With his forthcoming album “Sometimes Dogs Bark at Nothing,” he’s back after a fouryear hiatus to remind folks what a lifetime dedicated to country music really looks and sounds like. Sure to please fans of his hardscrabble earlier work, this new release also finds the acclaimed songwriter and vocalist stretching himself musically and personally. In just about every way, Sometimes Dogs Bark at Nothing is a recorded manifestation of Harris’ growth over the last four years. He’s become more comfortable in his singing, more confident in his artistic direction, and more adventurous in his sonic palette. He’s letting listeners in to some of his most difficult struggles and turning a compassionate eye to the struggles of others.
“With stunning insight and honesty, Justin Wells speaks upon the disillusion of dreams, the realization of new ones, the reality of the pitfalls of the rock and roll fantasy, and does so with cutting clarity and poetic facility.” - Saving Country Music
Boo Ray // Tennessee Alabama Fireworks (February 15th)
Black mirrors and social feeds have damaged our ability to connect on a deeply meaningful level. Alt country/outlaw guitar slinger Boo Ray delves deeply into the dire state of communication in the modern world with his new record, Tennessee Alabama Fireworks. The album plays like a southern gothic noir, and in his own words, explores the “nitty gritty, guts and ugly parts of the human experience today.” These songs creep into the brain with his most poignant lyrics to date. Boo Ray is every bit a hardboiled poet as many of the pioneers that came before him, from the likes of Tony Joe White, Willie Nelson and Jerry Reed
Formed In Stillwater Oklahoma, The Read Southall Band is comprised of 4 native Oklahoman’s. Read Southall (lead vocals and rhythm guitar) Reid Barber (drums) Jeremee Knipp (Bass) JT Perry (Lead Guitar and harmonies). With all members having different influences in music, they have come together to create a unique red dirt/southern rock sound. With overdriven guitars and heavy drums the Read Southall Band aims to deliver a rock and roll experience at every show.
Slippery Creek is a group of young pickers from the Cincinnati and Northern Kentucky area. Focusing on the deep traditional roots, Slippery Creek brings that old time style of hard drivin' bluegrass to today's audience. With lonesome vocal harmonies and solid instrumental arrangements, they will take you back to the early days of the Grand Ole Opry.
The Country Side of Harmonica Sam represents a rare and unique branch of contemporary country music. This is country music like it sounded in the late 50’s and early 60’s; more modern sounding than the 40’s Hillbilly style sometimes seen on the rockabilly scene around Europe. At the same time it’s far from the contemporary Nashville sound of country music. With a steady 4/4 shuffle, steel guitar and bass, the band performs their own original songs right alongside classics from Faron Young, Skeets McDonald, Billy Walker and Ray Price - to name a few.
The songs on Amanda Anne Platt & The Honeycutters blend the band’s old-school country roots attitude with their shared influences of rock and folk. Amanda says of the album, “I think it’s just about life and all that that entails. Including but not limited to death, strangers, birthdays, money, leaving, arriving, seasons, corruption, and love.”
Jerry Boonstra is an Americana/Alt-Country singer and songwriter from Nashville, Tennessee. He's performed everywhere from house concerts to honky-tonks. From live radio appearances to the main stage at Bean Blossom. From the Bluebird cafe to the Exit-Inn. From busking for change in subways to the offices of major record labels.
Featuring David Garza • Meghan Martin • Cole Woodruff • Jon Martin • Gary Wasson • David Pleiss
Years before Rolling Stone was praising Carson McHone's rule-breaking roots music, the Austin, Texas native played weeknights in local bars like The White Horse, keeping dancers dancing and drinkers drinking. With her 21st birthday still in the distance, McHone entertained late-night crowds bearing witness to the good times and bad decisions that fill a busy bar. It was a rare, raw education. She pumped her music full of details from an early adulthood spent in the company of the heartbroken and high-toleranced. In 2015, McHone released Goodluck Man which earned her a cover story in The Austin Chronicle as well as the support of local icons like Ray Wylie Hubbard, who said she "writes songs like her life depends on it." Then she hit the road, touring the U.S. (and beyond) with acts like Shakey Graves, Gary Clark, Jr., and Joe Pug. Her writing style widened and her music evolved.
Dallas Moore’s old-school country sound developed honestly, following over 20 years of sharing stages and studios with his honky-tonk heroes. Satellite radio support, paired with a willingness to perform over 300 shows a year, finds the seasoned veteran positioned to reach the Americana masses with his forthcoming album Mr. Honky Tonk.
Tastemakers have taken note already, with the Dallas Moore Band crowned the Ameripolitan Music Awards’ 2017 Outlaw Group of the Year. The award came after three prior nominations for the band No Depression credits with bringing “hangovers and excitement to outlaw country fans everywhere.”
Recent career strides caught the attention of producer/country-music heavyweight Dean Miller, son of Roger Miller and an accomplished songwriter himself, having penned tunes with George Jones, Hank Williams III, Jamey Johnson and more. Miller entered Baird Music Group’s Nashville studio with Moore and his band to record what was originally planned to be a five-song EP. “Out of all the things we’ve ever done, I think Dean captured what I do way better than anyone else we’ve ever worked with,” Moore says. “It was the best recording experience I ever had.”
The EP turned album after its barnstorming title track—a song Moore actually wrote 20 years prior—gained serious traction on Sirius XM satellite radio’s Outlaw Country channel. The album’s other tunes came more recently, all of them written in the past year and a half, making them clearer snapshots of how sharing stages (and rounds of shots) with his country-music idols has impacted his songwriting. “In the last several years, I’ve been real blessed to tour with a lot of my songwriting influences, and they’ve helped me improve my craft,” Moore says. “Guys like Dean Dillon, Billy Joe Shaver and Ray Wylie Hubbard have been so supportive. It’s really cool when your heroes become your friends, and that’s what happened in the past several years.”
Moore’s stage show—already seen in years past by fans of Willie Nelson, Merle Haggard The Allman Brothers Band and Lynyrd Skynyrd—has improved with every opportunity to open for an iconic country or Southern-rock artist. “If you’re playing in the slot before Dean Dillon,” Moore says, “You’d better not suck.”
Another crew of country luminaries performed on the album, including harmonica legend Mickey Raphael (Willie Nelson, Waylon Jennings, Chris Stapleton), famed Nashville session bassist Michael Rhodes and pedal-steel master Steve Hinson. “We walked in to the studio and saw all of these incredible players lined up,” Moore says. “I thought they were there to play with someone else!”
Even with such ample backing, the main attraction on Mr. Honky Tonk is still Moore and his deft skill as a songwriter and lyricist. Like so many of his inspirations, he’s an ace at spinning relatable stories. On “Killing Me Nice and Slow,” he weaves an impactful tale of lost love (“It’s a long way down when you’re higher than a Georgia pine on love and whiskey the night before / Then you hear the slamming of the door”). From there, Moore puts his spin on time-tested country tropes such as celebrating place (“Texahio,” a nod to splitting time between Texas and his native Cincinnati) and balancing Saturday-night hellraising with Sunday-morning God praising (“Shoot Out the Lights”).
Moore’s mother—a bluegrass and gospel performer herself—bought her son his first guitar when he was 16 years old. Before that, sports had been his first priority. “My big claim to fame back in those days—one year I beat out Ken Griffey Jr. for the most home runs in the league,” Moore says. “But then I got a guitar the next year, and I quit—I walked away as a winner!”
A few years later, Moore enrolled at Northern Kentucky University to study jazz and classical guitar. But he found his true calling in a less high-brow environment around the same time, performing on the local bar scene in a country house band. Multi-night stints playing classic covers set a precedent for the Dallas Moore Band’s sound and unrelenting tour schedule. And Moore’s gruff vocals have made him an ideal singer of songs about hard luck and harder living as far back as his 1991 debut LP, My Heroes Have Always Been Cowboys.
Once Mr. Honky Tonk arrives in February, expect Moore to play nonstop in support of his new album. He played a whopping 327 shows in 2017, and that was without an album to promote. Who knows, he might just play solo or with his band every single night in 2018.
ASHEVILLE, NC — Raw, soulful, and with plenty of swagger, Town Mountain has earned raves for their hard-driving sound, their in-house songwriting and the honky-tonk edge that permeates their exhilarating live performances, whether in a packed club or at a sold-out festival. The hearty base of Town Mountain’s music is the first and second generation of bluegrass spiced with country, old school rock ‘n’ roll, and boogie-woogie. It’s what else goes into the mix that brings it all to life both on stage and on record and reflects the group’s wide-ranging influences – from the Grateful Dead’s Jerry Garcia and the ethereal lyrics of Robert Hunter, to the honest, vintage country of Willie, Waylon, and Merle.