Lineup

Greensky Bluegrass

Greensky Bluegrass

Saturday, August 28
Main Stage | 08:00 PM - 10:00 PM
After 18 years together, up to 175 shows per year, nearly 1,000 different setlists, six studio albums, and a litany of live releases, Greensky Bluegrass embodies more than just music for members Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [Mandolin]. Truthfully, it embodies an ironclad creative bond, familial brotherhood, and a lifelong commitment to fans. At this point, it goes without saying the band means everything (and more) to the Kalamazoo, MI bluegrass mavericks. As time goes on, the guys continue to do things for the “right reasons,” and that mindset resonates louder and louder amongst a growing fan base. A live force of nature renowned for bringing rock ‘n’ roll showmanship to high-energy bluegrass, the group has sold out hallowed venues such as Red Rocks Amphitheatre and the legendary Ryman Auditorium in addition to igniting stages everywhere from Bonnaroo and New Orleans Jazz Festival to Austin City Limits and Outside Lands. Their unpredictable performances remain the stuff of legend attracting diehard devotees who typically travel far and wide to experience multiple gigs. In 2014, If Sorrows Swim bowed at #1 on the Billboard Top Bluegrass Albums Chart, while the 2016 follow-up Shouted, Written Down & Quoted cracked the Top 3. Along the way, they have also earned praise from Billboard, AXS, Westword, and more.
Shakey Graves

Shakey Graves

Saturday, August 28
05:30 PM - 07:00 PM
Back in December 2017, Shakey Graves proclaimed on his Twitter page, “Next album. New sound. Sell your suspenders.” The tweet was tongue-in-cheek, but Alejandro Rose-Garcia, the Austin native who’s been plying his trade as Shakey Graves since 2007, was making a dead-serious point about his latest album, Can’t Wake Up (Dualtone, out May 4). This ambitious, audacious work heralds an artistic metamorphosis for the 30-year-old veteran, whose risk-taking in painting outside the lines has been rewarded tenfold. “This record is the most I’ve ever intentionally worked on a project, musically speaking, in terms of the scope of it and how much thought went into it,” he says. “It’s a dense album; there’s a lot of information going on.” That is not a hyperbolic boast. From one moment to the next, Can’t Wake Up veers from the inevitable to the revelatory, its thirteen songs teeming with jarring musical and thematic collisions and thrillingly seamless intersections, gnarly psychological hornswoggles and ecstatic resolutions. Central to the prevailing sense of disorientation are the lead vocals, none of which is purely solo. Instead, each lead performance is shadowed by a queasy harmony or slightly out-of-sync unison part, giving the sense—especially on headphones—that these voices are emanating from inside the listener’s head. Newfound inspirations the Beatles and Harry Nilsson (“I could only deny the inevitable for so long,” he says of his belated immersion in the sacred texts) cohered around Rose-Garcia’s longtime touchstones, including Elliott Smith, Beck circa One Foot in the Grave, Broken Social Scene, Built to Spill and other indie bands of the 1990s and early oughts. Up to now, he’s been categorized as an Americana singer/songwriter, thanks to his traditionally rooted songs, fluent acoustic-guitar picking, Texas roots and the aforementioned cowboy hat. Indeed, Shakey was named Best Emerging Artist award at the 2015 Americana Music Awards. But that tag will undoubtedly be dismissed as restrictive and irrelevant once this righteously radical new album gets digested by critics and discerning listeners. Because Can’t Wake Up is an extreme example of what happens when a kid from an artistic family is encouraged to use his imagination from early childhood onward. “Not that I hadn’t made stuff that I really wanted to, but with this record, I just wanted to go back to building stuff,” Rose-Garcia points out, referencing a lifetime of doing just that. “So the creative process of building this record started out with me in a bathrobe in my house just doing what comes naturally, and then finding pieces of what I want to write about everywhere.”
Lettuce

Lettuce

Saturday, August 28
03:00 PM - 04:30 PM
Adam Deitch: drums, percussion Adam “Shmeeans” Smirnoff: guitar Erick “Jesus” Coomes: bass Ryan Zoidis: alto, baritone and tenor sax, Korg X-911 Eric “Benny” Bloom: trumpet, horns Nigel Hall: vocals, Hammond B-3, Rhodes, clavinet, keyboards LETTUCE is (a) the prime ingredient in a salad, (b) a slang for cash, (c) a green herb that can be smoked, (d) a genre-busting six-member funk/jazz/soul/jam/psychedelic/hip-hop/avant-garde/experimental collective formed in 1992 by four alumni of the prestigious Berklee College Of Music, or (e) all of the above. If you answered “e,” then you’re on to the ever-changing musical palette and all-inclusive goals of LETTUCE’s sixth studio album, Elevate, and its ongoing re-interpretation of the band’s name as “Let Us.” In their earliest days as students, they would roam the cities of the Northeast, and implore others to “Let Us play.” Starting with their 2002 debut album, the phrase has been affixed to their first four albums, as in (Let Us) Outta Here (2002), (Let Us) Rage! (2008), (Let Us) Fly! (2012) and (Let Us) Crush (2015). Elevate (2019) is the band’s first studio album since 2016’s Mt. Crushmore and the follow-up to its 2017 live effort, Witches Stew. Recorded at Colorado Sound outside of Denver, near the home of New York transplants and band co-founders, guitarist Adam “Shmeeans” Smirnoff and percussionist Adam Deitch, with legendary engineer Russ Elevado (D’Angelo, The Roots, Erykah Badu), Elevate shows LETTUCE touching on its past while moving full force into the future. The band explores its funk roots in the Tower of Power like punch of “Ready to Live” (the cover of a song by Cold Blood’s Lydia Pense), the Prince-like swagger of “Royal Highness” and the OG blues-soul of “Love Is Too Strong,” while expanded trip-hop sounds of the space age audio-scapes like “Trapezoid,” “Gang 10” and “Purple Cabbage” show the influence of sax player Ryan Zoidis’ Korg X-911 synths and Nigel Hall’s Rhodes keyboards. “This album definitely stretches the boundaries,” says chief composer/percussionist Deitch, whose chance meeting with co-founder “Shmeeans” while 16-year-olds at a summer camp before their freshmen year of college proved momentous. “The idea was to keep exploring the different areas of funk and hip-hop beats, then writing melodies to those songs that made sense.” The more progressive/spacey vibe, with elements of Pink Floyd, the Grateful Dead, Eno and Miles Davis, also comes naturally to the band, according to founding member and bassist Erick “Jesus” Coomes, an Orange County native whose father, Tommy Coomes, is a successful musician with a number of albums to his credit. “We’re big improvisational music and arts fans,” Erick says. “We consider them part of the same world. It’s like painting live with five other people, one arm and a single brush.”
Andy Frasco & The U.N.

Andy Frasco & The U.N.

Saturday, August 15
Professional Vision Zeiss Stage | 06:30 PM - 08:00 PM
“We’re going through a mental health crisis right now,” says Andy Frasco. “Loneliness, depression, suicide, it’s all on the rise. When you’re struggling in the moment, it can feel like you’re the only one, but that’s just not the truth. I wanted to make a record to remind you that you’re not alone.” It makes sense, then, that Frasco’s rousing new LP, ‘Keep On Keepin’ On,’ lands somewhere between an emotionally raw therapy session and a rowdy house party. Produced in part by Widespread Panic’s Dave Schools and in part by former Awolnation keyboardist Kenny Carkeet, the collection finds Frasco digging deeper than he’s ever dug before, fusing ecstatic rock and soul with infectious pop and funk as he grapples with the kind of demons he’s spent the better part of his adult life running from. The songs here are blunt in their honesty and unsparing in their self-examination, but they remain, at their core, works of great hope and promise. They’re the work of a man who’s been through the darkest part of the night and, now that dawn is finally breaking, is ready to share his story. “Making this record helped me accept that I needed therapy in my life,” Frasco explains. “I always used to think I was too proud or too strong to have a therapist, but I realized that was all bullshit. I’m not always the fun, wild guy people see onstage, and it felt like time to talk about who I really am.” Born and raised in California, Frasco’s first exposure to the music industry came not onstage, but rather in an office. As a young teenager, he worked with legendary indie label Drive-Thru Records and helped book bands like Hellogoodbye, and by the time he turned 18, he’d already moved to New York City for a gig with Atlantic Records. When the job fell through, though, Frasco made a leap of faith and decided to launch his own career as an artist, taking everything he’d learned working with other bands and applying it to himself. “I figured I could teach myself an instrument, book my own tours, and try to write some songs that’d help make the world go round,” he says. “I bought a van with my bar mitzvah money, called about 3,000 venues, and managed to book myself 200 shows in that first year alone.” Initially, Frasco hired local pickup musicians off of Craigslist to back him for gigs, but soon he put together a steady(ish) lineup, and Andy Frasco & The U.N. began taking the world by storm. Since its inception, the group would release a series of acclaimed records, share bills with the likes of Leon Russell, Galactic, Gary Clark, Jr., The Revivalists, and Marcus King among others, and slay festival stages everywhere from Mountain Jam in the U.S. to Rock am Ring in Germany and COTAI Jazz & Blues in China (this summer, Frasco will appear at both Bonnaroo and FloydFest). NME hailed the constantly evolving group as “party-starting touring stalwarts,” while Relix praised their “raucous energy,” and Clash lauded their live show as a “nightly high-octane experience that doubles as a celebration of life and music…energized by a powerfully entertaining multi-cultural soundtrack that will shake the foundations of all nearby structures.”
Christian “Kingfish” Ingram

Christian “Kingfish” Ingram

Saturday, August 28
Main Stage | 01:00 PM - 02:30 PM
Once a generation, an artist comes along who not only reminds mainstream audiences how deeply satisfying and emotionally moving the best blues music can be, but shakes the genre to its core. With both eyes on the future and the blues in his blood, 21-year-old guitarist, vocalist and songwriter Christone “Kingfish” Ingram continues to take the music world by storm after his 2019 release of his debut album, KINGFISH. Sprung from the same earth as so many of the Delta blues masters, Kingfish comes bursting out of Clarksdale, Mississippi, just ten miles from the legendary crossroads of Highways 61 and 49. A student of the Delta’s musical history, he is acutely aware of the musicians and the music that emerged from his corner of the world. “I do think I have an old soul, that I’ve been here before,” he says. “I’m moving forward with one foot in the past.”   "Is Christone "Kingfish" Ingram the future of the blues? The blues savior is one of the most exciting young guitarists in years, with a sound that encompasses B.B. King, Jimi Hendrix & Prince." —Rolling Stone     “You don’t see too many kids into blues music,” says the nascent star. “In my town, every kid wants to be a rapper – I wanted to do something no one else was doing.”  And although he grew up near the crossroads where Robert Johnson allegedly cut a deal with the devil, Kingfish insists he didn’t do any of that to make his guitar howl the blues. “I just practice all the time,” he says, “that’s the only deal I made, and it’s with myself.” Recorded in Nashville and produced by two-time Grammy winner Tom Hambridge (Buddy Guy, Susan Tedeschi, Joe Louis Walker), KINGFISH showcases Ingram’s blistering, raw and inspired guitar playing, soulful, deep vocals and songwriting. He tells stories with his solos, channeling the spirits of all the past masters while the music he makes is his own. He co-wrote eight of the album’s 12 tracks. “A lot of folks know me for my covers,” he says. “That’s why it’s important for me to release original music.” The first radio single, Outside Of This Town, is a fierce statement of purpose – both musically and lyrically – from this rising star. The songs range from autobiographical (Been Here Before, Before I’m Old) to humorous (Trouble), and from white hot (It Ain’t Right) to slow and searing (Love Ain’t My Favorite Thing). His friend and mentor, Buddy Guy, adds vocals and guitar on Fresh Out while another friend, Keb Mo, brings his warm, conversational voice to Listen, and adds his rhythm and resonator guitars to six tracks.   "Kingfish is the next explosion of the blues." —Buddy Guy   In May 2019, Kingfish released his debut album, KINGFISH. The album debuted #1 on the Billboard Blues and Heatseeker charts and has remained on the chart for 52 straight weeks. KINGFISH was nominated for a 2019 GRAMMY award for "Best Traditional Blues" album. Kingfish was a five time winner at the 2020 Blues Music Awards where he swept all five categories in which he was nominated – “Album of the Year,” “Contemporary Blues Album of the Year,” “Emerging Artist Album of the Year,” “Contemporary Male Artist of the Year” and “Best Instrumentalist – Guitar.”
Dancing Bears

Dancing Bears

Saturday, August 28
04:30 PM - 06:00 PM
Comprising some of the most talented musicians in the Baltimore/Washington area! Their focus is giving off positive high energy vibes, performing the music of the Grateful Dead, where Grateful Dead fans can enjoy a fantastic night of live music! Dancing Bears - Grateful Dead Tribute are: -Jon Wood- guitar, vocals (Electric Love Machine, Psycho Killers- Talking Heads Tribute, Phoam- Phish Tribute, Feinwood) -Jon Brady- keyboard, vocals (Electric Love Machine, Psycho Killers- Talking Heads Tribute, Phoam- Phish Tribute) -Alex Lang- bass (Electric Love Machine) -Nathan Shulkin- drums (Squaring the Circle) -Ari Lesser- guitar, vocals (Puremotion, Greasy Hands)
Ally Venable

Ally Venable

Saturday, August 28
02:00 PM - 03:30 PM
This is no time for faint hearts. The pandemic might have silenced the music scene, shuttered the live circuit and divided artists from their fans. But with Heart Of Fire, Texas’s favourite new gunslinger Ally Venable is coming off the ropes swinging. Defying dark times and rolling up the amps, this fourth release from the acclaimed singer-songwriter is a record to rattle your speakers and signpost better times ahead. “My vision was to really spread a positive message of love,” says Venable. “The world needs that right now.” If Heart Of Fire finds Venable giving the globe some much-needed love, then the feeling is entirely mutual. Still in her early twenties, the guitarist’s breakneck two decades have moved as fast as her fingers, her path winding from childhood church choirs to the teenage influence of local heroes like Stevie Ray Vaughan and Miranda Lambert. Early releases No Glass Shoes (2016) and Puppet Show (2018) earned her international fans, Top 10 chart placings and ETX Awards, but it was 2019’s #2 Billboard-charting Texas Honeyand house-rocking sets on that year’s Blues Caravan tour that sent her stratospheric. Now, with Venable’s fanbase snaking further around the block every time she blows into town, Texas roots icon and Texas Honeyproducer Mike Zito is in no doubt: “Ally is the future of blues and the crossover music of American roots-rock.” Not even a global pandemic could derail her momentum. Working at the Bessie Blue Studio in Stantonville, Tennessee last February with world-renowned producer Jim Gaines, Heart Of Fire finds Venable laser-focused on her songcraft, challenging herself to write with unguarded honesty, even if it hurts. “On this album, I really wanted to create a tone of overcoming your struggles and persevering through them,” she explains. Like any battle, this record gets loud. Anyone who has left an Ally Venable show with ringing ears will come expecting rip-it-up guitar work, and Heart Of Fire is a lovely way to burn. In a world of electronic pop, this old-soul gunslinger riffs up a storm on the Led Zeppelin-worthy sting of Hard Change and Do It In Heels, revs up the slinky hook of Sad Situation and drives the title track’s intro with a heavy-booted wah lick. “That song is about being in a state of sadness,” she explains, “and someone comes along and brings you out of it, and then nobody is able to take out your flame.” The only player who could follow her fretwork is special guest Kenny Wayne Shepherd, who tears up Bring On The Pain. As Venable says: “That song is about loving someone, staying true to yourself during the bad times and saying, ‘No matter what’s going on, my love won't change’. Kenny is one of my heroes, so I’m very honoured he said yes to be a part of the song.” While nobody is better at squeezing fresh juice from the blues-rock genre, Venable’s songwriting frequently forks into leftfield. There’s the chain-gang stomp of Hateful Blues, its lyric cursing a cruel lover (‘Oh, my love has been abused/and that’s why I’ve got these hateful blues’). There’s the pace-changing cover of Bill Withers’ classic Use Me, reborn here with congas, rubberband bass and a grooving lick. And don’t miss the impossibly wistful Road To Nowhere, with Southern rock great Devon Allman dovetailing with Venable on the chorus harmonies. “Devon jumped right into the song, elevated it and brought it to life,” she remembers. “His vision for the song aligned perfectly with mine, and I’m so happy with how it turned out.” The same could be said for Heart Of Fire. Defiant, passionate, honest and raw, this is the record these times demand, from an artist who refuses to wait for the storm to pass, but prefers to dance in the rain. “My goal for this album was to give an outlet for people,” Venable considers. “That’s really where the core of these songs comes from…”
Never Never

Never Never

Saturday, August 28
11:30 AM - 12:30 PM
Never Never was formed in 1987 out of the post-Ravyns (Raised on the Radio) project, Rob Fahey's Word of Mouth. Kevin 'Spike' Settles played drums and sang in several of the Girard's-era new wave bands (L7 and Lab Animals) and on many nights opened for his future bandmates. (Girard’s was a popular downtown nightclub of the time.) In Word of Mouth, Spike played drums and handled many of the high vocal harmonies and a few lead vocals, and occasionally fronted the band while someone sat in on drums. Word of Mouth guitarist (and former Ravyn) David Bell approached Spike on New Year's Eve, 1987, about fronting a new band that would write some songs and cover all the coolest 70's bands: mostly Led Zeppelin, but also Aerosmith, Van Halen, Bad Co., Doors, etc. It was originally conceived as a "for fun" project. David had a name for the new band: Never Never The Line Up Spike - lead vocals, harmonica, rhythm guitar David Bell - lead guitar, vocals Erik Krakau - bass John Davis or Nick Bertling - drums
Pettycoat Junction

Pettycoat Junction

Saturday, August 28
12:00 PM - 01:00 PM
Petty Coat Junction is a tribute to one of the greatest songwriters and performers of all time - Tom Petty.