“The American blues form is foreign to us,” says Malian master guitarist Mamadou Kelly. That may come as a surprise to American audiences who hear in Kelly’s music a connection between his soulful approach and the American indigenous musical form born in the Mississippi Delta.
On June 25, after more than a year of planning, friends Vincent Gagnon and Matt Bailey officially opened Woodpecker Pie inside The Mothlight on Haywood Road.
Bartell’s shows are in support of his recent release, Light Enough, on Sinderlyn. The label also re-released Bartell’s previous record, Loyalty, which he wrote and recorded in Asheville.
The collective’s debut album includes work that was contributed remotely, but contributing artists also reunited to record their alternative, psychedelic and sun-warped sounds together. The Mothlight hosts a release party for the self-titled work on Thursday, June 23.
The story is now well-chronicled: How Ford received a call from documentary filmmaker Robert Gordon — a friend of the Hi Rhythm Section, the house band for Green and other artists on the Hi Records label in the 1970s — inviting her to work with those musicians.
In advance of the sold-out show, a producer shares a mini-documentary on the band.
Ultimate Paining opens for Woods when the band’s national and international tour stops at the Mothlight on Wednesday, May 4.
But as Bachmann — who grew up in Asheville and launched his music career in Chapel Hill — announced the official end to Crooked Fingers, he also heralded in his newest era as a performer. He’ll perform tracks from his just-released eponymous album, the second under his own name, at The Mothlight on Sunday, April 17.
Heather McEntire and Jenks Miller of Mount Moriah both come from unlikely musical places. The singer previously fronted the post-punk renegade Bellafea, while the guitarist crafted sprawling, often droning compositions in the heavy-psych/metal band Horseback.
“We’re into the pirate thing; we’re into the carnival and circus thing. But we’re not defining ourselves by those genres,” says songwriter and keyboardist Danny Tetrault. “There’s a kind of carnival scene in Asheville, and we love being part of that. But you can tell by our music: We’re a rock band.”
Nonprofit Girls Rock Asheville organization has been putting on its annual summer camp since 2014. As a means of raising funds — and also letting adult women in on the fun — the organization created Ladies Rock Camp, which runs Friday through Sunday, March 11-13.
Brother Joel and Sam Herring share the stage again on Sunday, March 13, at The Mothlight. There, Joel’s latest solo identity, Nervous Dupre, opens for Future Islands side project, The Snails. Three days later, Nervous Dupre plays locally again, this time at The Odditorium.
Minorcan and Downtown Boys open for Sheer Mag at the Mothlight on Monday, March 7.
METAL opens for the untamed instrumental band at The Mothlight on Tuesday, March 1.
There are plenty of wonders, but Live at The Mothlight would rather thrill, scare, haunt and taunt that be plainly, simply pretty.
The latest episode of Acoustic Asheville features singer-songwriter Dylan LeBlanc from Shreveport, LA. He made a recent tour stop at The Mothlight to promote his record, Cautionary Tale.
The gifted guitarist with a soulful, haunting voice has an early Album of the Year candidate in “Cautionary Tale,” produced by John Paul White (formerly of The Civil Wars) and Ben Tanner (Alabama Shakes).
Opening for Nashville rockers Bully, Palehound plays the Mothlight Sunday, Jan. 24, at 9:30 p.m.
The Durham folk rocker’s “Southland Mission” was written and recorded entirely in-state with fellow North Carolina musicians.
The Few opens for HOMME at The Mothlight Sunday, Jan. 17, at 9 p.m.
The Cannonball Jars, Ancient Whales and The Blots open The Nude Party’s vinyl and tape release show at The Mothlight Wednesday, Dec. 30, at 9 p.m. Free.