Though the sounds Warren Haynes makes with his band Gov’t Mule aren’t retreads of songs from the past, there’s a deeply knowing sensibility within the grooves of tunes like “Stone Cold Rage” — the opening cut on ‘Revolution Come … Revolution Go’ — that reminds listeners that Haynes learned long ago all the right lessons about how to rock.
Before devoting herself full time to performing and making albums, Boggs was an Army paratrooper, a U.S. attorney, general counsel for Starbucks and a vice president at the Dell Computer Corporation.
Three of this edition’s artists are local to Asheville, and the other represents an important piece of the history of nearby Athens, Ga.’s music scene.
Memories provide the foundation for Katz’s current “music and conversation” tour, which includes a Thursday, June 22, date at The Orange Peel. The evening before, Katz will give a reading at Malaprop’s.
When All Go West began, it was a one-day event. But festival organizer Arieh Samson received complaints from many friends who work in the local service industries. “People often can’t get off work on Saturday, so they’d miss it,” he says. So, beginning this year, the festival expands to two days.
DJ Audio — born Ethan Conner — is a well-rounded talent, with notable skills in writing lyrics, vocals (both sung and rapped) and keyboards.
Tyson will present the talk “An Astrophysicist Goes to the Movies” at the Thomas Wolfe Auditorium on Tuesday, June 13.
Each of the four acts profiled in this edition is highly respected in its respective field. All are nationally-touring acts. And all are most certainly worth your time and heard-earned entertainment dollar.
Asheville-based Leiderman’s seemingly effortless ability to craft the aforementioned hooks is on brilliant display throughout the 15 tunes on BJ.
The songs that he wrote as the future began to unfold are collected on Itinierant Arias, his fourth album. Stelling plays The Altamont Theatre on Saturday, May 27.
This time around, all four featured acts are nationally touring artists. Funk, pop, rock and rockabilly are on the musical menu.
Like the abrasiveness of sand is an integral part of the creation of a pearl, so, too, is the internal struggle between Chris Tullar’s progressive and pop sensibilities. And Carpal Tullar’s Horse of a Different Tullar showcases those qualities in the best possible way.
Currently a four-piece (banjo player Jim McCarthy and guitarist Dave Gilbert plus bassist Max Steel and Ween drummer Claude Coleman Jr.), Skunk Ruckus originally came together around the core duo of McCarthy and Steel. Gilbert describes that duo’s sound as “old-time ballads with electric bass.”
This time around, the focus is on legacy artists. Musicians who have been at the game for many years, sometimes paying tribute to the music they made decades ago with now long-gone band mates, other times reviving a long-defunct group because there’s still more to say, musically.
Resonant Rogues is a showcase for the musicians’ collective and individual instrumental skills, but the song lyrics are a key component of the group’s appeal.
Natalya Zoe Weinstein and John Cloyd Miller were formerly two-thirds of popular Americana trio Red June; those who enjoyed that group’s seemingly effortless vocal harmonies and enchanting melodies should be every bit as pleased with Eyes Brand New, the second album from the duo.
A trio of near-simultaneous album releases by Asheville-based artists highlight the rich diversity of the local music scene.
Scott Bradlee’s Postmodern Jukebox, Acid Mothers Temple, Adrian Belew Power Trio and Electro-Music Asheville are in this week’s roundup.
This new collection of songs hits the sweet spot between bouncy pop and something more substantial.
The song “Samba Si Kairi” is the album’s centerpiece. “This song talks about my childhood, my parents,” Touré says. “My grandfather would sing ‘Samba Si Kairi’ to me as a child, and I would dance. Samba who never breaks, who never runs from threats, who is not afraid. This song is an homage to my grandparents.”
While Magill is open to many styles of music, something about choro immediately struck him. “When I was in West Africa, I’d be listening to polyrhythms and think, ‘What the hell is going on?’ Initially, I just couldn’t get it,” he says. “But with choro, I thought, ‘Yeah, I get this. Even if I can’t play it, I kind of know how it works.’”