Mother Merey & the Black Dirt

A dust colored, rickety and road-worn minivan pulls up in the lane next to you. You don't really think twice until a sharp rev of the engine erupts in a cloud of smoke and rust that slowly rises from the battered windstar. The lights are on, windows tinted. The light turns green and the next thing you know the minivan is burning rubber on its way to sixty in five seconds flat, throwing rocks from the road and leaving two dark plumes of burnt rubber in its wake. Where is it going? Its headed Down To The River where you'll find:

Mother Merey Kimbrough(washboard/vocals)
Eric Witthans (dobro/vocals)
Kevin Allen (harp/vocals)

Blending a mix of folk and country blues. Mother Merey and the Black Dirt are currently playin around town and working on getting their debut album out (due April 2013).

Whiskey Shivers

Hatched in the twilight months of ought nine, these five young men came from all corners of the US looking to do one thing: knock the dust off roots music. A freewheelin', trashgrassin', folk tornado, the Whiskey Shivers take traditional instrumentation, soak it in gasoline and send it into outer space. Breakneck speeds, killer grooves and impeccable musicianship: it's enough to make Bill Monroe himself do a double-take as he spins in his grave.With upright bass, fiddle, washboard, banjo, guitar, and reasonably priced merchandise, Whiskey Shivers
adds a fine layer of grit on top of the hard-driving rhythms of traditional bluegrass. They've been called everything from "trashgrass" to "hardcore roots" to "crazy-assed redneck music" — whatever the words, the meaning is the same: Whiskey Shivers brings the house down.


As legend has it (depending on whom you ask, or whoever is telling the story), Austin quintet Whiskey Shivers formed around 2009. Some say they were hatched in a woodpile. Others say they tumbled out of one-a them rancid whiskey bottles and frightened the locals. But mostly, it was a talented bunch of musicians who figured they’d make great music together. - Laurie Gallardo - KUT Austin

...bopping, hillbilly songs about the Mario Brothers? Who are these guys?! - Drew Edwards - Rockabilly Online

“Awwwwyeaaahhhhahahaa!!” If you could package Whiskey Shivers into one common sound, that’d be it. - Luke Border - Austin Music Weekly

Whiskey Shivers gives a great music performance (with an oddly hypnotizing video) - William Goldman - CBS News

This is crazy-assed Redneck music with a twisted music video that turns dark as the deepest night right at the end... FHM Magazine

This is what you could refer to as hardcore roots – traditional country with a bit of Appalachian mountain music executed on punk rock jet fuel. - Laurie Gallardo - KUT Austin, 90.5 FM

You may have never heard of Whiskey Shivers, but as of today, you're never going to hear the end of them. -

Whiskey Shivers would've been an ideal replacement for Old Crow Medicine Show at the 2011 Austin City Limits Music Festival. - Austin Powell - Austin Chronicle

The band’s ultra country singing and bango [sic] playing is actually really good; however the music video, in lack for better words, freaks me out! -

Old Gray Mule

How do you break bar sales records in Australia, a country so married to their liquor habit that citizens have been known to partake in a little tipple during the workday *with* their bosses? You give patrons what Old Gray Mule’s got: juke blues boogie backed up with a ton of joy.
It was the blues that led Austin, Texas, native C.R. Humprhey to pick up his guitar again after a short break that turned into a 13-year hiatus. Inspired by the raw, rural end of the spectrum, with an emphasis on the music coming out of the north Mississippi hill country for the past 60 years – from R.L. Burnside, Junior Kimbrough, T-Model Ford and Paul “Wine” Jones on up to Cedric Burnside and Lightnin’ Malcolm – Humphrey dedicated himself to learning this simple-sounding, not-the-same-old-twelve-bar-blues style that was bringing him so much pleasure. And it’s a good thing he had that dedication since this pared down style was not as simple as it seemed. But after hardcore immersion and practice, Humphrey did get a handle on it, and under the handle Old Gray Mule, he began writing, recording, and playing out.
And as Old Gray Mule continued to play – Humphrey honing his craft while playing or recording with the likes of Jimmy “Duck” Holmes, T-Model Ford, Cedric Burnside, Kenny Brown, Lightnin Malcolm, Kinney Kimbrough, David Kimbrough Jr, and Hosea Hargrove – crowds gathered, responding not only to the skilled playing, but also the great joy with which OGM shows are imbued. People didn’t just watch; encouraged by the fun and friendly air of an OGM show, they danced, women got up on stage, and of course, contributed to the atmosphere. Expanding on the aforementioned Australian bar sales records, Humphrey talks about how patrons packed the clubs like sardines in a can, how OGM played a wake where the widow danced and the mourners showered roses on the band (actual roses – there is pictorial proof), and of a memorable album launch show in Adelaide when “we had a fat Elvis doing karate on stage with us, the usual girls getting down, a guy making mad love to a PA column after giving a minute or so of oral first, a guy making beer angels on the floor at the back, and on and on and on.”
Now with the release of the fourth album “Like a Apple on a Tree”, Old Gray Mule is ready to bring the sweaty, deep-grooving, hard-grinding joy to the people again. “Like a Apple on a Tree” is a package full of the heart, humor, and happiness with which Humphrey seems to conduct his whole life. As the music blog Now This Sound Is Brave put it, “Throughout the ten tracks, mostly originals, of Like a Apple on a Tree, Humphrey plays that good heart out with guitar work that is so immaculate and sharp, you could cut up your next meal with it. Though let me be clear: it is immaculate and sharp, but by no means clinical. Humphrey has sat at the knee of the best the Mississippi hill country has to offer (and when you’re talking blues, that’s pretty damn good) so these songs are made to play in stripped down, humid, dimly-lit jukes. [...] Like A Apple On A Tree is going to make you feel something, whether its joy, the blues, the desire to strip down with a willing partner or just the need to shimmy your hips way, way down.”

Holiday Mountain

“They’ve come from a distant plane to make us dance like we’re insane.”
-Raw Paw

“Unconventional in all the right ways, Become Who You Are shows Holiday Mountain are ready for the big time and marks them as a band to watch.”
-Performer Magazine

Holiday Mountain is a three-piece psych-dub-pop workout operating out of Austin, TX. Formed in Boston in 2010 as a compliment to the songs of Laura Patiño, Holiday Mountain has been through several incarnations before settling into it’s current trio configuration. Since moving to Austin in 2012 they are hard at work making a home for themselves in the city’s diverse musical community while building upon their tradition of fan interaction and their reputation as a formidable dance act.

In early 2012 they released their debut LP Become Who You Are with guitarist Mike Simonelli. The ten track album showcases the band’s musical range and creative ambitions through it’s monstrous dub grooves, psychedelic space journeying, pounding surf-reggae, electro western disco, 1960s island grooves, tight jungle breaks, flourishes of electronics and hip hop backbeats.

Most recently Holiday Mountain performed before a packed crowd of more than 1500 fans and spectators for their headlining show at Boston’s Institute of Contemporary Art. Other highlights include a rave review of their album in Performer Magazine, a spot as the weekly feature on, and press coverage from both The Boston Globe and CBS Boston.

Now hard at work on fresh material for their next album, Holiday Mountain promises new excursions into the land of electro-pop, chugging organ blues, psychedelic latin grooves, hyper-obese dub reggae, hip hop breaks, and a deeper look into their already established sound.

$5.00 - $7.00

Tickets Available at the Door

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