MOONTOWER MUSIC FESTIVAL 2016
Manchester Orchestra, Drive-By Truckers, Trombone Shorty & Orleans Avenue
Judah and the Lion, JR JR, The Floozies, The Weeks, Mandolin Orange, Aubrie Sellers, BASSH, Chrome Pony, Blind Corn Liquor Pickers, Small Batch, Johnny Conqueroo, DJ Tank
3051 Leestown Rd
Lexington, KY, 40511
Doors 11:00 AM / Show 12:00 PM
This event is all ages
Manchester Orchestra is an American indie rock band from Atlanta, Georgia, formed in 2004. The group is composed of rhythm guitarist-singer-songwriter Andy Hull, lead guitarist Robert McDowell, keyboardist/percussionist Chris Freeman, bassist Andy Prince and drummer Tim Very. Former drummer Jeremiah Edmond parted ways with the band in January 2010 to focus on his family and on running the band's record label, Favorite Gentlemen. The band's original bassist, Jonathan Corley, parted ways with the band in 2013.
It's Great to be Alive!
Once upon a time my dream was to play in a Rock and Roll Band. Not just any Rock and Roll Band, but a very specific one. An idealized version of my teenaged rock fantasy with air guitars replaced by well-worn battle-axes and a devoted following that treated us like we were the greatest band on Earth. It's the kind of lofty ideal that set the hearts all ablaze in millions of little boys my age back in the era when dinosaurs did indeed roam the Earth.
I met Mike Cooley thirty years ago this summer. He was the roommate of someone I knew in college who needed another roommate. I met Cooley the day I moved in. I noticed he had a guitar leaning against the corner. He noticed I had a rusty-stringed old guitar amongst my only possessions when I moved my stuff in. Our apartment was a hellish dump of mildew and moss and we were flat broke so we spent many an evening sitting around drinking cheap beer and playing songs we didn't really know. Neither one of us was very good but we clicked.
On June 10, 1996, I talked Cooley into coming to play on a single I planned to record one afternoon and Drive-By Truckers was born. We've since played somewhere around 2,000 shows, made ten studio albums (so far), backed up Bettye Lavette and Booker T. Jones; and have had the adventures of several lifetimes. As we head into our twentieth year this year, I feel that in many ways we are just beginning.
Last fall, we ended our very successful year of touring behind our album "English Oceans" with a three-night stand at our favorite room in the world. The Fillmore
Auditorium in San Francisco had always held a special place in our history and
imaginations. We had long wanted to make a definitive live album and we
decided that this was our chance.
As a band, we have always considered ourselves first and foremost a songwriter's band and always said that "song is king" should be the basis of all artistic decisions. That said, we also built our reputation as a 'Live' band and as proud as I've always been of our records, we've also always been aware that there's an element of our stage show that the records just cannot quite capture or parlay. 2014 turned out to be a sort of new peak in the life of this band. The latest lineup had really gelled into a powerful live act and the show had taken on some new levels musically and personally. We were ready to try to capture it into a live album.
Our long-time Producer, David Barbe, acquired the necessary mobile gear to record us and flew out to San Francisco to capture our three-night stand. We hired some horns, sold some tickets and played three special and unique shows. From those shows we have sequenced a sort of
ultimate live DBT collection, one that hopefully captures the essence of our life's work into one cohesive whole.
We are releasing a shorter version that provides a snapshot of what we do, but this box set goes far more in-depth. Songs and stories spanning thirty years of doing this thing sequenced to hopefully give as close as possible document of the DBT show.
Whether you count the life of our band as starting in 1985, when Cooley and I began playing together, or 1996, when Drive-By Truckers began, or even 2001, when "Southern Rock Opera" first burst us into some part of the public's consciousness, it's certain that we'll never again be called a new band. Fifteen years is several lifetimes for most bands and thirty puts us in very rare company, indeed. Nonetheless, anyone who has been to any of our shows in the last three or four years can attest to the band being at top form, live and on record. I'm still chasing that song I've been chasing since I was in third grade, and I can't wait to hear Cooley's next song or to hear what he and the gang do with whatever I write next.
We originally began thinking of 'The Live Album' (as we called it for several years) as first and foremost a collection of songs spanning our entire career as DBT. Part of the joy of this incarnation of the band has been digging back and seeing what this band can do with songs from various periods of our history. I'm proud of every lineup we've had and of the records that we've made, but this incarnation has brought a primal energy and personal camaraderie to the process that takes it all to new levels and we've been really excited about capturing that.
We also decided against making it one literal show. As a band that almost always has allowed taping of our shows, there's no shortage of live shows floating around (of various sonic quality) documenting all kinds of nights of this band (good and bad). Instead we wanted to create a somewhat idealized set list that flowed like and implied a sort of ultimate DBT Rock Show experience for posterity. We decided to release two different versions. A shorter 2LP version that hopefully encompasses what we do and a more in-depth full-on box set version for the more devoted fans. Whichever version, hopefully the end result is the same. It's dark, funny, loud, a little profane and rocks like a motherfucker.
This Weekend's The Night!
It all started as an inside joke. That's what bands do on the road to break up the monotony and rigors. They have inside jokes. Lots of them. The better bands begin to have so many inside jokes that they take on a sort of alternate language that only they understand. Inside jokes have played a particularly large part in our band's story. Our most famous record began as an inside joke that we cultivated until it took on a life of its own, something to talk about for thousands of miles driving from one show to another. "Tonight's The Night". "Betamax Guillotine". "The List". "The Movie Version". It goes on and on.
For years we were devoutly unsigned, playing hundreds of shows a year and often joking as we were about to go on stage in some dive bar in Ames, Iowa or Columbia, Missouri or Fort Worth, Texas that 'Tonight we were going to get signed'. Just the ridiculousness of that statement would be enough to fuel a round of laughter and make the night a little better. Some years later, we actually did get signed after a show in Fort Worth. I guess be careful what you joke about.
"Tonight's The Night": in the early days it probably referred to some sort of debauchery but the expression lasted long after we had settled down from all of that. It definitely more to do with Neil Young than Rod Stewart but nonetheless a great way of signifying the importance of every single show, no matter where they might be. "Tonight's The Night". Every night is important. Every show should be played like it's the most important show we'll ever perform. Play it like we might get signed. Play it like we might die before morning. Play
it like it's the last show we'll ever get to play. It just might be.
Life can be a fleeting thing, but a life well lived is one where each night is played for keeps. Played loud and with wild abandon. This Weekend's The Night!
It's Fucking Great To Be Alive!!!
- Patterson Hood (back of bus, Spring 2015)
Trombone Shorty & Orleans Avenue
New Orleans native Trombone Shorty began his career as a bandleader at the young age of six, toured internationally at age 12, and spent his teens playing with various brass bands throughout New Orleans and touring worldwide with Lenny Kravitz. He fronts Trombone Shorty & Orleans Avenue, a funk/rock/jazz/hip-hop band. Together they have toured across the U.S., Europe, Australia, Russia, Japan and Brazil. In 2010, Trombone Shorty released his debut album, the Grammy®-nominated "Backatown," followed by "For True" in 2011, which topped Billboard magazine's Contemporary Jazz Chart for 12 weeks. His newest album, "Say That to This," was released in 2013 and features funk/jazz elements of New Orleans. Trombone Shorty appeared in several episodes of HBO's "Treme," and has recently appeared on "The Tonight Show with Jay Leno, Jimmy Kimmel Live," "Late Night with Jimmy Fallon" and "Conan." In 2012, he performed at the White House in honor of Black History Month with music royalty such as B.B. King, Mick Jagger, Jeff Beck and Booker T. Jones. At this year's Grammy Awards, he performed alongside Madonna, Macklemore & Ryan Lewis, and Mary Lambert. In 2012, he received the President's Medal from Tulane University in recognition of his charitable work with the Trombone Shorty Foundation, which donates quality instruments to schools across New Orleans.
Judah and the Lion
"Friend of a friend" is the way it all came together, three very different people from very different places, united by a shared love of music. As a band, Judah & the Lion owes much to fate and to the small town feel of Nashville, the city that brought the trio together from scattered parts of the country. The three met while attending Belmont University in the city, introduced to each other through music and mutual friends.
"We all had similar stories, despite the fact that we'd grown up in different places," explains mandolin player Brian Macdonald, "Judah is the Southerner, I'm the Chicago city slicker, and Nate is the laidback, bearded Rocky Mountain guy."
One listen and you can hear the influence of each of their youths. Judah Akers in his Tennessee hometown, listening to the soulful crackle of Ray Charles records, Nate Zuercher, a Colorado kid into rugged rock'n'roll, Macdonald driving through the suburbs of Chicago, blasting everything from Frank Sinatra to Billy Joel.
Somehow, all these sounds have come together in Judah & the Lion -- the old school sincerity of Southern gospel and soul, the energy of rock and the time-tested pop of classics and hits from the past. And through it all, there is the sound too -- of their shared obsession, the feverishly nostalgic twang of bluegrass, country and traditional folk music.
Judah & the Lion is a modern pop band with a feel as old as hills and holler, Akers' topical lyricism matched with the familiar feel traditional instrumentation -- mandolin, banjo and the kind of vocal harmonies that make the heart ache.
"We're all very different people but it has been obvious since the day we met that we should make music together," says banjo-player Nate Zuercher, "Though we're different, we have similar philosophies as to what is important in life and that is a huge part of what keeps us going strong. We know it is important to enjoy where you're at, to love the people you're with and live a bold and passionate life. That looks different for each of us but allows us to relate and understand each other."
"We met because Judah was asking around about a banjo player," remembers Macdonald, "Nate played banjo and I was just starting to move from guitar to mandolin, so we both went to meet up with Judah and we just connected on a personal level."
The three played together soon after that initial meeting and "we connected right off the bat," remembers Macdonald. "It wasn't like Judah had said he wanted to start a band. He had some songs and he wanted to hear what they sounded like with a banjo. But when we played, it felt right and it sounded good. And we just knew we'd keep playing together."
That playing together resulted in two successful EPs, "First Fruits" and "Sweet Tennessee." The latter blasted onto the Billboard charts, hitting the Top 20 in a variety of genres -- No. 2 on "Bluegrass," No. 9 on "Heatseekers" and No. 15 on "Folk." "Sweet Tennessee" also made it to #1 on iTunes "Singer/Songwriter" chart and broke into the Top 25 overall albums chart. The band has hit the road repeatedly in support of both releases, making the cross-country trek for extensive national tours and playing to sold-out crowds throughout the South and (of course!) in their Nashville hometown.
Whether you've heard the band play live or merely listened to those first two releases, you can feel the growing connection between the trio, a musical bond of true and deeply felt emotion. Judah & the Lion possess a resonance beyond their years and a sincerity of feeling that comes in part from childhoods spent performing at youth groups and at Sunday worship.
And while their debut EP was a collection of worship songs, the tracks on their full-length album are inspired by a wide variety of themes, narratives eloquently reflecting the trio's continually evolving lives... and sound.
Recorded March of 2014, "Kids These Days" embraces the band's folk trio roots and expands from there, banjo/mandolin/harmony forming a sonic backbone that incorporates everything from keyboards to electric bass into a heady mix of old and new instrumentation.
"We really wanted this record to show really where we are in our lives now," explains Akers, "We wanted people to be able to dance to these songs and have a freshness about them that made them lasting. Honestly, we just love life and love people and hope that comes through."
On "Kids These Days," the band explores a new range of emotional territory, writing about love and fear and joy and all the nuanced spaces in-between. The songs on this album are about past and future, adventure and family, confusion and hope -- a collection of stories about being young, about finding your way, while discovering -- yourself.
"This record is filled with energy and a youthful spirit that absolutely encompasses our circumstances," say Zuercher of the album's expansive, high energy feel, "We don't have much but we've got a whole lot of life and passion for what we do and who we are and we hope that people can grab a hold of that when they hear this record. It has been awesome to be able to move forward and utilize some new sounds but we still feel like this record is US."
In the end, Judah & the Lion has become the happy sum of disparate parts, Southern grit, Midwestern openness, the exuberant freedom of the West, all brought together to make a truly joyful noise.
You could certainly call it a "Turning point" or a "New chapter," but Detroit's JR JR have been working towards this moment since first forming in 2009. Their self-titled third full-length album, JR JR [Warner Bros. Records], represents a complete realization of the creative union between members Daniel Zott and Joshua Epstein.
"To me, this album is like the third part in a series," explains Epstein. "When we first started the band, we were trying to make pop music in the way we remembered and learned it. You can feel that on our first album, It's A Corporate World. The second, The Speed of Things, took everything a step further, but it was a little more polished and professional-sounding. JR JR has a little bit of both worlds. We've gotten better at recording, and we've grown together-and separately. It's the culmination of the series so far."
Zott puts it succinctly, "It feels like we found our voice."
Under their original moniker Dale Earnhardt Jr. Jr., the group built a rather rich history, eventually setting the stage for JR JR. From famously getting signed by a Warner Bros. A&R exec who jumped on stage at CMJ, at which point Zott remembers asking, "Who is this asshole?" to snagging their own Ice Cream flavor back in Michigan, JR JR Mint, and even being invited to practice by the Milwaukee Bucks, their indefinable and inimitable charm continually proves magnetic. Along the way, they've sold out countless shows, given TV performances on the likes of Conan, and cultivated a rabid fan base. 2014 saw them step outside the box, creating music for the hip-hop mixtape, Produce, which featured the likes of Murs, Asher Roth, Chuck Inglish, and more. It creatively galvanized them and sparked the process behind their third offering.
Kicking off this next phase, they addressed the name change in a personal statement, but one tweet perfectly summed it up, "Diddy changed his name 3 times. It's really not a big deal."
It's the impact that matters. Their influence became clearest when they launched their #5YRSOFJRJR social media campaign in 2015. JR JR encouraged their audience to share their favorite moments and memories of the group thus far. The overwhelming response reaffirmed their place in pop culture.
"We try to be a band who's thankful for that," concludes Zott. "We're celebrating what we've done, so we can begin something new. That's this album."
"We're moving towards the next series now," Epstein leaves off. "This is a beginning."
Just outside the jazz mecca of Kansas City springs liberal oasis Lawrence, Kansas—separated only by the waves of wheat from the epicenter of the electronic music revolution in Colorado. From Lawrence, it would logically follow that an act could rise to prominence fueled by the swing of Basie, the birth of Charlie Parker's bebop, and the wild frontier of electronica. Born in funk and bred in the digital age, live electronic duo The Floozies have burst onto the scene at a time when the industry needed them the most.
Brothers Matt and Mark Hill share the stage just as easily as they share a musical brain. Without a setlist, and without a word between them, Matt's guitar is in lockstep with the thud of Mark's kick. Endless looping and production builds the raw scenery upon which palm muted chugs, searing solos, and wobbling bass paint their dazzling array of colors.
Well versed in everything from Chris Cornell to Kavinsky, the sonic vision shared by the brothers eschews contemporary electronic influences in favor of broader, deeper tastes including Zapp & Roger, Lettuce, and Amon Tobin. That wide-angle view of a century of popular music allows the Hills to remix Toto and The Dead—in the music you can hear reverence for the giants of the past, all the while producing wildly futuristic tunes for the masses to dig now.
When the pendulum swung as far as it could away from live instrumentation to laptops, The Floozies rose up to the challenge, swinging as hard as they could in the other direction with neck-snapping, knee-breaking funk so dirty that the gatekeepers stood up, wiped themselves off, and took notice. A bold live show full of sonic exploration and unbreakably deep pocket grooves has landed the brothers on stage with luminaries of the jam world Umphrey's McGee as readily as electronic elites GRiZ and Big Gigantic. A nationwide tour with Archnemesis and Wick-it The Instigator cemented the duo's ascent while major festival appearances at Wakarusa, Summer Camp, Kanrocksas, and Sonic Bloom dot the horizon.
The Floozies are bringing the funk back, and they're right on time.
The sound of wind through the pines, bare feet brushing through leaves, snapping sticks like the spines of the weak. When we started we were small and strong at heart, five southern souls damned to speak the truth. But with this responsibility comes pain and loss. And as the years passed our numbers grew smaller, and there were four. This did not stop these brave soldiers of thought, keepers of truth. They were older now and their soft footsteps through the forest had grown louder and stronger. Like the dust filled hoof beats of a thousand wild horses, they layer sound like musket fire, their melodies bend and twist like train-tracks. A music shaped from the calloused hands and wrinkled faces of their fathers. They have walked through the fire wide-eyed and crazy, and came out enlightened. You cannot stop these men, your armies can't cease their hands, dampen this thunder, or silence their tongues. We have trudged through the muddy swamps to freedom.
Our shoes are tattered and torn, but our feet are dry. As for our places in history, we will run naked through your streets before we sit decorated in your halls.
Mandolin Orange makes music that WNYC describes as being "laced with bluegrass, country and folk…often wistful and contemplative without being somber, and always firmly grounded
in the South." The duo, comprised of Andrew Marlin and Emily Frantz, have just announced the May 5 release of Such Jubilee, their second studio album for Yep Roc Records.
The group's 2013 debut for Yep Roc, This Side of Jordan, was released to critical acclaim which included coverage from American Songwriter, Magnet and a coveted year-end spot on NPR's list of Top 10 Folk & Americana Releases. In 2014 the duo played sold-out shows across the country alongside many festivals, including Merlefest, Newport Folk Festival and Pickathon.
"I Prefer To Create Friction," Post-Country Chanteuse Aubrie Sellers Offers. "Because If You're Not Pushing Buttons, You're Just Making Something Pleasant, It's Probably Been Done Before... And It's Not Making Anyone Feel Anything."
In This World Of Pretty Little Girls Who Are Seen And Not Heard And Reality Stars Who Are Famous For Nothing, The 24 Year Old Songwriter Ain't Buying In. Laughing, She Continues, "I'd Rather My Music Be Polarizing Than Everyone Like It, Because They Rarely Do. I Think Passion Is A Lot Deeper Than That. I Want To Go Deeper, And Be Honest That Life Isn't Just Some Party And Going Out. I Mean, Don't People Feel Anything?"
Not That New City Blues Is Some Kind Of Morbid, Maudlin Affair. From The Cutlery In The Blender Indictment Of Surface Beauty "Paper Doll" To The Lone Star Drive Of "Just To Be With You" And The Tumbledown Melody Of "Sit Here And Cry," This Is A High Energy Box Cutter Of Emotion: 14 Songs Marked By The Bite And Punch Of Smart Girls Who Know There's More To Life Than A Cold Beer And Cut-Offs.
"I Tell People There's Not A Lot Of Happy Songs," The Texas/Nashville Hybrid Cautions. "But They're Not Unhappy Songs, Either. It's Life... The Way It Is, And What's Wrong With That?"
There's A Definite Viscerality To New City Blues. From The Yearning Title Track To The Slow-Building "Loveless Rolling Stone," The Sense Of Displacement Marking So Many Young People Uncertain About The Future Tempers The Pools Of Guitar Lines, The Way Her Voice Has Just The Slightest Ache When She Finds A Note's Center.
"My Influences Are All Over The Place: The Kinks, Screaming Jay Hawkins, Buddy And Julie Miller, Creedence, Even Ricky Skaggs. Patty Griffin, Neil Young And Bob Dylan, Some Acoustic Things. Led Zeppelin Is My Biggest Rock Influence – And That Goes Right Straight, For Me, To Ralph Stanley. That Raw Bluegrass, The Banjo, That's The Same Energy And Intensity You Get In Punk.
It's All Music That's Driven, That's Haunted, That Cuts And Moves."
To Try To Put A Label On Sellers' Sound Is Tricky. If There's A Slight Drawl When She Sings, It's Where She Comes From. But The Sound – "I Love Trashy Drums And Telecaster Guitars, But Then That Dreamy Atmospheric Daniel Lanois Kind Of Effect" – Has An Immediacy And An Urgency, As Well As A Porous Jagged Edge That Could Only Be Described As "Garage Country."
"It's So Much More Like More Garage Rock, That Raw Raging Stuff. It's Ryan Adams And Dwight Yoakam, Who Are Merciless And Just Keep Coming – Even When They're Quiet. So That Fits... In A Weird Way. It's Better Than Anything Else I Can Call It."
And Never Underestimate How Important Melody Is To The Woman Raised On The Road With Her Mother Critically Acclaimed Progressive Traditionalist Lee Ann Womack. "The Kinds Of Melodies I'm Drawn To I Don't See Coming From Anywhere Else. The Feeling Under A Song Comes From The Notes And How They Move From One To Another; That's The Real Essence Of A Song. That's Why I Like A Lot Of Bluegrass And Robert Johnson, The Melody Tells You As Much As The Words Do."
"Let's get together and make a damn mess." That's how Bill Reynolds describes being asked to work with Bassh, the new project started by Jimmy Brown and CJ Hardee of Matrimony. The Nashville-based team have created an unexpected, brooding new sound and indulge now in their debut video 'Body'
Bassh recorded 'Body' and their forthcoming album in Reynolds' Fleetwood Shack studio in Nashville, and they recorded it quickly. They did not consult outside sources as they recorded; they recorded the songs as they wanted to hear them.
"When we were recording" says Reynolds, who is also a member of Band of Horses as well as being a GRAMMY-nominated producer for artists including the Avett Brothers, Lissie, BoH and more. "we just kept pushing until we were laughing or someone in the room hated it. We didn't think we were getting anywhere unless at least one person was feeling uncomfortable."
Call it fate, call it karma, call it supreme chance. Tyler and Kyle Davis are brothers born on the same date two years apart; and since they could build tree houses and race BMX in their Indiana hometown, the duo have been a spectral musical unit radiating energy and prolificacy.
This magic thread, strung between them since birth, allows them to unleash overwhelming volleys of sonic power and control them with spine-tingling precision. Embracing the hip-shake and the head-bang, picking and choosing from punk, psych, garage, world music and rock n' roll, Tyler and Kyle have used the intervening years to add dimensions and secrets to their tunes. Years of triumphant two-piece rock had proven that they are well capable of astonishing fullness on their own, but there was more to be explored. Working with a rotating cast of Nashville's best instrumentalists, the duo continue to take their songs to new depths of arrangement and dynamic, without a shred of pretense or hesitation.
Tyler delivers searing guitar structures with meticulous detail. Kyle's drumming boasts a seemingly limitless physical display, underpinned by prodigious accuracy. Bassist Jota Ese crafts grooves sufficient to render anyone's inhibitions powerless, and Ric plays the rhythmic field with tumbling, tasty organ currents. Already comprising a hefty discography, Chrome Pony's one EP and one full length release (Illegal Smiles and Lazy Bones) reveal an evolution that gives way to more complexity and arrangement in 2014's "You are the Pisces" EP. Further maturity is set to be released in the form of one or more records slated for 2015.
Whether dedicating a song to their grandmother's organ, engaging in vicarious death-baiting in tales of rural biker gangs, or longing to shut out the demands of the world with one forever lover, the two are charging the curves of the life-coaster with a high flying optimism only a pair of wild Midwestern brothers can show.
Blind Corn Liquor Pickers
Fill your jug up with homebrew. Take it round back of the barn. Pass it until one of you slip off or disappear. If you can't figure out who it is that got up and left, then you know you have the good stuff.
These are the principles by which the Blind Corn Liquor Pickers pick corn liquor.
As for music, they have no principles at all. Its just whatever feels right. Bluegrass takes the biggest hit; but folk, swing, progressive rock, funk, and jazz all have their boundaries violated. The result is bluegrass that rocks, grooves, surprises & offends.
Appalachian Trail, their 3rd CD full-length CD, finds the band in an entirely new territory. Gone is the Elvis-inspired rockabilly vocal and slap bass that colored their first two albums. In its place is an entirely new sound. Beth Walker, the new lead vocalist, rocks and wails through psychedia and blues with a raw power reminiscent of the great folk-rock artists of the 60's – like a mountain version of Janis Joplin . The vehicle is still bluegrass, somehow, but the trim is an American music mosaic, taking in irish flourishes, blues inflections, jazz exploration, country storytelling, and rock and roll attitude.
Small Batch is Tree Jackson,Reva Williams, Warren Byrom and Scott Wilmoth. They play honest songs about honest living. Come see their special blend of Americana, Country, and Bluegrass.
Johnny Conqueroo is a highly kinetic blues-rock trio from Lexington, KY. After releasing their first EP in 2015, the band drew the attention not only of local and regional audiences (selling out venue after venue), but also industry professionals. Currently partnering up with veteran producer Tom Zutaut (Guns N Roses, Motley Crue, Tesla, etc) and engineer David Barrick (Kentucky Headhunters, Black Stone Cherry, Vince Gill), a new record is in the works. Momentum has only continued to soar with their fanbase outgrowing venues and the reach of social media inspriring booking requests in new markets.
While 2016 is looking to be a watershed year for these dudes, it is important to look at the grassroots support and organic exposure from 2015, which pushed their EP towards the top of the regional charts in both air-play (WRFL College Radio) and record sales (Independently owned "CD-Central"), leading to a popular "WRFL-Live" performance on Thanksgiving eve. As word spread, and EPs changed hands, eventually even R & R Hall of Famer Billy Gibbon's took notice
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Masterson Station Park
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