Upcoming Events


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Saturday 3 September
White Oak Music Hall Upstairs 08:00 PM All Ages $10.00 ADV $11.00 DAY OF BOX OFFICE
Muddy Belle, Soul Creatures, Handsomebeast, Vanilla Whale
The name Muddy Belle screams Texas Blues, but don't stop there, elements of Soul and Rock n' Roll smoothed over with hints of Jazz and ''H-town attitude . What's the difference between Texas Blues and all the rest, Chicago, Mississippi, Alabama, etc..? "It's Texas people, there is more pride in this one country, oops I mean state than all the countries in the world combined." Muddy Belle calls Houston home, a city rich in music history and cultural diversity though many overlook it for one reason or another... Houston has seen an explosion of art and music in the last five years and is currently the fastest growing population in the United States. This band has been an integral part of that Houston music scene since 2012.

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Saturday 3 September
Rudyard's 09:00 PM All Ages $10.00
Destroyer Of Light, Blues Funeral, Witchcryer
Formed in 2012 from constantly boiling musical cauldron that is Austin, TX, Destroyer of Light has taken a straight forward approach to tempering the disparate and harmonious parts of their influences into a total sum of slow motion tidal heaviness that bows to no altar but that of the riff. With the smoky flavors of hazed out doom and the stomping cadence of rock's heyday, the band both tickles and deafens the ears with the theatrical flashes of Mercyful Fate, the ominous tones of Electric Wizard, and the ferociously feral feedback of a Sleep dirge.

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Monday 5 September
White Oak Music Hall Upstairs 07:00 PM All Ages FREE There will be a $5 cover for minors. RSVP does not guarantee entry. Admission is subject to venue capacity at time of arrival.
Swimming With Bears, Nava
We are a soulful alternative rock band from Austin, Tx. We met by random chance and have been playing music together for 4 years now. Our inspirations include Kings Of Leon, Temper Trap, Explosions In The Sky, This Will Destroy You, Phoenix, The XX, The Naked and the Famous, Two Door Cinema Club, and many more.

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Wednesday 7 September
White Oak Music Hall Upstairs 07:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
The Toasters, The Suspects
Now celebrating their 34th year the Toasters are once again announcing a full calendar of dates to kick off the 2015 touring campaign. These NYC D.I.Y die-hards have already notched more than 5000 live shows and plan to heap more onto that tally this year with two North American tours, as well as dates in South America, Europe, South East Asia, Russia and points east.
Formed on the lower East Side in 1981 the band has become synonymous with American 2 Tone Ska music and forged their instantly recognizable "East Side Beat" sound in such famous Big Apple dancehalls as CBGB'S where they have been named as a top 20 core artist alongside myths like the Ramones, Blondie and the Talking Heads. Widely acclaimed as launching the Third Wave Ska revival the Toasters went on to form the famous Moon Records label and kick-started the careers of dozens of bands. Their early collaborations with the iconic Joe Jackson helped define their sound and establish them as the premier USA ska act of their generation. The Toasters have been hailed as "ska pioneers" (Billboard magazine) and the "sound of NYC" (New York Times).
The band is currently supporting their latest single: "House of Soul", released on their own label Megalith Records and released only in a 7 inch vinyl format. The full color jacket features original artwork by renowned Serbian portrait painter Slavko Krunic.

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Thursday 8 September
White Oak Music Hall Upstairs 08:00 PM All Ages $12.00 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
Sunsquabi "Odyssey Fall Tour", Blunt Force, Josiah Gabriel
SunSquabi has launched out of 2015 like a cannonball on fire. The Colorado trio has quickly become one of the premier up and coming acts in the live electronic/jam world. There is a perfect storm brewing for the band and the recognition is starting to come in from all over the U.S.

SunSquabi continues to break down and analyze the expectations of what a "Live-Electronic" band should be. SunSquabi is dedicated to their ever evolving craft in the studio and on the live stage. It's no wonder the twenty-something's in SunSquabi are gaining national attention for their unique sound. The band has multiple answers when asked to describe their sound, but most often describe it as an Electronic Hydro Funk Experience.

SunSquabi has caught the attention of artists such as Griz who has recently collaborated with the band in the studio and on the live scene. All Good Records will be releasing the bands upcoming full length album in Winter 2015. Click here for a link to the song "Get Down" which is featured on the new Griz record "Say it Loud".

"Sunsquabi makes it look easy - so groovy & smooth!" - All Good Records

"SunSquabi has found its sound through incessant touring--they're a red hot live act NOT to be missed." - The Untz's Anand Harsh

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Friday 9 September
White Oak Music Hall Downstairs 08:00 PM All Ages $23.50 ADV   $26.00 DAY OF $28.00 DAY OF BOX OFFICE
The Kills, Kim and The Created
The Kills formed in 2000 when a boy from Andover, England and a girl from Florida, USA met in a South London hotel. "It was like we'd lived parallel lives," Jamie recalls. Both had been to art college, the boy had just left a punk-pop band called Scarfo and the girl wanted to leave a punk-pop band called Discount, and both were disillusioned with the musical scenes they were part of. "We had these bedrooms on different sides of the Atlantic which were full of artworks and films and music that we'd made for no-one to listen to. We had so many things in common. It was at a time that if you spent a lot of time making art and dressing up you got beaten down for being pretentious. Everything was about being down to earth. And we both just felt this relief when we met each other."

Alison was so convinced that this was the creative partner she'd always been searching for that she decamped from Florida to Jamie's flat in South London. Inspired by a mutual obsession with The Velvet Underground, '70s London and New York punk, they formed a duo called The Kills, rejected everything they'd begun to hate about being in a rock band, got themselves signed to Domino Records and made a spectacularly sexy garage-punk album called 'Keep On Your Mean Side' in 2003.

Buoyed by the deserved critical acclaim for this and their incendiary early live shows, but also nonplussed by the fact that they were, once again, in a proper band with a record deal, they made a completely different, yet equally spectacular second album in 2005 called 'No Wow.'

The Kills' most recent album 'Blood Pressures,' was released in 2011 on Domino Records. The album saw Jamie Hince and Alison Mosshart deliver their vivid and uniquely gritty post-blues, but with a new level of thoughtfulness and depth not yet explored by the duo. Tinged with wistfulness and vulnerability, 'Blood Pressures' has an enduring sense of intricacy and richness that intensely blends with their ever-compelling songwriting.

Recently, the band have been busy exploring their other passion -- visual arts. Jamie opened "Echo Home," an exhibit of his photographic work at the Morrison Hotel Gallery spaces in New York and Los Angeles Alison's original paintings on paper, canvas and fabric art have been exhibited at group and solo shows in NYC and at Art Basel in Miami.

After two years of festival shows and special guest appearances at arena shows with Queens of The Stone Age, Jack White and The Black Keys, and following on from a third album release from The Dead Weather, Alison's band with White, Jack Lawrence and Dean Fertita, 2016 will see The Kills releasing their fifth album, hitting the road once more, and scaling new creative and commercial heights. A long way from south London!

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Friday 9 September
White Oak Music Hall Upstairs 08:00 PM All Ages $10.00 ADV   $12.00 DAY OF
Nathan Quick Band, The Beans, Jazz Radio
Nathan Quick's soulful voice, tasteful melodies and crisp guitar playing will have you wanting to come back for more time and time again!

The new EP is out now: "City Lights" encapsulates tones of blues and classic rock n' roll with a twist of Americana and roots music. The lyrics are honest and true, with universal themes that fans of all genres can relate to. Get your copy. And turn it up...

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Saturday 10 September
White Oak Music Hall Downstairs 08:00 PM All Ages $20.00 ADV   $25.00 DAY OF $27.00 DAY OF BOX OFFICE
Crystal Castles
CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L C/A/ST/LES C/A/ST/LES CRY/ST/A/L C/A/ST/LES CRY/ST/A/L

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Monday 12 September
White Oak Music Hall Upstairs 07:00 PM All Ages FREE There will be a $5 cover for minors. RSVP does not guarantee entry. Admission is subject to venue capacity at time of arrival.
Swimming With Bears
We are a soulful alternative rock band from Austin, Tx. We met by random chance and have been playing music together for 4 years now. Our inspirations include Kings Of Leon, Temper Trap, Explosions In The Sky, This Will Destroy You, Phoenix, The XX, The Naked and the Famous, Two Door Cinema Club, and many more.

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Tuesday 13 September
White Oak Music Hall Upstairs 07:00 PM All Ages $15.00 ADV   $18.00 DAY OF $20.00 DAY OF BOX OFFICE
Floating Points, Olga Bell
Manchester born, London based 24 year old producer/dj/composer Sam Shepherd aka Floating Points has quickly become one of the most respected and sought-after musicians in modern music. Debuting in February 2009 with the limited 7 inch ‘For You/Radiality' (Eglo records) he has gone on to establish himself as one the forerunners of today's new dance music movement, earning the respect of his peers and contemporaries such as Theo Parrish, Kyle Hall, Benji B, Ramadanman, Four Tet, Kode 9 and Mary Anne Hobbs. He's released music predominantly on Eglo records (which he runs alongside Rinse FM's Alexander Nut), as well as Planet Mu, R2, Ninja Tune and notching up remixes and features for the likes of Domino, Ubiquity, XL, Fabric and Rinse.

The name Floating Points holds just much weight within the DJ world as its does in production, song writing and arrangement. In a short space of time Shepherd has won over crowds around the world with his strictly vinyl club sessions, spanning, house, techno, soul and disco, steadily climbing the ranks of the globes most impressive DJ's, fuelling an indulgent record habit that regularly leads him on trips to both Chicago and Detroit.

Outside of his studio based productions and crate-breaking DJ sets Shepherd makes use of his classical music training, writing, composing and arranging for the Floating Points Ensemble. The 16 piece group, led by Shepherd, recently won the ‘Best Maida Vale Session' gong at Gilles Peterson's ‘Worldwide Awards'. With big plans for 2011 the future is looking bright for Floating Points. When not writing, recording or playing music Sam Shepherd can be found in the laboratories of UCL, where is currently studying a PHD in 'The Neuroscience Of Pain'.

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Tuesday 13 September
Revention Music Center 08:00 PM All Ages $35.00 ADV $37.00 DAY OF BOX OFFICE
Death Cab For Cutie
Death Cab for Cutie knew immediately that Kintsugi would fit perfectly as the title of their eighth studio album. A philosophy derived from the Japanese art of repairing cracked ceramics with gold to highlight flaws instead of hiding them, kintsugi speaks to the way an object's history is part of its aesthetic value. "Considering what we were going through internally, and with what a lot of the lyrics are about, it had a great deal of resonance for us -- the idea of figuring out how to repair breaks and make them a thing of beauty," says bassist Nick Harmer, who suggested the name to singer-guitarist Ben Gibbard and drummer Jason McGerr. "Philosophically, spiritually, emotionally, it seems perfect for this group of songs." Long before they gave the album its name, the band embarked on a process that forced them to do things differently than they ever had before. For instance, in the course of making their seven previous albums, the Seattle band hadn't written much in the studio together. They had always preferred to hone their arrangements separately, or with just two or three of them playing at once. But when it came time to record Kintsugi, Death Cab for Cutie went into the studio with the openest of minds. Their willingness to try anything -- including a twenty-minute exploration that evolved into one of the album's finest tracks, "The Ghosts Of Beverly Drive" -- yields Death Cab's most compelling new work in years: an album that packs as much sonic as it does emotional wallop. Kintsugi is the band's first time recording with a producer other than their own Chris Walla, the guitarist and multi-instrumentalist whose talents behind the board had helped shape Death Cab's sound since Gibbard released the You Can Play These Songs With Chords cassette in 1997. For Kintsugi, they worked with Rich Costey (whose production credits include albums by Foster the People, Muse, Vampire Weekend, Chvrches), recording at his Los Angeles studio Eldorado over the course of twelve weeks in the first half of 2014. "He was all in in a way that I don't think a lot of producers are nowadays," says Gibbard. "We couldn't have landed on a better collaborator for this record. He accomplished what we've always attempted, which is to make Death Cab sound on a record how we sound live. And we're a rock band live. The difficulty now for the live show is making them rock as hard as they rock on the record. That's a new quagmire for this band." Work on Kintsugi began back in early 2013, as all Death Cab LPs have, with Gibbard writing and demoing the songs on his own before arranging and recording them with his band mates. They initially convened in fall of 2013 at Walla's Hall Of Justice studio in Seattle. Ten days into recording, Chris decided to step down as producer. Says Gibbard. "Nothing dramatic, he just said, ‘I don't think I'm the right guy to do this album and we should find someone else.'" The band all felt that they needed to shake things up a bit. "We challenged each other more and left no stone unturned. That was as gratifying as it was frustrating at times, but I couldn't be happier with the end product," says McGerr. Walla has since decided to leave the band but participated in the recording process as fully and vitally as he had on their previous albums. In fact, Costey didn't even know Walla was leaving the band until after Kintsugi was finished. Chris played his final show with the band in September at Rifflandia Festival in British Columbia.
When they started recording, there weren't any rules at all. They'd work on a song for a while and then regroup with Costey to figure out elements to expand or elaborate. "These guys have a chemistry that's existed for a long time, and that chemistry can't be ignored," says Costey. "When you have a band that can play as well as they can play with each other, having them jam together in real time can actually be the quickest way to try a bunch of ideas and get them on tape." Songs such as the instantly memorable "Good Help (Is So Hard To Find)," the warm and vulnerable "Little Wanderer" and the brooding lead single "Black Sun" were all tracked with the four members of the band playing together in a room, reacting to each other in real time, adding layers -- and later subtracting some. "All four of us being on the floor together in the studio was something that hadn't happened in years, because Chris was always behind the glass or in the control room," says McGerr. "But this was more like when we're onstage, where everyone has their eyes closed and we're playing in the moment. With ‘The Ghosts Of Beverly Drive,' it turned into a twenty-minute thing they captured in the control room on a two-track. We had started it in Seattle months prior and it just wasn't getting there. Rich brought us into the control room and was like, ‘This is our song.'" Costey credits another element of their production set-up with helping achieve the perfect balance of their classic approach and the new one: "My studio has one big live recording space and two control rooms," he says. "Once we got basic tracks together, Chris would work on them in the other control room. And he would end up doing completely different versions of the songs. For ‘Black Sun,' Chris did all this super old school sequenced synth stuff that we used on the final track, and it really brought that song to another level." "Black Sun" is also a perfect example of Gibbard's customarily honest, fearless approach to writing about affairs of the heart. "‘Black Sun' is about divorce and the ugliness and conflicting emotions that come with that: anger, sadness, finger-pointing, acceptance, forgiveness, understanding. To me, the idea of a black sun has multiple meanings: The black sun could be an eclipse, where one thing eclipses another. The sun is supposed to be a radiating light on the world but in this instance it is blacked out. We've all been that at some point in our life when we're supposed to be shining upon someone giving them support, but for some reason are unable to do that. I am the black sun, and the song is as much an indictment of myself as anything." Although, in the case of "Black Sun," Gibbard says he's willing to elaborate on the elements of the song that are autobiographical, he's never been one to reveal the precise meaning behind his lyrics. "I know that people will assume these songs are about certain things, and in some instances they are going to be correct," he says. "But I'm not going to give people a road map." Gibbard acknowledges that, early on in the process of writing this group of songs, as he was still trying to make sense of the major changes happening in his life, he had to remind himself not to change his creative process. "If there's a reason people can relate to my songwriting, maybe it's they feel like they're getting an honest, fearless approach to writing about affairs of the heart. I'm certainly not going to censor that just because people think they know something about my
personal life. I would be cowardly as a songwriter and not be true to what I've always done if I shy away from these events in my life because I was in relationship with a public figure. "I know the lyrics aren't 100% fiction and they're not 100% nonfiction, and only Ben knows what that blend is," says Harmer. "But with this group of songs, I do think he is writing from a genuinely vulnerable and honest place and I'm proud of him for putting himself out there and being fearless about it." One of the songs on Kintsugi that Gibbard says he holds closest to his heart is "Little Wanderer," where he sings, "You sent a photo out of your window of Paris of what you wished that I could see. But someone's gotta be the lighthouse and that someone's gotta be me." He explains: "There are innumerable songs about, like, ‘The road ain't no place to start a family.' ‘Home Sweet Home' by Motley Crue, ‘Gone Til November,' by Wyclef Jean, and so on. But nobody ever writes a song about sitting at home, waiting for someone to come back. And for so much of my life, I've been the one off somewhere in the world trying to maintain a connection through digital portals. Now, being with someone who travels pretty much all the time, I feel like I've gotten a taste of my own medicine. All the songs are personal, but that one is personal in a way that is very tender to me." Here, too, "The Ghosts of Beverly Drive" encapsulates important elements of the album's larger theme -- embracing flaws and being open to change. "If only you had known me before the accident," it begins, "for with that grand collision came a grave consequence." Says Gibbard: "There's this charade you play with someone when you start seeing each other, that no one has ever made you feel this way before," says Gibbard. "‘The Ghosts Of Beverly Drive' is about when you say to the person you're with, ‘Let's just acknowledge that we are not the first people to feel this way. Let's be honest with each other that we've been in love before or that we've fallen out of love with people before, and that's OK.'

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Wednesday 14 September
White Oak Music Hall Upstairs 07:00 PM All Ages $25.00 ADV $27.00 DAY OF BOX OFFICE
Tiger Army, Tijuana Panthers, Creeper
While the 13 tracks comprising V •••- touch on all the exciting hallmarks of great rock ‘n' roll, there's a substance and detail on display here that's distinctly out of the ordinary. And considering Tiger Army's track record as one of the most vibrant and inspired groups to emerge from the California punk scene, a career high like this is no small thing.

"It was very important on this record for me to try to do something new to top myself," says Nick 13. "I think a lot of people become complacent after so many years of making music. And I guess that was one reason why I was away for a little while-because that's what needed to happen to maintain that passion and, hopefully, freshness."

The band's first album since 2007's Music From Regions Beyond, V •••- combines stellar production from Grammy winner Ted Hutt (Old Crow Medicine Show, The Gaslight Anthem, Dropkick Murphys) with impeccable playing via singer/guitarist Nick 13, bassist Dave Roe (Johnny Cash, Ray Lamontagne, Dan Auerbach) and drummer Mitch Marine (Dwight Yoakam).

With first track "Prisoner Of The Night" already released and well received by audiences at current live shows, the freshness Nick 13 speaks of could not be more evident. Tiger Army's music has always pushed forward creatively while nodding toward the roots of rock, but this time out, the band is drawing inspiration from the music of the early ‘60s-that pre-Beatles era when the likes of producer Joe Meek and the Shadows were in full bloom, or when a very young Del Shannon made his mark with his 1961 hit "Runaway." It is a musical period still ripe for rediscovery, and it masterfully evoked with full affection throughout V •••-.

"That whole era gets overlooked, I think," he says. "Because there's the narrative about the end of the ‘50s with Elvis going into the army, Eddie Cochran, Buddy Holly, and Ritchie Valens dying, Little Richard going to Gospel--that is all true, but the people who were able to carve out a niche for themselves before the British Invasion, and not just do the pure pop things, that to me was some of the most interesting music. And it was some of the most innovative as well. Because the first wave of rock 'n' roll was over, and everybody was trying to figure out what's going to happen next. And I think there was a lot more experimentation, sonically and otherwise, than that era is generally given credit for."

To that end, aficionados of early ‘60s pop might notice a few touches here and there: A familiar sounding keyboard tone via a rare Clavioline ("Max Crook, who played on Del Shannon's records, used it," says Nick. "It's also what Joe Meek used in England on ‘Telstar.' It took some doing to track one down in the States."), and a high-pitched, ghostly female background vocal throughout several songs, courtesy of operatically-trained vocalist Savitri Labensart ("I think she brought an incredible element to the record," He says. "Most female background singers that you find in rock 'n' roll today are usually R&B singers. That sort of high ethereal thing you hear on Joe Meek records and Roy Orbison records are a forgotten aspect of rock 'n' roll that I specifically wanted to bring back for this record.")

Those occasional nods to Joe Meek were greatly aided by producer Hutt, an Englishman who rose to the challenge of attempting to evoke that singular style. "Something that's interesting about Meek's studio techniques is, a lot of times you're just sort of unleashing something and you don't know what you're going to get. It's not something that necessarily produces a predictable result, it's more like you're sort of setting up the circumstance where anything can happen--it might be great, it might not, but when it works, it really works."

Also amply in evidence is the sound and influence of the legendary Roy Orbison, notably on "Happier Times," an album highlight. "It was probably Blue Velvet that turned me on to Roy Orbison," notes Nick. "David Lynch picked up on something-- there's a real emotional darkness to his music, and that was something I latched onto pretty early. So I was listening to that alongside punk as a young kid."

While V •••- is not a complete change of aesthetic direction for Tiger Army, it's a further refinement, an evolution perhaps partly wrought from Nick 13's other career as an alt-country/Americana artist. His self-titled solo album of 2011 won critical raves, expanded his audience via the touring that followed, and provided him some lessons for which he's still grateful.

"I learned a lot," he recalls. "In the solo thing, my intention was to immerse myself in country music of the ‘50s and ‘60s--but in doing so, I learned a lot more about not only how country music at that time was played, but how music of that time, not just country but rock 'n' roll, was played and recorded. And that was something that influenced this record most definitely."

Notably having an impact here yet again was Orbison, whose early ‘60s Monument Records singles rank among his best and most pioneering.

"Before I spent time in Nashville, I never really spent time thinking about Roy Orbison as a Nashville artist," says Nick. "I didn't realize that all of his albums were recorded there. And really, a lot of the elements that they were using on those early Monument singles--the sort of non-R&B female background vocals, things like harp or piano that help give it that sort of otherworldly sound, were pretty much the same thing they were doing on other country records of the time--just minus the pedal steel."

And there's more at the core of V •••- .

Among other things, says Nick 13, the influence of early New York City punk--starting with the New York Dolls, Johnny Thunders & The Heartbreakers, The Ramones and Static Age-era Misfits-can be felt.

"I think what it is about those particular artists is that there was a real connection to rock 'n' roll and pop singles of the late ‘50s and early ‘60s beneath the surface in their work. You hear it to varying extents," he says.

"And I wanted to almost strip away a little bit of the noise, and kind of play around with those ratios. You know, the urgency of punk at ground zero, and what influence it was taking from the original rock ‘n' roll. And just kind of tweak those ratios a little bit. Because that was something I always heard in there."

In all, V •••- reaffirms Tiger Army's status as a long-lived band that continues to grow, to get better with age, yet never without forgetting their roots or what brought them to the music. There is a consistency in all their music and the creativity that drives it-and though much has changed since the band's first recordings, much of what is most important has not. And it's all there to be heard on V •••-

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Thursday 15 September
Raven Tower Pavilion 06:00 PM All Ages FREE There will be a $5 cover for under 21 at the door. RSVP does not guarantee entry. Admission is subject to venue capacity at time of arrival.
Sweet Crude
Sweet Crude premiered in Spring 2013. The band, boasting surnames like Marceaux, Arceneaux, and Chachere, seeks to reconnect with their lineage in the context of 4-part harmonies, tribal rhythms, and pop hooks. "We're making the pop music that we'd otherwise come up with given our influences. We're just singing a lot of the time in Louisiana French. We want to show that the language is still alive and kicking, and that it sounds great in any genre," says primary lyricist Sam Craft, "Our grandparents learned French, but our parents never really communicated with it, so now I feel it's on the youth to preserve the tradition. It's wonderful that there are so many Cajun bands singing in Louisiana, and we wanted to do the same thing but with our original music."

In just two years as a band, Sweet Crude has had an amazing ride. The band won the 2014 Big Easy Award for "Best Emerging Artist" and is nominated for "Best Rock Band" at the 2015 Best
of the Beat Awards. Even more compelling is that they already graced the main stages of BUKU Fest, Festival Internationale, French Quarter Festival and more. Additionally, the band will made their New Orleans Jazz and Heritage Festival debut in April 2015. Beyond such notable bookings, Sweet Crude's music has been featured in FX's American Horror Story.

Sweet Crude has tested their frenetic sound on the road, packing venues from New Orleans to NYC. The band returns to Canada in August 2015 to play the Acadie Rock Festival and Festival Acadien, both in New Brunswick. Expect to see the band to be on the road in a big way, taking their energetic music and their mission of preserving Louisiana tradition far and wide.

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Thursday 15 September
White Oak Music Hall Upstairs 07:30 PM All Ages $15.00 ADV   $17.00 DAY OF $19.00 DAY OF BOX OFFICE
David Ramirez, Walker Lukens & The Side Arms
The life of the traveling songwriter certainly seems romantic. But as David Ramirez notched mile number 260,000 traveled in his 2006 Kia Rio, the novelty began to wear off.

"I've learned a lot from being alone and isolated," says Ramirez, who until recently toured completely by himself, without a band, manager or anyone else for company. "Yes, it's romantic in a way. But it has also been kind of rough on my head and my heart. After a while it made it difficult to connect with people on a personal level when I got home. In hindsight, I can see that it's been kind of detrimental. You know, when you travel around alone for months at a time, the world revolves around you. There's no one else in the equation. Everything was just about me. It's a selfish way of living. And I'm ready to move on from that."

It's taken three years since that realization, but with his new album 'FABLES,' out August 28 via Thirty Tigers, Ramirez takes strides towards that personal growth both as a musician and as a man.

"I hit a dry spell for a couple of years after my last album. It was frustrating. I went into the studio two years ago planning to do a whole record, and it just wasn't coming together. So I scrapped the whole thing and took some time away from it," he says. "It felt forced. I don't want to just put more noise into the world. I want to put something out there that means something to me. And if it doesn't, then I don't release it. Therefore, I haven't had a new record in three years. I know that can be frustrating for people on my business team. But I don't want to put it out there if I can't stand behind it."

The delay, it turns out, was for the best. "My focus wasn't really on my music at that point," he explains. "I was at a point in my relationship with my girlfriend where things were getting serious. The closer we got, the more I realized that I needed to be honest with myself and with her about where my life was heading. If I want to be in a meaningful relationship with someone, I have to be honest in everything I do."

The album's title, 'FABLES,' was inspired by the first single, "Harder to Lie," which captures the moment Ramirez realized, as he puts it, "I couldn't bullsh*t with her anymore. She knew me completely. It got me thinking about how much I bullsh*t in my life - exaggerating stories, faking a smile, or whatever. Just telling fables. When you don't know who you really are you can end up hurting people."

That newfound maturity and clarity translated into his approach in the studio, as Ramirez traveled to Seattle to work with his friend Noah Gundersen, who produced the album. "My previous albums were a bit less personal. I always went in with a certain idea of what I wanted them to turn out like. I had never just walked in and said 'let's just see what happens.' And that's what we did this time. From the writing to the recording, it was just based on instincts."

In a world full of singer-songwriters hawking their stories, Ramirez has managed to stand out from the noise, developing a fiercely loyal following of fans who are drawn to his intimately personal songwriting. "When someone buys a record of mine, they're getting my life. They are essentially memoirs. They're going to know a little bit more about who I am."

'FABLES' is a sparse, poignant set of songs crafted around Ramirez' starkly beautiful baritone, which the New York Times once described as full of "haggard loneliness." NPR Music praised his knack for writing "dark, wrenching tales that are immediately identifiable to those who've loved and lost," while Paste described his "brutally honest" lyrics as "almost alarmingly descriptive."

After years on the road touring as an opening act for artists like Noah Gundersen, Gregory Alan Isakov, Shakey Graves and Joe Pug, Ramirez is excited to finally embark on his own tour. "Fans have been paying high-dollar tickets to watch me open for other bands, and I'm very thankful for it. I've also had the chance to see how other songwriters I respect work on a professional level. I've learned a lot and been challenged a lot. It's like I've been going to school. I've been taking notes. And now I think I'm ready for the job. I'm really excited to finally go out with a band and do my own full set. It will be more fun and energetic."

As he has learned to open himself up to other people in his personal relationships and in the studio, Ramirez has also been focused on putting together a full-time band and letting other musicians become involved in the creative process. "I'm trying to build a family of people who create together, not just a backing band," he says. "For the past five years traveling, I get off stage and I have no one to share it with. I've been lucky enough to ride along with some of the bands I've opened for. I watch them get ready for their set and have that sense of collaboration, and I'll just be in the alley smoking a cigarette by myself. I've always had a little envy for that. I'm like every kid that grew up playing in a garage. I want a band. No one has dreams of playing the world alone."

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Thursday 15 September
White Oak Music Hall Downstairs 08:00 PM All Ages $22.00 ADV   $24.00 DAY OF $26.00 DAY OF BOX OFFICE
Dinosaur Jr., Elisa Ambrogio
Let's face facts -- in 2016 it is remarkable that there's a new Dinosaur Jr. album to go ape over. After all, the original line-up of the band (J Mascis, Lou Barlow & Murph) only recorded three full albums during their initial run in the 1980s. Everyone was gob-smacked when they reunited in 2005. Even more so when they opted to stay together, as they have for 11 years now. And with the release of Give a Glimpse, this trio has released more albums in the 21st Century than they did in the 20th. It's enough to make a man take a long, thoughtful slug of maple-flavored bourbon and count some lucky stars.

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Thursday 15 September
Rudyard's 08:00 PM All Ages $12.00 ADV   $14.00 DAY OF $16.00 DAY OF BOX OFFICE
Quilt & Mutual Benefit
Mutual Benefit, the project of singer/multi-instrumentalist Jordan Lee, blends folk, psychedelic pop, and experimental recording techniques into fragile, hopeful songs that evoke the work of Sufjan Stevens, Animal Collective, and the Microphones. Lee grew up in Columbus, Ohio and began writing songs inspired by the likes of Elliott Smith while still in high school. After graduation, Lee moved to Texas and took his music in a more experimental direction, incorporating field recordings and found sounds into his songs. While in Texas, he began writing and recording as Mutual Benefit, but began working on the project in earnest once he moved to Boston to play with an old friend who had attended the Berklee School of Music. Mutual Benefit's first release, 2009's Figure in Black, was originally issued on cassette before Lee put it up on Bandcamp. Lee issued two Mutual Benefit EPs in 2010: Drifting, which was one of the first releases on Lee's own Kassette Klub label, and Spider Heaven. Lee had a busy 2011, collaborating with Holy Spirits on the Mutual Spirits split single and delivering two more EPs, I Saw the Sea and The Cowboy's Prayer.

Love's Crushing Diamond Late that year, he began putting together years' worth of audio he recorded in Austin, Boston, and St. Louis, Missouri into what would become Mutual Benefit's debut album, Love's Crushing Diamond. A set of songs responding to the hard times many of his friends were experiencing, the album was originally released in October 2013 by Soft Eyes, a Brooklyn-based micro-label that issued the album as a limited-edition LP. A wider release came at the end of the year courtesy of Other Music Recording Company, and in 2014 a remastered, physical version of The Cowboy's Prayer was scheduled to arrive. While touring behind his debut album, Lee began to write his follow-up effort, eventually completing the process and the recording after settling in New York City. He released Skip a Sinking Stone with Mom + Pop Music in the spring of 2016.

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QUILT was formed in late 2008 in Boston, MA.

Shane Butler, Anna Fox Rochinski and Taylor McVay met at the School of the Museum of Fine Arts, and spent the next couple of years honing a strange yet magnetic ramshackle sound in the smoke-filled basements and living rooms of Jamaica Plain and Allston. They released a home-made tape in 2009, touring DIY style around the northeast in a 1993 Buick Roadmaster.

In Spring/Summer 2010, the trio recorded a collection of seven songs in the home of Jesse Gallagher, in Cambridge. The following winter, after Taylor's amicable departure from Quilt, John Andrews was recruited and subsequently plucked from the suburbs of New Jersey to join the band on a tour to SXSW.

It was around this time that those seven songs had made their way to the big guy's desk at Mexican Summer records in Brooklyn, via former Captured Tracks label manager Katie Garcia (a friend from the college years in Boston). The band returned to Cambridge and recorded three more songs, now with the songwriting input and drumming from John.

Quilt's self-titled ten-song debut was released in November 2011 on Mexican Summer to positive reviews from critics and the band began touring in support of the record on and off for the next year or so.

Their following record, Held In Splendor, was recorded in Brooklyn with producer Jarvis Taveniere. Released in early 2014, the album ushered in another year of near-constant touring. The trio recruited New Hampshire-based bassist Keven Lareau for their live shows.

Nearly two years later, Quilt's third full-length record, Plaza, will see the light of day on February 26th, 2016. Lead singles "Eliot St" and "Roller" have been met with praise and the group has full US and Europe tours lined up.

The band considers itself a New York-based band that formed in Boston.

The 4 members reside in Brooklyn, Upstate New York, and New Hampshire.

And as lovely as it was to tour in a 20-foot station wagon with faux-wood panelling, they eventually upgraded to a 12 passenger Chevy Express van. His name is Big Earl.

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Friday 16 September
White Oak Music Hall Upstairs 07:00 PM All Ages $20.00 ADV $22.00 DAY OF BOX OFFICE
Marian Hill Act One Tour w/ Verite, Shaed
Act One, the debut full-length from songwriting duo Marian Hill, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals). The multi-talented duo, who have been collaborating in one form or another since high school, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop -- and the results are seductive and vivid. Tempting paradox with a blend of blues and bass, acoustic and digital, classic and modern, Marian Hill have arrived.

Two years ago Sam and Jeremy wrote and recorded "Whisky" over spring break in Jeremy's parents' basement. When they released it for free on Soundcloud later that summer it was the only song they'd written for the project, and in a little over a year's time they had recorded their first EP in a bedroom, amassed millions of plays on various platforms, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015, released the Sway EP, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential.

For the first 50 seconds of "Down" you might think you're at a supper club in the 1920s, but when the bass drops out of nowhere you couldn't be anywhere but 2016. Act One then takes you on a journey through the complexities of modern relationships, with each song inhabiting a specific and charged relationship lyrically, melodically, and sonically. "I Know Why" constantly transforms and reinvents itself as the vocals grapple with a secret while "Mistaken" is the hardest of sax trap with a classic songwriting backbone. "Same Thing" is the saddest part of the album, a haunting ballad depicting serene resignation of a doomed relationship, but castanets rise from the ashes as "I Want You" closes out the night in a pure moment of optimistic electricity, a glance across a crowded room that changes everything.

Marian Hill's one of a kind sound is present throughout - blues harmonies blend with sparse hip hop drums, horns blast under classic vocal melodies, and soloistic vocal chops sit side by side with clear, intimate lyrics. You've never heard this before, yet it's surprisingly familiar. And it's only the beginning.

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Saturday 17 September
Raven Tower Pavilion 07:00 PM All Ages $13.00 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
Twin Peaks: Down in Heaven Tour, White Reaper, Modern Vices
Give Twin Peaks an inch and they'll take a stretch of the road. Having careened across America and beyond, sharing their staggering energy, the band made their third album the best way they know how: by themselves. The same group that pro-duced the scuzzy squalor of their debut "Sunken," had legions of fans screaming along to their anthemic sophomore effort, "Wild Onion," now swings and serenades with "Down In Heaven" (out on Grand Jury on May 13th).

Co-produced by the band and longtime collaborator R. Andrew Humphrey, and mixed by new confidant John Agnello (Dinosaur Jr., Kurt Vile, Sonic Youth), the rec-ord is by turns raw, polished and wise beyond its years. The diverse new songs beg the listener to sway slowly, bang their head wildly and question what they were do-ing wasting emotional time on anything less. It is a marked, and some may say ma-ture, development for a band that doesn't know how to play it safe. They aren't here to tell you what youth is like or what being a little older now means, though; they want to join you in a conversation about why we hurt, love and tug at each other.

While Twin Peaks is a bit older, they're not necessarily calmer; their restlessness endures. Born of Chicago's league-leading DIY scene and with several of them re-maining friends since elementary school, Cadien Lake James, Clay Frankel, Connor Brodner, Jack Dolan, and most recent addition Colin Croom share an enthusiasm, authenticity and passion their audiences have found contagious. In the three years since dropping out of college to support their debut album "Sunken," the band has covered a lot of ground. They've played to ever-increasing crowds, bigger and row-dier each time they come barreling into a city; they were anointed "Best New Band" by NME and countless other blogs, and they have performed for (and partied with) more than hospitable masses at festivals in the states and Europe, including Pitch-fork, Lollapalooza, Reading & Leeds, and Roskilde. In between all this action, the group set up camp in the summer of 2015 amidst the solitude of a murky lake in Western Massachusetts, where they could experiment and record on their own terms in the warm living room of a good friend's house.

Recording on reel-to-reel with the band learning studio tricks on the fly, Twin Peaks set out to a make an LP that reflects how far they've come and how much of life is left, trusting themselves to make a record they'd want to hear. James explains, "I've been particularly drawn to records that have a more personal feel, not necessarily lyrically, but in sonic aesthetic, like The Kinks Village Green Society, Beatles White Album, and Rolling Stones Beggar's Banquet. We wanted to make a record that em-ployed the restraints of our favorite artists from yesteryear. It was about trying to simplify and hone in on the things that are important to our music and ethos." In considering the development of the band's sound from "Sunken" to "Wild Onion" and now to "Down in Heaven," Frankel adds, "The bands we admire are the ones who change drastically over the course of their span, like The Velvet Underground, where no two records of theirs sound the same."

Whether sneering or pleading, aggressive or impatient, the thirteen tracks of "Down In Heaven" are a continuation of the bands path and an eschewing of previous com-parisons. It is a record all about feel: heartbreak, forgiveness, anger, jubilation, re-invention, growth. Album opener "Walk To The One You Love," written by James about letting someone close to you go is immediately followed by Frankel's song "Wanted You," with lyrics about not getting the one that you yearn for. With "Stain," perhaps the biggest departure for the band on the record, Frankel says, "I didn't want another love song, so after a while I got what it is, how you suffer for your art but you put up with it because you don't wanna do anything else. It's a song about the love of music." Even though four of the five members contribute lyrics, there are obvious connections both thematically and musically across the record and the band's voice rises unified.

"Down in Heaven" will bring old fans and new Twin Peaks most complex record to date, encompassing elements only teased on their previous efforts. Frankel says, "I don't know yet what kind of band we are, since we keep changing with every year. I guess we are a band unafraid of new influences and changes." Put simply, "Down In Heaven" makes it increasingly hard to call their sound "classic." It's rock new and old, it's a little bit of country, it's a whole lot of punk attitude, and it's something to get excited about. Twin Peaks is here to stay, and they aren't going to get pinned down.

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Saturday 17 September
White Oak Music Hall Upstairs 08:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
Honky, Whiskeydisk, Pure Luck
When you think of Texas, what comes to mind? Big skies? Big trucks? Hot women with big… uh, well… big hair? Everything, as they say, is bigger in Texas… And that what ain't bigger is more bizarre. After all, in a state that refers to itself as a republic… things can get pretty skewed.

Enter Honky. Honky proudly carries the torch held by the likes of Scratch Acid, Pantera, ZZ Top and the red-headed stranger himself, Mr. Willie Nelson.

This Austin Superboogie trio was founded in 1996 by long time Butthole Surfer bassist JD Pinkus,Bobby Ed Landgraf (Gahdzilla Motor Company, Blowfly) on guitar , and rounded out by Michael ‘Night Train' Brueggen (Blackula, Syrup, Supagroup) on the drums.

Honky dishes out an appetite pleasin'… Superboogie servin' that'll keep ya' comin' back for more. Austin's favorite sons have released some of the best lo-fi, hi-sleaze rock ever cut to wax, tape, or cd, and have toured with the likes of Nashville Pussy, the Reverend Horton Heat, Fu Manchu, Melvins, Karma to Burn, Down and David Allan Coe.

Honky's newest release, 421, is another feast of down and dirty rock, rolling across the finish line late this summer. This one is more of a group effort than ever before, co-written and co-produced by Pinkus and Landgraf at Willie Nelson's famed Pedernales studio and mixed by Butthole Surfer Paul Leary (U2, Meat Puppets, Sublime) with mastering duties being handled by Brian "BIG BASS" Gardner ( Micheal Jackson, NWA, Eminem, the Band, Alice Cooper). Available wherever fine Honky products are sold.

The band is currently on tour worldwide and would like to invite y'all out for a butt shakin' good time.

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Sunday 18 September
Rudyard's 08:00 PM All Ages $12.00
Goblin Cock, Funeral Horse, Black
Rob Crow is a man of visions. Not the hallucinatory kind, mind you, but to fence his incredible talent into a singular vision is just plain inaccurate. By fusing the jazz-prog of the Residents, the dynamic time signature and tempo shifts of Slint, the pop acrobatics of Sparks and the stellar vocal harmonies of the Beach Boys, he single-handedly invented the music you could call post-pop over two albums in the mid-1990's (and a posthumous comp) with his band Heavy Vegetable, a feat almost no one saw fit to write about at the time and even fewer critics have discovered in retrospect.

He furthered this sound's progression with two more albums and an EP with his band Thingy, turned novelty-pop on its head with two albums by Optiganally Yours, barreled through hardcore with the Alpha Males and Fantasy Mission Force, genre-hopped from boy-band pop to death metal and back with three solo albums, put his stamp on modern arena rock with Team Sleep, and still has a few more projects up his sleeve (including a posthumous third Thingy album, a new Optiganally Yours album O.Y. in Hi-Fi, a collaboration with Zach Hill of Hella called the Ladies and other projects which have yet to be announced). Most publicly, he and his collaborators have earned a legion of followers with the innovative rhythms and alluring melodies of Pinback.

Some have surmised that Crow has the equivalent of musical A.D.D., but it's more a case of seeing the world through song and brimming to the gills with inspiration and originality. He is clearly one of the most distinct and innovative musicians of the last 20 years. Of course, nothing exists in a vacuum and at the heart of this long and twisting musical career is a metalhead. And in that metalhead's heart of motherfucking hearts is a band found at the heart of rock itself, Black Sabbath. That secret black heart has been simmering in a vast cauldron filled with orc's blood, seasoned with a comic books obsession and injected with a vulgar sense of humor juxtaposed over a love of simple things (such as Sesame Street's elusive pachyderm, Snuffaluffagus). From the caustic, bubbling froth emerges Goblin Cock, monstrous in its potency, grotesque, fully formed, vile and virile in its power. OK, I could write this bio with enough cock puns to choke a critic (see?) and enough hyperbole to make it any metal release, but it's not. It's better. Goblin Cock's debut Bagged and Boarded is the best rock record in years. This is not a side project. This is not ironic. Yes, this is serious. Yes, this is fun. Yes, this record is so fucking great for so many reasons, chief among them the way it rocks. Both Rob Crow and guitarist Brent Asbury (ex-Thingy, ex-Pinback) are expecting newborns in October, so Goblin Cock won't be touring until after the new year. Wait and/or be destroyed. Fuckface. Available on CD and glorious, glorious picture disc vinyl LP.

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Monday 19 September
White Oak Music Hall Upstairs 07:00 PM All Ages FREE There will be a $5 cover for minors. RSVP does not guarantee entry. Admission is subject to venue capacity at time of arrival.
Swimming With Bears
We are a soulful alternative rock band from Austin, Tx. We met by random chance and have been playing music together for 4 years now. Our inspirations include Kings Of Leon, Temper Trap, Explosions In The Sky, This Will Destroy You, Phoenix, The XX, The Naked and the Famous, Two Door Cinema Club, and many more.

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Tuesday 20 September
White Oak Music Hall Upstairs 07:00 PM All Ages $12.00 ADV   $14.00 DAY OF $16.00 DAY OF BOX OFFICE
Cass McCombs Band, Big Search
Over the past decade, Cass McCombs has established himself as one of our premier songwriters. It's a career that's twisted and turned, from style to subject, both between records and within them. His new record, "Mangy Love," (8/26, ANTI) ventures into realms of experimental soul, twisted psychedelia, and straight-up rock, resulting in a sound that articulates his live show better than ever before. Thematically, it's far darker, tackling heavy issues through McCombs' uniquely cracked lens of (oftentimes hilarious) lyrical wit and acumen toward subtlety. Hip-hop and Beat poetry influences have never been more evident, with several songs employing a speech-style and clever fast-paced wordplay. There are guest appearances by many fellow musicians of his tribe ranging from Angel Olsen to Blake Mills, under the production of veteran Rob Schnapf, and the overall result is his most immediate and upbeat record to date.

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Wednesday 21 September
White Oak Music Hall Downstairs 07:00 PM All Ages $33.00 to $83.00 ADV 38.00 to 83.00 DAY OF BOX OFFICE
Natalia LaFourcade
Natalia Lafourcade Oficial nació el 26 de febrero de 1984 en la Ciudad de México. Su padre Gastón Lafourcade, fundó la Asociación de Organistas y Clavecinistas de Chile y es catedrático de la UNAM. Su madre María del Carmen Silva, creó el Método de Enseñanza Musical y Desarrollo Integral Macarsi. Natalia vivió su infancia en Coatepec, Veracruz, rodeada de música y arte.

A los 14 años se unió al grupo pop Twist y a partir de ello decidió estudiar formalmente música. Aprendió bases de guitarra, piano y canto. Tomó un programa de entrenamiento musical en Boston y a los 16 empezó a componer. En el 2002, a los 17 años, firmó con Sony Music y grabó su disco Natalia Lafourcade producido por Loris Ceroni y Aureo Baqueiro. En el 2005 liberó Casa con su banda La Forquetina.

En el 2006, tras nueve meses en Canadá, compuso el disco instrumental Las cuatro estaciones del amor, mismo que grabó con la orquesta juvenil de Veracruz. Mientras lo concebía compuso canciones y con algunas de ellas formó su álbum HU HU HU que salió a la venta en el 2009.

Por su convicción humanitaria apoya proyectos altruistas como Un techo para mi país, la fundación El Caracol para jóvenes en situación de calle, el programa Ponte Oreja de la fundación MVS, la fundación Camino Seguro en Guatemala, es vocera de Save the Children y apoya a SIVAM (Sociedad Internacional de Valores de Arte mexicano A.C.). Compuso el tema Un derecho de nacimiento a favor del Movimiento político juvenil mexicano Yo soy 132.

Prestó su voz para doblar la película El Gato con Botas y realizó la música de la serie de televisión Locas de Amor. Ha producido musicalmente a artistas como Carla Morrison y Ximena Sariñana. Al lado de Ely Guerra, Lo Blondo y Alondra de la Parra, engalanó la conmemoración del Bicentenario de México junto a la Orquesta Filarmónica de las Américas, resultando el disco Travieso Carmesí. Junto a Alondra de la Parra se ha presnetado en diferentes recintos en México y USA. Colaboró en Soundtracks de películas como Amarte duele, Temporada de patos y No sé si cortarme las venas o dejármelas largas. En el 2013 escribió la música para el proyecto turístico y cultural Yo descubrí Yucatán. En el 2012 filmó El cielo en tu mirada, dirigida por Pedro Pablo Ybarra y el documental Hecho en México, producido por Duncan Bridgeman. Cosmo TV, en ese mismo año, Cosmo TV produjo el reallity show Mi Mundo Privado sobre la vida de Natalia.

Ha participado en tributos y homenajes a diferentes compositores e intérpretes como Caetano Veloso, Simón Díaz, José Alfredo Jiménez, Mecano, José José, Intocable, Luis Eduardo Aute y Chavela Vargas. Ha hecho duetos con inumerables artistas, entre ellos Pepe Aguilar, Juan Gabriel, José José y Gilberto Santa Rosa.

En noviembre de 2014, fue uno de los 5 artistas seleccionados para realizar un playlist que acompañara a los usuarios de Spotify durante su recorrido en la
exposición En esto ver aquello, sobre la obra de Octavio paz en el Palacio de Bellas Artes.

Durante su carrera ha recibido distinciones y reconocimientos, entre ellos varios Premios Grammy y MTV Latinos. Su trayectoria y talento son reconocidos en América, Europa y el Oriente: ha tocado su música en Japón y editado sus discos ahí y en Taiwan.

Su quinto disco es la magnífica producción "Mujer Divina - Homenaje a Agustín Lara", un encuentro entre generaciones que resalta la intensidad del corazón de los mexicanos. En el, participan artistas como Gilberto Gil, Vicentico, Miguel Bosé, Lila Downs, Adrián Dargelos (Babasónicos), Meme (Café Tacuba), Jorge Drexler, León Larregui (Zoe), Leonardo de Lozanne, Leonel García y Kevin Johansen, entre otros. Es Disco de Platino con más de 80,000 copias vendidas. En el 2013, este disco fue merecedor de 2 premios Latin Grammy: mejor disco alternativo del año y mejor video musical versión larga, además de haber estado nominado en la categoría de mejor ingeniería de grabación.

Su última grabación liberada en enero del 2015, Hasta la raíz, debutó en No. 1 en plataformas como iTunes y Deezer. Además, los sencillos Hasta la raíz y Nunca es suficiente se posicionaron en el No. 1 de la lista Viral 50 de Spotify México y dentro del Top Ten en la categoría Global. Esta producción ya obtuvo un disco de platino en México y de Oro en Italia. Además de obtener 6 nominaciones a los Grammy latino de este año: grabación del año, álbum de año, canción del año, mejor álbum de música alternativa, mejor canción de música alternativa y mejor ingeniería de grabación para álbum. Obtuvo 5 de las 6 preseas, faltando únicamente mejor álbum del año.

En febrero de este año, Natalia ganó el Grammy a mejor álbum de rock, urbano o contemporáneo en los premios Grammy 2016.

Natalia Lafourcade ha compartido su música en toda la República Mexicana y en países como Perú, Chile, Guatemala, Canadá, Japón, USA, Venezuela, Argentina, España, Italia, República Dominicana, Ecuador, El Salvador, Costa Rica, Colombia y Dinamarca, conquistando con ello nuevos horizontes y corazones. Este año realizó la primera etapa de la gira Buscando raíces, por teatros históricos de México, visitando con gran éxito recintos con más de 100 años de antigüedad en ciudades como Zacatecas, Veracruz, Tlacotalpan, León, Guanajuato, Oaxaca y Puebla.

Es una artista con personalidad, una autoridad en la música contemporánea con poder de convocatoria incuestionable. El público agradece su sencillez y la belleza de su interpretación hasta en los lugares más insospechados. Natalia es reconocida mundialmente por unir generaciones, por hacer una inigualable fusión entre la música tradicional y la contemporánea. Ella es, sin duda, una digna representante de la escena musical en México.

One of the more colorful and charismatic pop artists to emerge in Mexico during the early 2000s, Natalia Lafourcade debuted in 2003 with a fascinating solo effort before switching to a rock band format, Natalia y la Forquetina, and proved herself worthy of acclaim in whatever guise she chose. Born Natalia Lafourcade Silva on February 26, 1984, in Mexico City, she took an early interest in music, for her parents were musicians. She knew at an early age that she wanted to become an artist, and over the course of her childhood she studied accordingly: painting, theater, and music, including such instruments as flute, guitar, piano, and saxophone, as well as singing. Though she attended a Catholic middle school, Instituto Anglo Español, Lafourcade spent several years living with her mother in Coatepec, Veracruz, Mexico, where they both studied music. Some of her cited contemporary influences are Fiona Apple, Björk, Café Tacuba, and Zuco 103.

With time, Lafourcade was taken under the wing of Loris Ceroni, a well-regarded Italian producer perhaps best known for his work with Alejandra Guzman. Recording at Le Dune Estudios in Italy, he produced the bulk of what would later be released by Sony Norte as Natalia Lafourcade (2003), with the remainder of the album produced by Aureo Baqueiro back in Mexico. An eclectic, free-spirited album encompassing everything from gentle bossa nova-style acoustic guitar to hard-hitting dance beats, often within the same song, Natalia Lafourcade is a fascinating album of pop confetti anchored by well-written songs and charismatic singing. It found a captive audience in Mexico, generating four hit singles ("En el 2000," "Busca un Problema," "Elefantes," "Te Quiero Dar"), topping the album chart, and going three-times platinum. Moreover, it wasn't only consumers who were captivated by the album, as Lafourcade earned four Latin Grammy nominations for her debut effort: Song of the Year ("En el 2000"), Best New Artist, Best Rock Solo Vocal Album, and Best Rock Song ("En el 2000"). She also earned a standard Grammy nomination for Best Latin Pop Album.

In 2004, the following year, Lafourcade assembled a four-piece rock band, Natalia y la Forquetina, also comprising Alonso (drums, programming), Chanona (guitar, bass guitar), and Yuno (accordion, keyboards). Fernando Eimbcke, a filmmaker who had directed the video for "En el 2000," invited Lafourcade and her new band to record a song for the soundtrack to his film Temporada de Patos (2004). The song, "Un Pato," is a reinterpretation of a traditional bossa nova, "O Pato," and it marked the debut of Natalia y la Forquetina. Meanwhile, the band worked on a full-length album with producer Emmanuel del Real, aka Meme, from the band Café Tacuba, and also with Baqueiro once again.

The resulting album, Casa (2005), is indeed the product of a genuine rock band, with surging electric guitars driving many of the songs. Though considerably more one-dimensional than Lafourcade's self-titled debut, and not quite as successful, Casa nonetheless spun off some hits, topped the album chart, went platinum in Mexico, and won a Latin Grammy for Best Rock Album by a Duo or Group with Vocal. Furthermore, the band arrangement facilitated Lafourcade's emergence as a concert performer, and indeed, she took Natalia y la Forquetina on the road, touring extensively throughout Mexico over the course of a year's time. Their last show was August 18, 2006, after which Lafourcade disbanded la Forquetina and resumed her solo career with the classical EP Las 4 Estaciones del Amor (2008). She then returned to pop with the Grammy-nominated Hu Hu Hu (2009) and Mujer Divina: Homenaje a Agustín Lara (2012), as well as Hasta la Raíz (2015).

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Thursday 22 September
Rudyard's 08:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
Rocky Votolato Makers 10 Year Anniversary Tour w/ special guest Chris Staples
Over the course of the last 15 years, Rocky Votolato has produced some of the most powerful music to come out of Seattle, an impressive canon anchored by earnest, lyrical songwriting, and delivered in a unique indie-folk-punk style that has evolved out of the Pacific Northwest music scene he was raised in. He has matured over the course of seven increasingly accomplished solo albums, and writes songs that seem to have been scratched into a boxcar wall by a worn-out and lonesome ghost. He has recently finished work on his eighth solo album, Hospital Handshakes, with producer Chris Walla (Death Cab For Cutie) and signed a deal with both No Sleep Records for a US release and Glitterhouse Records for release all across Europe.

Hospital Handshakes, is a surprisingly positive exploration that examines themes of healing from trauma, overcoming depression, spiritual longing and finding what's really important in life. "I feel like this record was all about pushing the boundaries of what I'm capable of creatively, experimenting with collaboration, and finding a new environment for the kind of lyric focused songwriting that I've always loved," Votolato explains. DzTo stay on the path of a life in music I knew I was gonna have to find a new direction and step outside of my comfort zone. It wasn't always easy but I'm so excited about the energy this album captures and can't wait to share these songs with people."

Teaming up with a standout cast of Seattle musicians, including his brother Cody Votolato on electric guitar (The Blood Brothers), Eric Corson on bass (The Long Winters), Andy Lum on drums (Craft Spells/My Goodness), and Casey Foubert contributing Aux instrumentation (Sufjan Stevens), the album that will emerge promises to be unlike anything Rocky has released before. At the core of Rocky's new music is the same earnest, impassioned, seeking voice, but now with a little more perspective, the product of self-realization hard-earned from a period of darkness and doubt. DzI'm writing about trauma,dz Votolato says. DzA lot of the material I'm working with is dark and scary, but I know there is light and healing coming through in the process, and I hope that will show up in the music as well."

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Thursday 22 September
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Old 97's
Although they became one of the most enduring bands in the alternative country-rock catalog, Old 97′s drew inspiration from a broad range of genres, including the twangy stomp of cowpunk and the melodies of power pop. Formed in 1993 by frontman Rhett Miller and bassist Murry Hammond, the group spent the bulk of the decade posed on the brink of mainstream success, issuing albums that often drew warm reviews but never yielded a substantial hit. Old 97′s tightened their sound as the decade drew to a close, retaining their bar-band vigor while introducing a stronger pop/rock sound on albums like Too Far to Care and Satellite Rides. Miller also mounted a solo career in the early 2000s, but the band remained together nonetheless, continuing to release material with their original lineup intact into the following decade.

Rhett Miller and Murry Hammond first partnered up in 1989, when Miller enlisted the latter's help in producing his debut solo album, Mythologies. Although six years younger than Hammond, Miller proved to be a dedicated musician as he canvassed the Dallas club circuit, playing an blend of folk and British-styled pop to local audiences. He also displayed a knack for storytelling, having previously earned a creative writing scholarship to Sarah Lawrence College. One year after Mythologies‘ release, Miller and Hammond teamed up once again, this time as part of the short-lived Sleepy Heroes.

Although the Sleepy Heroes disbanded after issuing one album, the band's mix of pop and Texas-styled twang helped lay the foundation for Old 97′s. Continuing to build upon that sound, Miller and Hammond linked up with lead guitarist Ken Bethea and recorded a demo tape at the Cedar Creek studio in Austin. Drummer Philip Peeples climbed on board shortly thereafter, and Hammond's childhood obsession with trains inspired the band's new name, which paid homage to the country ballad "Wreck of the Old 97." With their lineup intact, Old 97′s released the debut album Hitchhike to Rhome in 1994. It garnered positive reviews and began to build the group's alt-country fan base, which they consolidated on the album's follow-up, Wreck Your Life. Issued in 1995 by the newly formed Bloodshot Records - a label that would also launch the alt-country careers of Neko Case and Ryan Adams - Wreck Your Life presented Old 97′s as a sharp, eclectic country-rock outfit with a pinup-worthy frontman. Such positive attention led to a major-label deal with Elektra Records, who hoped to translate the band's underground buzz into mainstream success.

Old 97′s made their Elektra debut in 1997 with Too Far to Care, a muscular album that balanced the band's Texas traditionalism and pop leanings. Many publications placed the band among the leaders of the alt-country movement, and Old 97′s toured extensively in support, joining the Lollapalooza tour that summer and playing alongside Whiskeytown for a series of shows sponsored by No Depression magazine. Arriving two years later, 1999′s Fight Songs offered another polished, pop-friendly set of songs, allowing the band to sell out 1,500-seat venues during its return to the road.

By this time, Miller had moved to Los Angeles and shed the thick, '50s-style glasses that had become a major part of his image. He and Hammond also began performing in an informal side project dubbed the Ranchero Brothers, although a proposed album never materialized. Instead, the musicians returned their focus to Old 97′s, releasing another pop-influenced record with 2001′s Satellite Rides. Miller took a temporary leave after its release to work on a solo power pop record, The Instigator, which was released in late 2002. A period of relative inactivity followed, as the band members found themselves in different cities, with several of them starting families.

The hiatus ended in 2004 with the release of Drag It Up, whose subsequent tour featured prominently on the double-disc live album Alive & Wired. Afterward, Miller returned to his solo career with 2006′s The Believer, which found the frontman experimenting with strings and orchestral arrangements. Old 97′s returned to the studio once again in 2008, though, this time holing up in their native Dallas to help channel the energy of their earlier records. The move worked, and the resulting album, Blame It on Gravity, delivered some of the band's strongest songs in years. While touring the country in support, Murry Hammond launched his own solo career, packaging a wealth of old-timey gospel ballads and locomotive imagery onto the album I Don't Know Where I'm Going But I'm on My Way. Miller also found time to release a solo album, 2009′s self-titled Rhett Miller, which appeared one year before the ninth Old 97′s record, The Grand Theatre Volume One. Originally intended as a double-album, The Grand Theatre was followed in mid-2011 by a companion record, The Grand Theater Vol. 2. Ever prolific, Miller then released The Interpreter in 2011 and The Dreamer in 2012.

Following the 2013 release of the EP Waylon Jennings, featuring songs the band recorded over a decade earlier with the man himself, the Old 97's have confirmed the April 29 release of their new album and ATO debut Most Messed Up - a revealing, 12-track meditation on 20 years in music that finds them at their raucous, boozy best. It's "a rock opera, a way-off Broadway musical about a musician's life, loves and lubrication," says music critic Bill Flanagan. Recorded in Austin and produced by Salim Nourallah, Most Messed Up also features guest appearances by Tommy Stinson (The Replacements, Guns N' Roses) and Jon Rauhouse (Neko Case) on lap-steel.
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