“What makes Lesley’s music so interesting is that it perfectly straddles the lines between North Carolina Piedmont blues and country music,” Dom Flemons says.
Caleb Johnson doesn’t get to spend a lot of time in Asheville these days, but keeps up with the local music scene as best as he can. “And for the most part, the musicians I use out on the road are Asheville-based,” he says.
Two internationally-famous touring artists (one in rock and pop, the other a towering figure in reggae) and two intriguing regional acts are among the highlights of the next 30 days in Asheville’s live music offerings.
Thompson describes her work as a maltster as “the perfect blend of cerebral and physical.”
Using what Colvin calls a “farm-to-can approach,” the company sources organic roots and fruits to make its “nonsoda soda.”
“A vast majority of the breweries in the United States are far too small to afford a senior financial officer,” says Gaiziunas. “It was clearly proven a deficiency within the industry.”
“Most of the time, brewers know what they want,” says Gomez. “But many other times, they ask, ‘I’m trying to brew this beer. What can I do?’”
The band — which includes local musicians Zack Page (Kristofferson’s former bass teacher) and guitarist Aaron “Woody” Wood — recently played its first high-profile gig at this year’s MerleFest.
The group self-identifies as “chaos funk,” and while that somewhat whimsical description suggests just the sort of aural train wreck that scares off some potential listeners, what the group does draws from the melodic side of improvisation.
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.