MTV added the music video for The Thing With Feathers' ‘Lights Down Low’ into rotation on their ‘Spankin’ New’ video in 2022.

The Feathers footing found solid ground soon after the modest success of their debut with ‘Figure It Out’, their sophomore single, released in May of 2019. The infectious hook and pop-sensitive rock sound helped the track amass over a million streams on Spotify since its release, quickly becoming a fan-favorite at live shows and proving a powerful catalyst in reaching an international audience. As the band continued to forge their distinct sound through their next several releases (‘Blue’, ‘What You Want’, and ‘Midwest Daydreams’) they also perfected their live sound and on-stage presence through various shows in Nashville, going out on a perfect high note with a sold-out show at the High Watt a mere three weeks prior to the initial pandemic lockdown.

More recently, the Feathers have teamed up with producer and mixing engineer Kyle Dreaden (Parachute, Jake Wesley Rogers). Their first collaboration with Dreaden leading production, ‘We'll Be Fine’, was released on April 9th, 2021. Exhilaratingly tight performances from the rhythm section topped with a seamless guitar hook and bold, anthemic vocals came at a perfect time as people began to feel a breath of fresh air from the pandemic. 

Through an unprecedented pause on live shows due to the lockdowns, the boys continued to obsessively work on their studio sound, retreating to Soultrain Sound Studios and Galt Line Studios to write and record what would become their debut EP, Sundays In The South. Masterfully produced by Owen Lewis (Old Sea Brigade, Snow Patrol) and mixed by Dreaden, the career-defining release pushes the boundaries of pop-infused alternative rock to lengths not previously exhibited by their Nashville contemporaries. With the November 19th release of ‘Static’, the first single from the upcoming EP, the bands aggressive expansion of their footprint beginning in the late fall of 2021 will culminate in the February 2022 release of Sundays In The South and a coinciding tour of the U.S. leading into the spring of 2022.

Embodying the punk ethos of DIY, the Feathers bring the kind of eccentric, electric energy capable of catapulting a garage band, initially built for taking over college towns, in front of both underground and mainstream audiences alike. The crew’s unpracticed, quirky swagger coupled with stellar musicianship has resulted in a catalog of equally introspective and uncomplicated tunes, dedicated to booty-shakers everywhere.

GOLDPARK : "For the members of Goldpark, the best music comes from true collaboration. The Nashville-based alternative rock trio, which formed in 2019 , finds inspiration from bands like Coldplay, Kings of Leon and Death Cab For Cutie–groups known for thoughtful song writing paired with lush soundscapes.

Goldpark’s songs are a point of connection not only for the band, but for the listener to. Even as the musicians examine the highs and lows of human.

"Stinging blues guitar and potent, original songs herald the emergence of a major new talent." --USA Today

"Jarekus Singleton is an exciting new young blues guitarist with melody, hooks, swagger and a strong, original voice. His lyrics are modern, personal, acutely poetic and deeply mature." --Washington Post

"Jarekus Singleton is destined to be the next big name in the blues world." --Blues & Rhythm Magazine (UK)

"High-energy, rock-tinged and tough…a winning blend of modern-day blues and emotionally intense soul with melodic, hot-toned lead guitar, funk-seasoned rhythms and hip-hop flavored lyrics. Singleton creates unpredictable and challenging music that sounds both firmly rooted in blues tradition and fearlessly dedicated to breaking boundaries and blazing new paths."  --Living Blues 

At just 30 years old, Jarekus Singleton is a musical trailblazer with a bold vision for the future of the blues. Springing from the same Mississippi soil as Charley Patton, Muddy Waters and B.B. King, Singleton’s cutting-edge sound—equally rooted in rap, rock and blues traditions—is all his own. He melds hip-hop wordplay, rock energy and R&B grooves with contemporary and traditional blues, turning audiences of all ages into devoted fans. With his untamed guitar licks and strong, soulful voice effortlessly moving from ferocious and funky to slow and steamy to smoking hot, Singleton is a fresh, electrifying bluesman bursting at the seams with talent.

Singleton's Alligator debut, Refuse To Lose, features a scintillating guitar attack and lyrically startling original songs all sung with a natural storyteller’s voice. Produced by Singleton along with Alligator Records president Bruce Iglauer and recorded at PM Music in Memphis, the album is an impossible-to-ignore first step onto the world stage. With songs telling real life, streetwise (sometimes funny) stories brimming with surprising images, pop culture references, infectious rhythms and unexpected musical twists, Refuse To Lose unleashes a new wave of blues for a new generation of fans.

Jarekus Singleton has been tearing up clubs and festivals across the South, and has performed twice at the world-renowned Chicago Blues Festival. He has been featured at South Carolina's Lowcountry Blues Festival and Festival of Discovery as well as many other festivals in the South and clubs throughout Mississippi. With the addition of high-visibility performances including Springing The Blues Festival, Biscuits & Blues in San Francisco, The North Atlantic Blues Festival, The PA Blues Festival, The Cincinnati Blues Festival, and The Festival International du Blues de Mont-Tremblant, Singleton is on the cusp of international stardom.

Magnolia Bayou

Forged in the heart of a Mississippi swamp, Magnolia Bayou’s sound is appropriately reminiscent of the golden age of Rock N Roll, and it is simultaneously flavored with a heavy, southern swagger that is distinctively theirs. Their bluesy aura can be traced back to the group’s origins, where they submerged and steeped themselves in their home state’s profound musical wealth; covering the likes of Robert Johnson, Sonny Boy Williamson II, Howlin’ Wolf, John Lee Hooker, Son House and so many more.

Like their musical forefathers, the band spent three years blazing their way through juke joints along the Mississippi Blues trail, before independently recording their debut album in 2018. After its release, they spent the last three years extensively touring the surrounding south, traveling as far as the midwest and the pacific northeast. In that time, they’ve supported many acts such as Whiskey Myers, Wet Willie, Ray Wylie Hubbard, Fantastic Negrito, Tyler Childers, Ian Moore, Aaron Lewis, Bishop Gunn, Black Stone Cherry and most recently Buckcherry. They are set to open for Nightranger at the annual HWY 30 music fest in Filer Idaho on June 24th, of 2021. 

In May of 2019, Magnolia Bayou set out to record their follow up album, Strange Place, at Natchez Sound Studio with Bishop Gunn’s very own Burne Sharp at the helm. The record is now available everywhere.

Tyler Tisdale

Tyler Tisdale’s roots may be deep in the heart of Dixieland, but the geographical area in which the wildly-talented singer/songwriter calls home hardly defines him as a performer.
After spending the last several years fronting Midnight Revel, a five-piece power jam band whose 2018 genre-bending album was named “Album of the Year’ by Signature Magazine, Tyler has returned to his roots with an acoustic guitar in hand and a new solo effort that is catching waves throughout the region.

Although Tyler’s powerful, but precise voice long ago earned him the reputation of having one of the biggest voices in the South, his new songs are creating a buzz all over again. With the help of Steve Azar, Tyler released "She's The One" (9/9/21), "The Things They Want Me To Do" (10/21/21) , "Burden Or A Heavy Load" (12/ 2/21) and "High" (1/28/22).

Tyler released the title track, "If It's All The Same To You", on April 29, 2022 with the full album coming out on May 13, 2022. He will play 3rd&Lindsley in Nashville as part of the album release.

“Echoes of The Rolling Stones, Hendrix & early Aerosmith that come roaring out of your speaker... Strange Place is a transcendent blast of Rock & Roll with Southern Swagger and by any measure, Magnolia Bayou is one of the most crucial bands blowing up in the USA right now”

Delta is a Mississippi spawned jam band based out of Jackson,MS. Inspired by the likes of The Grateful Dead, WSP, Phish and many more, Delta creates a unique individualized live music experience with a blend of original music, covers and improvisation

Born in Lubbock and raised in the country outside of a town called Paducah, Grady Spencer’s roots dig deep into Texas soil. By day, Spencer is a superintendent for a commercial construction company. By any other time, he’s songwriter and front-man of Grady Spencer & The Work. 

The Work originally formed in 2013 on the stage of Paradox Church in Fort Worth, Texas. Drummer Blake Sager was joined by bassist Johnny Hatcher in 2016, followed by guitarist Tyler Martin in 2018. The
Work’s music reflects its members: honest, good-timing, with a nod to blue-collar roots.

In 2013, the band recorded and self-produced its first album at 1916 Studios in Kyle, Texas. Sleep featured Spencer and Trevor Powell on guitar and vocals, Blake Atwell on guitar, Sager on drums, and
Josh Brandenburg on bass. The album was released that same year and was the band’s first introduction to the Fort Worth music scene. “Things to Do” was eventually picked up by the Fort Worth Visitors
Bureau via Tom Martens, and in 2017 the city sent Spencer and The Work to Niles City Sound to rerecord and release the track as a single.

Sophomore record The Line Between was primarily tracked at January Sound in Dallas, Texas. The band worked with Magnolia Records and released the album in 2016. Spencer’s vocals and guitar were once
again accompanied by Powell on guitar and Sager on drums, with Steve Moore on bass, producer Ryan Tharp on guitar, and Cody Culberson singing harmonies. This album carried the band beyond Fort
Worth city limits—a following started to crop up across the state and numbers rose on streaming platforms, catapulting The Work to their next album.

Celebrate, The Work’s most recent album, was recorded with Niles City Sound in Fort Worth, Texas in 2018. This time Spencer was joined by Hatcher on bass and vocals, Martin and producer Austin Jenkins on
guitar, and Sager on drums

St. Owsley is THE modern day Jerry Garcia/ Grateful Dead tribute.
St. Owsley is comprised of some of the most intuitive and empathetic musicians the Jam Band scene has to offer. With thunderous bass, soaring leads, grooves of steel and improvisation that borders on insanity, St. Owsley not only wants to play the songs you know and love, but to also elevate and take them to the next level through new sounds and directions enveloped by a truly one of a kind experience. The care and attention that they put into their renditions of these timeless tunes is unmatched and unrivaled by any other tribute out there today.

SYLVIA ROSE NOVAK RUNS RAGGED, ROCKIN’ & REAL ON BOISTEROUS “SOUTH OF BOULDER” - GLIDE MAGAZINE

NEW SYLVIA ROSE NOVAK TRACK “LITTLE SISTER” IS STRAIGHT OUTLAW COUNTRY - AMERICAN SONGWRITER 

“NOVAK IS AN EMERGING TALENT, DELIVERING HONEST, EMOTIONALLY RIDDEN SONGS THAT HAVE LASTING POWER.” - GLIDE MAGAZINE 

 “THE ALABAMA BASED NOVAK’S CHANGE OVER SIX YEARS IS SUCH THAT THOSE WHO HEARD HER FIRST ALBUM MIGHT NOT EVEN RECOGNIZE IT’S THE SAME ARTIST ON THIS NEW ONE. THE TRANSFORMATION HAS BEEN GRADUAL WITH THE SONGS, SOUND AND EVEN HER LOOKS BECOMING INCREASINGLY RAWER OVER THE COURSE OF HER FOUR RELEASES.” - AMERICAN SONGWRITER

Sylvia Rose Novak has always come out swinging. This is as apparent on the opening track, “Fallout”, of her fifth studio album, A Miss/ A Masterpiece, as it is in the fact that she’s been releasing a full-length studio LP every two years since 2014. She’s been called prolific more than a handful of times but the Athens, GA bassist and songwriter simply prefers to think of herself as driven.

Met with acclaim from publications such as American Songwriter and Billboard, Novak’s aptly-named 2020 release BAD LUCK carefully bridged the gap between her former life as an Americana artist - a genre that she felt put into because the music industry and fans alike had issues boxing her into one space - and her foray into pure rock and roll. However, when it comes to A Miss/ A Masterpiece, Novak is expecting fans of her previous work to leave their preconceptions at the door and realize that the Sylvia Rose Novak they thought they knew is a Sylvia Rose Novak who never was. Novak wants to see her name in the Rock & Roll Hall of Fame, not the Country Music Hall of Fame. She closes her eyes and sees herself selling out Wembley, not the Ryman. A Miss/ A Masterpiece is deeply reflective of the person and the artist that Novak has always known herself to be.

It is high time the world meets her as she was meant to be introduced: in her favorite Black Sabbath tank top, black jeans, and a scuffed pair of well-loved motorcycle boots.

A Miss/ A Masterpiece, though recognizable in the sense that Sylvia is and always has been a poignant writer with an unshakable sense of rhyme scheme and brilliant imagery, is far different than anything she’s ever released before.

The drums hit hard and loud. The bass and guitars are down-tuned and heavy. And Novak’s voice, though clearly hers, hasn’t so much matured as it has tapped into something raw and real that’s been buried deep within her all of these years. A Miss/ A Masterpiece is also deeply personal; touching on her fears of nuclear fallout in “Fallout”, hitting hard notes about reproductive rights in “Stress Fracture”, offering a glimpse into bipolar depression with “Rage”, and penning a memoir about the time she was addicted to uppers via “The Window” - a track on which she also played violin for the first time since she put down the instrument in 2019 to focus solely on bass.

The bass was Novak’s first instrumental love. Though she’s multi-instrumental - having learned everything from Trombone to pedal steel over the last two decades, something about the bass has called to her since she was twelve years old and first heard the introductory bars to “Sweet Child O’ Mine.” Duff McKagan’s counter-melody reached out to her as if it was an old friend, a kindred rebel soul. From that moment, her relationship with the instrument has only grown and is now the bedrock for the sonic rebirth that’s so evident throughout A Miss/ A Masterpiece.

Don’t be late for Early James’ Impressive Dan Auerbach Approved Debut American Songwriter

“Some people are good singers,” says the Black Keys’ Dan Auerbach, who decided he needed to produce the singer’s debut album at his Easy Eye Sound studio after watching just two seconds of a video of him performing. “And some people are better than good singers, they just have this great form of expression.

A few years ago, Early James stumbled home, “drunk, or in some kind of state” and started doing dishes. When he woke up the next morning, the young man did not have a clean kitchen, but, he’d soon realize, he did have a song. Almost immediately, James began writing “Dishes in the Dark,” a sober self-reflection about trying, and failing, to clean your act up. “This dirt, this dust, this rust/It’s what I’m all about,” he sings over a sparse acoustic guitar. “I won’t wash up/I’ll just wash out.”

Singing For My Supper, the debut album from Early James, is full of those types of poignant, straight-from-real-life-to-the-page stories. Early James has lived a long life for a 26 year-old, a life he can’t help but end up turning into art. Songs keep spilling out of him: Songs about addiction, songs about familial reckoning, songs about mental health, songs about the ways adulthood can rob us of childhood wonder. For someone raised largely by the women in his family in Southeastern Alabama, Early James, whose mother worked 12-hour shifts as a traveling nurse during his upbringing, never expected that he’d get to become a professional artist, and he doesn’t plan on wasting a second.

“I make sounds for a living,” he says. “That’s a weird thing to say.”

James’ first album is a riotous blend of styles and sounds, the type of wise-behind-their-years debut offering that makes one stop to wonder how a 22 year-old could possibly contain so much world-weary wisdom. “Blue Pill Blues” details a harrowing four-five month period when James, who was being treated for depression, quit his antipsychotic medication cold turkey. “High Horse” is a lament of the ways his adolescent excitement faded with the arrival of the vices of adulthood. “I can’t remember the last time I climbed I tree,” he sings with a world of despair, “Now when I’m high, there ain’t much that I want to see.” “Easter Eggs,” meanwhile, finds the songwriter coming to terms with some of the darker sides of his familial inheritance, a prime example of James’ ability to pack a lifetime of questions into a single couplet:

“Southern sadness from days of yore,” he sings, “Jesus Christ, when it rains it really pours.”

The album’s wide-ranging ten songs span a blend of hard-charging blues, wistful folk and ages-old pop crooning anchored by the singer’s once-in-a-lifetime voice, which can oscillate from gravel-gruff shout to honey-smooth whisper.

“Some people are good singers,” says the Black Keys’ Dan Auerbach, who decided he needed to produce the singer’s debut album at his Easy Eye Sound studio after watching just two seconds of a video of him performing. “And some people are better than good singers, they just have this great form of expression.”

James’ voice conjures a century’s worth of American barkers and crooners, from Alan Lomax field recordings to mid-century iconoclasts like Billy Holliday and Howlin Wolf to ghostly late-century interpreters like Fiona Apple and Tom Waits. But James wasn’t simply born with such a voice; he’s entirely uninterested, in fact, in that myth. “I hated my voice for a long time,” he says. “I didn’t used to believe my voice when I heard it. It sounded like me, and I know I’m a liar, so I couldn’t believe it.”

Using prickly-poet heroes like Apple and Waits as inspirations, James realized he could arrive at a greater emotional truth if he just tried to conjure up the voice he heard in his head. Long before he ever discovered his own voice, though, Early James’ soul was full of music. He can hardly remember a time when he wasn’t obsessed with song. As a young child growing up in Troy, a small community in Southeast, AL that James says was plagued with “Walmart disease,” he would start singing “Take It Easy” by the Eagles to strangers while waiting in the checkout line with his family at the grocery store. His life was changed forever when, at age six, he witnessed a local musician who’d been hired to play covers perform at a family function at his grandmother’s house.

His life changed once again when, as a preteen, he discovered the music of Hank Williams Sr, whose music he began to sing in the shower every night. Then came the teenage years: grunge, Pearl Jam, Soundgarden, Nirvana. After asking for a guitar for Christmas several years in a row, his Aunt finally gifted him one at age 15. His uncle taught him how to play \“\Mary Had A Little Lamb,” and James was off to the races. “I just didn’t stop,” he says of his high school years spent locked away in his room playing guitar.

As soon as he was old enough, Early James moved to Birmingham, where he’s become an integral part of the city’s thriving music scene over the past half-decade. “Everything in Nashville is so competitive and clique-ish and cutthroat,” he says, “But Birmingham is the greatest fucking scene in the world. It’s a weird melting pot.” In town, James plays in “like five other bands”: bluegrass outfits, folk collectives, alt-country groups. “I just try to convince people to let me play guitar for them.”

James’ diverse experience in the Birmingham scene has helped mold him into a singular talent, an artist whose sound remains entirely uncategorizable. “The biggest compliment we get,” James says, “Is, ‘I was confused by your set. I don’t really know what genre to put y’all in.’”

Coming out of a local music scene as first-rate as Birmingham has also helped sculpt James into a songwriter who obsesses over the craft and texture of every word he’s ever sung. “Every line has to mean something to him, personally,” says Auerbach. “It’s not good enough to just write a good song, it needs to have a deeper meaning. He’s unlike any person I’ve ever worked with. He’s not writing a song to be universal; he’s writing a song for him.”

Hardscrabble honky-tonk at its best, nodding to Johnny Cash and Buck Owens in equal measure. Ties of Blood and Affection is a stellar collection that could earn Pinnell comparisons to Sturgill Simpson.” - ROLLING STONE
When Jeremy Pinnell released OH/KY in the summer of 2015 to stunned acclaim, it felt like an entire career compressed into one knock-out album. Hailed as a “mind-blowingly good” (KEXP) “tutorial on classic country music” (Popmatters), Pinnell’s debut immediately differentiated as authentic and unflinching. Dogged touring through Europe and the states and celebrated radio sessions followed, cementing Pinnell’s position as a no-fuss master of his craft.

His latest album Ties of Blood and Affection presents a canny lateral move. Instead of doubling down on the stark themes and values of his debut, this sophomore album finds Pinnell finding comfort in his own skin and achieving the redemption only hinted at in his previous batch of haunted songs. Here Pinnell joyfully embraces the working life, family obligations, and faith. His new stories delve into acceptance and survival, all the while investigating his most challenging chapter yet: adulthood. While “If life don’t get any better / I’m alright with this” isn’t an out-right triumph, it’s an honest revelation.

You can feel the room breathe and get a sense of these musicians eyeballing each other as their performances are committed directly to thick analog tape. Honest and careworn, Jeremy’s voice can touch on wry, jubilant, and debauched - all in a single line. Ties of Blood and Affection offers a fair dose resolution to Jeremy’s story. At his best, Jeremy Pinnell chronicles the joy and sorrow of being human, which is the best that anyone could do.

DAVID QUINN

www.davidquinnmusic.com

David Quinn’s third album was born from a logo on a decades-old ashtray he found in a corner nook at Nashville’s Sound Emporium while tracking his previous record. The amber glass piece had seen better days, but it was the words “Country Fresh” imprinted on the side in its vintage font that grabbed Quinn’s attention. “I never stopped thinking about it and started using the phrase ‘country fresh’ to describe how I was living and all the things that I like. It just stuck with me and once I wrote the song ‘Country Fresh’ it ended up being the whole theme of the record.”

His first two albums, 2019’s Wanderin’ Fool, and 2020’s Letting Go were both infectious roots records that put Quinn on the musical map, gaining praise from Saving Country Music, The Chicago Tribune, Wide Open Country, The Boot, The Americana Music Association, Glide Magazine, American Songwriter, and The Bluegrass Situation, just to name a few. Even with the litany of accolades Quinn has already landed, it feels like with Country Fresh, we’re only getting started with this Illinois native.

In the wake of the pandemic back in 2020, Quinn left his adopted headquarters of Chicago in favor of a move to rural Indiana, into a house on a lake. This new — dare we say “Country Fresh” — setting enabled him to tap into the nostalgia of his childhood and rev up his creativity. For years he had been trying to find the words to describe his sound and what set it apart from his contemporaries. Last year, it finally hit him: he was making Black Dirt Country music. It’s the sound of midwestern storytelling, in the vein of his biggest influence, the country folk of John Prine, who was also born and raised in Illinois.

Armed with a dozen new songs after soaking up his new life in the woods, Quinn decided that for this album he’d up the ante and produce it himself. Returning to Sound Emporium with handpicked players, including Laur Joamets (Drivin N Cryin) on slide guitar and solos, Micah Hulscher (Emmylou Harris) on piano, Fats Kaplin (John Prine) on fiddle, dobro, banjo and harmonica, Miles Miller (Sturgill Simpson) on drums, Jamie T. Davis (Margo Price) on guitar and Brett Resnick (Kacey Musgraves) on pedal steel, the album was engineered and mixed by Mike Stankiewicz (Willie Nelson, Shooter Jennings, Jason Isbell) and mastered by John Baldwin Mastering (The Rolling Stones, Merle Haggard, Kris Kristopherson).

Alongside this star-studded ensemble, Quinn recorded a love letter to the midwest with tunes that tell stories of lost love, the open road, and finding one’s place in the world. Country Fresh is a collection of country-fried Americana gems corralled by Quinn’s singular voice and expertly- spun tales of heartache and triumphs amidst a vast midwestern landscape.

Country music’s one constant, in its many permutations and guises, is that it tells us stories of real people living their ordinary lives, sometimes doing extraordinary things. On the new album, Quinn hits all of these notes. “Low Down” is a song about dealing with not really ever having a place to call home and wearing your welcome out wherever you go. “Cornbread and Chili” is a smile-inducing ditty that evokes the way Guy Clark wrote about his love for food in songs. “Boy

 From Illinois” is an upbeat song about the easy living of midwestern life. “Long Road” speaks to the downtimes and the feeling of hopelessness.

Throughout the album, Quinn gives a masterclass in storytelling with the ability to stage vibrant vignettes of life, home, and heart. He burns through the songwriting at a cool stride, allowing you the chance to see yourself in his stories.

Country Fresh is a statement-making record of gutting, instinctual songcraft. It’s depth is built from the road less traveled, but traveled often. There’s nothing pretentious about what Quinn has created here; Country Fresh simply sounds like its creator is taking you along on the ride of his life.

Alicja-pop is both a solo endeavor and a group venture. Alicja-pop performs as a live band currently featuring Lori McStay, Jared McStay, and Andrew Geraci. Alicja Trout also performs with River City Tanlines, Mouserocket, and Sweet Knives (ex-Lost Sounds).

Witchcake is psych-garage rock from Mississippi!

As Alastair Greene’s prolific and acclaimed career rounds the corner into a third decade, Greene arrives at a new, yet familiar destination.  Following a 2018 live album that celebrated the 20th anniversary of his noteworthy Alastair Greene Band, the singer-songwriter/guitarist returns with an inspired solo collection, The New World Blues, and a tonic for the times.  “I’m not a prophet by any stretch of the imagination,” Greene says.  “But, this record is even more relevant now than when I wrote it in 2019.”
 
A native of Santa Barbara, Calif., Greene has ridden his Blues-soaked rock into the 21st century, traversing a constantly changing global (and musical) landscape.  He’s well-equipped for the challenge, carrying the diverse musical interests he developed at an early age, intrigued by his mother’s piano-playing and a record collection that included The Beatles, Stevie Wonder, and Elton John.  His father introduced the youngster to the sophistication of Bach and Beethoven, yet it was Greene’s grandfather, the late trumpeter Chico Alvarez- a member of the Stan Kenton Band in the 1940s and ’50s- who inspired him to pursue a life in music.
 
As a youth, he took piano lessons and played the saxophone before discovering the guitar in high school.  ‘80s heavy rock icons Iron Maiden and Def Leppard brought motivational thunder.  Then, a vintage and seminal sound- the Blues- changed Greene’s course.  Records by B.B. King, Buddy Guy, Johnny Winter, The Allman Brothers Band, and Stevie Ray Vaughan exposed the burgeoning guitarist to a trove of musical treasure.
 
He received a scholarship to attend the Berklee College of Music in Boston, where he studied for two years, before returning in the early ‘90s to Southern California.  Greene formed the Alastair Greene Band in 1997 and subsequently released eight solo albums (including two live sets and a compilation record) over nearly 20 years.  2017’s studio effort, Dream Team, landed a four-star review and Best Album of the Year nod in DownBeat; 2018’s Live from the 805 was nominated for Rock Blues Album of the Year by Blues Blast Magazine, garnering inclusion on many ‘Best of 2018’ lists.
 
A much in-demand guitarist and vocalist, Greene traveled the world, touring with the legendary Alan Parsons Live Project from 2010 – 2017, as well as stints with Starship featuring Mickey Thomas and, most recently, Blues Music Award-winner Sugaray Rayford.  His work with Parsons, in particular, sparked a conversation with renowned multi-instrumentalist and producer Tab Benoit at a Las Vegas blues festival.  In 2019, Greene signed with Benoit’s Whiskey Bayou Records label.
 
Armed with a cache of new material, Greene decamped to Benoit’s Houma, Louisiana studio outside New Orleans to track The New World Blues.  With Benoit, on drums, and bassist Corey Duplechin, the three formed a classic power trio, recording nearly the entire album live in the studio.  Featuring funky, swampy grooves and flights of muscular guitar, Greene delivers an album stirred by touchstones such as Stevie Ray Vaughan and Double Trouble, yet perhaps most often guided by the roadmap of Gov’t Mule and that band’s synthesis of The Allman Brothers Band’s improvisational firepower and the raw, stripped-down electric Blues-rock of Cream.
 
Greene says he wanted to “go somewhere; find something.” Fortified by the historic backdrop-a birthplace of Blues and Jazz- as well as his new ‘bandmates’ and their cultural connection to the area, The New World Blues displays Greene’s lifelong reverence for Delta and Chicago Blues, respectfully and affectingly, detailing each of the eleven cuts with honesty and respect. “I endeavor to play the Blues. It’s some of my favorite music. And I have a responsibility to inform where this music comes from,” Greene says. “This is a Black, African-American art form that is basically responsible for everything we love today. I want to be true to what I love.”

The Stolen Faces Nashville, TN
The Grateful Dead continue to have one of the most rabid and loyal followings of any band in history, and deservedly so: They wrote great songs, and they were excellent musicians and terrific improvisers who never played a tune the same way twice. The Stolen Faces deftly capture the spirit of the Dead, covering the band’s expansive catalog and delivering it with the sort of energy and spontaneity that might have you thinking you’re standing in the Fillmore West in 1971!

STILL STANDING is the ultimate visual and musical Elton John Tribute event bringing all the timeless classics to your venue with the attention to detail that his music deserves. 
“Still Standing have such a legendary stage presence, you wouldn’t know that it wasn’t Sir Elton John himself standing up there. They put on a magnificent performance and they definitely bring a crowd!”
Born and raised in Mobile, AL, Ben “Almost Elton” Frey has been referred to as the closest representation of Elton’s look and vocals on the Tribute Circuit. Ben and his band of professionals are dedicated to working on every detail that makes for an incredible Elton John experience.

Based in Birmingham, Alabama, Winston Ramble is a homegrown folk-rock n roll band. With members originally hailing from the free state of Winston County, AL, the band aims to interject the raw expression of rock-n-roll into the feel-good vibes of acoustic music.

THE LONG RUN is made up of some of Florida’s finest and most respected musicians. Individual members of the band have performed with or shared the stage with great artists like Lynyrd Skynyrd, Steppenwolf, Eddie Money, Beach Boys, .38 Special, Doobie Brothers, Trace Adkins…just to name a few.

THE LONG RUN reproduces the sound that made the Eagles one of the most successful musical groups in rock and roll history. They capture the energy, guitar technique and vocal harmonies of the Eagles to an art; five voices blending together that will please even the most critical of Eagles fans.

You won’t hear a tribute to the Eagles this great till
“Hell Freezes Over.”