SAXAPAHAW OKTOBERFEST, Sarah Shook and the Devil, Gasoline Stove, Bevel Summers
1711 Saxapahaw-Bethlehem Church Road
Saxapahaw, NC, 27340
Doors 4:30 PM / Show 5:00 PM (event ends at 11:00 PM)
Saxapahaw's Annual Fall Festival takes place at the River Amphitheater outside The Haw River Ballroom!
Oktoberfest starts at 4 with Little Green Pig Theatrical Concern & short, devised performances based on the music of KRAFTWERK, a Harvest Farmers' Market, lots of great brews, sausages, pumpkins and more! Katharine Whalen will kick it off the music at 5 followed by Curtis Eller's American Circus and Gasoline Stove!
Oktoberfest outside is free and open to the public - we will be passing the Swan at all stages and all donations go to the wonderful bands so please be generous! Come on out for a great night!
See you there! and Follow SXPHW on Facebook for more details about Saxapahaw Events!
Sarah Shook and the Devil
Sarah Shook & The Devil hits the way back dial when it comes to American genres of music. Sarah Shook is known for scorching originals (which seem to have been unearthed from a 1950s time capsule in any small southern town) and for covering the likes of Hank Williams, George Jones and Wanda Jackson. Smokin’ vocals, savory lap steel, badass bass and come-on-back-y’all geetar make this band a sinister treat.
Chapel Hill Singer/songwriter/novelist Scott Morgan picks up where Memphis the Band leaves off, joined by former band mates Pete Lucey (accordion, piano, backing vocals) and Shannon Culp Morgan (vocals/percussion), and Anthony Lener on upright bass. This 17-song roots-music album includes,"admirable Dylan and Waits homages," and is a "sneakily superb debut," from this Memphis the Band offshoot, Gasoline Stove," (Quotes Rick Cornell from The Independent Weekly).
Leave Jeb Brinkley to his own devices between the hours of midnight and five a.m. and something’s bound to happen. With a little whiskey and a guitar lying around, the Chapel Hillian— originally from Irmo, South Carolina — is prone to wax poetic on every shade of heartbreak. From Appalachian folk ballads to the Mississippi Delta Blues, Brinkley channels it all in concise, foot-stomping iterations of old-time sounds. Listen to Bevel Summers and you’ll hear what it’s like to be a twenty-something reared on Jim Croce and Roger Miller cassettes playing in the car on the way to school, and a mother's homemade rendition of The Beatles as a lullaby before bed.
In its entirety, Bevel Summers is Brinkley and fellow songwriter David Hutcheson, multi-instrumentalist Dylan Turner, vocalist Alicia Best, drummer Jack Fleishman, pianist Matt Greenslade, and fiddle/trumpet player Ian Williams. Together, these seven talented musicians have the power to transform a room full of introverts into a foot-stomping ruckus, checking hipster pretension at the door in favor of instantly memorable lyrics and songs that plant themselves in your head in seconds flat.
Bevel Summers performs with the philosophy of quick draw pistoleer the Sundance Kid from the famed 60's post-modern Western : “I’m better when I move.” Likening comparisons from Johnny Cash to The Wailers to Fleetwood Mac and back, at a Bevel Summers show, you’ll find yourself singing along with choruses that seem to burst through the confines of whatever hole-in-the-wall joint or basement the band is playing, and you might feel, for an instant, as if you're on a back porch in the middle of the woods, the sounds of fiddle, summer crickets, lush harmonies, and the plink of guitar strings melding so effortlessly.
At their core, these songs were borne of the blues, but in their live incarnation, Bevel Summers is joyful. This is what youth feels like — the highs and the lows, and the late nights full of whiskey and music in between.