LONE STAR JAM 2017 - SATURDAY

LONE STAR JAM 2017

Lone Star Jam, in its 10th year, is the largest Texas Country Music Festival in Central Texas. The event spans 2 days and features 20 of the best Red Dirt and Texas Country Bands.

The Front Row VIP Experience includes:

Private Viewing Area Directly In Front Of Each Stage
Access To VIP Tent
Restrooms Located In VIP Tent
Lone Star Jam T-Shirt
Lone Star Jam Koozie
Exclusive Artist Meet And Greets

PRIVATE BAR WITH:

Free Water
Free Sodas

VIP Tent Will Include Tables & Chairs

Aaron Watson

It's no secret that Texas has always had its own kind of music and its own kind of music business to go along with it. But even by the wide-open standards of the Lone Star State, the ongoing career and success of Aaron Watson are something else. With an uncanny knack for mixing great songs and unforgettable performances with good, old-fashioned business savvy, Watson has grown – night-by-night, fan-by-fan, album-by-album, one honky-tonk stage at a time – into an unstoppable force in Texas Music with his sights firmly set on the national stage.

With the October 12th release of The Road & The Rodeo – his tenth under his own independent banner, Big Label Records – the Abilene-based artist steps up to the plate and knocks it out of the park with a career-defining collection of 15 pure-country songs that celebrate his musical journey over the past 10 year. To Watson, the album represents a creative career high. To everyone within hearing distance, The Road & The Rodeo represents the freshest musical breeze to blow out of Texas in a long, long time.

"My biggest fear when I record an album is that it's the same all the way through," Watson says. "It's very important for me to throw in some curve balls and some sliders. Pitchers love to throw the fastball, but you've got to throw in some changeups once in a while for those fastballs to be effective."

You'll have to forgive the baseball allusions. Growing up in Amarillo, long before he'd ever picked up a guitar or written a song, the national pastime was the focus of young Watson's life.

"If you had asked me back then what I was going to be, I would have said, 'Short stop for the Houston Astros,'" he laughs. "Then I woke up one day and realized I was the most incredibly average player on the face of God's green earth. But I got a long way on work ethic and fundamentals. Baseball is so much like life."

While father and son bonded on the baseball diamond, his Dad's record collection – where artists like Willie Nelson, Merle Haggard and Waylon Jennings shared space with the Beach Boys and the Beatles – provided a constant soundtrack to Watson's life.

"My dad has an incredible record collection, and I got a lot of different flavors," Watson says. "I guess you can say that he brainwashed me. He surely had a heavy influence on the kind of music I was listening to, but when we were at church on Sunday morning it was Mom always encouraging me to get out the songbook and sing."

Watson didn't heed his mom's advice until college, when an injury ended his baseball dreams. Actually, the seeds of his future life had been planted a couple of years earlier when, through a friend, Watson scored front-of-the-house seats for one of Garth Brooks' legendary sold out shows at Texas Stadium.

"Those four nights in Irving were the shows where Garth solidified that he was the man," Watson says. "That was a heck of a show for me to see right off the bat. In fact, the guy who promoted those shows, Glen Smith, is promoting shows for me now."

That event, and a subsequent Clay Walker concert, had a profound effect on the former ballplayer. These days, onstage and in the studio, Watson deftly combines Walker's easy way with a song with Brooks' live intensity (not to mention his business acumen).

Attending Abilene Christian University, Watson enrolled in a beginner guitar class. His teacher, Dan Mitchell, would have a major influence on the young singer/songwriter and was the first of many mentors to "appear" in Watson's life.

"I walk into this classroom and it's just me and this old man," Watson recalls. "If there ever was a guitar player who could play like Chet Atkins, it's Dan Mitchell. We just bonded and became good friends. All the students love him at ACU, and I give him a lot of credit."

Armed with the fundamentals, Watson was experimenting with songwriting when another teacher appeared, this time at a local coffee shop.

"I'm sitting there and this guy walks in with these blue ostrich boots on, and it was Larry Gatlin," Watson says. "Meeting him was a big moment that got me going in the right direction."

The outgoing Watson struck up a conversation with the country star and was offered backstage passes for Gatlin's performance that night. After the show, the pair discussed songwriting and struck up a friendship.

"He would talk about being descriptive and painting a picture in somebody's mind in two and a half minutes," Watson says. "I listened to everything he said and it really made a big difference. Some people believe in coincidence, but when you look at all the doors that have opened for me, this is not a coincidence."

Watson put his first band together and was playing gigs on campus and around the region when he came to the attention of Dr. Neal Lowry, a local physician and part-time songwriter. Lowry became Watson's co-writer and an important force in the singer's growing career, financing his debut release, helping to keep his show on the road, and even assisting in the birth of Watson's two sons.

With two albums and a few years of hard touring under his belt, Watson released his third album, Shut Up & Dance. After a slow start, the third single from the album, "Off the Record," took off at Texas radio. Watson and band soon moved from cramped van to roomy tour bus and started playing for sellout crowds all over the southwest. For his next release, 2004's The Honky Tonk Kid, Watson hooked up with veteran producer and Asleep at the Wheel leader Ray Benson. That album spawned another hit single, "Reckless," and Watson followed up quickly with the 2005 concert recording, Live at the Texas Hall of Fame. His next release, San Angelo, also produced by Benson, debuted at No. 60 on the Billboard chart and continued Watson's career momentum and impressive album sales.

"In the beginning we were worked hard to try to land that big record deal," Watson says. "Now I'm selling enough records and tickets that it would have to be one heck of a deal for me to even take a look at it. I'm a businessman and a family man, and I'd much rather have money over fame. I figure that if we keep doing it my way, working hard, taking care of our fans and treating them like friends and family, that the fame will come along. Instead of taking an elevator that shoots straight to the top, we're taking the stairs."

While the record business desperately tries to fix its own elevator, you'll find Aaron Watson out there somewhere between the road and a rodeo – with an expanded touring schedule that includes stops in Nebraska, Kansas, Colorado, Arizona, Missouri, Nevada, California, Illinois, Oklahoma and New Mexico – doing what he does best, playing timeless country music, selling thousands of records and truckloads of merchandise, and shaking the hands of those friends and fans night after night.

"The good Lord's really blessed me," he says. "From my management to my booking to the 10 phenomenal guys I've got out on the road, it's crazy how the pieces have just fallen together. It's been a neat experience."

It's impossible to know your limits without testing them.

It's a truth that Pat Green has employed in his career, one that has propelled him to repeatedly refashion his sound, his approach and his own perception of who he is.

He's simultaneously a Grammy-nominated hit maker with an outsider reputation, a Texas inspiration and a mainstream country artist who can rock arena and stadium stages with the likes of Keith Urban and Kenny Chesney.

Each of those roles has its own place. But each of them is too small to define Pat Green, who after 15 years in the recording business has earned the right to be everything Pat Green can be. Without limitations.

"I'd much rather be me and comfortable in my own skin than trying to be five different guys to get to the top," he says.

In fact, after building a reputation as an ace songwriter of his own material, Green is fighting even that limitation with Songs We Wish We'd Written II, a sequel to a 2001 album he recorded with longtime friend—and fellow Texan—Cory Morrow.

Stocked with music penned by the likes of Lyle Lovett, Tom Petty, Shelby Lynne and Jon Randall, the disc—Green's first for the acclaimed Sugar Hill label—mixes country, rock and blues in a manner that defies categorization. Petty's "Even The Losers" and Collective Soul's

"The World I Know" will be familiar to just about anyone who gives the album a listen. Others, such as Aaron Lee Tasjan's quirky "Streets Of Galilee" and Todd Snider's burning "I Am Too," are introductions from the underground to a large majority of music fans.

Songs We Wish We'd Written II is an expansive step in Green's ongoing development. By piecing together songs from a variety of writers, he was able to assemble an album that reflects the multiple genres that influence him as an artist. The source of the songs wasn't as important as the quality of the music and its ability to connect with Green's maturing sense of his craft.

Green's life and career have already been filled with rich experiences. He's co-written songs with Willie Nelson, Brad Paisley, Jewel and Rob Thomas.

Appeared on such national TV shows as Austin City Limits, Jimmy Kimmel Live! and The Late Show With David Letterman. Been hailed by Billboard, USA Today, Esquire, People and Country Weekly. Toured with the likes of Kenny Chesney, Keith Urban and the Dave Matthews Band.

Stoney LaRue

"I like to connect with people at any age, whatever it might be sonically or to the depth of what they are willing to think. I like to think, and I like people to think and that often generates a connection that can be nurtured," says Stoney LaRue. As he prepares the release of Us Time, LaRue reflects on this important connection he has fostered with his fans over his 15-plus years of touring. Together, LaRue and his fans have culled together a "favorite live song set" that is dedicated to his loyal and growing fan base. LaRue is known for his real life, thinking man's music.

US TIME is a collection of songs from the native Texan who now resides in Oklahoma reflecting on his own dreams that openly shares with his longtime fans. "This project is a tribute to my fans. We have developed a strong relationship and I appreciate all of them," says LaRue. " Together, we have built a compilation of fan favorites from the live shows that reflect the complexion of our time together in music, it is simply our US Time, " he continues. This sentiment rings even louderafter LaRue took a hiatus from touring this summer to re-center his life that seemed to be lost.

LaRue says, "Being able to record such timeless songs as "Empty Glass," "Into the Mystic" and "Wichita Lineman" aside some of original tunes, all selected by my fans make me feel validated as an artist and hopefully it gives the fans exactly what they are looking for."

Being able to connect with fans the way we can today is mind blowing to LaRue. When this journey started over 15 years ago, communication was restricted mainly to the stage, written letters and before show meet and greets. Today's instant social media connection is what helped generate this collection of songs. "I just kept a list of songs that fans would either request via Twitter and Facebook or yell to me on stage," says LaRue. "Us Time is a very collaborative effort with them. Also, having RS Fields as the producer on this project was a good call. This is our first time working together and he totally nailed the production and we totally were in sync on how it should sound. I am very happy with the end result, it feels live and it feels real, and that is what music is all about," he continued.

Independently charged, LaRue has sold over 300,000 records over his career and plays 200-plus shows a year. His songs have seen the top of the charts, most recently his hit "Golden Shackles" from his eOne Music debut, Aviator, in 2014.

COTTON FEST with William Clark Green

With two critically esteemed album releases already under his belt, William Clark Green is back and this time it is getting personal. Give Green a pen and paper and he is a lyrical force to be reckoned with. On his critically acclaimed third release, Rose Queen, he puts it all on the line and makes absolutely no apologies.
"Songwriting is reality. People are scared to put reality on paper, but this is 10 times more reality than my past work," he explains bluntly. The past few years have been consumed with Green touring heavily in the booming Texas scene and
persistently writing a plethora of songs that are pulled from true to life experiences. Green has adamantly pushed his boundaries as a writer revealing, "Songwriting is exactly what is in your heart, in my opinion, it is not about writing a hit. It is about revealing your heart and your feelings on the paper."
The music on Rose Queen ranges from the familiar Cajun flare he is known for on "Let's Go" to the highly reflective and introspective "Welcome to the Family." In the candidly honest lead single, "It's About Time," Will tackles the harsh reality
that a significant relationship must end. He explains, "I think the new record will connect with a certain demographic of people who have been effected by something in their lives and therefore can identify with my stories."

Not only has Green raised the bar with his seasoned writing and musicianship, he also enlisted a team of powerhouses to mold his full package of artistry. Music industry veteran Rachel Loy was recruited to undertake producing the new
record. Green declares, "I was sold on her in just 30 minutes. She installs confidence and challenges me to be better." Also, in the last year he signed with new management, 415 Entertainment, as well as landed a booking deal with Nashville's Paradigm Agency. For the first time, Green embraced the nature of co-writing and included 4 tracks of co-writes on the new album. William Clark Green is definitely no stranger to the music scene; he knew at the ripe age of 13 that he would embrace his passion and work vigorously in order to make a name for himself. As a 7th grader with substantial ambition, he began receiving guitar lessons and spending free time with his cousin writing music and bouncing ideas off of one another. Green draws inspiration from his personal musical hero Willis Allan Ramsey, as well as his father who Green has fond memories of with a guitar in hand.

While attending college at Texas Tech University, Green played for a live audience whenever he could and steadily gained notoriety on the Texas music scene. He credits the Blue Light in Lubbock as his unofficial home, where he
spent many nights honing on his craft and gaining a loyal army of followers.

Rose Queen has already marked a number of milestones for the young storyteller. The debut single, "It's About Time", was welcomed at radio with open arms and earned William's first Top Ten song on Texas Radio. The momentum did not stop there as his follow up single, "She Likes The Beatles," recently scored the #1 position on both the Texas Music Chart (TMC) and the Texas Regional Radio Report (TRRR) in seemingly the blink of an eye. At this rate, the sky is the limit
as everyone waits to see what William Clark Green has up his sleeve next. The full album released on April 30, 2013. For more information on William Clark Green, visit: www.williamclarkgreen.com

Cory Morrow

Redemption through music is something Cory Morrow knows well after surviving nearly two decades in the rough and tumble music business. Battles with personal and professional demons inform Morrow's music in a manner that many performers don't have the experience to draw from. His wide ranging life experiences allow him to be a consummate singer/songwriter. He has the ability to write a tale about heartbreak as effortlessly as he can pen one about a carefree goodtime. That truth and authenticity is balanced by his infectious optimism and excitable personality.

A native of Houston, Morrow began playing guitar at a young age, but did not get serious about his music until attending college in Lubbock. Here, he was inspired by Texas songwriting greats like Robert Earl Keen and Townes Van Zandt. Spurred by this musical inspiration and a youthful vigor, Morrow moved to Austin in the early 90's to build his own career. Amidst a sea of night clubs featuring line dancing and Nashville hat acts dominating radio playlists, Morrow set about creating personal music that harkened back to the heyday of Willie Nelson's progressive country movement in the 70's.



Through several years of breakneck touring that featured Morrow's special brand of emotional and energetic live performances, he began to develop a large grassroots following. Coupled with the release of several successful independent albums and Morrow was really beginning to make a name for himself around Texas. By 1999, the music he was making with peers like Pat Green and Owen Temple was becoming a booming cottage industry and gaining nationwide notice. An acclaimed double album and a duets record with Green cemented Morrow's place in Lone Star lore.



Yet, he was not satisfied. The intensity that was found in his hallowed live performances was spilling over into his personal life. The depths he reached while reclaiming his life made him a more well-rounded artist. Over the next several years, Morrow grew his sound by working and writing with dizzying array of successful songwriters and producers.



Now, an elder statesman of the Texas scene he helped create, his latest album Brand New Me showcases an artist in complete control and making some of the best music of his storied career. Music started Morrow's journey and music has reinvigorated him. Behind these new songs and surrounded by a band of touring musicians among the best to be found anywhere, Morrow shows no signs of giving up his throne as one of the best Texas has to offer.

Cody Canada & The Departed

The studio environment for a working musician is equal parts laboratory, man cave, and holy place. On a steamy day in Austin, Texas at Yellow Dog Studios, there was a reverent hush that made it feel like a sacred service was underway. When the studio door opened, a song tumbled out. "Better get right, before the Lord gets ready," a Gospel-drenched refrain; deliberate and soulful stuff. Through the glass, The Departed was playing live, facing each other in a circle, with Steve Littleton on Hammond B3 in a separate room, and Seth James singing with a world weary voice in the booth.

The guys came back into master control to listen to the track with co-producer Adam Odor. They all were looking down at their respective electronic devices while the music was on. Adam whispered that Cody Canada and The Departed were making a straight up rock record this time around, tapping into the eternal emotions and sonics that have informed the great American musical styles from the start. That album is called Adventūs, the Latin word for arrival.

The Adventūs album is fourteen tracks deep. The band members, Cody Canada, Seth James, Jeremy Plato, Steve Littleton, and new drummer Chris Doege, have never had the luxury before of starting the recording process with so many songs. They have worked collaboratively, bringing thoughts, phrases, verses and riffs together. This project, in fact this band, is a testament to the creative process. It is about playing what you want with whom you want, carving out a road family fueled by mutual appreciation for each other's talent as well as the camaraderie.

Adam Odor put the process in perspective, "The Departed had the last year and a half to lock in, to find out who they are and what they are together. That's the way they did it in the old days, when a band would get signed to a label. The A&R guy (Artist and Repertoire) would let them tour for a year or so, before he took them in the studio to record. That is what is happening with The Departed. These guys are all so good, the musicianship and the songs, and that is a rare thing when you have them both." Cody explained further, "For this album, we were ready to roll. When we started practicing there was the feeling that we are honored to be doing this together. Doing other people's songs for the first album, This Is Indian Land, gave us time to let the new stuff percolate. There are some really intricate songs, and so far, we have only played a couple of them out in public."

Cody Canada was 16 years old when he arrived in Stillwater, Oklahoma. He found a creative nirvana of musicians who planted seeds that would stay with him for the rest of his life. Cody recalls, "I met Tom Skinner, Scott Evans, Bob Childers, Jimmy LaFave, Mike McClure, the Red Dirt Rangers and they were all playing this really, really good music. It was kind of in that same vibe as the Allman Brothers and The Band. But what came out of it was really diverse. There were more country acts like Jason Boland. The All American Rejects were the rock guys. Then you had the whole Red Dirt hippie thing…I didn't even know what Red Dirt was until somebody told me. I got turned on to it all and it's stayed with me ever since."

Canada was front man for Cross Canadian Ragweed for fifteen years, where he tapped into those influences for their nine albums, four of which charted on Billboard's Top 10 Country Albums Chart. They sold over a million albums and played to sell-out crowds, bringing the term "Red Dirt" to the nation. When Cross Canadian Ragweed decided to part ways, Cody resurfaced with a mission in mind, to pay homage to the Red Dirt writers and music that were formative. The Departed's first priority was getting into the studio and cutting the Oklahoma tribute album that Cody had wanted to do for years. This is Indian Land came out last year, a 15-track "buffet of really kick-ass Okie songs," Canada noted.

And so a seamless transition was made, Cody Canada and his long time Ragweed band mate, Jeremy Plato on bass and vocals; along with Seth James on guitar and vocals (Seth James Band, Ray Wylie Hubbard), Steve Littleton on B3 organ and keys (Live Oak Decline, Stoney LaRue & the Arsenals, Medicine Show) and Chris Doege on drums (Seth James Band, Nashville touring acts). The band members have known each other for years, and they know each other's musicianship. They are excited to be playing together, stoked about the new beginning that their first studio album of original material provides.

Cody Canada & The Departed continues to hit the road hard. As excited as they are about their gigs, they are taking it all very seriously. Canada continues, "Now it's a new band playing new songs so we've got to learn everything, get our game together and practice. It's a whole lot of fun. I can't sleep at night. It keeps me awake, not from worry but from excitement. We're just ready to tear it up."

Cody Canada, Jeremy Plato, Seth James, Steve Littleton, and Chris Doege embrace the future with Adventūs. The music rocks, shimmers, simmers; amplified by the heat of the Texas sun. Adventūs signals the arrival of The Departed.

Parker McCollum

At just 22 years old, Parker McCollum is already earning comparisons to critically acclaimed artists like Ryan Bingham and John Mayer. However, the young singer-songwriter has also worked tirelessly to establish his own name, a fact that is evident on his striking full-length debut album, The Limestone Kid, which will be released on Feb. 24, 2015. The 11-song record (featuring nine originals written by Parker — a writer mature beyond his age — and a guest appearance from steel guitar legend Lloyd Maines) covers an impressive amount of musical ground, from the driving roots rock of "Lucy" to the introspective heartbreak of the album's first single, "Meet You in the Middle." A rising star on the regional music scene, McCollum and his stellar band plan to take their energetic show on tour this year to celebrate the release of The Limestone Kid. For show updates and more: parkermccollum.com

Curtis Grimes

In four short years, Curtis Grimes has been a star college baseball pitcher, chased his dream of being a singer / songwriter, played hundreds of concerts all over Texas and the southwestern United States, and performed in front of millions on television.

After a break up with his then fiance, he started playing guitar and developed an interest in songwriting, teaching himself how to play on a used guitar that he purchased at a pawn shop. Grimes then headed down I35 with plans of finishing his degree at Texas State University in San Marcos. While there he fell under the influence of the Texas Country music scene. With legendary venues so close, he was able to follow the Texas Country artists he looked up to. After playing for friends and relatives at gatherings and parties, Grimes was hooked by the entertainment bug. He started playing acoustic shows at a couple of small venues, bars, and fraternity parties. Things definitely picked up for after he won the Austin leg of Kenny Chesney's The Next Big Star contest, getting the opportunity to open for Chesney at the Frank Erwin Center during his Poets and Pirates tour.

Koe Wetzel

Koe Wetzel and a group of East Texas boys came together in 2011. By 2015 they had an instant hit album, Out on Parole. This album created something fans could tap their boots to or reminisce about their small hometown that never seems to change. The fiddle licks and guitar riffs combined with Wetzel's smooth, energetic vocals bring a new sound to "Texas Rock 'n' Roll." Koe Wetzel plans to release their new album Noise Complaint on August 18th. For more information check out their social media accounts.

Koe Wetzel- Vocals / Acoustic Guitar
Andres Rocha- Drums
Mason Morris- Bass / Harmony Vocal
Michael Odis Parrish- Lead Guitar.

Randall King

$40.00

Tickets

For more information on Lone Star Jam 2017, please visit www.lonestarjam.com.

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