Hayes Carll

Hayes Carll is an odd mix. Wildly literate, utterly slackerly, impossibly romantic, absolutely a slave to the music, the 35-year old Texan is completely committed to the truth and unafraid to skewer pomposity, hypocrisy and small-minded thinking.

In a world of shallow and shallower, where it’s all groove and gloss, that might seem a hopeless proposition. Last year, “Another Like You,” Carll’s stereotype’s attract duet of polar opposites, was American Songwriter’s #1 Song of 2011 – and KMAG YOYO was the Americana Music Association’s #1 Album, as well as making Best of Lists for Rolling Stone, SPIN and a New York Times Critics Choice.

But more importantly than the critical acclaim is the way Carll connects with music lovers across genres lines. Playing rock clubs and honkytonks, Bonnaroo, Stones Fest, SXSW and NXNE, he and his band the Gulf Coast Orchestra merge a truculent singer/songwriter take that combines Ray Wylie Hubband’s lean freewheeling squalor with Todd Snider’s brazen Gen Y reality and a healthy dose of love amongst unhealthy people.

“I guess you could say I write degenerate love songs,” Carll says. “That, and songs about people who’re wedged between not much and even less; people who see how hopeless it is and somehow make it work anyway. “And the best kind of irony, sometimes, is applying no irony and letting reality do the work.”

Letting reality do the work has sure worked for the lanky Texan who walks slow and talks slower. Born in Houston, he went to college at Hendrix College in Conway, Arkansas – getting a degree in History, then heading back to Crystal Beach to play for a wild assortment of people either hiding out, hanging on or getting lost in the bars along Texas’ Gulf coast.

After releasing Flowers & Liquor in 2002, Carll was voted the Best New Artist of 2002 by The Houston Post. He would go on to release Little Rock, on his own Highway 87 label, which became the first self-owned project to the top the Americana charts.

It wasn’t long until Lost Highway, home of Lucinda Williams, Ryan Adams, Van Morrison and the Drive-By Truckers came calling. Trouble in Mind yielded the tongue firmly in cheek “She Left Me For Jesus,” a know-nothing redneck send-up/beer joint anthem somewhere between “You Never Even Called Me By My Name” and “Up Against the Wall.” “Jesus” was the 2008 Americana Music Awards Song of the Year.

All the accolades, all the facts and all the stats are awesome, but they don’t tell the story. Fiercely individual, Carll’s banged-up take on classic country is honed by the road – sometimes as a man and guitar, sometimes with his scrappy band, but always taking in the vistas and humanity before him.

“It comes down to the songs and the people,” he says. “You write about what you see, the things that cross your mind… and then you wanna get out there and play it back to ‘em. You kinda know how you’re doing when you see how the people respond.”

Hayes Carll is the transmutable jester whose incisive songs and funky beats play as well in shitkicker bars as they do hippie festivals, somewhere as organic as American Public Radio’s “Mountain Stage” concert series and middle America as “The Tonight Show With Jay Leno.”

Maybe it’s the influences – Kerouac, Dylan, Guy Clark, John Prine, Hubbard… Maybe it’s the fact that somebody has to say something… Maybe it’s just the fact that some people are born to play…

But for whatever reason, ten years into a recording career, Hayes Carll shows no signs of having arrived at his creative apex. Each album expands on his already extreme vintage country, extreme thumping bad road boogie, extreme heartbroken ache – and finds new ways to take on the fate of the nation. Whether it’s the GI protagonist in the propulsive title track of KMAG YOYO, the train wreck objet d’amour of “Drunken Poet’s Dream,” also recorded by Hubbard, the road warrior of both “I Got A Gig” and “Little Rock” or the stoner liberal and the uptight Republican vixen of “Another Like You,” Carll paints vivid pictures of humanity as it really is.

Thick-headed. Avaricious. Squalid. Hungry. Angry. Getting by.

Like so many Texans before him, there’s no agony in the ecstasy – just the wonder of capturing the perfect character in the song. When you’re 6 beers down on a 12 pack night, you know Hayes Carll understands. At a time like that – whether in your own backyard or some jam-packed bar – that’s the best kind of friend to have.

Jonathan Terrell

Everybody knows that Jonathan Terrell as the frontman/main gyrator for local hot shots, Not In The Face!. But did you know that, before local trendsetters (and then national tastemakers), catapulted NITF into both your frontal lobe and ear canal, that JT was a most excellent and nuanced country artist? It's true. Dude could honkey tonk with the best of them. Actually, read it for yourself....

Jonathan Terrell defines the next generation of Texas music. Pushing past the conventions of the singer/songwriter genre, the Longview-born lyricist possesses a style of writing that is sincere, introspective, and sometimes mischievous. Writing since a teen, Terrell has explored every corner and curve of sound and style. Ten years and 375+ songs later, his sophomore release Trials & Stimulations nestles him right into the belly of his roots and reveals his strength as a songwriter and performer. Jonathan Terrell has since been making waves in his new hometown of Austin – a place he feels “will challenge his musical ability.” The Austin American-Statesman recently declared his residency shows as “creating a buzz in the Texas music scene,” and his consecutive sold-out performances and ever-increasing audience have resulted in his sharing the stage with the likes of Willie Nelson. In an Austin Chronicle review, Jim Caligiuri writes: “Taking his cues from the likes of Townes Van Zandt and Steve Earle, the twenty-something songwriter moans poetry set to country and folk settings that kick up dust with a flourish.” With a signature narrative nature, dusty vocals, and a knack for addictive melody, Terrell has the ability to hypnotize and electrify a variety of listeners through telling images and characters. In support of the new album, Terrell has been viciously tearing up the road playing shows in 22 states this past year. Meanwhile there are no signs of slowing down. Terrell maintains a relentless schedule with two side rock-n-roll projects, Not In The Face and The Sterlings and keeps his audience coming back for more by a constant offering of endless fresh material.

So, there. Ya'll should come check this one out, as he'll be playing a very rare local gig here. It'll be worth it.

$20.00 - $160.00

Tickets Available at the Door

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