Last Exit Live presents
The Pistoleros, Dead Hot Workshop, decker.
717 S. Central Ave.
Phoenix, AZ, 85004
Doors 8:00 PM / Show 9:00 PM
This event is 21 and over
Comprised of Mark and Lawrence Zubia, Gary Smith, Thomas Laufenberg, and Scott Andrews. The Pistoleros recently released "Pistoleros", their follow-up to "Hang onto Nothing". As highly visible members of the community, The Pistoleros have appeared at the Chandler Ostrich Festival and the Tempe Tostitos Fiesta Bowl Block Party. Mainstays on Mill Avenue, they also appeared as the featured house band of the 1999 Arizona State Fair. For the millenium, they appeared with The Peacemakers, the Gas Giants, and others at the Phoenix Celebration 2000...
Dead Hot Workshop
Dead Hot Workshop is an American rock band based in Tempe, Arizona. They were a popular fixture of the Tempe music scene in the 1990s, when Tempe was being dubbed as "The Next Seattle" by music reps, and as a region that would produce many new, talented bands that would be ripe for national discovery. The band got their start at a Tempe club named Long Wong's, which at the time was at the center of downtown Tempe's music scene and the starting point for bands such as the Gin Blossoms, The Refreshments and The Pistoleros, who all (including Dead Hot Workshop) signed with major record labels in the 1990s.
The guitar-driven lineup was led by singer/songwriter Brent Babb, who formed the band during the late ‘80s with help from guitarist Steve Larson, drummer Curtis Grippe, and bassist Brian Griffith. Dead Hot Workshop built up a sizable following with shows at Long Wong’s, Sun Club, and other Tempe venues, and the band began pursuing a wider audience after signing a contract with Tag Recordings, a subsidiary of Atlantic Records, in 1994.
Like a number of Tempe-based groups, Dead Hot Workshop’s sound owed a good deal to the band’s surroundings. They played desert rock & roll with a country bent, taking influence from the likes of Neil Young, Johnny Cash, and the Replacements. Tag Recordings first unveiled that sound with the 1994 EP River Otis, which was followed one year later by the full-length album 1001 (the title of which referred to the Sun Club’s street address).
For seven years running, decker. has been recording and performing some of the most vital music to be released from America's Southwest. The music is clearly drawn from the land itself—all that is at once comforting, eerie, haunting, healing, harsh and beautiful. He carves something unique out of the essence he grasps in his red rock home of Sedona, Arizona—a land of red clay mountains and vortexes. The music takes on a spiritual mantle, a deeper, ancient calling rooted to the land itself, tapping into the mysticism of old, weird America, divining its power, resurrecting what he sees fit and crafting it into musical odysseys of treachery, redemption, enlightenment and tenacity.
While seemingly possessed by his desert dwellings, decker. has approached his music with a blue-collar ethic, pressing himself to perform 150 shows a year and self-releasing six studio records in the last seven years. The songwriter has been either recording an album or touring in support of one since the fall of 2009 with relentless vigor—surviving a 2012 van rollover on tour, raising a young son and maintaining a relentless show schedule. The 2014 release, Patsy saw decker. make a hardy push to spread his desert lore, touring the U.S. three times over with all the fervor, he says, “of a drowning man.” Magnet raved, “[Decker] bursts with emotion at every edge,” while No Depression declared, “[Decker] combines dark mystic lyrics and off-kilter attitude with taut musicianship and psychedelic romanticism.
With barely a pause to reflect, Decker returned home and wrote what would become his 6th studio album, Snake River Blues, set for release September 23. Inspired by legendary psychedelic blues classics like Muddy Waters’ Electric Mud and Chuck Berry's San Francisco Dues, Snake River Blues is comprised by tales of treachery and conquest, in blues archetypes viewed through decker.’s unique lens. The album signifies growth, while also a departure from his more acoustic and methodic efforts. It harnesses an American desperation, while being simultaneously rife with audacious confidence, grit and focus. Self-described as “psychedelic desert folk,” Snake River Blues is altogether decker.’s tightest and most succinct effort to date.