Friday March 28, doors at 6pm - Saturday March 29, doors at 5pm
Fri, Mar 28
Sun, Mar 30
THE DEEP ELLUM BIG FOLKIN FESTIVAL 3
Seryn, Possessed by Paul James, Jamestown Revival, Frontier Ruckus, DEAD FLOWERS, Goodnight Ned, Parallel Play, Kirby Brown, Dovetail, The O's, Leopold And His Fiction, Bad Mountain, The Roomsounds, Rania Khoury, Whiskey Folk Ramblers, The Hazardous Dukes, J Charles and the Train Robbers, Loyal Sally, Hares On The Mountain, The Southern Renaissance, The Texas Gentlemen, Fortune Field, The Misteries, Big City Folk, Teresa Marie, The Single Issues, Pearl Street Riot, Shotgun Friday, The Venetian Sailors, Matthew and the Arrogant Sea, Sugarfoote, Cactus Jack And His Band Of Outlaws, Aaron Long, Banditos, Wesley Geiger, The Rhythm and Beards, Haylee & Amanda, Great Escape, The Scrips
2513 Main Street
Dallas, TX, 75226
This event is all ages
THE DEEP ELLUM BIG FOLKIN FESTIVAL 3
"The second-annual Big Folkin' Festival took over all of the Prophet Bar’s assundried spaces for an evening of dancing and drinking. With four stages and a parking lot full of local business booths, the BFF had something for everyone." - Pegasus News. BFF founders Joel Fruth (Prophet Bar) and Jeremy Drake (Parallel Play) wondered, “How can we improve a festival that had something for everyone?” The answer: more for everyone!
On March 28th and 29th the Deep Ellum Big Folkin’ Festival 3 expands to two days showcasing 40 local, regional and touring acts at the Prophet Bar. Americana, antifolk, singer/songwriter, bluegrass, indie, cowpunk, roots, folk pop, folk rock, rockabilly and blues are all represented in a variety of combinations. Like previous years, BFF isn't all folk all the time but it's always awesome!
DISCLAIMER: Several upright basses in attendance so please use caution if you suffer from bass envy. Side effects of folk festivals include: spontaneous stomping, hollering outbreaks and hootenannies. Ask your doctor if fiddling is right for you. Folk on, Deep Ellum!
Hailing from one of the most artistically creative music communities ("Best Music Scene of '08" -Paste Magazine) around, Seryn calls Denton, Texas home. That may not surprise many, but it is no mistake by any means. Call it fate if you want, it is obvious the stars aligned to bring this group of young musicians together.
Seryn, having only played together since March of '09, have created something truly special in their short existence. Using a variety of instruments including guitar, ukulele, kalimba, accordion, bass, drums, viola, percussion and more, Seryn's understanding of dynamics shines brightly and has earned them a sound that is not easily defined, but proven triumphant.
Denton Record-Chronicle recently refferred to Seryn's live show at an Art Gallery as being "so dynamic that you could feel the key changes in your feet, through Festival Hall's concrete floor."
"This Denton outfit is one of the buzziest bands in the region. Thanks to folk-flecked compositions and powerful harmonies, Seryn is fast becoming a must-see." - Fort Worth Star-Telegram
Like ice-cold water on a hot day, their music is crisp and refreshing, and I cannot get enough. The imagery packed into their set is unreal. It's like listening to the soundtrack of a great love story, breathtaking drama, and a dark tragedy all rolled into one over-the-top, unparalleled performance. It is big and beautiful… - My Denton Music
"Watching Seryn perform, it's hard to convince yourself that those crystalline, multi-part harmonies are pre-recorded or some kind of sleight of ear. Ferociously skilled and preparing a full-length debut for release later this year, Seryn's is a name you will hear over and over (and over) again in the months to come."- Fort Worth Star-Telegram on Seryn's SXSW Show
Seryn plays hopeful baroque folk-pop allowing their voices an equally important role as their instrumentation. One part beautiful vocal harmonies that whisper at times and shout choral anthems the next, and one part progressive rock that quickly transcends from quiet, acoustic ukulele strums to an intense drum-line style wall of noise.
Possessed by Paul James
"His musical style can only be described as insanely invigorating. Audiences have witnessed him exercise his skill, which has been known to enchant and captivate, throwing all present individuals into fevered states of ecstatic jubilation. This guy is a master of the fiddle, guitar and banjo; he sings about life issues ranging from love and sexuality to demons, God, salvation and desperation, all performed with the same invigorating passion as he stomps his foot during each song for amplified percussive effect. When Wert is on stage, you will feel singled out among a room of enthused bystanders, as if he is speaking to you alone for the distinct purpose of mesmerizing your mind." -J. Payne DT Weekend 2008
"One-man band Konrad Wert grew up in a Mennonite family, raised by preacher father and a piano player mother, which accounts for both the baptized-in-fire-soul and musical versatility heard in his gritty Old World music. Wert's mix of blues and vintage folk howls with a sense of explosive freedom and latent rage-not unlike an Amish kid emerging from the wilderness to discover America -that instills his simple guitar/fiddle/stomp-box arrangements with unusual passion." - The Onion 2007
Jamestown Revival is an idea formed by Jonathan Clay & Zach Chance. For lack of a better word, it could be called a "duo", but that just doesn't quite capture the essence of their delivery. This band is two-man rock & roll, and the closest possible categorization one could label it with would sound something like "indie-rock with a southern slant". Drawing on influences ranging from The Band, to Simon and Garfunkle, Jamestown Revival's sound is harmony driven and rooted in southern soul. The two are childhood friends, and the chemistry is evident when seeing them perform. Formed in 2011, the band has already been featured on the Carson Daly Show, as well as Rolling Stone Magazine. With a self-produced EP that reached #9 on the iTunes charts, the duo has criss-crossed the country, playing everywhere from dive bars to amphitheaters.
Welcome to Frontier Ruckus, world.
The band has played a thousand-some-odd shows in the past half-decade—across the States and Europe, as well as behind venues, after-hours, aside dumpsters till all requests have been met—but it is possible that this will be your first introduction.
Poised to release their third full-length record on January 29th, 2013 (US, Jan 28th '13 EU), Frontier Ruckus' Eternity of Dimming—is a 20-song double-album, roughly an hour-and-a-half in duration and over 5,500 words in lyrical length. A helluva time to enter their world, but you're invited even if you've not previously wrapped yourself in the continents of The Orion Songbook (2008) or Deadmalls and Nightfalls (2010). Welcome to the expansive language of songwriter Matthew Milia. Welcome to a raw and unharnessed musicality. Welcome to the snowy television sets and plastic teenage trophies of suburban Detroit.
Eternity of Dimming, the closing chapter of their suburban memory landscape series, is the embodiment of real things, real objects—a realness full of sad gladness and expiration dates. A catalogue so thorough in its literary scope of brutally tender pathos—a candid opening-up of a bottomless domestic junk-drawer, without omission or censor.
The banjo on this record exists because David Jones' dad bought him that very banjo and lessons when he was 11. The trumpet you hear, dented by Zach Nichols' friend's saxophone in junior high band. Snatched by Matthew's father from a church going out of business,, now imprinting its weight into the living room carpeting where we once rug-burned and tickle-tortured with red faces, is the organ pulsing throughout. Ryan Etzcorn's thunderous drumming was informed by quick tunes on glimmering punk rock cassette tapes of yore. The main guitar used to write these songs came out of a weed deal in the 70s. The specificity is endless and heartbreaking, right?
Ignoring the cliched trappings of antiqued rural fetish that seem to make tired the modern folk movement, and the urban love-fest which holds the majority of indie-culture enwrapped, Frontier Ruckus instead celebrates and insulates itself within a world that is obsessively suburban— childhoods realistic and recent enough to remain vividly smoldering with intense memory and graphic personal mythology. The world of oversized 90s obsolescence, pinning down weighty love and familial weirdness—elephantine copy machines in the home offices of the briefly affluent parents of grade-school friends, VHS cassettes rotting sun-bleached on early bedroom shelves, tragic birthday parties, aggressive soccer coaches, grandmothers' oxygen tanks and daytime-TV-time crosswords, porn stashes found behind Taco Bells.
Eternity of Dimming is not of the world that now contains paper-thin computers and full-length records clocking in at 25 minutes. This is the gorgeous and inevitable disintegration of all that we once knew ourselves by, blurring into the graininess of gradual dusk. This is the Eternity of Dimming.
The Dead Flowers are rolling. Their live performances these days are mighty and intense, gritty, straight-edged rock with heavy country undertones and a healthy nod to Texas blues, and they're just getting started.
Something wild and indescribable happens when the Dead Flowers are onstage, and For You, their fan- funded (via Kickstarter), self-produced debut album, is a remarkable capturing of their tough, intensely satisfying live performances that serves up a polished, stand-alone listening experience all its own.
Solid contributions from every Dead Flowers member were deftly recorded and mixed by Jeffrey Charles Saenz at his Modern Electric Sound Recorders with enough finesse to produce a captivating record, and enough staying out of the way to avoid any studio-induced decoration that might have muddied the power and synergistic triumph of their individual performances. Very few overdubs and no instruments on the record that you don't see onstage, were conscientious choices that reveal the sophisticated musicianship and rousing, nuanced arrangements dependably delivered in their live shows.
Dead Flowers' seasoned players were assembled by lead singer and guitarist Corey Howe, who writes deceptively raw and gripping songs that slip on comfortably like the return of well-loved and long-lost friends. With a rare combination of humility, heart, and swagger Howe firmly holds center while, with a seasoned performer's know-how, generously leaving each of his compadres room to contribute inspired complements.
The album title For You reflects Dead Flowers' gratitude to their fans and an earnest attempt to deliver something both they and the band can be proud of for decades to come. Their debut signals the arrival of an outfit destined to make them favored sons of the Lone Star state.
"Goodnight Ned combines roots rock vindication with demanding keys and poetic songwriting."
Tiney Ricciardi - Dallas Morning News
Goodnight Ned is a group from Dallas, TX. Don't bother trying to define their sound, just enjoy the instant familiarity that comes from over eight decades of influence. Since their formation in 2010, the band has grown and acquired hard-earned notoriety for their high energy live shows and fearless embrace of all influences. This band of brothers is keyboard fueled and guitar-driven. They engage audiences with harmonies galore, songs you will sing to and drumbeats that will get your feet movin'.
Goodnight Ned’s debut album “Smoke From The Sails” was released in the beautiful Texas summer of 2012. It is available on iTunes, Spotify, and at Good Records in Dallas, TX.
Hailing from The South (west of the Mighty Mississippi, north of the Rio Grande), Kirby Brown is an artist. With a stormy childhood scattered from the foothills of Arkansas to the farm-towns of East Texas, the roots are in him deep. He cut his teeth on Gospel music, was weaned on Twain and Whitman, became a man with The Stones on the radio. With the deeply-felt candor of the storyteller at a campfire and the fiery presence of an actor in his prime, Kirby Brown is authentic and engaging. His work is nothing short of original-- a memorable picture of depth and beauty and honesty in a less-than-golden age."
We started our group in the summer of 2008, and after having known each other through all of our other groups (Polyphonic Spree, Young Heart Attack, Slick 57, Rose County Fair, Hi-Fi Drowning, etc), it was an easy upstart and took no time jumping in head first. We both had songs that we felt needed to be played but no band to use as an outlet. Three months later, we entered the recording studio and recorded an EP which ended up being half of our first album "We Are The O's" (2009 Idol Records).
We have since toured relentlessly all across the US, UK, Europe, and even jaunted to Hawaii, hi-fiving friends and fans alike; just trying to keep ourselves out on the road and creating new music for good people. In 2011, we recorded our second album with the Grammy award winning Stuart Sikes. Entitled "Between The Two," we decided to play every instrument on the album and had Stuart man the helm. It was liberating and excited and brought us further than we had been before.
We hit the road again jumping back and forth across the great ponds, made music videos, bought and broke vans, bought and broke gear, ate poorly, ate well, had fun and not so much fun, met amazing people, learned a lot about life, forgot a lot of things, slept a little, bought and wore out hundreds of pairs of pants and shirts, resoled our cowboy boots countless times, played with incredible artists, performed on TV shows, talk shows, radio shows, festivals, clubs, bars, restaurants, several different countries and continents, swam in clear water, dredged through the gulf, and other countless, endless adventures to name.
We did this all as we have always, to make good music for good people.
And into the future we go with "Thunderdog", our third studio album to be released in July 23, 2013. We decided to record the majority of the new album, at the recommendation of our great producer, Chris "Frenchie" Smith, in Tornillo, TX at the legendary Sonic Ranch Studio. It's a state of the art, top notch studio where we could stay on site, eat on site, and record without distractions (other than the delicious Sonic Ranch "Salsa de Roja" that lead to many debates on whether or not anything would taste good without it afterwords…) We finished up the album at The Bubble in Austin, TX and look forward to getting it out the door and into everyone's hands!
See you folks on the other side and we look forward to the ride.
Leopold And His Fiction
Naked, stripped down and aching with adrenaline is the rawness of Leopold and his Fiction. A revolving group of friends led by Daniel James (lead vocal/guitar), their essential make up sprouted from collaborations made on the road in the whirlwind cycle of touring. From San Francisco to LA to Austin various musical adventures had come and gone, until James found a common vision in the musicians he'd met along the way. Originally formed as an outlet for Daniel to exercise his virtues gained from years living in Detroit, Leopold and his Fiction absorbed pieces of the Motown catalog along with the protopunk resonance of Iggy's Stooges and molded them into a personal version of the rock 'n' roll dream. It's as if they, themselves, are connected directly into an electrical outlet. "The band elicits a power when it's time to perform that is unable to be harnessed in any other medium short of a fist fight," says James. "Whether that's on stage or in a recording studio it's almost hard to contain it. It's more life than I've ever felt before." It was that sonic fever that landed the group recent support slots for The Cult and ZZ Top. For the past year Leopold and his Fiction have been working with Grammy-nominated producer Chris "Frenchie" Smith (The Datsuns, Slayer, Jet, The Dandy Warhols, etc.) in recording and capturing a captivating musical journey that is as relentless as it is inspiring.
Americana songwriter based in Dallas/Fort Worth, Texas plays live as a two piece band (singer/guitar and drummer). Having played in multiple bands in multiple venues across the US, a large amount of original music was being compiled. It was time to create something that can be done with a band full of diverse instruments or a stripped down version as simple as a man and his guitar. This project started January 2013. *****Description*****This project is a collection of home recordings and unfinished demos. Enjoy. Currently shopping studios and musicians for an official E.P. ******Band Interests******Live music and thumbing through old records. *****Artists We Also Like*******Justin Townes Earl, Shovels and Rope, Lyle Lovett, Ray Wyllie Hubbard, Somebody's Darling, J Charles and The Train Robbers, Foxtrot Uniform
Whiskey Folk Ramblers
Like the soundtrack to a spaghetti western set in the Dust Bowl, Whiskey Folk Rambler's "folk noir" blends ominous, reverb-dripping guitars with boot-stomping train beats and funereal horns to create sonic backdrops for down-on-your-luck ballads and beer-soaked anthems.
Their music is the sound of a union meeting at its drunkest, of a last-resort robbery gone awry, of mice and men and the lengths they'll go to forget about their troubles. From catchy singalongs to moody shuffles, Whiskey Folk Rambler's sound takes American roots music down a road less traveled, where even the Devil might be waiting to raise a toast. ~ Steve Steward
The Hazardous Dukes
J Charles and the Train Robbers
Hares On The Mountain
Hares on the Mountain play folk music. Rowdy, messy and loud folk music. Hares on the Mountain understands that folk music is the music of our everyday lives and it's HOTM's mission to return it to its roots as a music that expresses the lives of everyday folk.
Hares on the Mountain began as a series of 4-track experiments recorded by George Neal (Little Grizzly, The Slow Burners) and Ryan Becker (RTB2) in Neal's garage in Denton, TX. The project was originally a vehicle to record a series of traditional folk songs from the British Isles but soon grew to include original material that drew on a wide variety of influences.
Further changes were initiated when Ryan and George decided to move the project from the studio to the live stage. The current live configuration now consists of Ryan Becker, George Neal, Cory Coleman, Justin Collins, Petra Kelly and Tony Ferraro. This line-up has recorded a new album entitled "It Will Only Hurt Forever" which was released March 2012.
The Southern Renaissance
The Southern Renaissance are an americana/alt-country/gang of picker-gypsies from Dallas, Texas.
Donner & The Southern Renaissance recently struck out with their debut album No Better Time in October 2011 - recorded at Muscle Shoals studio The Nutthouse.
Inspired by a long line of artists from Bob Dylan to Jeff Buckley to Ryan Adams, they've recently opened several acclaimed shows around the South for the likes of Dylan LeBlanc, The Civil Wars, The Lackadaises and Sleeperstar to name a few.
Big City Folk
Big City Folk - Lead guitar/vocals Luke McGlathery, banjo picker Brian Briseno(Papa), and Bass slapper Martin Sargent(Scooter), are all Fort Worth natives in their 20s. Their wired-up, virtuosic blend of folk, country, and bluegrass has started to gel into a punk-ish acoustic assault that defies easy categorization. Big City Folk is lyrically influenced by Townes Van Zandt although lesser-known acts like metal-influenced bluegrassers Split Lip Rayfield and The Devil Makes Three are Big City Folk's real heroes.
The Single Issues
Pearl Street Riot
The Venetian Sailors
Matthew and the Arrogant Sea
Matthew Gray began his young career as a solo performer playing locally while fine tuning his craft for songwriting. Before long it became apparent that his musical vision included more orchestration and hands; enter The Arrogant Sea. The band has been through many lineup changes as they strive to achieve the sound they desire more and more. The chances of seeing this band play the same set twice are very slim.
Matthew and the Arrogant Sea strives to create something new for themselves and the audience each time they play live.
Cactus Jack And His Band Of Outlaws
Banditos are famously eclectic, paying tribute to a little Aretha here, a little CCR there, with a tidbit of Squirrel Nut Zippers packed around the edges. While such a myriad of influences would bury a lesser band in tuneless muck, Banditos use their disparate influences to forge a more assured identity. Though they recall a dozen bands, they sound like none so much as themselves. The instrumentation is as ambitious as it is deftly executed, mingling upright bass with kazoo and banjo while the soul-spangled howl of frontwoman Mary plays counterpoint to a deceivingly sparse guitar, drenched in a quantity of reverb and delay not often associated with "danceable." All this would mean crap if Banditos couldn't play, but these mothers can choogle. It's always the mark of a good band to be able to play the hell out of three chords and a breakdown, and Banditos shake it down like John Fogerty. Honestly, their shows are such burndowns of shimmying shins and stomping heels they should carry warnings for bone spurs