Upcoming Concerts

Hailing from Memphis, Tennessee, a hub of historical soul and blues that crafted much of the world’s modern music, Dirty Streets have spent years on the road and in the studio forging their own style. They’ve moved from DIY, independant recordings to ambitiously self-produced studio ventures over the course of five albums. Their fifth, and latest, LP, Distractions, is an explosively charged follow-up to their acclaimed 2015 release White Horse, which contains a unique style of heavy, soulful and sometimes psychedelic rock. Recorded at the historic Sam Phillips Recording studio in Memphis, the album pushes the sonic palette of the band to the next level with an eclectic mix of songs. Drawing from influences that span from the bluesy twang of Howlin’ Wolf and Wilson Pickett, to the heady expansiveness of Hendrix and Donovan, Distractions lives in its own time and place. The album was recorded live in the studio by Matt Qualls and Wesley Graham in the room where the raw and explosive energy of the Yardbirds’ iconic “Train Kept a Rollin’” was originally put to tape. This album continues the tradition.

This show has been rescheduled from April 14, 2019. All tickets from the original date will be honored

Every pair of tickets for this show includes either digital download or CD copy of SUSTO’s new album, Ever Since I Lost My Mind. You will receive an email with more details about this offer approximately 7 days after your purchase.

Mobility has always helped define America. Don't settle for where you start. Find a new town, new coast, or new state of mind -- then make it yours. "We export this idea of getting in your car and going somewhere, trying to find something new, bouncing around," says Justin Osborne. "We live in some strange, crazy times. There is a sense of darkness. But I'm crisscrossing the country, and people are good and fun. There is a lot of beauty everywhere. I think not forgetting that is important."

Osborne is home in Charleston, South Carolina, reflecting on the personal journey and cultural climate that have led to Ever Since I Lost My Mind, the third record and label debut for his acclaimed project SUSTO. The album is a resounding triumph: a mix of new partnerships and collaborations with old friends, all anchored by Osborne's perceptive songs that explore connection, loss, and transience -- and the pain and joy each brings.

"Ever Since I Lost My Mind is very personal. This collection of songs came together over the course of a couple of years, and they all represent different moments," he says. "It felt cathartic writing all of them, and they were also all fun in different ways."

With a rock-rooted sound that doesn't shy away from radio-ready hooks, SUSTO keeps listeners engaged by refusing to occupy an easily defined space. Produced by Ian Fitchuck (Kacey Musgraves, Ruston Kelly) and featuring key input from Osborne's longtime creative sounding board Wolfgang Zimmerman, Ever Since I Lost My Mind defiantly experiments with synth embellishments, Latin heart, guileless folk, and more. Osborne's mellow vocals comfort without losing the ability to surprise -- delicate croons, growls, and occasional screams take turns.

Osborne wrote his first songs as a 14-year-old in small town South Carolina, sneaking time with his late grandfather's parlor guitar that his parents had actually forbidden him and his three rowdy brothers to touch. "So I'd go steal it out of my dad's closet whenever they were out of the house," he recalls. "It only had like three strings on it. I remember figuring out how to do barre chords, and I wrote a three-chord song about a girl I liked." Drawn to music and supported by parents who just hadn't wanted their boys to break a family heirloom, Osborne played in bands throughout high school, military school, and college.

But SUSTO didn't begin until Osborne thought he was walking away from music for good. Burned out after years of self-booking, self-management, and a relentless grind, he had played a farewell show with his then-band and was prepping for a move to Cuba. He set up an online home for SUSTO as a holding tank for demos he couldn't quite bear to toss.

When Osborne moved to Havana as part of a study abroad opportunity, he thought he was abandoning music for anthropology. But the Cuban musicians and artists he befriended had other ideas. They were among the first to see that SUSTO -- and the music that would ultimately fuel it -- captured him too well to remain an afterthought. Re-energized, he returned to the States half a year later and recorded SUSTO's first album. Just after the release of the band's self-titled debut album, Osborne faced a clear choice. "It was a weird moment. I just had to finally quit keeping one foot out of music and dive in. So, I got knuckle tattoos and haven't stopped trying to make this work since then," he says with a laugh. SUSTO's acclaimed sophomore album & I'm Fine Today made it even more clear that music and Osborne were meant to be.

In Latin American cultures, the word susto describes an intense fear understood as a condition of the soul -- an ongoing, spiritual panic attack. All of the letters of susto also appear in Osborne's full name. "SUSTO was this combination of phonetics and meaning -- it felt like me, like a name for myself," he says. "I chose the name SUSTO for the project because the meaning behind the word -- that deep fright -- was something I was experiencing, and songwriting felt like it was helping me cure it by helping me to process what was happening. Personally, it was a time of so many powerful transitions: abandoning my religion, losing touch with my family, and just having a general sense of being lost, without direction."

That nod to transition reverberates loudly throughout Ever Since I Lost My Mind. While SUSTO began as a band and still benefits from collaboration with peers, the new record also positions the project finally and firmly as what it's really always been: Osborne's vision. "I come from a background of being in bands, so it's hard for me to be comfortable taking complete control," he says. "Even being the only person in a promo photo was a hard thing for me to get used to. It's taken years for me to realize what SUSTO should be -- what it really is."

"Homeboy" kicks off the album. Osborne contemplates friends moving on from Charleston over jaunty acoustic guitar that evokes exploratory rambling before heavier electric guitar adds gravity to all the leaving. He didn't want loved ones to go, but then realized that in many ways -- even though Charleston remains home base -- he'd already left. "The whole album deals with these pulling-apart decisions -- not in a negative or a positive way, but in a reflective way," he says.

Sauntering "If I Was" is a lighthearted stroll through different identities and aspirations, followed by the optimistic yearning of "Weather Balloons," buoyed by punchy percussion and keys. Driving "Last Century" revels in timeless bonds revealed by details: "I can see you in the driveway, smiling, licking your left front tooth," he sings.

"Livin' in America" extols beloved U.S. cities and finding the right people in them. It's a self- aware ode, both gently sarcastic and totally sincere -- a timely love letter to a country whose defining quality today is often turmoil. Stripped down "Cocaine" skulks through dark corners, while "No Way Out" lounges in captivity that Osborne has no urge to escape. Gorgeous album closer "Off You" is bright and honest, an intimate moment of clarity mid-transition.

One of Osborne's favorite tracks, "Manual Transmission," was written on a cold day on tour in Norway when he was hounded by homesickness. He plays lead guitar on the track and relished the opportunity to express himself via aching strings in addition to words. "Esta Bien" soars sweetly and entirely in Spanish. "House of the Blue Green Buddha" is a love song that lands because of its whimsical specificity -- details from the home and closeness Osborne and his wife share.

The title track is a stunner: sad but hopeful, content but restless, nostalgic but progressive -- a beautiful encapsulation of the push and pull that shapes the entire record. Osborne's experiences with psychedelics also play a role, both in "Ever Since I Lost My Mind" and the album as a whole. Warned as a child that drugs would make him lose his mind, he now believes in the freedom and self-discovery that can come with letting go in various ways. He is also convinced that some people from his past think he's insane. "They think I'm a crazy hippie, and really, in a lot of ways, I guess I am," he says with a smile. "I feel more loving and more understanding."

That acceptance of himself and others may be SUSTO's defining trait. "I can lose my mind on stage sometimes -- I will break down and cry or have to keep myself from doing it," Osborne says. "I think about my grandad's guitar, all the bands I've been in, and just seeing these people responding to and connecting with the songs..." He trails off before grinning again and adding, "I just feel so incredibly lucky."

In celebration of the 20th anniversary of her highly-influential masterpiece, Car Wheels On A Gravel Road, three-time Grammy award winner Lucinda Williams will perform the album in its entirety, followed by a second set of songs from throughout her remarkable career. The Car Wheels On A Gravel Road set will feature visual elements to enhance the storyteller style Williams has used for the special performances.

Pitchfork recently revisited the music by sharing an in-depth album review and Rolling Stone spotlighted Williams’ revered work in an interview feature. You can learn more about Car Wheels On A Gravel Road’s lasting impact via this extensive Billboard feature and also read a thoughtful, insightful essay about the album’s influence by Waxahatchee’s Katie Crutchfield in Stereogum.

The influence of Car Wheels On A Gravel Road is immeasurable, and it is considered one of the cornerstones of what is now called Americana. Following its release, the record was named Best Album of 1998 in the Village Voice’s annual “Pazz & Jop” critics poll and received a 4-star review in Rolling Stone, while garnering critical praise throughout the press. The album went on to win the Grammy for Best Contemporary Folk Album and Rolling Stone has ranked it #304 on their list of the “500 Greatest Albums of All Time”.

In a long and celebrated career, Lucinda Williams’ art is as genuine and soulful as when she began writing, and there’s no signs of her slowing down any time soon.

Austin Lucas has come home.

It’s been over two decades since the songwriter packed his bags and left Bloomington, Indiana, the Midwestern town where he was born and spent his formative years. He returns to that place, both creatively and physically, with his seventh studio album, Immortal Americans. Written after a tumultuous period that found Lucas getting sober, supporting his partner through a battle with cancer, and breaking up with his longtime record label. Immortal Americans is a clear-eyed album for murkier times, rooted in stripped-down songs that find the artist reflecting upon the changes in both his hometown and himself.

Co-produced by Lucas and Will Johnson (Centro-matic) and recorded/engineered by Steve Albini and captured in a series of live, full-band performances, Immortal Americans was written after Lucas resettled in Bloomington. He’d been away for years, touring the world as an independent solo artist before signing a record deal with New West in 2013. In many ways, the albums he released during that period were reflections of the music he’d grown up with, from the mountain music of his father (bluegrass musician Bob Lucas) to the punk records that soundtracked his teenage years. Appropriately, Lucas earned a fanbase as a folksinger with punk roots – or was it the other way around? – while touring the country with artists who represented both ends of that spectrum, sharing tours with Willie Nelson one minute and Chuck Ragan the next.

Somewhere along the way, his vices began to get the best of him. He started drinking too much. He gained weight. His marriage crumbled. Albums like 2013’s cowpunk-inspired Stay Reckless and 2016’s Between the Moon and the Midwest shone a light on those challenges, tackling everything from divorce to depression. When Lucas hit rock bottom though, he stopped writing about his temptations and instead, left them behind for good. He headed back to southern Indiana, resettling himself in a town that had changed considerably since he left.

There, in a region suffering from an opioid epidemic, an HIV crisis, and a homelessness problem, Lucas focused on rebuilding his career and his body. He got sober, shedding more than 100 pounds. He recounted the stories of his youth, where, as an outsider in a small town, he dodged beer cans and bottles hurled by passing drivers. As he once more walked the Bloomington streets, he learned to embrace his own fighting spirit again. The album’s title track, “Immortal Americans,” emerged from that period of self-discovery.

“My friends and I had to fight for who we were,” he remembers of those early days in the Midwest, “and it was an alienating, anxious, and oftentimes scary way to live. This song is about that fight. It goes out to the most marginalized and at-risk human beings who live in our country, all the people who live on the outside of mainstream society and have to fight every day for their identities and for their existence – because those are the true immortal Americans.”

Meanwhile, Lucas’ new partner was fighting a different sort of battle. Lucas had discovered a lump on her body during their first evening together and the mass turned out to be cancerous. He became not only her romantic partner, but her caretaker too, nursing her back to health after a life-altering surgery and a string of energy-sapping chemotherapy sessions. Lucas continued writing music throughout the process, strumming an acoustic guitar quietly while his girlfriend slept in the next room. Although much of Immortal Americans is influenced by that experience, album standouts like “The Shadow and Marie” tackle the experience directly, shining a light on his partner’s vitality and unending beauty.

“The song opens up with dark lyrics,” he admits, “but the overall point is, ‘We’re still alive. We still have so much to be grateful for. As long as we’re still here, there’s beauty and joy.’ I wrote it to remind my lover that even though she’d been through a crazy ordeal in which her body was permanently changed, she was still beautiful to me. The song may start out on a low note, but as it builds, it goes to a place that’s brighter. It pushes toward something better. In many ways, that’s the theme of the whole record.”

When it came time to record his new songs at Steve Albini’s studio in Chicago, Lucas didn’t reach too far beyond the songs’ unplugged origins. He’d already cut loose from his record label, which meant he was free to chase down his muse without any sort of outside influence. He consolidated his sound accordingly, stripping away the electric guitars and dense sonic landscapes that had permeated his recent albums. In their place, he focused on acoustic instruments and a restrained rhythm section, gluing everything together with lyrically-sharp songs that measured the distance between his rocky past and even-keeled present. The band – whose members included his Dad, who’d traveled north to play banjo with his son – crowded into the same room at Electrical Audio and played together, resulting in an all-analog album that’s both raw and real.

“I wanted it to sound like human beings playing instruments,” says Lucas, “I knew the best thing for this batch of songs was for them to sound as organic as possible. I sang live, playing guitar at the same time, and we worked very quickly. It was an in-the-moment kind of album.”

Immortal Americans is Austin Lucas’ homecoming album, created during a whirlwind period of tumult and regrowth. With its gothic heartland sound and autobiographical lyrics, it’s also Lucas at his most honest, rooted in a string of largely unamplified anthems that don’t rely on electricity to pack a punch.

“I was watching the changes in Bloomington and reflecting upon the changes in my own life,” he sums up. “Not all of this is happy stuff, but there’s hope. There’s light in the darkness. I really do believe in second and third chances, because I know how many chances I’ve received. You have to keep fighting, because that’s what makes life worth living.”

Or, in other words, that’s what makes you immortal.

2016 Blues Music Award Winner Billy Price first attracted national attention during his three-year association with guitarist Roy Buchanan. Price is the vocalist on two of Buchanan's LPs, That's What I'm Here For and Live Stock. Since then, with the Keystone Rhythm Band, the Billy Price Band, and solo projects, Billy Price has recorded and released a total of 16 albums, CDs, and DVDs. In April 2016, he was officially recognized and inducted as a Pittsburgh Rock ’n Roll Legend at an award ceremony. Price’s album This Time for Real, with the late Chicago soul singer Otis Clay, received a 2016 Blues Music Award in the category of Best Soul Blues Album of 2015. His latest album Reckoning, produced by Kid Andersen at Greaseland Studios, was released on June 15, 2018 by Vizztone Label Group. It has been nominated for a 2019 Blues Music Award in the category of Best Soul Blues Album of 2018. His new album Dog Eat Dog, also produced by Andersen, will be released on Gulf Coast Records in August, 2019.

The Pittsburgh-based Billy Price Band consists of Dave Dodd (drums), Tom Valentine (bass), Lenny Smith (guitar), Jim Britton (keyboards), Eric Spaulding (sax), and Joe Herndon (trumpet).

The Billy Price Charm City Rhythm Band, based in Billy’s new hometown of Baltimore, MD, consists of El Torro Gamble (drums), Greg Haughey (bass), Pete Kanaras (guitar), Tam Sullivan (keyboards), Dan Gutwein (sax), and Vince McCool (trumpet).

Shuli Egar can be heard on Howard 100 and Howard 101 on Sirius XM Monday through Friday. He can also be seen touring the country as a headlining comic. You’ve heard him on CBS hit show SWAT as well as Chosen on FX and Brickleberry on Comedy Central.

He’s performed on AXS TV’s Live from Gotham and has performed with some of the worlds biggest names. Amy Schumer, Artie Lange, Jim Norton, Robert Kelly, Dave Attell, Howie Mandel, Judah Friendlander, Lisa Lampaneli and many many more.

Shuli talks a lot about marriage and kids and how those two things ruin everything else. Shuli is one of the best kept secrets in comedy but not for long!

Shuli Egar can be heard on Howard 100 and Howard 101 on Sirius XM Monday through Friday. He can also be seen touring the country as a headlining comic. You’ve heard him on CBS hit show SWAT as well as Chosen on FX and Brickleberry on Comedy Central.

He’s performed on AXS TV’s Live from Gotham and has performed with some of the worlds biggest names. Amy Schumer, Artie Lange, Jim Norton, Robert Kelly, Dave Attell, Howie Mandel, Judah Friendlander, Lisa Lampaneli and many many more.

Shuli talks a lot about marriage and kids and how those two things ruin everything else. Shuli is one of the best kept secrets in comedy but not for long!

The Bouncing Souls are something of a punk rock institution. The band have been consistently churning out their beloved brand of anthemic punk since 1989, and have earned an intensely loyal fanbase with tireless touring and an unrelenting love of making music. As the band approached the creation of their tenth full length, they sought to make a record that captured the spirit of their earlier work, while incorporating who they are today. That record is Simplicity and its 13 tracks of undeniably infectious punk rock prove that The Bouncing Souls have a lot more to say.

In making Simplicity, The Bouncing Souls set out to write songs that, first and foremost, would translate into the live environment. With over 20 years worth of anthems under their collective belt, it's a challenge to write a setlist that incorporates newer material, but Simplicity's many standouts are more than up to the task. Next, the band enlisted the help of producer John Seymour, who manned the mixing boards for their fan favorite LPs How ISpent My Summer Vacation and Anchors Aweigh, to record the album with all of the raw energy of the live performance. The production of Simplicity perfectly embodies the band's bite and power, the driving guitars, prominent bass, rock-solid drums, and soaring vocals all cutting through with no unneeded studio shine. From speedy hardcore-influenced ragers, to comparatively tender punk ballads, Simplicity's dynamics show every side of The Bouncing Souls.

On Simplicity, The Bouncing Souls do what so few long-running bands are able to accomplish: they utilize all of the skills and lessons that come from over 20 years of making music, while still capturing the reckless spontaneity of their past work. That delicate balance can only be found if there's a sincerity in the songs that comes from genuine love of playing music together, and The Bouncing Souls have that in spades.

Sam Burchfield is a southern folk / soul artist out of Atlanta, GA. Lyrical depth paired with a soulful
vocal delivery and catchy melodies drives home the message. Burchfield transports listeners into
a wide array of musical truths, commanding the stage with a joyful honesty. His latest EP,
Unarmored, digs a few layers deeper into a genre-crossing career that has only just begun. From
folk, to funk, to southern soul — Sam and his band of 'Scoundrels' capture it all. The rowdy crew
puts on a show that is electrifyingly entertaining and yet full of Burchfield's lyrical honesty and
depth.

“...Burchfield’s music is soulful. That is the perfect word for it. It doesn’t just describe his genre – it
describes the heart of the artist himself...”

-Emily McBride - VINYL MAG

After cutting his teeth in the indie-music hub of Athens, GA, Sam planted new roots in the nation’s
R&B capital of Atlanta. Sam and The Scoundrels have now made ripples in the southeast, and
continue to grow a loyal fanbase with their passion for music and camaraderie for each other.

“Nostalgia can be wonderful and amazing. It’s OK to look back. But then you gotta get the fuck out of there.” So says singer-songwriter Jill Sobule, explaining the theme of her new album, Nostalgia Kills.

On Nostalgia Kills (out September 14 on Jill’s own Pinko Records), the woman hailed by The New York Times for making “grown-up music for an adolescent age” turns her warm wit and poet’s eye on herself more than ever before, revisiting moments from throughout her life that made her into the person she is today. It’s an especially poignant look back at childhood — “exorcising some junior high school demons,” as she puts it.

Looking back is a new experience for Jill Sobule. Ever since she first caught mainstream attention with her 1995 song “I Kissed a Girl” — the first song about same-sex romance ever to crack the Billboard Top 20 (and no relation to the later Katy Perry tune) — she’s always pushed forward, exploring new sounds and subject matter with each passing album and refusing to be pigeonholed by her early hits (which also include the ‘90s alt-rock anthem “Supermodel,” featured in an iconic scene in the film Clueless).

Along the way, Jill has shared stages with the likes of Billy Bragg, Cyndi Lauper and Warren Zevon, written music for TV and theater, and been a pioneer in the art of crowdfunding, raising so much money for her 2009 album California Years that a then-unknown startup called Kickstarter came to her for advice. She’s also been active in numerous social and political causes, performing at prisons as part of Wayne Kramer’s Jail Guitar Doors project, playing dates with Lady Parts Justice’s “Vagical Mystery Tour,” and curating Monster Protest Jams Vol. 1, featuring protest songs by Tom Morello, Billy Bragg, Boots Riley, Amanda Palmer, Jackson Browne and many other great artists — including Jill’s own “When They Say We Want Our America Back, What the F#@k Do They Mean?”, which traces the history of anti-immigrant sentiment in America.

For Nostalgia Kills, Jill worked with her good friend, Australian singer-songwriter Ben Lee, to cull the album’s 11 songs from a collection of over 100, representing nearly a decade’s worth of material accumulated since the release of California Years. In turning those songs into an album, she received a little extra motivation from an unlikely source.

“I was at an industry party,” she recalls. “And I heard this total douche saying, you know, once someone reaches the age of 40, they can’t write a good song. And I went up to him and I was like, ‘You don’t know me, but you’re an idiot.’”

Making it her mission to prove her new nemesis wrong, Jill took the songs into Lee’s home studio in Los Angeles with a supporting cast of players that included John Doe (X), Wayne Kramer (The MC5), Petra Haden (That Dog), Roger Joseph Manning Jr. (Jellyfish), and Richard Barone (The Bongos). “This was done with a lot of friends,” she says. “It was very organic.” Many of the final mixes even contain elements of the original demos, recorded with various apps on Jill’s iPad.

Right from the jump, Nostalgia Kills proves that this songwriter, despite being a few years north of 40, is still at the peak of her powers. How many artists of any age can write a song like “I Don’t Wanna Wake Up,” an Old Testament head trip inspired by a bad breakup, the death of a parent, and microdosing mushrooms? Let alone have the nerve to make it their album’s opening track?

From there, Nostalgia Kills explores its titular theme through a collection of songs that ponder the past without ever lapsing into easy sentimentality. “I Put My Headphones On,” as catchy as anything in Jill’s catalog, captures the cozy feeling of tuning out the outside world with a favorite record. “Almost Great” is a ukulele-laced ode to youthful brushes with success and adult battles with procrastination. “Forbidden Thoughts of Youth” is a beautifully rendered portrait of adolescent unrequited love, as Jill looks back at her first gay crush (“an incredible combination of Marcia Brady and future meth-smoking biker chick”).

“Headphones” and “Forbidden Thoughts” will be part of #Fuck7thGrade, a one-woman show about “the worst year of my life,” and just the latest of Jill’s many forays into theater. Nostalgia Kills features new versions of several of Jill’s best songs for the stage: “There’s Nothing I Can Do” is a defiant breakup anthem from the off-off-Broadway musical Prozak and the Platypus, sung from the perspective of a rebellious 17-year-old girl. “25 Cents” is from Times Square, a new musical based on the 1980 cult film of the same name — and Jill’s own memories of visiting New York City as a teenager, back when the city was still “scary and fascinating and full of junkies.” And the gorgeous ballad “Tomorrow Is Breaking My Heart” is one of several original songs Jill wrote for a new adaptation of Yentl, Isaac Bashevis Singer’s tale of gender-bending romance later made famous by Barbra Streisand’s film adaptation.

There are two versions of “Tomorrow Is Breaking” on Nostalgia Kills — a mournful duet with John Doe, and a special bonus track version featuring an amateur musician named Nicholas Ford, who made a pledge to the Nostalgia Kills Kickstarter campaign in which the prize was to sing a duet with Jill. “I decided to do it in a different style with a piano and he kicked ass,” she says proudly of Nicholas’ crooning accompaniment.

Nostalgia Kills’ bonus tracks also include “The Donor Song,” on which Jill gives shout-outs to her Kickstarter backers (including Avengers director and Buffy the Vampire Slayer creator Joss Whedon, whom Jill calls “my personal lord and savior” because he donated at the highest level), as well as lovely covers of The Stairsteps’ soul classic “O-o-h Child” and “Don’t Let Us Get Sick,” a heartbreakingly beautiful, late-career ballad by Jill’s friend and mentor, Warren Zevon, with whom she tour shortly before his death in 2003. “He used to come out during my set to sing ‘I Kissed a Girl’ with me,” Jill remembers. “He would always wink at me when we would sing ‘They can have their diamonds and we’ll have are pearls’ to let me know he got the clitoral reference.”

For all its graceful, funny and heartbreaking explorations of awkward youth and grown-up regrets, Nostalgia Kills is as of-the-moment as anything in Jill Sobule’s catalog. Through her own experiences, she explores issues our society still collectively struggles with (LGBTQ rights, teen mental health, our unhealthy obsession with staying forever young) and gently skewers our tendency to dwell on the past at the expense of addressing the present. As she sings on the title track: “We look at ourselves in a long row of mirrors/We get smaller and smaller with each passing year/We have to keep moving or die.”

What if Americana actually encompassed ALL of North America? You'd have the Franco Acadian inflections of Canada, as best exemplified by the accordion, blues and jazz, the only truly indigenous music the US has ever produced, and the lilting grace and fiery passion of the music of Mexico. You'd also have New Orleans' premiere distillers of this continental musical melange, The Iguanas, and their new album Juarez.

Taking their cues from all of the above influences and then some, Juarez, the band's first studio album since 2012's Sin to Sin, redefines the notion of Americana, crossing cultures, styles, eras...and even languages. It's as if Rue Bourbon, Muscle Shoals and Plaza M?xico were all within earshot of each other and The Iguanas were the musical conduit between them. Based out of New Orleans for the past couple of decades save for a short, Katrina imposed exile in Austin the members of the Iguanas have (collectively or individually) played or recorded with everyone from Charlie Rich, Alex Chilton, and Willie DeVille to Emmylou Harris, Allen Toussaint, and Pretty Lights.

Their two decade ride has taken them all over the map musically and geographically, yet the inescapable patina of their hometown infuses every note they play. Through eight studio albums, countless tours and Jazz Fest appearances, and a flood that did its best to take their adopted city with it, it's a testament to the band's endurance that the same four guys that started playing in the early 1990s are still together.

Joe Cabral is philosophical about the band's persistence in the face of challenges that would have felled indeed have felled lesser bands. 'First of all, this is all we know how to do; we're musicians. But more than that, he continues, 'we respect the power of the band as an entity, and each individual in the band steps up to play his part. When it's good, that's really what it's all about.'

Rod Hodges agrees. 'I don't want to get all heady and mystical about this, but it's not really an outward reward we're looking for. We all enjoy playing music, we all get along, and finding a group of people who can say that after all this time is a rare thing.'

Barely four years since their formation, Talisk have already stacked up several major awards for their pyrotechnic yet artfully woven sound – including Folk Band of the Year 2017 at the BBC Alba Scots Trad Music Awards, and a 2015 BBC Radio 2 Folk Award.

Mohsen Amini’s concertina, Hayley Keenan’s fiddle and Graeme Armstrong’s guitar meld seamlessly together to produce a unique force that has taken them to many corners of Europe, throughout the UK on their own headline tours, to Canada, Australia and – from 2018 – the United States. World-leading festival appearances include the Cambridge Folk Festival, Denmark’s Tønder, Celtic Colours in Cape Breton, Fairport’s Cropredy Convention, Celtic Connections and Brittany’s Festival Interceltique de Lorient – whilst the trio’s captivating signature has also been recognised by the wider industry, through official showcase selections at both WOMEX 17 and Folk Alliance International 2018.

Whilst their touring history may far bely their years, so to does their unfailing energy and stage presence. With a second album in the pipeline, alongside heavy touring throughout 2018 and beyond, theirs remains a star firmly on the ascent.