"We went through a pretty dramatic shift with this record," says Seratones frontwoman AJ Haynes. "The band lineup, the creative process, the sound: all of it changed in ways that really reflected our growth and evolution."
One listen to âPower,' Seratones' spectacular sophomore album, and it's clear just how much of an evolution has taken place. Produced by Cage The Elephant guitarist Brad Shultz, the record finds the Shreveport five-piece trading in the brash proto-punk of their critically acclaimed debut for a timeless brand of gritty soul, one that takes its cues from vintage Motown and Stax even as it flirts with modern synthesizers and experimental arrangements. Haynes' captivating voice remains front and center here, but her delivery this time around is more measured and self-assured than ever before, a beacon of confidence and clarity amidst a sea of social and political turmoil. Perhaps even more marked than the any sonic development on the record, though, is Haynes' lyrical turn, which points her gaze inwards for the first time as she grapples with race, gender, and justice, writing with an unfiltered honesty that at once exudes strength and vulnerability, hope and despair, beauty and pain.
"I learned to tap more into my own stories with these songs," says Haynes. "I came to recognize that I have this lineage and these inherited experiences that are beautiful and worthy of exploration. The more personal my writing got, the more deeply I was able to connect with people."
Seratones have been chasing those kinds of deep connections since 2016, when they first rocketed into the national spotlight with their breakout debut, âGet Gone.' Rolling Stone called the album a "fitful collision of punk, soul and jazz echoing out of a shed strewn with whiskey bottles," while Pitchfork praised the collection's "soulful grease and punky grit," and NPR hailed it as "lean and compact, with an impressive assortment of anthemic stompers." The music earned the band dates on the road with artists as varied as St. Paul & The Broken Bones, Thao & The Get Down Stay Down, The Dandy Warhols, and Drive-By Truckers, along with festival slots from Hangout to Newport Folk and invitations to perform on national television and at NPR's Tiny Desk.
The Sea The Sea with Special Guests Don Strange and Outside Eliza
THE SEA THE SEA is an Upstate New York based indie folk-pop duo featuring what Huffington Post calls, "Two of the loveliest male-female voices you might ever hear this or any other year." Paste Music / Daytrotter describes them as "defined by their infallible vocal harmonies and their unconventional song arrangements...a pop band only in their melodic infectiousness - otherwise they are at their best when subverting conventions." The Sea The Sea has been featured on Audiotree, Paste Studio Sessions, and NPR's Mountain Stage, as well as receiving praise from NPR (Heavy Rotation), American Songwriter, No Depression, Buzzfeed, Pitchfork, TED, and Parade. Their songs have earned features by Apple Music including "Best of the Week" and "A-List Singer/Songwriter," and have received over 15 million streams on Spotify to date.
Chuck Prophet (Solo) with Special Guest Rob Eldridge & Sam Baldigowski of Steelesque
Since emerging onto the music scene at age 18 as a member of the seminal rock band Green
on Red, Prophet has collaborated with everyone from Warren Zevon and Kelly Willis to Jim
Dickinson and Lucinda Williams among many others. In recent years, Prophetâs music has
been featured in several hit television series including HBOâs âTrue Blood,â Showtimeâs
âCalifornicationâ and âBillions,â and FXâs âSons of Anarchy.â He also co-wrote all the songs on
Alejandro Escovedoâs 2008 critically acclaimed album Real Animal.
Through his live performances with the Mission Express and solo, Prophet has developed a
reputation as an outstanding, entertaining live act and built a loyal fanbase from Albuquerque
to Stockholm. His live solo performances offer fans the opportunity to experience his songs
from a unique perspective.
Chuck Prophet is the best damn songwriter in all of roots rock and I'll stand on Alejandro Escovedo's coffee table
in John Murry's flip-flops and say that.
- Peter Blackstock, No Depression
Prophet does an impressive job of blurring the lines that separate blues, country and roots-rock.
In his own good-humored, ramshackle way, Prophet earns his last name.
- Anthony DeCurtis
***SOLD OUT*** Trampled By Turtles with Special Guest Them Coulee Boys - Presented by Opus One & 91.3 WYEP
Trampled by Turtles are from Duluth, Minnesota, where frontman Dave Simonett initially formed the group as a side project in 2003. At the time, Simonett had lost most of his music gear, thanks to a group of enterprising car thieves who'd ransacked his vehicle while he played a show with his previous band. Left with nothing more than an acoustic guitar, he began piecing together a new band, this time taking inspiration from bluegrass, folk, and other genres that didn't rely on amplification. Simonett hadn't played any bluegrass music before, and he filled his lineup with other newcomers to the genre, including fiddler Ryan Young (who'd previously played drums in a speed metal act) and bassist Tim Saxhaug. Along with mandolinist Erik Berry and banjo player Dave Carroll, the group began carving out a fast, frenetic sound that owed as much to rock & roll as bluegrass.
Trampled by Turtles released their first record, Songs from a Ghost Town, in 2004. In a genre steeped in tradition, the album stood out for its contemporary sound, essentially bridging the gap between the bandmates' background in rock music and their new acoustic leanings. Blue Sky and the Devil (2005) and Trouble (2007) explored a similar sound, but it wasn't until 2008 and the band's fourth release, Duluth, that Trampled by Turtles received recognition by the bluegrass community. Duluth peaked at number eight on the Billboard bluegrass chart and paved the way for a number of festival appearances. When Palomino arrived in 2010, it was met with an even greater response, debuting at the top of the bluegrass chart and remaining in the Top Ten for more than a year. Two years later, their crossover appeal landed them at number 32 on the Billboard 200 pop charts upon the release of their sixth album, Stars and Satellites. In addition to major bluegrass and folk festivals, they began showing up at Coachella, Bumbershoot, and Lollapalooza. The official concert album, Live at First Avenue, followed in 2013, recorded at Minnesota's most famous venue. A year later, the band returned with the darker-toned Wild Animals, which bettered its studio predecessor on the album charts, reaching number 29. Trampled released their latest album Life Is Good On The Open Road in 2018.
Wayne Hancock (Full Band Performance) with Special Guest Lonesome Bob and Jennie Kay Snyder
âWayne Hancock has more Hank Sr. in him than either I or Hank Williams Jr. He is the real deal.â â Hank III
âHancock, who tosses out a roots mix of old country, roadhouse blues, western dance swing, boogie bop, and straight-up rockabilly, takes what was once old and makes it seem like itâs always been and always will be.ââallmusic.com
âThe country music scene could do with a lot more characters like Wayne, who push the musicâs limits while staying truer to its roots than any well-known names associated with the genre today.â â Slug Magazine
Since his stunning debut, Thunderstorms and Neon Signs in 1995, Wayne âThe Trainâ Hancock has been the undisputed king of Juke Joint Swingâthat alchemistâs dream of honky-tonk, western swing, blues, Texas rockabilly and big band. Always an anomaly among his country music peers, Wayneâs uncompromising interpretation of the music he loves is in fact what defines him: steeped in traditional but never âretro;â bare bones but bone shaking; hardcore but with a swing. Like the comfortable crackle of a Wurlitzer 45 jukebox, Wayne is the embodiment of genuine, house rocking, hillbilly boogie.
Wayne makes music fit for any road house anywhere. With his unmistakable voice, The Trainâs reckless honky-tonk can move the dead. If you see him live (and he is ALWAYS touring), youâll surely work up some sweat stains on that snazzy Rayon shirt youâre wearing. If you buy his records, youâll be rolling up your carpets, spreading sawdust on the hardwood, and dancing until the downstairs neighbors are banging their brooms on the ceiling. Call him a throwback if you want, Wayne just wants to ENTERTAIN you, and whatâs wrong with that?
Wayneâs disdain for the slick swill that passes for real deal country is well known. Like heâs fond of saying: âMan, Iâm like a stab wound in the fabric of country music in Nashville. See that bloodstain slowly spreading? Thatâs me.â
Little known fact: Wayne is the only Bloodshot artist to have had their CD taken aboard a space shuttle flight.
(Early Show) Tony Lucca - 20/20 X Request Retrospective with Special Guest Justin Fabus
Thatâs how Tony Lucca summarizes the career milestones that led him to Nashville â and on the brink of his most important album yet.
As a teenager, his time as a âMouseketeerâ on the infamous Mickey Mouse Club came when he was mature enough to understand what the exposure meant for his young career â and more importantly, what it didnât mean.
In 2012, Lucca burned up The Voice stage, making it all the way to the finals on the back of his electric performances, each time performing as if he had ânothing to loseâ â thanks to more than a decade of development and an already passionate fan base. Oh, and Luccaâs season still ranks as the most-watched season of the show by total audience size.
But as monumental as those moments may seem, it was his 2013 move to Nashville that may be the greatest stroke of good timing. Just as many of Luccaâs contemporaries were moving to Nashville to cash in ânot on country, but on the community,â as he says, Lucca felt poised for a change. One that included elevating his own songwriting â a personal challenge that is as admirable as it is eyebrow raising to those already familiar with Luccaâs stalwart catalog.
âTruth be told, all roads lead to Nashville,â Lucca sings on his new single, aptly titled âNashville,â in homage to the town. âYou can come and go there as you please. Ainât nobody waiting on the next big thing to come along if it ainât a song that brings them to their knees.â
Lucca has spent his fair share of time exploring the countryâs greatest music scenes. From his hometown Motown mecca of Detroit, to the hills of Hollywood, to the borough of Brooklyn. Each has made its impact on Lucca, but none quite like Nashville.
âIn Nashville when you visit, people say, âAnything I can do for you, just let me know,ââ Lucca says. âAnd then you move here and you realize those arms really are wide open and those people arenât full of shit. They really do want you to be part of the community here.â
Luccaâs admiration and respect for Nashvilleâs songwriting community, it turns out, was mutual. He quickly found his calendar consumed with co-writes from old and new friends alike. Those include tour-mate turned co-writer and âNashville treasureâ Gabe Dixon, as well as the Grammy-nominated Billy Montana (âSage wisdom â bit of a mentor,â Lucca says of Montana).
Lucca brought his same workman-like mentality to songwriting in his new hometown, writing âdaily and diligently.â He eventually developed a songwriter residency at Midtown venue The Local, all the while touring the country.
Over those formative years at the beginning of Luccaâs Act II, the songwriter again found himself falling in love with the purity of it all. âIt was restorative for me on the creative side,â Lucca says. âIt was also educational as I really tuned into the creative community and Nashville rhythm.â
Throughout that process, Lucca began âsalting awayâ the songs that really reached out and grabbed him. âThose songs that make me sit in an empty room with an acoustic guitar and go, âYeah, Iâd be playing this song right now even if nobody were listening,ââ Lucca says.
Thereâs one song in particular so arresting it became the cornerstone for all the work to come after it. âI wrote something that reminded me I still have something sufficient to say, something that still matters to me â and that was the song âEverythingâs Changing,ââ Lucca says. The emotive, dynamic song became a live show stunner and the catalyst for Luccaâs forthcoming 2019 LP.
After following a long-winding path that led him to Nashville, Lucca spent years honing his craft. In the process, he found the songs that âstarted to feel like my expression â how I want to channel my creative energy,â as he says. âIt took my whole career to get to the point where I just went into the studio and, as Ray Charles said, âMake it do what itâs gonna do.ââ
The combination of meticulously crafting songs and freewheeling in the studio led to a record that is ready to announce Lucca as a force not just for his vocals, but also for his voice. Talk about good timing.
(Late Show) Hayley and Josh with Special Guest Pappy from theCAUSE
Rave Ami are the loudest rock ân roll band in Pittsburgh. The power trio of guitarist/vocalist Joe Praksti, bassist Pat OâToole, and drummer/vocalist Evan Meindl play a room-rattling push-pit of haggard grunge, beer-stained power-pop, and fuzz-drunk indie-rock. Their 2018 sophomore album, cheekily titled "All Great Bands Break Up" (produced by Adam Meisterhans of Rozwell Kid), is rife with sticky melodies, tasteful harmonies, virtuosic drumming patterns, and subtly brilliant basslines. From the fanged hooks of âI Donât Wanna Talk About It (IDWTAI)â and âHate Yr Gutsâ to the intense psych-rock climaxes of âBooneâ and âRomantic Panic,â the band managed to capture the excitement of a basement show on record. And then they did it again on their explosive 2019 single, âOr Alike.â
With that being said, the only real way to experience Rave Ami in all of their glory is to catch them live. Through their tireless domination of the Pittsburgh DIY circuit, and by touring frequently throughout the East Coast/Midwest, the three members have developed an otherworldly creative chemistry thatâs simply unmatched in the concert setting. All of their sets begin with a casual round of stage shots and end with Meindl knocking his cymbals over while Praksti kneels beneath his amp, feedback screaming through a room full of ringing ears. And every moment in between is just as reckless, freeing, joyful, celebratory, and downright exciting to witnessâin basements, bars, and small clubs alike.
However, despite their undeniable presence and their preternatural tightness as a unit, Rave Ami radiate a friendly, inviting warmth both on and off the stage. Yes, theyâre carrying the torch for rockâs feral forebearers by turning every set into a raucous party. But theyâve left all traces of macho bravado in the dust, translating the genreâs freewheeling lifestyle through the sort of genuine kindness and respect thatâs needed today, more than ever, in the world they navigate. And they manage to kick utter ass while doing it.
-Eli Enis, 10/16/2019
Wesley Stace: A Tribute To John Wesley Harding Featuring Robert Lloyd
Contemporary singer-songwriter and Cabinet of Wonders impresario Stace pays tribute to the legendary songwriter John Wesley Harding.
Throughout the '90s and â00s, which included his tenures at Sire, Rhino and Hollywood records, John Wesley Harding regularly toured in a duo format with noted mandolin, accordion and keyboard player, Robert Lloyd. This was at the very dawn of Unplugged, before even house concerts. Once described as The Metallica of McCabes, the duoâs performances were acknowledged to be the high watermark of contemporary live performance (in venues that held about one hundred people).
Wesley Stace (Yep Roc) has coaxed Lloyd out of retirement to pay tribute to the legendary songbook of John Wesley Harding. All Hardingâs favourites will be represented and painstakingly recreated, from Modern Rock staple The Person You Are to 120 Minutes Video of the Week The Devil In Me; via Kill The Messenger and The Truth, memorably performed on the Tonight Show, to Scared of Guns, recently amended and released on Appleseed Recordsâ anniversary collection.
Since Staceâs critically lauded debut "Self-Titled" in 2013, he has played many of Hardingâs songs live, but here heâs happy to let his own songwriting take a backseat to the masterâs: âI feel an extraordinary kinship with these songs. Itâs as if I wrote them." Harding himself has endorsed this tribute: âI am deeply honored, and glad to be as far away as possible.â
Thrice - Vheissu 15th Anniversary Tour with Special Guests mewithoutYou, Drug Church, Holy Fawn - Presented by Opus One & PromoWest North Shore
For nearly two decades he's been the "J Roddy Walston" of the "and the Business".
Now he's just him, and a whole rack of songs... and a moving truck full of synths, pianos, tape machines and sequencers. After quitting the music industry in december of 2019 he's back and some would say backer than ever. Ready to play all your favorite songs in completely unfamiliar ways, and all his new songs in the only way he knows how, J Roddy Walston is out to meet himself again, and do it in front of other people. Join him as he shares a single dose of strangeness.
Ask him how he knew it was time to record a new studio album and Clarence Greenwood, the trailblazing artist and producer better known as Citizen Cope, has a simple answer: âIt was time.â
Cope has built an entire career on trusting his gut and following his muse, and if his new album, âHeroin & Helicopters,â is any indication, his instincts are sharper now than ever before. As technically innovative as it is emotionally resonant, the record arrives at a uniquely challenging moment in modern American culture, when profound political polarization and social divisions seem to grow deeper by the day. Rather than dwell on our differences, though, Cope tunes in to what unites us here, drawing on everything from Chuck Brown and The Beatles to Randy Newman and Bill Withers, aiming his unique brand of urban‑folk inwards to reflect on the personal journeys we all undertake to embrace ourselves despite our flaws.
âI think weâre all on a mission to find some inner peace,â he reflects. âWeâre all going towards this collective consciousness, and even though itâs dark right now, I believe weâre going to reach that place together. Peace and harmony and understanding, thatâs how you combat the darkness, and thatâs what this record is all about.â
While âHeroin & Helicoptersâ feels particularly timely, the recordâs themes have been fixtures of Copeâs music since the release of his self‑titled debut in 2002. That album was the culmination of years of pursuing his passion. Cope got his musical start in DC before moving to Brooklyn, where he wrote songs while supporting himself on the streets, buying and selling concert and sporting tickets with a cast of characters outside arenas and stadiums. His music spread from fan‑to‑fan via word of mouth, and over the course of time his songs have become the soundtrack of his fans lives.
The success of Copeâs music has always been a slow burn, rather than a flash in the pan. His single âLet The Drummer Kickâ eventually went Platinum without any support from commercial radio. The Washington Post has hailed him as âDCâs finest export since Marvin Gaye,â while Rolling Stone raved that his âuncommon chords and harmonies combine delicate dissonance with unexpected flashes of beauty.â In 2004, Cope followed up his self‑titled debut with âThe Clarence Greenwood Recordings,â an album Vibe praised as âflawless throughout,â gushing that Cope âmakes music that feeds your soulâ¦this is one of those CDs you hear at a friendâs house and rush out to buy.â The collection was largely ignored by mainstream media and never charted, yet the grassroots swell of support kept sales rolling year after year, to the tune of 700,000 copies, and opened the doors to film and television syncs with tracks appearing in Entourage, Sons of Anarchy, Alpha Dog, and more. Songs from the record would go on to be covered by everyone from Carlos Santana and Sheryl Crow to Richie Havens and Rhymefest, and in the years that followed, Cope has headlined all 50 states and shared stages with superstars like Eric Clapton. He cracked the Billboard 200 for the first time with 2006âs âEvery Waking Moment,â and then launched his own label to release 2010âs âThe Rainwater LPâ and 2012âs âOne Lovely Day,â his highest charting album to date.
As Copeâs career grew, his style of urban‑folk never settled into any particular genre in an industry fixated on arbitrary distinctions like radio formats. âI can understand why it didnât go into the cookie‑cutter. The music and my life were influenced by growing up in very distinct but different American cultures.â Born in Memphis, spending summer months with his great aunt and uncle in a small west Texas town, while being primarily raised in Washington, DC, Cope grew up equally influenced by the production techniques of George Martin, Dr. Dre and Willie Mitchell while listening to everything from Willie Nelson, to John Lennon, Bob Marley, Outkast and A Tribe Called Quest. Artistic boundaries meant nothing.
The 2011 birth of his daughter proved to be an ideal moment to step away from it all and reevaluate what mattered most, both as a songwriter and a man. âIt was really important for me to be there with my daughter as she grew up,â says Cope. âI took these past several years off of recording mostly just to spend time with her. People say itâs not rocket science making records, but there really is a science to making a piece of art thatâs going to touch people emotionally and have an impact on their lives, and if youâre not feeling it, you canât fake it.â
Copeâs time away from music was also a moment to deal with reflecting and addressing the turmoil he faced surrounding the death of his estranged biological father, who had been physically abusive before abandoning his responsibilities decades earlier. âHe was sick and I was able to have a sit down with him before he died,â Cope told Lance Armstrong in a poignant conversation for The Forward Podcast. âI had a lot of fear surrounding my father, and when I saw him, I realized I wasnât scared of him as a person. He was just a flawed individual and I saw him in a whole different light. I didnât want to go through life having this anger or hatred, and I donât even know what forgiveness is in that realm, but maybe itâs a little bit of forgiving yourself and giving love to yourself.â
That kind of self‑reflection is at the heart of âHeroin & Helicopters,â which actually draws its title from a warning Santana shared with Cope one night backstage at The Fillmore. âStay away from the two Hâs, Heroin and Helicoptersâ he said, because they all too often prove fatal for musicians and celebrities. The message resonated with Cope, who saw parallels with a broader culture fixated on shortcuts over self‑improvement, on mass production over quality, on greed over empathy.
âWeâre living in an addicted society,â says Cope, âand not just addicted to drugs or alcohol or substances. Weâre addicted to conflict and fame and social media. Weâre addicted to getting what we want without working for it, without paying the price.â
âHeroin & Helicopters opens with âDuck Confit,â a slow‑burning and arresting spoken‑word meditation that finds Cope looking in as much as he looks out, channeling the uneasy feeling that comes with recognizing your own role in perpetuating the very same social constructs you wish to change. âWhere crimes of humanity are concealed and condoned / By self preservation and biblical prophecy...Where you know deep down inside / That somethingâs not right / Like a man killing the mother of his son / Cleaning his shotgunâ he says over a simmering organ punctuated with 808 kicks. The track plays out like an overheard prayer, spiritual in its intimacy, and it sets the stage beautifully for a record unafraid to push boundaries and ask uncomfortable questions, questions that transcend any political party or movement and cut to the heart of what it means to be human.
âPeople try to politicize my music sometimes, but I donât write political records,â Cope says definitively. âMy music has always been built around consciousness.â
The first single âJusticeâ challenges our very notion of the concept, wondering if weâve ever even seen what true righteousness looks like in this world. âThe Riverâ castigates and identifies a system built to devalue our livesâ¦ âTheyâll take you down to the river / Leave you down by the river / Theyâll shoot you down by the river / Leave you to drown by the river.â The heavy drum and piano‑laden swing of âSally Walksâ is clothed in the story of a lover whoâs swallowed whole by addiction, but itâs not clear if Sally is the lover or the substance itself. Though it would be easy to despair in the face of it all, âHeroin & Helicoptersâ insists on defiance, on standing up to power and resisting the force of the invisible hands that seem to guide our every move. âYellaâ could almost be a country song, with Cope singing over acoustic guitar and a drum shuffle played by Abe Laboreal, Jr. With lyrics touching on the migration of people from small towns to big cities, Cope uses the analogy of a little league baseball player striking out, ultimately realizing that strength and redemption are gained through struggle, loss and failure. âAnd the baseball rolls slowly off the pitcherâs mound / As I stood in the batterâs box once they struck me out / I showed a sign a weakness and I swung my bat / And the fire that once burned yella turned to ashâ
âGovernment / counterfeit / dollar bill / you worship it,â Cope sings on âWar,â an infectious track produced by XZ, who worked closely with him in the studio. The song is a perfect distillation of Copeâs brand of wordplay and lyricism, where war not only represents a battlefield, but also alludes to an individualâs self‑inflicted inner turmoil, moving between the mandated laws of religion and society, and how we reconcile choices within the human psyche.
âEssentially, Iâm trying to connect an emotion and lyrics and wrap them up in heavy drums,â he explains. âThe music isnât hip hop, it isnât reggae, it isnât pop, and it isnât rock and roll. It doesnât necessarily have a home, genre‑wise, but it lives in all of those places, it pays respect to all those places.â
Respect is ultimately what it all comes down to for Cope: respect for the art, respect for each other, respect for ourselves, respect for our instincts. At the end of the day, we all want the same things, and no matter how much the culture conditions us to believe that peace and happiness can be bought and sold, thereâs no price tag because they come from within. Change, growth, and satisfaction require patience, work, and love. Seven years in the making, âHeroin & Helicoptersâ is proof of that.
Makeshift Comedy: An Improvised Affair. Featuring Long Story Short and Some Kind of Felony. Presented by Opus One Comedy
Makeshift Comedy brings you a night of amazing improv and unscripted fun. Come for dinner and stay for the laughs with taco and drink specials. Itâs a show that has never been seen before and will never be seen again.Â
ESH the Duo with Special Guests Alex Live and Eddy Blanco of The Free Music Party
Kevin Spears and Joseph Callahan, Buffalo and Pittsburgh natives, respectively, have been creating, producing and curating music both separately and jointly for some time now. From early ages, the duo taught themselves in the ways of various musical instruments while eventually switching to electronic production as well.
Combining both, ESH the duo puts on a dual show of real and electronic instruments to cultivate both old and new, and classical and modern.
Lynsanity with Lyn Starr, Deejay Aesthetics, Quiet, E.L.B.A, James Perry, & Dejah Monea
Storytime with Uncle Creepy is the official podcast of UFC Flyweight contender Ian McCall. Every week you can expect the unexpected as Ian welcomes his friends from every walk of life. From fighters to celebrities to Playboy Centerfolds and porn starletts, Storytime with Uncle Creepy's Ian McCall will never fail to entertain. âStorytimeâ is not your everyday podcast. So, grab a beverage, get comfortable, and get ready for a story!