Hip-hop, blues, experimental/improvisational and jazz-pop: there’s something for nearly all musical tastes in this roundup.
These common initiatives have benefits for both the breweries and the nonprofits.
Gales singles out Asheville bassist Cody Wright — with whom he has toured extensively — for special praise: “He’s an amazing player, and I think he’s going to go very far.”
Taylor Moses has just completed an Australian tour in support of the EP, co-billed with American-born (but Australia-based) folk artist Mimi Gilbert.
Gold Light & Snakemusk will perform on Friday, May 10, at Harvest Records and Static Age Records.
This time it’s a nearly-all-locals roundup, featuring Western N.C.-based experimental/improvisational music, jump blues/swing jazz and indie rock. The other act is an intriguing and original touring outfit.
‘Revolver’ is often thought of as the first Beatles album to make use of the recording studio as an instrument. The album’s innovative, experimental nature is evident on tracks as varied as the singalong “Yellow Submarine” and the droning, psychedelic “Tomorrow Never Knows,” a John Lennon composition.
The duo’s concept of world music is expansive enough to include most anything, but in the process it remains true to the fundamental characteristics of African music.
Queen Bee and the Honeylovers aren’t completely immersed in the past; Moore’s historically based lyrics cover themes that are universal, and many are relevant to present-day Asheville.
Two celebrated local artists (one who’s bidding farewell to Asheville, the other a globetrotting artist who’s only occasionally home) and two psychedelic bands (one a relic from the ’70s, the other a new and soul-infused exponent of the style) are spotlighted in this roundup.
“We were activists before we were musicians,” says Chloe Smith. “So there’s always been a natural instinct for us to be aware of what’s going on in our surroundings and take part in movements and missions to make the world a better place.”
‘Sorry’ is a consistently engaging collection of songs that work on their own.
Friends and band mates encouraged Ryan RnB Barber. “They told me, ‘People really need to hear your type of r&b and hip-hop funk right now,’” he says.
Four accomplished comics — two from Western North Carolina and two based in Colorado — bravely bring their humorous stand-up to The Magnetic Theatre.
You can enjoy an all-(local)-star tribute to a country legend, an excellent local singer-songwriter, a touring female-led indie band and a fiery British songwriter whose best work ranks up there with Springsteen and Dylan.
“Not only is the music evolving,” mandolinist Ty Gilpin says, “but the subject matter of the music is also changing to reflect what’s happening in the world today.”
The five-song collection explores an intriguing and often unexpected palette of sonic textures.
With the benefit of hindsight, each of Drunken Prayer’s previous albums seems like a step on the road to making Cordelia Elsewhere; the record adds up to a showcase of Morgan Geer’s unique skillset.
Country, blues, bluegrass and … prog-hop? The variety of live music available in Asheville never ceases to impress.
Two bands, each led by high-profile fixtures of the Asheville music scene, are coming together to present a unique night of music.
Newcomers to the group’s sound to assume that Day & Dream makes exclusively languid, laid-back music. “First in Flight” pummels forward relentlessly; it’s just that it does so in an airy, shoegazey kind of way.