A Day In The Country
Red Meat, Rivals of the Peacemaker, Cropduster, Majors Junction, The Lawrence Peters Outfit, Bubbly Creek Bluegrass Band, Country Doctors, Al Scorch, Angela James, Western Elstons, Hat Stretchers, Cajun Vagabonds
1354 W. Wabansia Ave
Chicago, IL, 60642
Doors 1:00 PM / Show 2:00 PM
This event is 21 and over
A Day In The Country
Award winning barbeque by Honky Tonk BBQ
Delicious homemade pie by Bang Bang!
Featuring the beers of Lagunitas Brewing Company
Front porch stage: 2pm to 3:10pm
2:00 to 2:30- The Mountainaires
2:40 to 3:10- Big Sadie
Backroom stage: 3:15pm
3:15- 3:45- Girls Of The Golden West
4:00 to 4:30- Kent Rose (CD release!)
4:45 to 5:15- Glass Mountain
5:30 to 6:00- Tim Menard
6:15 to 6:45- Gin Palace Jesters
7:00 to 7:30- Oak Street Ramblers (from Madison, WI.)
7:45 to 8:15- The Lawrence Peters Outfit
8:30 to 9:15- Lady Parts- Kelly Hogan & Nora O’Connor
9:30 to 10:00- Coyote Riot
10:15– 11:45- Cochino Y Los Pistoleros
Red Meat began in a Mission District garage in 1993. But they trace their musical roots much farther back – to the hard honky tonk songs of their youths in Iowa, Missouri, Oklahoma, and Ohio, as well as the rock music of the 60s and 70s that they grew up with. Throw in the Ozark gospel harmonies from Scott Young's childhood, and you have the basic backbone of the Red Meat sound. It was this sound that they unleashed on an unsuspecting San Francisco still reeling from the demise of a strong 80s punk rock scene. And in a city known for its unusual music and its off-kilter bands, Red Meat did the craziest thing yet: they returned to their roots, writing and performing hard Bakersfield-style country music to sometimes dumbfounded early audiences.
"Back when we started, nobody was playing this kind of music at all", explains Smelley Kelley, "We'd go into a bar, play our set, and win over these rockers and punk kids. Now it's become a lot more normal to see a country band in a Bay Area bar." And San Francisco now boasts one of the most vibrant twang scenes in America. After hundreds of gigs, five albums, national tours, European dates, sharing the stage with their idol Buck Owens and many other national acts, backing rockabilly legend Wanda Jackson on a tour of California, and movie and television soundtracks, Red Meat has found its place as one of the pre-eminent honky tonk bands in California. It's a lot of progress for five expatriate Midwesterners who found their muse in San Francisco so long ago. And with the release of their fifth album, "Live At the World's Smallest Honky Tonk", don't look for the progress to end anytime soon.
Rivals of the Peacemaker
Chicago has always been a notorious place for artists and outlaws. A city of grit and noise, set between the great lakes and the great plains. The kind of place that could bring together an eclectic group of musicians like Rivals of the Peacemaker.
Rivals are all about their roots - loving Emmylou Harris and Motorhead in the same breath, steeping themselves in the history of their heroes, and bringing a fierce loyalty to each other and to their passion for Americana music.
The band blends foot stomping energy with rich textures and harmonies and driving rhythms. Fronted by singer/songwriter Alex Watson, and layering harmonies with guitarist Billy Watson(vocals/guitar) the two personify rowdy and romantic. Bringing in players on lap steel, harmonica, banjo, madolin, and more, Rivals of the Peacemaker weave stories of rebels and sweethearts, heartbreaks and revenge.
The band has built a solid foundation on original music, a few choice covers and a rip roarin live show. Rivals have been featured artists on the Shure Give it Voice Tour, Do312, Rukus Radio, Q106 Country Showdown and are currently booking a midwest summer tour. Their debut album will be completed in April 2011
Four pickers trying to make Chicago safe for traditional honky-tonk country music.
Rich textures created by the band have been described as “Plush Lonesome Western Blues”. Attracting a listener base whose musical taste transcends different genres, Majors Junction produces a diverse meld of country honky-tonk blues with folk undertones and hints of bluegrass pickin' and good old rock & roll. It is a unique sound that celebrates individuality and hard work, two qualities the band shares with its hometown of Chicago.
The Lawrence Peters Outfit
The Lawrence Peters Outfit plays un-ruined country music, a term Lawrence coined to describe their fiery, deep-rooted honky tonk sound. Best known for his lead vocal on "The Old Black Hen", on the watershed Songs: Ohia/ Magnolia Electric Company album, Peters leads the "Outfit" through his own finely crafted originals, and cherry-picked classics. The band is a super-group of Chi-Town pickers, including Matt Gandurski on lead guitar, Dave Sisson on rhythm guitar and harmonies, and Josh Piet on upright bass.
Bubbly Creek Bluegrass Band
Old 'Dan was born back in Detroit, Malloy just an Okie they say, Andy fiddles from Missouri, the bass man's just a pain in the "eh"......
The Country Doctors founded their practice in 2001. They refer to themselves as an “alt-classic-neo-traditionalist-honkabilly band.” Their roots are in the heartfelt repertoire of country musicians who played and sang with a purity of emotion often lacking in the genre today, while at the same time embracing contemporary artists who share a similar approach to country music.
They’re easy to find as they play many venues and festivals in and around the Chicago area. In 2011 they opened Country Music Day at Taste of Chicago which culminated with a classic performance by Loretta Lynn and her band. That year, they were also nominated for a Chicago Music Award as Best Country-Western Entertainer. They have two albums on the independent Medical Records label.
Stormy, husky, brawling, City of Big Shoulders.” – from “Chicago” by Carl Sandburg
Al Scorch grew up in Chicago, with its storied history of corrupt power at the top and righteous fighters and big dreamers at the bottom. From the town that gave the world characters like Studs Terkel, Upton Sinclair, and the anarchists in Bughouse Square, Scorch adds his voice to the choir with the enthusiasm and charisma of a Maxwell Street preacher. He eyes the prize of that ever-elusive promised land that’s worth scrapping for, wherever or whatever it may be. With a stentorian bullhorn of a voice, he exhorts, not with a holy book in his hand, but a banjo and guitar. He’s a messenger and a conduit, a believer that a soul-stirring song will march you forward.
Balanced on wedges of punk, old-time string band, American and European folk, and soulful balladry, Al is an entertainer, road warrior, storyteller, and one helluva musician. His second album and Bloodshot debut Circle Round the Signs is built on a sonic framework sharing an intersection with the Bad Livers’ lawless next-gen take on traditional country & bluegrass, and Black Flag’s burn-it-all-down revolt and breakneck tempos. From the train-hopping tale of “Pennsylvania Turnpike” - updating steel rails to concrete ribbons - to the shout-along, late-night lament of “Insomnia” (“I toss and I turn in my bed every night/ I'm sober but my mind’s as high as a kite”), the aural dexterity is thrilling.
Woody Guthrie’s “Slipknot” gets a complex, Western swing cum prog-grass treatment, led by the angular fiddling of Felipe Tobar, that would make acoustic thrash godfathers Split Lip Rayfield grin demonically. And “Want One” blazes down the dirt track with a Stanley Brothers fireball energy driven by Scorch’s clawhammer banjoing, and the it’s-safe-to-laugh-now adventure of meeting an intensely inebriated fan while busking across the country.
But Scorch is far more than lightning for lightning’s sake. Through 10 songs of high wire musicianship, debilitating despair, wild-eyed hope, and sharp-elbowed views of social (in)justice, he deftly maintains a balance of precise touch and texture, pop catchiness and frenetic intensity. That Minutemen inspired “jam econo” vibe embracing the freedom of art and community as long as you’re working hard and bringing your friends along for the ride?… Yeah, that’s here too.
He shows a keen ear for the Mekons’ trans-Atlantic roots and marries it to the Avett Brothers’ big stage sound on “Lost At Sea.” Likewise, there is depth in the song’s lyrics during the cliffhanging, real-life narrative of a best friend almost dying when the HMS Bounty sank in Hurricane Sandy: “When I heard of the wreck my heart left my chest/ tears came rolling down/ the same sun shone through the window/ I thought of a world without you around”
DIY show shakedowns parallel a down-and-out-on-Clout-Street message (“Every bossman is on another bossman’s take/ There ain't no free man except the one you make”) on the vaudeville-via-Eastern European klezmer door-kicker “Everybody Out.” With its bittersweet imagery and mournful harmonies, “Lonesome Low” goes beyond the blue grass and into the deep woods. While the elegiac french horn in “Poverty Draft” wouldn’t sound out of place if it was played in a WWI trench, nor would its message of the poor being the tools of war (“The fight for freedom pays more than minimum wage”).
A punk rock banjo-wielding John Prine or Billy Bragg, Al Scorch writes for the everyperson. Through his acrobatically poetic politics, hopeful tales of love lost (“Love After Death”), or cathartic takes on urban chaos (“City Lullaby”), he pens rowdy campfire stories, calls for action, and draws the epic from the ordinary. Celebrate, right a wrong, or find your path and go for it. It's heavy shit, but so is life.
Angela James’ music brings to mind the rich, deep voices of classic country artists like Patsy Cline and Rosanne Cash with the narrative sensibility of more modern female troubadours like Neko Case and Cat Power. Traditional and hip, artful and sometimes avant-garde, her songs come from a place far more youthful and inquisitive than most people might think; a tribute to her uncanny ability to place innocence and experience in a broad context worthy of artists twice her age. Her songs suggest a sweet melancholy that aches with both pleasure and pain at the wonder of our shared experience.
James' debut EP, Down and Out, was released in November of 2012 and received a 4-star review from Time Out Chicago. Her first LP, Way Down Deep, was released in November of 2014 was praised by the Chicago Reader: “.....her lovely, rustic melodies are enhanced by excellent arrangements played by an impressive band,” and selected as #6 in the Top Ten Chicago Records of 2014 by Red Eye Chicago.
For this show she'll be accompanied by Jordan Martins on pedal steel and keyboard.
Primitive Country With Questionable Attitude
Rick Sherry, guitar/vocals/harp
John Hasbrouck, banjo/mando/vocals
Jon Williams, fiddle/accordian/vocals
The Cajun Vagabonds play traditional Cajun and Zydeco music with an occasional rock, funk, or swing classic. The band generates the perfect mix of dance-oriented music for dances, festivals, parties, and other events where people want to enjoy a dance groove. High energy and spontaneity are distinctive features of a Cajun Vagabond performance.
Tickets Available at the Door