at the record, called Fool, or think much more about this lady Terri, who hadn't mentioned her last name.

I headed out the next morning, following Vic down to Fort Lauderdale for a show that was poorly attended. Despite the small crowd I was given another couple of homemade CDs. The next morning as I bushwhacked my way back up north toward Sarasota I worked through the stack of unsolicited CDs, eventually putting Fool on last. Five, ten miles south of Clewiston. From the first note she had me. It started off in mountain music territory. The playing was concise, well executed, and the songwriting was shot through with the deep poetry of southern life. I was already hooked by the time the first chorus hit. That's when Lucinda Williams joined in, as the back up singer. Yeah, that Lucinda Williams. I listened in disbelief.

I figured there was no way in hell the second song could be as captivating as the first. Well, song two was a quiet ballad, no Lucinda to distract me, just Terri and her guitar, naked and unadorned. I was all set to dismiss it, but I couldn't. It was a discreet portrait of a poor lost soul, a destitute southern woman, an archetype. By the end I was in tears. It was that true, that beautiful, that perfectly wrought. Just Terri and an acoustic guitar. Two songs in and it was clear, Lucinda sang on this unknown's record because she understood that Terri was a magic person--someone who not only followed her own compass, but who was guided by stars not visible to the average eye.

The third song spoke of hurricanes and just kicked ass. As the flatlands of Florida flew by me at sixty miles an hour I heard Terri sing "this southeast prairie will be but a memory/come another hurricane season like this". I grew up in Florida, had seen that landscape a million times, but never once realized what I was looking at until that line. This southeast prairie. Great songwriters do that, they reframe the reality around you so that you see it anew.

The CD stayed in the player for upwards of two weeks. I listened to it dozens of times front to back. No two songs are the same, and yet they all work together. There are bluegrass stompers, tender country ballads, some odd hybrids that sound almost like show tunes until you catch the line about the murder, the suicide, the prison. And yet set end to end somehow they all make sense.

There's a cryptic coda after the last song; a field recording of an ancient grizzled maniac, playing a banjo tune called "Moon Shine Up On Old Dudley". It details some distant kin of Terri's up in Carter County Kentucky, her great great great something--granddad, uncle, some Binion---taking a shot at the sheriff during a raid on his still. When asked how old the song was, the old man cackled delightedly then replied, "Don't rightly know. It was here before I was."

Terri grew up steeped in the ways of the South. Her dad hailed from Kentucky, her mom from West Virginia. Terri herself, was born at Camp LeJeune, in Jacksonville, NC, a Marine Base, as her dad spent 20 years in the Marine Corps, but as a young man, was a coal miner around the time he met Terri’s mom. Terri reports he loved digging coal, but Terri's mama feared for his safety, and eventually convinced him to join the military. This was during the Korean war, mind you.

So join he did, and with that, Terri became one of those perpetually displaced military kids. That type of rootlesness leaves a mark on you--I know, I was a military kid too. You move every couple of years, never get too close to anyone, knowing you'll just have to say goodbye. You play your cards close to the vest and turn whatever life force you have inwards.

Some turn to drugs, some crime, some Jesus. At an early age Terri turned to music. She worked though the usual suspects; Elvis, the Beatles, Creedence, eventually finding her way to Glen Campbell and those Jimmy Webb penned masterpieces: Galveston, Wichita Lineman--landmarks by which Terri would later navigate her own journey as a songwriter.

They settled for a time in 29 Palms, California, out by Joshua Tree. It was there in the desert that Terri, following her older brother's lead, picked up a guitar and started writing songs. She was all of eleven. Terri continued to struggle, socially in public schools, moving, stumbling, but continued to carry the guitar everywhere she went. Music books and songs, her constant companions.

There were some shaky years, some drugs, some hard times. Rites of passage for a songwriter who intends to have a story worth telling. She traveled, she wandered, taking notes along the way. In her mid thirties she finally made a record. Through a twist of fate Liberty Devitto, Billy Joel's drummer, heard the demos and stepped in to play drums and co-produce Leaving This Town, a record that attracted the attention of music industry folks up in New York City. This was in the mid 90's. Before long she was opening for the likes of Steve Forbert at top shelf venues like the Bottom Line. Her childhood hero Jimmy Webb caught her act, then promptly dropped her name into a book he was writing about the craft of songwriting. Jimmy Webb reported that Terri Binion was someone to watch. She was on her way…or was she?

As I said, this woman follows her own compass. She's not guided by the pack mentality. She works the back roads of life with no regrets. Leaving This Town drew the attention of the Indigo Girls, who pegged Terri to open for them, kicking off that tour at the legendary Ryman Auditorium up in Nashville. And once the tour was over what did she do? Did she move to Nashville, or LA, or New York? No, she went back to her day job doing wardrobe work down in Orlando. She laid low for a few years, then released her masterpiece, Fool, mysteriously enlisting Lucinda William's help as a backup singer. See a pattern here? Talented folks believe in Terri. She toured a bit on Fool, lost her car in roadside fire, toured Holland, went broke and headed back to her day job. She dressed TV personalities, worked on a few films, rode out long stints of unemployment. She wrote more amazing songs, lived her life in full, but never made another record.

Until now.

This time she won't catch me off guard. We're friends at this point and she's warned me it's on the way. I'm ready. But hell, it doesn't matter. I won't do anything different the second time around. I intend to listen to it exactly the same context as the first, when this lady was a stranger to me. I'll listen in the car, whistling along at good speed down some back road. And as the first few notes rise up and hit home, I'll remember that place too, just like I do that stretch of highway just south of Clewiston.

I thank you for the gift of your music Terri.

Laney Jones Framily Jam

Amazingly, Laney Jones’ music career started as something of an accident. She picked up the guitar and began writing songs during college as a respite from the demanding academic curriculum working on an international business degree. Her aptitude as a singer and songwriter was instant. She soon found herself immersed in the roots scene as a rising young talent. It was all a whirlwind for Laney—uncovering her innate multi-instrumental gifts and being thrust into a distinct niche of music. Laney would unpack her creative ambitions while studying abroad in China without any instruments and far away from the hubbub. Away from everything, she realized her desire to do music and vowed to pursue it. When she came back to the states, she auditioned for Berklee College Of Music and was awarded a songwriting scholarship. Laney matriculated at the esteemed institution for a year and a half where she had the opportunity to study with singer-songwriter, record producer, and A&R executive Kara DioGuardi. Learning the craft of pop songwriting from a master enabled Laney to authentically discover and cultivate her own talents for emotionally resonant and infectiously catchy songwriting.


Adam Lee

In the world of a working band there is no greater constant than the road. Few know this better than Adam Lee & the Dead Horse Sound Company, the Kansas City band who put their original spin on that classic country sound. With the release of their sophomore album, 'When the Spirits Move Me,' Lee and company touch on many of the elements so familiar to their life on the road. From wild nights in far away towns, to barroom brawls and goodbye kisses, the band expertly explain their travelling life. All with the swingin' shuffles and country flair of your favorite 45's. But then again, winding highways and endless mile markers are something they know well.

Upon completion of their first record, 'Ghostly Fires,' the band commenced a wide-spread and heavy touring schedule. Since the release of 'Ghostly Fires' the band has also spent a good deal of time refining their already unique sound. While their first album touches on the more subtle tones of Americana, 'When the Spirits Move Me' focuses on the band's affinity for classic country. Twelve tracks of heartbreaking honky tonk that sound right at home in the swingin beer joints and rural roadhouses the band often plays.

Leading the way is Adam Lee whose basement baritone perfectly presents the highs and lows of life on the road. Joining Lee are Johnny Kay (electric guitar, mandolin) and Boomerang Dave Bruchmann (upright bass), and when this train starts a-chuggin, folks had better hold on. Their live show is a rowdy and rollicking good time full of all original honky tonk music -- songs to drink to, cry to, and most of all dance to. So bring a date, grab a drink, and don't forget your dancin' shoes. Adam Lee & the Dead Horse Sound Company are headed down the highway, and there's no end in sight.


Beartoe has been writing, performing and touring from The Historical DeLand florida for over 10 years. First, in college under the band name Attic, then as Dish, a brother duo that found them with L.A. session players Jen Condos and Jay Bellerose.
Beartoe's current project has no doubt shown introspection, but has brought together a sound thats been filtered through the roots and rich history of Florida folk, delta blues and soul with players Brian Chodorcoff, Nadeem Khan and Allen Cowart adding to that history.

Stephen Rock

Southern Gothic Music with Arkansas roots, now growing in Orlando.

Under the Blacktop (Acoustic Blues Set)

Formed in 2015, Under the Blacktop is an all original rock band from Orlando, Fl. that prides itself on writing unique songs without worry of being bound by any certain genre. Our sound can best be described as an Eclectic blend of heavy riffs, soulful grooves and haunting melodies, occasionally incorporating an acoustic Dobro or harmonica. Although primarily a heavy rock act, the band has been known to unplug the amps and draw deep into their library of original tunes to perform a semi- acoustic set.

The Manns

Decades dedicated to the Orlando scene guitarist, singer, songwriter and frontman of the bane funkUs, Dave Mann, started a new musical project in 2018 with his wife Gina. Utilizing looping and drum pedals, Dave's guitar and the duos' harmonies, together they rework classic tunes of different genres into new musical creations delivered with their love.

Southern Fried Diggaz

Lounge act featuring Johnny Diggz, Jack DeMarcom and an ever-changing revolving door of Special Guests.

$5.00 - $13.00


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