WARMFEST - SUN SEPT 1 - SINGLE DAY TICKETS, Big Head Todd and the Monsters
JJ Grey & Mofro, Red Wanting Blue, Leagues, Chuck Love, Jennie Devoe, Hero Jr., Lily & Madeleine, JJ Flores, Whiskey Bent Valley, JD Wilkes & The Dirt Daubers, Chuck Daniels, Burlesque Bingo Bango, Machines Are People Too, Bailiff, The Kingston Springs, Vess Ruhtenberg w/ Kate Franzman (of United States Three), T.V. Mike & The Scarecrowes, Max Allen Band, The Easthills, DJ Steady B, J. Lettow, Nicolas Rage, Cory Williams, Cari Ray & The Loaners, Brett Wiscons, Know No Stranger, Original Gravity
1550 Broad Ripple Avenue
Indianapolis, IN, 46220
Doors 10:00 AM / Show 11:00 AM (event ends at 10:00 PM)
This event is all ages
Watch & Listen
WARMFEST - SUN SEPT 1 - SINGLE DAY TICKETS
Big Head Todd and the Monsters
Founded in Colorado in 1986, Big Head Todd and the Monsters (BHTM) catapulted out of the mountain states and into the national spotlight. With chart-topping singles and engaging live shows, BHTM has sold over three million albums and packed major venues worldwide, including selling out their home state's historic Red Rocks Amphitheatre seven times, most recently in 2012. Most importantly, they've done it the old-fashioned way: with excellent songwriting, scorching guitar and fearless genre melding. The band's last release was 2011's "100 Years Of Robert Johnson." Joined by special guests including B.B. King, Charlie Musselwhite, Hubert Sumlin, David "Honeyboy" Edwards and more, BHTM paid tribute to the blues legend both in the studio and on the road. The band recently recorded a new studio album in Chicago, set for release in 2013, with producer Steve Jordan (Bob Dylan, Cat Stevens) and engineer Niko Bolas (Neil Young, Warren Zevon). On 2012's "Last Summer on Earth Tour," BHTM played some of the nation's biggest arenas alongside Barenaked Ladies and Blues Traveler. In August, the band presented its inaugural Ride Festival in Telluride, CO. The lineup included Ben Harper, Lucinda Williams and The Lumineers, among others. BHTM is gearing up to give their fans exactly what they want in 2013: a headline tour with cross-country stops at intimate theaters, and two full sets every night. The longevity of BHTM's career is a testament to the quality of the music. More than a quarter of a century later, fans are still convinced that the best is yet to come.
JJ Grey & Mofro
Singing with a passion and fervor directly influenced by the classic soul heroes, JJ Grey has written and recorded five albums of original songs steeped in the rhythm & blues, rock, and country soul of his native backwoods home outside Jacksonville, Florida. Grey comes from a long tradition of Southern storytellers and, in that spirit, he fills his songs with details that are at once vivid, personal and universal. After a decade of hard touring, he still spends eight months of the year on the road, bringing his music to a loyal, ever-growing, worldwide fanbase.
In a live performance review in The New York Times, writer Nate Chinen praised JJ's "balance of wildness and cool" describing his music as "Southern swamp rock with undercurrents of Memphis soul. His songs chronicle ambiguous truths and unambiguous urges," delivered by Grey's "winningly uncontrived vocals." Likewise, Billboard has praised Grey's "world-beating blend of Southern rock, blues and Florida swamp soul."
2010 sees the Alligator Records release of Grey's latest labor of love, Georgia Warhorse, named after the resilient Southern lubber grasshopper. "Yellow and black, and tough like an old-school Tonka toy," says JJ. "They seem so at ease with the world. Nothing seems to rile them. They're in no hurry but they have a kind of resilience because they just keep coming back and I've always felt there was a lesson in there for me to learn." Grey could
be described in such words; his own career has grown over the course of a decade of winning over fans night after night.
As with the previous releases, Grey meticulously demoed the entire Georgia Warhorse album himself on the various instruments in his own home studio he now calls the Egg Room. "It's named after the old refrigerator room we used to keep eggs in when my grandparents were in the egg business," says Grey. "Once I'm done with the demos then I start thinking about hitting the real studio." Armed with eleven new original songs
including one co-written with songwriting icons Chuck Prophet and Angelo Petraglia (Kings of Leon), Grey and long-time friend and producer Dan Prothero hit the "real" studio, Jim Devito's Retrophonics in St. Augustine, Florida, to begin tracking Georgia Warhorse. There, Grey would again track the majority of the instruments himself, playing guitars, keys, harmonica and delivering all the vocals with his gritty, straight-from-thesoul
voice. Prothero's approach as producer and Retrophonics' unvarnished, natural sound mirrors Grey's vision of musical tones and his love of the rustic Florida backwoods, where his family has lived for generations.
Joining him for a track on this album is Grey's long-time musical hero and reggae icon Toots Hibbert, who sings with Grey on the The Sweetest Thing. "Toots is the greatest soul singer I've ever heard and one of my biggest influences," says Grey. Georgia Warhorse also provided the opportunity for Grey to work with another friend and hero, fellow Jacksonvillian Derek Trucks. In true neighborly fashion, Trucks stopped by JJ's house to record slide guitar for the song Lullaby. "Derek Trucks is the greatest guitarist I've
ever seen and I'm honored to have Derek and Toots on my record," says Grey.
Debuting in 2001 with the CD Blackwater, following up in 2004 with Lochloosa, Grey steadily built his following one live performance at a time. Both albums (reissued by Alligator in 2007) were released under the name Mofro, a name the young Grey chose to describe his music and sound while still working his day job at a lumberyard. He has since used the word to name his band of ever-changing world-class players. The albums were met with critical acclaim, including "one of the 10 best R&B records of the year
and one of the best of the decade" at Amazon.com for Blackwater and "one of the 10 best releases of the year" in Rolling Stone for Lochloosa.
In 2007, with his first Alligator release, Country Ghetto, Grey reached an even larger audience, doubling both his album sales and his concert attendance. Relix said, "Country Ghetto is a tribute to JJ Grey's rich comprehension of the South's learned musical roots and knack to make age-old ideas sound fresh. Grey and Mofro fuse rock with plenty of soul, groove-heavy blues, and dirty, infectious funk. The deep and introspective
lyrics are a breath of fresh air." 2008's Orange Blossoms built on that energy, with even more fans, radio stations and critics coming on board. A 2009 best-of LP, The Choice Cuts, has kept the momentum going.
Grey, an avid outdoorsman, is a dedicated fisherman and surfer and holds an honorary position on the board of the Snook Foundation, dedicated to the protection of coastal fish and fish habitat. He has written passionately and articulately about his love for the untrammeled environment of his north Florida home.
JJ has brought his music to countless festivals, including Austin City Limits Festival, Byron Bay Blues Festival (Australia), Bonnaroo, Montreal Jazz Festival and Fuji Rock (Japan). Over the course of his 15-plus year career, Grey has shared stages with the likes of the B.B. King, The Allman Brothers Band, The Black Crowes, Los Lobos, Jeff Beck, Ben Harper, Lenny Kravitz, Booker T. Jones, Mavis Staples and many others. In the spring of 2010 Grey was awarded the opportunity of a lifetime as a solo acoustic opener
with soul legends Mavis Staples and Booker T. Jones on the What It Is! tour. JJ reminisces, "Getting to open up for such legends, it's just something I'll never forget."
His songs have also appeared in film and on network and cable television programs including House, Flashpoint, Crash, Friday Night Lights, The Deadliest Catch, and the film The Hoot. In November 2009, JJ wrote his first film score for the critically acclaimed documentary, The Good Soldier, that appeared in theatres and on Bill Moyers Journal on PBS. Recently, Grey played piano, sang and contributed a song (The Wrong Side) to
Buckwheat Zydeco's Grammy-winning Alligator album, Lay Your Burden Down.
With the release of Georgia Warhorse and a relentless world tour to follow, Grey is set for a breakout year. Commenting on his musical future, he says, "Life just makes itself up right in front of me and I just roll with it. All I know is to have the family I have, see the places I've been, meet the people I've met and to get to play music with some of the most talented folks around has got to make me the luckiest man alive."
Red Wanting Blue
In the years since vocalist and songwriter Scott Terry formed Red Wanting Blue, the band has gone on to establish itself as a quintessential example of American perseverance and hard work, building an exceedingly loyal fanbase based on non-stop touring, all without any industry support.
Known for making instant fans of the uninitiated with one of the most engaging and passionate live shows on the road today, Red Wanting Blue found even bigger audiences after the release of its 2012 From The Vanishing Point album, which landed in the Top 10 of Billboard’s Heatseekers chart and at #1 for the band’s home region.
Appearances on The Late Show with David Letterman, VH1’s Big Morning Buzz Live, and NPR’s Mountain Stage followed, and while the band continues to reach new and bigger career milestones, Red Wanting Blue is also staying true to its roots. This is evident on the upcoming new album "Little America," the band’s most personal and promising recording to date.
"Little America" celebrates a community spirit Red Wanting Blue shares with its audience that goes beyond fans who simply give back the passion that comes off the stage. Red Wanting Blue’s hard work is matched by fans who work hard, too. It’s not unexpected for members of this growing legion to take days off of work and cross state lines to follow the band, to learn just-written tunes from wobbly YouTube videos, and to sing every word at every concert.
Just prior to recording "Little America," Red Wanting Blue wrapped up over two years of touring that brought to the rest of the nation what the band’s long-time followers in the middle of the country already knew about. Packed rooms and sold-out performances throughout the U.S. and Canada proved that Red Wanting Blue wasn’t just a regional phenomenon. It also gave band leader Terry some newfound perspective on his art and his profession.
“There are several reasons why this album is called 'Little America,'” he explains.
On a white-knuckle drive from Salt Lake City to Denver through a Wyoming snowstorm in the early winter of 2013, the band’s converted mobile home nearly hit a jackknifed tractor-trailer.
“The truck came to a halt just before getting to us,” Terry remembers. “There was debris everywhere and we sat in awe for a moment before we maneuvered around the wreckage and slowly made our way down the mountain. We pulled off at the first truck stop we saw – it happened to be named ‘Little America.’”
"Little America" also represents an ideology that stems from Terry’s childhood.
“As a child, America was the most enormous thing I knew, and as I got older, it became an epic and unconquerable wilderness that I thought I would spend my whole life discovering. My relationship with America has gotten so much more intimate than I ever could have dreamed. It’s ‘Little America,’ like the nickname you can only give to someone after you’ve really gotten to know them.”
Terry also acknowledges the influence of Simon & Garfunkel’s classic song “America” on the album, and his life in general.
“I started playing music to get to see this country through the eyes of a rock n’ roll band,” he says. “‘And we walked off to look for America’ is one of my favorite lyrical images ever. ‘We walked off to look for America?’ But, aren’t we already here? I suppose so, if it’s just a name of a place. But it’s so much more than that.”
Terry continues, “I’m trying to experience the America I romanticized from the lyrics of rock n’ roll songs. I wanted to know what it felt like to ‘pull into Nazareth’ like The Band’s ‘The Weight’ described. ‘On the road again, like a band of gypsies, we go down the highway,’ ‘Baby, we were born to run,’ and on and on and on.”
Terry sums up his connection with these songs and his connection with Red Wanting Blue’s fans this way: “These songs are the soundtrack of my life, and it’s my calling to give that back with the hope of having our songs be the soundtrack of someone else’s.”
Some things in life are built by coincidence, some by hard work, others by a sheer set of circumstances – not exactly random, but not contrived, either – that lead us to a place of pure synchronicity. To art, maybe. Nashville's LEAGUES (comprising singer Thad Cockrell, guitarist Tyler Burkum and drummer Jeremy Lutito) might not credit one over the other in terms of which could best explain how they, deep into their careers and different paths, were able to drop it all at this very moment to make music they'd never quite played before but never sounded so right. "It had to happen now," Jeremy says with a seriousness that quickly fades to laughter. "Not a second earlier." Because if explaining how they got here is a long story, explaining what they make certainly isn't: simply, songs rooted in joy. Seriousness, that quickly fades to laughter.
LEAGUES is infectious. The ten tracks that make up their forthcoming January debut, You Belong Here, encourage both dancing and introspection, and show a group of men leaving behind any preconceived notions or expectations but never their innate musicianship or love for the craft of songwriting. "I'm not inspired by artists," says Thad. "As much as I'm inspired by songs." Tears for Fears' "Everybody Wants to Rule the World." "Wanna be Startin' Somethin'" by Michael Jackson. "Songs that stop the room for a quick second," adds Jeremy. One listen to the swirling, rock-pop anthem "Mind Games," the electric thump of "Magic" or the locomotive doo-wop of "Spotlight" and it's clear that LEAGUES' music does the same. Just try and keep your toes from tapping.
Chuck Love's day starts off with fighting parrots – a brawl the house multi-instrumentalist/producer/DJ would normally avoid if he didn't need their squawk on his record (Yes, he truly goes there). Mr. Love then packs a suit case with his girlfriend, and the two get "Pop Love" to drive them to the airport, where they "fight like Fred and Ethyl over the treat bags Mom Love packed" and board the private jet they share with 130 other people. Touchdown. Sound-check. Hotel registration. And then, the best part: the hotel's fuzzy white robes—which Love says is the benchmark of a "dope" spot. Fittingly, Love and his girl take a "disco nap" before rolling up to the club, where the gratuitous head-bobbing begins and doesn't end until Love's guitars are unplugged, the roof was raised, and subwoofers smoldering. Then, before he knows it, he's back in the studio squabbling with the parrots again.
Love, as we're sure you've gathered by now, is not a typical house music maker – in fact, the dance music veteran didn't start off as most do with the bedroom DJ gear and gig here and there at the local dive bars. As heard on his very new, very first longplayer, "Bring Enough To Spill Some" ("it's a bitch to type," Love says), the man plays all his own instruments (and birds, even). When his contemporaries in his house-lovin' home-base of Minneapolis expressed their love of the beat through DJ sets, Love would happily back them on trumpet, guitar, or really anything else he could find – his shows at legendary night spot First Avenue becoming more packed each month. It's not that Love can't DJ or produce – au contraire. Released by the house of Om Records – a label Love has followed for decades – "Bring Enough To Spill Some" is a 2-disc collection that demonstrates his special, stylistic diversity and ability to both mix a ridiculous set and produce tracks to showcase inside it.
American singer and songwriter
Lily & Madeleine
Keep It Together is our third full length album and it’s a bit of a departure from our last two records. We arranged all the songs with our friends Kate Siefker (drums, percussion, synth, bass) and Shannon Hayden (cello, guitar, mandolin, synth). Working with a closer knit team of just four ladies helped tighten our sound and unify each track into a complete collection. Our live performances with Kate and Shannon will be will be very tightly arranged because they were directly involved in the orchestration/recording process.
Lily and I wrote many of the songs separately and came together to revise/finish them. I hope listeners are able to see our unique personalities through our different lyrical themes. “Keep it together” is a lyric from the first track “Not Gonna,” which Lily wrote. This simple phrase has a lot of meaning to us: keep your shit together, keep our relationship as sisters together, pressure to keep our image a certain way as young ladies.
Women, and young women especially, are multifaceted, yet are often trapped in certain roles. As Nicki Minaj has said, “If you speak up for yourself, you’re a bitch. If you party too much, you’re a whore. Men don’t get called these things.” I admit I’m constantly afraid of saying something too “edgy” and offending someone or being “too nice” (what is too nice??) and not being true to myself. Lily and I started making music when we were teenagers, but we’re adults now and we’re thinking about the future. I don’t want to be afraid of my future because I’m a young woman. I want to do my best to be my best and create kick ass art without hesitation.
One of my favorite tracks is “Nothing,” which I wrote. This song is a dramatization of personal experience. While writing this album I thought about my romantic relationships and friendships and considered how these bonds affect me positively or negatively (or both). I’ve learned a lot about myself through my musical career so far and these songs sort of look back on who I was a year ago and who I’m becoming now.
Keep It Together is the most personal body of work that Madeleine and I have created. It feels especially vulnerable to me because I was a lot more involved in the writing process for this album. Each song represents a moment in time that is either a past memory or an event that I could experience in the future: these songs feel just like little parts of me.
This album is very honest too and has a good mix of drama and simplicity. I wanted some of the songs, like “Westfield” and “Smoke Tricks”, to feel like simple and steady streams of thought, which balances out the drama of songs like “Chicago” and “Nothing”.
Along with reflecting on the personal bonds that Madeleine and I both have, I also really wanted to focus more on the bigger picture and write about the experience of being a white woman in America and a college age kid in the 21st century. As I attempt to further discover who I am as an individual, the way society wants me to define myself is becoming clearer. It seems to me that young people are the same everywhere: regardless of race, gender, or socioeconomic class. All young adults are in the same boat, trying to figure out what makes us individuals and trying to find our value in society. I see the same situations reoccurring within my age group: my peers are dealing with eating disorders, drug problems, and abusive/manipulative relationships constantly.
Madeleine and I are used to answering the same unintelligent questions (“What’s it like being sisters?” “Do you ever worry about picking out the perfect outfits for your performances?” “What do your boyfriends think about dating someone famous??”), but I believe with this album, people will pay more attention to our creation instead of our appearances and our “story” as a band. I can only speak for my own experiences, but my greatest hope for this album (as with every album we make) is that people will continue to listen closely and relate.
When Indianapolis sisters Lily and Madeleine Jurkiewicz first started making music together, it didn’t cross their minds that they could make a living at it. Although they now find themselves in an acclaimed full-fledged career, what got them here has nothing to do with money, and everything to do with the spirit.
“The music will always be first,” says Lily. Indeed, Lily & Madeleine’s artistic souls are obvious to anyone who has heard their recordings. From the beginning, the sisters’ calling card has been the breathtaking and intuitive union of their voices.
“Their voices can pierce through the chaos of everyday life and actually make you stop what you’re doing.” American Songwriter
When the two come together in ecstatic and seamless “blood harmony,” it’s a sound that continues to haunt long after the songs are sung, leaving an electrical charge behind like a sparkling tracer in the air. Lily & Madeleine however, are equally distinctive as soloists as they are as harmony singers. When they step out individually as vocalists, Lily’s warm, smoky alto is the counterpoint to Madeleine’s crystalline, bell-like soprano.
That calling card is just as clear on their new material as it is on the cover songs the duo uploaded to YouTube for fun in late 2012. It was through these first videos that producer Paul Mahern, a staple of the Midwest music scene and frontman for punk band Zero Boys, recognized something special in the sister’s sound and enlisted the help of songwriter Kenny Childers (Gentleman Caller). Mahern challenged the girls to write a song a day, with Childers as mentor.
It’s that experiment that would become Lily & Madeleine’s first EP, The Weight of the Globe. In early 2013, they released a sparse, simple version of first single, “In The Middle,” to YouTube. When a neighbor of Lily & Madeleine shared the video on Reddit, the song hit the site’s front page. Within hours the video received over a quarter of a million views. It also attracted the attention of Asthmatic Kitty Records. They quickly signed Lily & Madeleine and issued the EP on 10-inch.
Just a month after Globe dropped on vinyl, the duo re-entered the studio and recorded their self-titled debut, which was released in October of 2013 to both critical and fan acclaim. Of the music, Jon Pareles of the The New York Times writes, “the thing that flags them as extraordinary is their sibling vocal blend, deep and seamless and relaxed,” while American Songwriter describes, “Their voices can pierce through the chaos of everyday life and actually make you stop what you’re doing.”
Since that release, the sisters have toured worldwide, including a sold-out U.K. tour and a very special capacity performance at the historic 1,200-seat Circle Theater with their hometown Indianapolis Symphony Orchestra. They’ve played on live national TV (a slot on CBS “This Morning”) and were crowd favorites at 2014’s Lotus Festival. Yet, the girls have remained modest, sticking to hard work as their imperative.
As young as they are, Lily, 17, and Madeleine, 19, are their own women. The songs on Fumes acknowledge childhood’s end and announce the entrance into adulthood—a place where the road ahead is unknown and sometimes dark. Facing the darkness head on, Lily & Madeleine at times hark back to the female-driven post-punk band The Raincoats, delivering a distaff perspective that is equal parts beauty and toughness, sugar and salt.
“The thing that flags them as extraordinary is their sibling vocal blend, deep and seamless and relaxed.” New York Times
Many of the songs on Fumes also touch upon movement and transition, from leaving a situation to “find out who you are” (“Lips and Hips”), or to escape (“Cabin Fever,” “Ride Away”). The album is very much a travelogue that speaks to the essence of a restless creative spirit, and the sisters’ desire to break new ground.
“Fumes,” says Madeleine, “shows our transformation as musicians and as women, and was inspired by our experience on the road as well as the life experiences of people close to us. It’s a perfect reflection of this stage of our lives.”
Fumes arrived October 28th, 2014 on Asthmatic Kitty Records.
From his Billboard smash hits to his electro house grooves, JJ Flores has been a pioneer producer in the dance music industry throughout the years. With having many top charting releases, including a number one record on Beatport, JJ Flores has been consistent with having records that appeal to the masses. Transcending his talents as a DJ, he has had residencies at Crobar (Chicago), Spybar (Chicago), Dream (Miami Beach), Infusion (San Francisco), Groove Cruise, and Candy Cruise to name a few. He is currently signed to Ultra Records // keep on the lookout for his next round of crowd pleasing hits and energy filled DJ sets.
Whiskey Bent Valley
Now these boy will take you through the hills of ol' kentucky, bearing the stores, traditions and liquor that date back a century. This old-time band delivers with an intensity that would knock the sock right off of their forefathers feet.
Hailing from the back woods of Pee-Wee Valley, Kentucky, The Whiskey Bent Valley Boys pay homage to their southern king— songs from the tobacco fields to the rivers, iron skillets to moonshine stills, upbeat and professional, the band posesses the skill to honor history and preserve the instruments, their style and every authentic, nuance of the day. With their divers fashion sense and stage. From overalls to string ties, straw hats to silk vests, along with a turbo-charged performance, their approach breathes fire into this vintage genre.
Blending their instrumental and vocal talents are; JR on the barnyard fiddle: the bands founder, Mason Dixon, is behind his unique style of claw hammer and three-finger style banjo, guitar, harmonica, standing tall with his doghouse bass is the bands youngest member, Leroy Jones; and on mandolin and once in a blue moon—spoons, Johnny Whippermule.
Incorporatin time-honored treasures from such icons as Roscoe Holcomb, The Stanley Brothers, and fiddle legend Tommy Jarrell, or a roster of original compositions including crowd-pleasers "Whiskey Train and "Shady River" the band puts on a timeless, energiezed show; Playing everything from ballads, breakdowns, sea shanties, and swamp stomps. Audiences from children on their parent's knee to packed saloons past midnight and finding favor with the older generation as well makes for a wide range of appeal.
The boys take cues from parents and grandparents who have tapped into folk country and bluegrass through festivals, radio and endless collections of vinyl recrodings. Band founder Mason Dixon hails from a long line of musicians and will tell you it's not so much in the whiskey as it is the DNA. Each member's family performs and enjoys the indigenous music of the appalachian foothills and pastures of Kentucky.
Appearances on a wide range of radio and tiv programs, state fairs and festivals have brought them an active fan base for this region. Often times the boy bring a delicious yield of their summer crops to gigs in bushel baskets for the taking. Going even more down earth, they are taking their cd packaging "green." Their upcoming new, full-length cd sleeve is industrial hemp paper and recycled cardboard with environmentally-friendly, vegetable-based inks.
No matter whats chillin' in your mason jar, sour mash or sweet tea, come on out for a live show where the Whiskey Bent Valley Boys will be pounding out the swing dancing, foot stompin, hard=driving tunes that are guaranteed to tickle your innards.
Machines Are People Too
Machines Are People Too formed during the sweaty summer months of '09 in Chattanooga, TN when lead singer Brian Sylvester began writing vocals over producer JJ Clark's infectiously catchy dream-pop tracks. The two began performing at monthly dance parties with two keyboards, a laptop, and a microphone. Their first project, a four-song DIY EP was only available on cassette, each copy hand-stamped with custom labels. After a year of destroying Chattanooga basements with their DJ-centric rowdiness, the duo was ready to expand their band and overall sound. Longtime friend, Cain Lassiter, was soon called upon to add some saxophone, but has since settled into his role on keys. The final piece to the puzzle came along with legendary drummer Ivan Garcia, whose ability to keep a strong steady beat could be matched by no machine. In early 2012 they headed to LA to hit the studio with Lars Stalfors (Mars Volta, Matt & Kim, Le Butcherettes) to record and mix the tracks they've been working on for the past several months.
Bailiff's Red Balloon has been a long time coming. It was back in 2008 that the Chicago band released their introductory EP Mm Hmm, a four-track set of slow-burning indie rock with a raw, bluesy edge that, combined with their tight live shows, succeeded in getting plenty of people interested. After such a long gap from EP to full-length any band would have to deliver something extra special to make the wait pay off, and Bailiff don't disappoint on Red Balloon. Having spent most of 2010 working with engineer Beau Sorenson (Sparkle Horse, Death Cab for Cutie) and producer Jon Alvin (Wax on Radio, Dr Manhattan), the band didn't just create an extended version of Mm Hmm; the bluesy burn is still there, but the basic sound has been built upon and fleshed out into something that's even better. Anyone who got on the Bailiff train early on will likely find themselves wanting to champion the band even more after hearing this LP, and anyone who has yet to check them out shouldn't waste any time diving in. - Frank Krolicki
The Kingston Springs
From the depths of the backwoods of Middle Tennessee, along a railroad stop where
the likes of Jessie James came to wind down, comes a band from the dried hot springs
of a classic town. The Kingston Springs are four young men with nothing to win, nothing
to lose, and some damn good music. Their taste influenced by too many and too little to
stick to one solid sound, other than that of their own. If not skatin', fishin', or sippin' Colt 45
(with some OJ for a poor boy mimosa), they're hitting the streets looking for good times.
With their heavy blues, folk, rocky top surf rock they travel all over this country known
far and wide as the United States of America sharing stories, melodies, and some good
times. Having played together for a few years, these boys have tackled festivals ranging
from Lollapalooza, to ACL, to the streets of Austin for South By Southwest.
Their debut release, The Vacation Time EP, in 2010 has garnered attention from multiple
media outlets from coast to coast. For the band's upcoming full-length debut, a self-titled
album due out in the fall of 2012, the guys stay true to their roots and record the whole
thing straight to tape for one more unique, throwback edge. What the future holds for
these boys is unclear, as with anything in this ever-changing world, however, one thing is
for sure: The Kingston Springs genuine sound will speak for itself.
Visit www.thekingstonsprings.com for upcoming tour dates, music, videos, and more.
Vess Ruhtenberg w/ Kate Franzman (of United States Three)
T.V. Mike & The Scarecrowes
T.V. Mike and the Scarecrowes are a Cosmic Twang Stomp band hailing from the West Coast via Indiana. Their songs follow the aesthetic of the Great American Songbook. The core of the group moved to California in 2007 and have been rolling up and down mountains and deserts since.
TV Mike aka Mike Klinge began playing music in Bloomington, IN in 1999 under The Pious Companion. The group went on a tour and had the pleasure of opening up for The Constantines and My Morning Jacket. In 2005, TV Mike met Andrea DelaRosa and gathered a backing band called the Scarecrowes. The group then moved to California and has rotated through a lot of members with the core of TV Mike, Andrea DelaRosa, Matt Lundquist, and Aaron Deer staying consistent.
TV Mike and the Scarecrowes have shared the stage with: The Avett Brothers, The Blank Tapes, Austin Lucas, Rev. Peyton's BDB, Horse Feathers, Beachwood Sparks, The Fruit Bats, Jessica Lea Mayfield, The Easy Leaves, Dead Winter Carpenters, Hillstomp, Rose Windows, Love as Laughter, tUnE-YarDs and many more.
Max Allen Band
Max Allen Band (MAB) is the brainchild and workhorse of
producer Max Allen. Performing
professionally since the age of 16, Allen got his start by selling
home recordings out of a lunchbox at school, later making waves as an
upcoming blues guitar prodigy. Some thirteen years later, he has grown
into a seasoned performer and composer whose tastes have evolved to
include the very best of funk, rock, blues, pop, jazz, reggae,
classical, EDM and hip-hop. For over a decade, Allen and MAB have kept
audiences all over the country coming back for more of the wide
variety of genres, incredible musicianship, thoughtful lyrics and
contagious melodies that each show brings. Max Allen has six studio
albums and thousands of performances to his credit, and he is still
Armed with a newly solidified lineup that features more talent than
ever before, Max Allen Band is proud to present its 2013 release,
Everyone Thinks You're Weird. The album features many new territories
for the band, from bassist Dace Robie's lush string quartet
arrangements to drummer Shaan France's layered percussion to Max
Allen's most sophisticated and exciting solo work to date. ETYW also
features additional keys and synths from composer/producer Gary Mielke
and vocals by Midwest hip-hop favorite Rusty Redenbacher.
Another exciting new feature of ETYW is the songwriting team that is
Allen and Robie, whose diverse backgrounds and tastes complement each
other wonderfully. The album creates a journey through contrasts:
light to dark, catchy to complex, and old school to fresh and new. Max
Allen keeps listeners guessing with a recording that features
everything from pop to progressive rock to dubstep to calypso and
more, all the while bringing out Max Allen's signature vocal and
guitar sound. ETYW is the culmination of a rich musical past for MAB
and marks the beginning of a bright new era of music making for the
5-YEAR ANNIVERSARY CONCERT CELEBRATION
LIVE AT HI-FI IN DOWNTOWN INDIANAPOLIS
SATURDAY, APRIL 29th, 2017
8:00pm Doors | 9:00pm Show
TICKETS ARE ON SALE NOW AT TICKETFLY.COM
THE EASTHILLS 5-Year Anniversary Concert
will feature special guests and appearances by
Steve Fulton, Carfax Abbey, Doug Henthorn and more
INDIANAPOLIS – MOKB Presents The Easthills, who will press pause to celebrate their 5-year anniversary as band on Saturday, April 29, 2017 at 9:00 p.m. (8:00 p.m. doors) at HI-FI in downtown Indianapolis’ Fountain Square district. The band has released two full length albums and an EP since 2012 and toured and opened for the likes of Cheap Trick, Guided By Voices, Lynyrd Skynyrd, Blues Traveler, REO Speedwagon, Soul Asylum, Robby Krieger of The Doors and many more.
Live music venue HI-FI, located in the popular Fountain Square neighborhood of Indianapolis, recently re-opened to the public with a fresh look and expanded performance space increasing the venue capacity to 400 people.
“MOKB Presents and the HI-FI have been very good to our band from the start having booked us as support on several shows and festivals; and annually supporting our yearly headlining shows in Fountain Square. The show in April is a tip of the hat to all of those who have been so gracious to The Easthills on our albums, for our shows and from our hometown and everywhere in between. It’s a chance to stop and celebrate. It’s going to be fun.”, said Hank Campbell of The Easthills.
The Easthills 5-Year Anniversary Concert Celebration will feature the band’s current lineup of Hank Campbell, Will Barada, Brad Morgan, Wade Parish and Banner Morgan along with Paul Barada. Special guests for the show will include a series of appearances by other musicians who have played a role in The Easthills story including Doug Henthorn, Steve Fulton and Adrian Degner along with friends of the band Troy Clapp and a set of 70’s and 80’s stadium rock staples by Carfax Abbey.
The Easthills recently released their highly anticipated 12 song full-length new album Fear and Temptation. It follows the 2013 critically acclaimed album Death Of A Salesman and the 2014 EP World Class Prick. Fear and Temptation continues The Easthills signature big harmonies and big guitars sound. The album also boasts a new direction both sonically and as songwriters and also features renowned indie rock guitar legend Doug Gillard (Nada Surf, Guided By Voices) on six songs, Frank Hannon of Tesla and Neal Doughty of REO Speedwagon on “Holiday Women”, and guitarist Rick Richards (Georgia Satellites, Izzy Stradlin) on “Here Without Me”.
For more information about The Easthills, please visit:
Twitter & Instagram: @theeasthills
For more information about Hi-Fi and its concert schedule, please visit:
To purchase tickets to the April 29 concert:
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