July 18, 2024 Snowshoe Mountain Doors 12:00 pm

4848 Festival

Jul 18 (Thu)

Doors 12:00 pm All Ages


Venue Information

10 Snowshoe Dr
Snowshoe, WV 26209

Greensky Bluegrass

Official Band Site

For two decades now, Greensky Bluegrass have been building an empire, brick by brick.  They are widely known for their dazzling live performances and relentless touring schedule, but that is only the tip of the complex tale of the five musicians that make up Greensky Bluegrass: Anders Beck [dobro], Michael Arlen Bont [banjo], Dave Bruzza [guitar], Mike Devol [upright bass], and Paul Hoffman [Mandolin].  The five are connected through a deep bond, just as they are seasoned road warriors, they’re a band of brothers who have seen each other through decades of ups and downs, personal and collective highlights, and the moments when life turns it all upside down. These are real people having real experiences. As with traditional bluegrass, they write about their own contemporary day-to-day happenings, emotions, and experiences in the modern world.

The band’s underground die-hard fans pack out venues across the country. They travel in droves and sell out multiple-night show runs at iconic venues like Red Rocks and The Ryman.

“As songwriters and musicians, we have a need for people to be on board,  we’re not just regurgitating the same shit,” explains Bruzza.  

Hoffman adds, “we aren’t a band all for money. We did it for romantic reasons such as love, catharsis, and because it mattered to us and the listeners. It would be easy to make decisions based on our needs to eat or the desires of others, but that’s not doing it for love. We love what we do, and we’re grateful for the love we receive in return from the people listening.”

Bruzza continues, “I hope they know we’re doing this for us and them.”

The Flaming Lips

Official Band Site

Formed in Oklahoma City, OK in 1983, The Flaming Lips have since become one of the most iconic, influential, unpredictable, and vital forces in American alternative rock music. The band has garnered three GRAMMY® Awards, a Tony nomination, and an RIAA Gold-certified Record for Yoshimi Battles the Pink Robots. Q Magazine named them one of the “50 Bands to See Before You Die.”

The band has made countless late night television appearances, appeared in a Super Bowl commercial, contributed to many film soundtracks, and collaborated with artists such as Miley Cyrus, Coldplay’s Chris Martin, Kacey Musgraves, Yoko Ono, The Chemical Brothers, and so many more. They have set countless records, broken records, created spectacular interactive audio/visual events now regarded as legendary.

Frontman Wayne Coyne has been recognized for works of art that graced many LIPS album covers along with his traveling art exhibit “The King’s Mouth,” an audiovisual art installation that has been featured in many contemporary art museums around the US. Their latest LP, American Head, marks a return to a more melodic and song-oriented body of work and has critically been lauded as their best work in years placing on several Year End/Best Of lists around the world. Evan after a combination of 22 studio recordings, 16 singles, 11 compilations, 11 EP’s and 11 self-released experimental collaborative oddities released in various forms, quantities and unique mediums, The Flaming Lips remain in a creative apex that has no bounds. To that end, they have become an American Treasure and created a genre all to themselves.

St. Paul & The Broken Bones

Official Band Site

Founded in Birmingham, Alabama in 2011, St. Paul & the Broken Bones consists of Paul Janeway (vocals), Jesse Phillips (bass), Browan Lollar (guitar), Kevin Leon (drums), Al Gamble (keyboards), Allen Branstetter (trumpet), Chad Fisher (trombone), and Amari Ansari (saxophone). The eight piece ensemble burst into the world with their 2014 debut Half the City, establishing a sound that quickly became a calling card and landing the band a slew of major festivals including Lollapalooza, Coachella and Glastonbury. Critical praise from The New York Times, Rolling Stone, SPIN and NPR followed, leading to shared stages with some of the world’s biggest artists Elton John and The Rolling Stones among them and launching an impressive run of headlining tours behind what Esquire touted as a “potent live show that knocks audiences on their ass.”

The group has continued to expand their sound with every record, branching out well beyond old school soul into sleek summertime funk and classic disco on albums like 2018’s Young Sick Camellia. Their forthcoming LP, Angels in Science Fiction , stretches their limbs further afield, building on the shadowy psychedelia and intricate, experimental R&B of 2022’s The Alien Coast.

Molly Tuttle & Golden Highway

Official Band Site

Molly Tuttle & Golden Highway—her brand new band of bluegrass virtuosos featuring mandolinist Dominick Leslie, banjoist Kyle Tuttle, fiddle player Bronwyn Keith-Hynes, and bassist Shelby Means—will tour the United States in 2022 in support of Tuttle’s forthcoming Nonesuch Records debut.

An award-winning guitarist and songwriter, native Californian Molly Tuttle continues to push her songwriting in new directions and transcend musical boundaries. Since moving to Nashville in 2015, she has worked with many of her peers and heroes in the Americana, folk, and bluegrass communities, winning Instrumentalist of the Year at the 2018 Americana Music Awards. Tuttle’s 2019 debut album, When You’re Ready, received critical acclaim, with NPR Music praising its “handsomely crafted melodies that gently insinuate themselves into the memory,” and the Wall Street Journal lauding Tuttle’s “genre-boundary-crossing comfort and emotional preparedness,” calling the record an “invigorating, mature and attention-grabbing first album.” ​ ​

Tuttle’s accolades also include Folk Alliance International’s honor for Song of the Year for “You Didn’t Call My Name,” from her 2017 Rise EP, and consecutive trophies for the International Bluegrass Music Association’s Guitar Player of the Year; she was the first woman in the history of the IBMA to win that honor.

During the pandemic, Tuttle recorded a covers album, …but i’d rather be with you, which was released in August 2020. The record, which features guest vocals from Dawes’ Taylor Goldsmith and Old Crow Medicine Show’s Ketch Secor, includes songs by musicians ranging from FKA Twigs to Cat Stevens, Rancid to Karen Dalton, and The National to The Rolling Stones. The New Yorker’s Jay Ruttenberg, in praising her rendition of the Stones’ “She’s a Rainbow,” says: “In Tuttle’s reading, the song uses a bluegrass spirit to look to the past—and a feminist allegiance to peek at the future.”

The California Honeydrops

Official Band Site

“The California Honeydrops…evoke the greasy rumble of Booker T and channel the spiritual ecstasy of Sly and the Family Stone.” -Rolling Stone 

Formed in the subway systems of Oakland, retro-soul outfit The California Honeydrops are an electrifying group that defy convention at every turn. They’ve become a mainstay at festivals including Byron Bay Bluesfest (Australia), Outside Lands, Monterey Jazz, Lightning In A Bottle, and touring with B.B. King, Dr. John, Bonnie Raitt, Buddy Guy, and Allen Toussaint. Led by the enigmatic and energetic frontman, Lech Wierzynski, and drummer Benjamin Malament, each member of the band is a virtuoso in their own rite — Yanos “Johnny Bones” Lustig on saxophone, Lorenzo Loera on keyboards/guitar, Beaumont Beaullieu on bass, and regularly accompanied by Scott Messersmith on percussion, Oliver Tuttle on trombone, Leon Cotter on saxophone/clarinet, and Miles Lyons on trombone/sousaphone — navigating through a vast repertoire of original songs and timeless classics every night. But what truly sets them apart is their unwavering commitment to the art of improvisation – a skill so finely honed that they have completely abandoned the use of set lists and no two shows are ever the same. Off stage, their music has been streamed more than 200 million times, and placed in a variety of TV and films, including “Dead To Me,” “Alaska Daily,” “Black-ish” and more. They are currently touring North America in support of their new deluxe album, ‘Soft Spot’.

The Greyboy Allstars

Official Band Site

It didn’t take 25 years for A Town Called Earth to become a classic. As soon as the terra firma-shaking second album by The Greyboy Allstars was released in the summer of 1997, it was clear to anyone with receptive ears that here was the future of—well, you name it: funk, boogaloo, soul, jazz, R&B, fusion. It’s all mashed up and buoyed by a propulsive groove on this groundbreaking recording. A quarter of a century later and A Town Called Earth is recognized as a bonafide game changer. What better way to celebrate the landmark anniversary of a landmark album than to present its long overdue debut on digital streaming platforms and vinyl. A Town Called Earth: The Immortal Edition will be released on September 16 by the band’s own Knowledge Room Recordings with distribution via reissue impresarios Light In The Attic.

The Immortal Edition features the original ten-track album supplemented by the previously unreleased “Cassiopeia’s Chair,” a tight yet breezy groover with a touch of the band’s skewed, cosmic sensibilities. Remastered from the original analog source tapes by Dave Cooley and Phillip Rodriguez at Elysian Masters, pressed on 180-gram audiophile vinyl and packaged with an 18×24” color poster, only 2000 copies of the double-LP set will be issued.

“It feels great to still be making music together as we revisit this seminal record,” says saxophonist Karl Denson. “It was a great time in our lives, [when] we found like-minded artists and were able to do something on the scale of A Town Called Earth… And vinyl is and will always be cool.”

The Greyboy Allstars—Denson, keyboardist Robert Walter, guitarist Elgin Park (aka Mike Andrews), bassist Chris Stillwell, and drummer Zak Najor—originally came together in 1993 as the backing band for acid jazz DJ and producer DJ Greyboy. Their debut album, West Coast Boogaloo, was released the following year, showcasing the band’s tight grooves and combustible chemistry. That hardly prepared listeners, however, for the creative explosion represented by A Town Called Earth. The lean funk of its predecessor blossomed in myriad directions, fueled in part by the extensive tour schedule the band had maintained in the interim.

“The Greyboy Allstars had a sort of magical chemistry right from the start,” says Walter. “I think we all just love rhythm and feel it in similar ways. By the time we were recording this album we also had played a ton of shows. It was very telepathic. We would go out on tour and then as soon as we were back home we would play local shows. We really never stopped for a few years straight.”

“We really weren’t even a band for but a few weeks when we recorded West Coast Boogaloo,” adds Park. “By the time we recorded A Town Called Earth we had gelled and formed our own individual perspectives within the music. I think the source of inspiration was in the same universe, but our confidence was in a completely other place.”

That confidence was bolstered in part by the torch-passing support of legendary James Brown and Parliament-Funkadelic trombonist Fred Wesley, who performed on West Coast Boogaloo and contributed laudatory liner notes to A Town Called Earth.

“Playing with Fred taught us the value of hard work and perseverance,” Park says. “It gave us confidence we needed to play with simplicity and intent. He also taught us how to play with a smile and generous heart—always by example, of course.”

A Town Called Earth was recorded over a sprawling ten-day session at San Francisco’s Hyde Street Studios with engineer Mickey Petralia. It found the band moving beyond their influences to redefining funk for the coming millennium. The slippery soul jazz of “Turnip’s Big Move” landed somewhere between “Cissy Strut” and “Chameleon,” while “The Many Moods of Erik Newson” ventured into more blissed-out exotica. The classic, slinky groove of “Happy Friends” stands in stark contrast to the exploratory, psychedelia-tinged title track, which maintains its heady atmosphere for more than 15 minutes. “Quantico VA” captures the raucous feel of the band’s live sets, while “December’s Bicycle” unfurls as breezy, shimmering folk-rock.

“We had moved from just trying to emulate old records to finding our own sound. Everyone was composing and we were playing more original music at our shows. We were expanding our improvisations too, playing less strict to the genre,” explains Walter. “It was also the longest we had spent recording. West Coast Boogaloo was done in just one day. When it came time to record A Town Called Earth, I remember feeling like we could experiment a lot without being on a crazy time crunch.”

“We made the decision to record away from home, which I think helped with our collective purpose of making something special,” continues Stilwell. “It was our job to go to every day until it was finished. There were no inactive days where we were without ideas or thoughts of what to do. We were in a good flow.”

Although Najor has since departed the band, The Greyboy Allstars are still going strong nearly three decades after first convening, and remain one of the most scintillating live acts on the planet. A Town Called Earth: The Immortal Edition offers a welcome opportunity to revisit the band’s full-throttle beginnings and a reminder that their vibrant inventiveness has been a core component since their early days.

“I’m very happy to have A Town Called Earth out on vinyl and digital,” Walter says. “It’s an album I’m really proud of and captures the band at a time of particular growth.


Official Band Site

Spafford is known for their astonishing improvisational ability and off-the-cuff extended jams, Spafford paints a picture in real-time each night with a musical palette known only to each other. It’s a private language comprised of both their talent as musicians as well as their formidable catalog of influences, spanning 90’s alt-rock radio hits to Steely Dan and The Crystal Method. Each Spafford show is a sonic pilgrimage, the journey of a team of musicians so in tune with each other that a single note communicates intent and purpose. Spafford is amongst the most creative and hard-traveling bands on the contemporary jam scene, performing countless sold-out headline dates along with high profile festival sets at Bonnaroo Music & Arts Festival, Firefly Music Festival, and many others.

The Hip Abduction

Official Band Site

Evoking the ocean and guided by the spirit of travel, The Hip Abduction pilot a sonic expedition past genre barriers. The band is the moniker for singer/songwriter David New who writes and produces music in between travel excursions and touring. Live shows morph into a versatile musical ensemble consisting of Matt Poynter (drums), Chris Powers (bass), Justino Walker (guitar, vocals, ngoni), and Cody Moore (keys, sax); each of whom have a mutual appreciation for African (Afrobeat/Soukous/Malian Blues), Reggae, and American (jam/electronic/indie) music. Since 2012, the band has played almost every noteworthy music festival in the country, has landed major TV/Movie syncs and Sirius Xm radio spins, have ~400k mo listeners on Spotify, have provided direct cross country tour support for artists like Dirty Heads, Galactic, Slightly Stoopid, The Revivalists, and who’s highly energized live show have landed the 5-piece a sizable fanbase across the US and Canada.

The Brothers Comatose

Official Band Site

The Brothers Comatose‘s singer-songwriter Ben Morrison share some insight into their latest polarizing single “The IPA Song,” “We generally use our music to unify people, but there comes a time for every band when you have to make a statement. This is our most controversial song and we realize that some of our audience will hate us for it, but it’s time we finally say something: we can’t drink IPAs anymore!”

“Phew, that felt good to get off my chest.”

“In all seriousness though, we overdid it quite a bit, back when we were sponsored by a great beer company and they delivered multiple cases of IPA to every tour stop of ours. It was great for a while, but it got to the point where we had cases and cases of warm IPA in our van and that’s all we drank. Too much warm IPA will change a person, and now we can only drink light beer. We’re more of a quantity over quality band these days, at least when it comes to beer.”

“This song came about because there are lots of craft beer lovers in our musical world and we would find ourselves drinking lots of high alcohol percentage beers when we’re playing shows, and we just can’t do it anymore. We want to enjoy a few beers while we’re playing without getting too drunk, and light beer saves us from that. Pabst Blue Ribbon, if you’re reading this, we’re still looking for sponsorships!”

The Brothers Comatose’s new single “The IPA Song” is available now

Whether traveling to gigs on horseback or by tour bus, Americana mavens The Brothers Comatose forge their own path with raucous West Coast renderings of traditional bluegrass, country and rock-n-roll music. The five-piece string band is anything but a traditional acoustic outfit with their fierce musicianship and rowdy, rock concert-like shows.

The Brothers Comatose is comprised of brothers Ben Morrison (guitar, vocals) and Alex Morrison (banjo, vocals), Steve Height (bass), Philip Brezina (violin), and Greg Fleischut (mandolin, vocals). When they’re not headlining The Fillmore for a sold-out show or appearing at Hardly Strictly Bluegrass Festival, the band is out on the road performing across America, Canada, Australia, and hosting their very own music festival, Comatopia, in the Sierra foothills.

The San Francisco quintet are heading out for a massive U.S. tour in further support of their most recent album Ear Snacks – a heartwarming collection of collaborations from their Ear Snacks YouTube series.

TAUK Moore (TAUK + Kanika Moore)

Official Band Site

TAUK may be an instrumental band, but even without words, the group’s extraordinary new album, Chaos Companion, manages to speak volumes about the ups and downs of a year that challenged—and transformed—us all. Forced off the road by the COVID-19 pandemic, the quartet spent 2020 stretching themselves sonically, leaning into the sense of possibility that came with an empty calendar and letting it guide them toward uncharted territory. The resulting songs push TAUK’s sound to bold new heights, fusing elements of progressive rock, funk, soul, EDM, and hip-hop into a melodic, groove-driven blend, one that’s complemented here by the equally adventurous production work of longtime collaborator Robert Carranza. Add it all up and you’ve got a cinematic collection that hints at everything from 70’s film scores and 80’s videogames to 90’s R&B and modern dance music, an immersive record that blurs the lines between analog and electronic as it balances old school grit and futuristic sheen in equal measure.

Founded by bassist Charlie Dolan, guitarist Matt Jalbert, and keyboardist Alric Carter, who began playing together in middle school, TAUK landed on its present lineup in 2012, when drummer Isaac Teel joined full time. Since then, the quartet has gone on to tour with the likes of Umphrey’s McGee, Widespread Panic, and Lettuce, landed festival slots everywhere from Bonnaroo to Electric Forest, racked up millions of streams, and released a series of widely lauded studio and live albums.

Cris Jacobs

Official Band Site

From Baltimore comes Cris Jacobs — an unexpectedly gritty soul-blues singer and guitarist with outlaw country ethos. Blending a variety of musical traditions, Jacobs creates a distinctive voice and sound of his own punctuated by emotive songwriting and explosive guitar playing. Equally at home playing heartfelt Americana ballads or funky blues rockers, Jacobs is known for his mesmerizing live shows, where his improvisational guitar playing, powerhouse band, and deep reservoir of songs make each night a unique experience.

Named one of Rolling Stone’s “10 New Country Artists You Need to Know” in 2017, Jacobs has collaborated with the Grateful Dead’s Phil Lesh and Dumpstaphunk’s Ivan Neville, and earned opening slots on tours with Sturgill Simpson and Steve Winwood.

With three solo albums to his name, a collaborative record with Ivan Neville aptly titled “Neville Jacobs”, songwriting credits that include bluegrass artists Audie Blaylock and Frank Solivan, New Orleans funksters Dumpstaphunk,  and gospel legends Blind Boys of Alabama, Jacobs continues to evolve and display his wide range of writing and performing prowess. “No matter the song”, he says, “I just like to keep it soulful and let the music speak for itself”.


Official Band Site

Song by timeless song Eggy reaches out a hand, inviting you along as a great story unfolds. Eggy’s music traces the full spectrum of emotions, evoked by a life well-lived alongside friends well-loved.

Eggy formed from a high school dream into a full-fledged reality. Aligning together in 2016, the lineup of Alex Bailey (drums, vocals), Jake Brownstein (guitar, vocals), Mike Goodman (bass, vocals) and Dani Battat (keys, vocals) has captured the ears of listeners across the USA and beyond.

Following the release of their 2019 debut record, Watercolor Days, the band has toured constantly, performing in over 40 states. Amidst their travels in 2021, Eggy stopped in Nashville to record two singles, released as Nashville Tapes the following year. Highlights from the band’s many eclectic shows have been handpicked by the band for consumption, including the most recent “Eggy Selects: Spring Tour 2023, Vol. 1).



Official Band Site

Saxsquatch presents Bigfoot Rave, a costume themed dance party hosted by the saxy beast. Be a bigfoot, a fairy, an alien, or be whatever YOU believe in. Just come have fun and dance the night away with Saxsquatch + his DJ friends!

Karina Rykman

Official Band Site

“Joyride Tour 2023” celebrates the upcoming arrival of Karina Rykman’s hugely anticipated debut album, JOYRIDE, arriving via AWAL on Friday, August 18. The album was first heralded earlier this month with the premiere of the single and title track, “Joyride.” Equal parts thick bass, ethereal synths, disco-funk guitar, and silky, inviting vocals, the track – which features signature lead guitar from JOYRIDE co-producer Trey Anastasio – expertly captures Rykman’s jubilant brand of sonic exploration, bridging an array of genres to arrive at her own compelling and original take on psychedelic indie rock.

Lindsay Lou

Official Band Site

“Guided by life experiences, Lindsay Lou’s sound and songwriting continues to evolve and intertwine her sturdy Bluegrass roots with progressive Americana and Folk.” – PBS

“I saw a literal manifestation of the sacred feminine, and had this profound sense that I was meant to embody it,” recalls celebrated singer-songwriter Lindsay Lou after journeying through a hallucinogenic ritual that would inform the way she processed waves of grief in the sea of change ahead of her. The loss of her grandmother, the end of her marriage, and the overwhelming turmoil of COVID lockdowns found the Nashville-based artist on a spiritual journey of self-knowledge and healing with this gift from the mystic swirl. On her new album Queen of Time (due September 29th from Kill Rock Stars), Lou explores that quest across ten tracks of tender, heartbreakingly beautiful music.

With this new vision of womanhood in mind, Lou began to see a throughline from her grandmother, to herself, to the art she was creating. Her 2018 release, Southland (recorded with her former band, The Flatbellys), felt like the first chapter to a greater story that was unfolding; with this release, the theme deepened. “It started with my grandma. She was the unattainable woman in a way,” Lou explains. “She had 12 kids and ran homeless shelters and was always taking people in. She felt that her calling was to be a mother to everyone – this communal caregiver – but it also meant that in belonging to everyone, she also belonged to no one. I realized that this is the catch-22 of anyone who is a woman unto herself. Women, first and foremost, belong to themselves, so nobody can really have them; but, there’s also this element of self-sacrificing and giving to the idea of the feminine.”

Lou’s vocals are a powerful companion to her songwriting. “In an era when style and trends can become genericana, [Lou] focuses on the song,” said No Depression. “It is infectious and joyful, soulful even.” The undeniable centerpiece throughout Queen of Time, Lou’s voice is a molasses-sweet instrument equally capable of clarion ache, slicing deep into the soul. The daughter of a literal coal-miner and millwright, and the granddaughter of a teacher gone Rainbow Gathering healer, Lou honed her honest and resonant style with her bluegrass-inspired band, Lindsay Lou & The Flatbellys, and Michigan supergroup, Sweet Water Warblers (Rachael Davis, May Erlewine), excavating elements of bluegrass, folk, Americana, and soulful pop for their emotional depths. The Warblers’ debut album, The Dream That Holds This Child (2020), was dubbed “a testament to the trio’s range” by Billboard, running the gamut of blues, gospel, soul, and Appalachian folk.

On this latest record, Lou has refined those gemstones to a brilliant luster, holding the listener’s hand on the path filled with heartbreak, discovery, and resilience. On “Nothing Else Matters” (co-written by Nashville musicians Maya de Vitry and Phoebe Hunt), Lou blends those emotions into one vibrant present. The track features GRAMMY® Award winner Jerry Douglas, his immediately recognizable dobro work helping Lou tap into her bluegrass roots while she unravels this new vision of the world. “There is something incredibly iconic to Jerry’s playing; it’s unmistakable,” says Lou. “Like every touch of his bar to the string speaks exactly to the heart of the song. I feel really honored to have his musical voice among the players.”

Lou explores the continued theme of duality on lead single and album namesake “Queen of Time”, her limber, golden vocals backed by a suite of acoustic guitar, psychedelic synth and an energetic rhythm section. The song’s lyrics play out like zen koans. “I’ve spent years at this point, listening and reflecting on this record. ‘Queen of Time’ seems to embody the entire work’s theme of self-discovery in a way that almost feels like a wake up slap in the face; like if it was a snake, it would have bit me,” says Lou. “And I think that’s kinda the nature of self-discovery. It’s discovering something you knew all along.”

On the radiant “On Your Side (Starman)”, Lou sings to a loved one through rose-colored glasses, as if they were her hero. “You can be the starman/ The lightning in the sky/ I will be a shelter/ ‘Cause I am on your side,” she sings, a lithe mandolin bolstering her serene offer of support. Bathed in harmonies and supported by a honeyed troupe of pedal steel, guitars, and a splashy percussion section, Lou sounds like a heroine herself, a gleaming bastion of strength and love. 

Elsewhere, “Nothing’s Working” finds Lou dueting with GRAMMY®-winning guitar virtuoso Billy Strings on their co-write. (You can hear String’s version of it, accompanying Lou, on his 2020 release Renewal). “This was another track that came together over the course of a few years; it lived as the first verse alone for a long time,” recalls Lou. “A suicide in our community stirred me to finish the lyrics, and pandemic gave Billy and I some extra time at home to flush it out.”

The message comes through in the lyrics as Lou sings, “Take time to listen to the quiet ones/ Watch how the rain gives up a chance to swim/ Burn the broken bridges and build them up again,” the duo crying out for change in the face of the endless pain and violence in personal lives and spread across the media. String’s flat-picked guitar ripples and writhes, a deep purple smoke pervading the track. 

“I’ve been fortunate to have spent formative years surrounded by immensely talented friends and collaborators, who, like Billy, feel more like family at this point.” explains Lou. “Having them lend their voices to this record is very special to me.”

Lou’s devotion to understanding where she came from plays a central role not only in the ethos of Queen of Time, but in its sound. “I have 27 hours of conversations that I recorded with my grandma, her telling me her story and explaining how she developed her unorthodox, somewhat radical, somewhat fringe philosophy,” Lou says with a wistful smile. Snippets of those recordings are infused into the album, as in the delightfully Calypso-flecked “Love Calls”. And as the album nears its end, another call to grandma helps exorcize the pain of death. “Nothing can stay bad forever,” Grandma Nancy reminds us, and you can feel the tears being wiped aside and replaced by something new—hope and resilience.

Named among NPR’s “12 Best Live Performances” in 2015, Lou has long been beloved as a live performer, from Telluride Bluegrass Festival to Stagecoach, Celtic Connections to Australia’s National Folk Festival, and a “Can’t Miss Act” at AmericanaFest—not to mention acclaim from PBS, No Depression, Billboard, Holler, Paste, and The Bluegrass Situation, among other outlets. But on Queen of Time, Lou captures a new arc of haloed beauty, becoming unattainable in her own way—a vibrant, powerful woman who can share herself with the world, and yet define a mystic sense of inner self as well.

New Potato Caboose

Official Band Site

With almost 40 years of music bonding and bringing it all to every show, New Potato Caboose is rolling strong with epic jamband groovy goodness. The roots of NPC stretch back to the early days of the jam scene, sharing stages with the likes of Blues Traveler, Widespread Panic, Dave Matthews Band, and legendary ground-floor acts like The Band and the Neville Brothers. As the first band ever to play the iconic Wetlands Preserve in NYC, NPC was featured in the Sundance documentary. At one point, the group was playing over 200 dates a year and garnering write-ups in Pollstar, Billboard, and Variety. They’re currently performing at outstanding venues and bringing their one of a kind live act to a fervent fan base.

The Caboose has just released a new album, It Ain’t a Thing, that captures both the band’s origins and the magic that is happening now. The album was tracked almost entirely live with the band performing all original songs as you would hear them at a live concert. You can hear the band deftly roll in influences from the party vibe of Little Feat, the innovation of the Grateful Dead, the shimmering vocals of CSN, and the relatable earthiness of The Band. These elements are brought to life by the extraordinary talents of members Doug Pritchett (acoustic guitar, vocals), Don Laux (rhythm guitar, vocals), John “Red” Redling (keyboards, vocals), Tim Pruitt (lead guitar, vocals), Mike Mahoney (bass), and the powerful double drums sound of John Trupp and John McConnell.

Renowned producer John Alagia (DMB, John Mayer) was inspired to produce the project, tapping into the music scene roots they all share. Alagia brought in a talented team from the Red Light Management/DMB family, including engineering wizard Jeff Moxley (Blues Traveler, Plain White T’s) and L.A. mastering ace Whynot Jansveld (The Wallflowers, Crash Test Dummies). The band and production team lived and recorded together at Haunted Hollow, Dave Matthews’ private studio in Charlottesville, VA. The new album has gotten rave reviews and charted very well going up to #5 on the jambands.com radio chart and #18 on the RMR chart. This positive momentum has energized the band and their fans.

Moving forward, the band is excited for the future and looking forward to performing more great concerts that always deliver a wide variety of Caboose originals and select signature covers, amazing harmonies, melodic depth, and killer double drum grooves. As life-long friends and accomplished musicians, NPC always throws down next level jams. One live concert, with a mix of New Potato Caboose originals and signature covers, is all a music lover needs to know how truly good it feels to “Get Loose with the Caboose.”


Official Band Site

Rasta Rafiki

Official Band Site

Rasta Rafiki is; Derrick McDonald on lead vocals and percussion, John Schmitt on lead guitar, Thomas P. Batchelor on rhythm guitar and vocals, Deborah Tome on trombone, Andy Lindsay on bass, Steven Markle on drums and David Loyd on keyboards. ​ Rasta Rafiki strives to produce music that is equally appealing to the mind as well as the body. Since our inception, we’ve attempted to bring our music to as wide an audience as possible with the express purpose of promoting peace, equality, and understanding in an ever desensitized world, while at the same time supplying a healthy dose of fun!!

In late 1989, Rasta Rafiki formed in Morgantown, West Virginia in an attempt to create a danceable blend of rock and reggae. Throughout 1990, we worked hard to establish ourselves in West Virginia and neighboring areas as a high energy ensemble performing cover and original material. While increasing our repetoire of original material, we collected a solid following of regional fans that allowed us to build a diverse live performance schedule that included bar and nightclub, as well as festival, college and private venues.

Continuing to perform live, we began to record at a local studio and in early 1992 Rasta Rafiki released its first independent cassette, “Eco Geo”. “Eco Geo” is a mixture of styles ranging from roots reggae and calypso to guitar rock. This recording was well received by our fans and helped us to generate interest from club owners to increase our live circuit, which included West Virginia, Virginia, Pennsylvania, New York, Ohio, North Carolina, South Carolina, Florida, Maryland, and Washington, D.C.

February 1993 brought the release of our first CD and second record, “Cousins”. This CD not only showed the band’s progress in songwriting but also reflects the live show, as several of the tracks were recorded live. Select college and commercial stations have received “Cousins”; it is enjoying airplay and often attracts requests. In 1994, two tracks form the “Cousins” CD, “Good Calypso” and “Elm Tree”, appeared in the film “National Lampoon’s Last Resort”.

In April 1995, Rasta Rafiki released their third recording, “Stream of Consciousness”, on Blue Duck Records. “Stream” represents a years’ plus work on 9 original tracks, honed on the road and captured in the studio. During the recording, the tour schedule included over 150 dates, including club, college, and festival appearances from Boston, MA to Florida. This CD reflected the growth of the band as an ensemble as well as a vehicle for positive social commentary. ​

By 1997 the combo has seem to run out of steam and disbanding soon followed most thought this would be the end of the story. ​ Members drifted to different parts of the country persuing diverse career paths. ​ By 2007 five members we’re back in West Virginia, and Derrick McDonald in Tampa began talking of getting together to do a few shows have some fun. ​ Those first couple shows proved so successful that Rasta Rafiki decided to come together for shows relatively annually as schedules allowed.

Armchair Boogie

Official Band Site

Armchair Boogie emerged from the central waters and woods of Wisconsin, after meeting at University of Wisconsin Stevens Point in 2015. In the spring of 2018 Armchair Boogie moved to Madison and released their debut self-titled album, followed by 2019’s What Does Time Care?, and a 4-track EP in 2021.

Nowadays Armchair Boogie continues touring and climbing their way up notable festival lineups. In 2023 alone they performed at Summer Camp Music Festival, Old Settler’s Music Festival, Bourbon and Beyond, Grey Fox, Blissfest, Suwannee Spring Reunion, Earl Scruggs Music Festival, etc. Adding to previous years at Northwest String Summit, Blue Ox Music Festival, John Hartford Memorial Festival, Charm City Bluegrass, MerleFest, and more.

In 2024, they are set to play WinterWonderGrass Steamboat, DelFest, Solshine: A Music & Arts Reverie, with more yet to be announced. They started hosting their own event, The Boogiedown Music Festival, in 2021 at Driftless Music Gardens July 11-13 in Yuba, WI.

Over the years and through the shows, they’ve had the honor to share the spotlight at shows and or performed with members of with Leftover Salmon, Yonder Mountain String Band, The Infamous Stringdusters, The HillBenders, Horseshoes & Hand Grenades, Kitchen Dwellers, Daniel Donato, Pert Near Sandstone, and jammed with many more.

The good word of boogie continues to spread like wildfire as Armchair Boogie ​ travels throughout the country, with regular stops throughout the midwest—including sold-out shows in their hometown of Madison—as they continue to break through into new markets. Visit www.armchairboogiemusic.com for a full list of tour dates.

With Hard Times & Deadlines they want to help you boogie down in your living room, your car, on your phone, or wherever you listen to music when you’re not at a show.


Official Band Site

With harmonies derived only from the genetic intricacies of a brother-sister duo, Zak and Lena Kendall have evolved from homespun, family-oriented folk music to deliver roots-revival styled sophistication for a hyper-conscious generation. The Kendalls, beloved within their quickly expanding fandom as GoldenOak, were raised in part by the western Maine landscape.

GoldenOak began as two children playing around backyard bonfires and was more firmly established with their 2016 debut, Pleasant St. In response to their coming-of-age chronicle, Dispatch Magazine coined the duo “one of Portland’s most important upcoming bands.” As purveyors of age-old tradition sharing contemporary messaging, the pair has landed spots on stage with Lady Lamb, The Dustbowl Revival, The Ghost of Paul Revere, and The Mallett Brothers Band.

Following their most recent project, Foxgloves—named ‘EP of the year’ by the Portland Music Awards—their sophomore full-length, Room to Grow is GoldenOak’s most cohesive collection yet.

Creating Room to Grow felt like a research project. Instead of turning research into a critical analysis, Zak produced an analytical work of art backed by empyreal folk music. As a student of human ecology in college, his songwriting contains front-line accounts of the current situation.

“Art isn’t a dumbed-down version of climate issues,” he says. “It’s okay that I’m not writing a book. There’s a place for music and art in climate conversations, and turning research data into art still does these ideas justice because that’s an important way to convey information and knowledge to push these issues to the forefront and make positive change.”

“Falter,” Zak’s pride-point as a songwriter, details the uniquely human quality of corruption. Reminiscent of a late 1960s protest tune, the track perpetuates the irony of political money etching its name in geological history and the implications of the most privileged people continuing to expand their carbon footprint, endangering less responsible populations in more fragile ecosystems.

​ “It was a crazy process of learning and rethinking my songwriter knowledge, avoiding a crutch,” says Zak. In that vein, his approach developed in a new way, putting himself in the path of inspiration rather than his previous practice of awaiting a brilliant spark to overcome him. This meant reshaping an intentional process-focused style of songwriting.

“I had this romanticized view that the song would take me to where it wants to be rather than me pushing the song to where it should be,” he explains. “I think I almost had too much faith in the song.”

Zak and Lena recorded the album at Monico Studios—a repurposed barn situated between rolling farmland outside of Portland. GoldenOak began wrapping up sessions the week Maine saw its first case of novel coronavirus. They did not return to the studio until June to add vocal overdubs, leaving several weeks for contemplation.

“It was an interesting time to bring my mind back to that place we started when the pandemic now consumed everything,” says Zak. “I had difficulty not writing the pandemic into the record. As much as I thought about that, it wasn’t the path that we started on, so it shouldn’t be where we ended.”

The product is an inclusive call to action. Putting fears and facts to song, rather than tucked away in private corners of academia, provides greater accessibility to the public, those more vulnerable to the implications. Engineered by Ryan Ordway and Dan Capaldi, mixed by Ordway and Sam McArthur, and mastered by Adam Ayan, GoldenOak’s second studio album is a kinetic tribute to the untamed nature of climate change. ​

“Only One” encapsulates climate anxiety. An anthem for the people on the front-lines of the fight for our planet tackles burnout and feelings of helplessness or solitude in battle. At the end of the bridge, the track glistens with Forrest Tripp’s trombone-induced kaleidoscopic imagery. Lena hopes the delicately balanced soundscape reminds friends and listeners of what they’re fighting for.

Bassist Mike Knowles and drummer Jackson Cromwell add levity to Zak’s guitar and Lena’s clarinet. The orchestral set paints an ethereal portrait of nature’s beauty, offsetting the impending doom behind their lyrical findings.

Lena’s brazen vocal offerings from “Little Light ” upend the ‘Doom’s Day’ darkness of the album, alleviating the defeatism that threads throughout the diagnostic tracklist. Zak and Lena sat down on the last night of the project to pen one of the few songs they co-wrote on the album. Dan Capaldi’s chugging percussion suggests the journey is just beginning, but Christian Bertelsen’s bright trumpet contribution celebrates the distance covered and hope ahead.

“It sheds light on both ancient answers, looking to the past and how can we move forward, and to the future at things like renewable energy,” says Lena. Zak adds, “Indigenous people in the US have been living sustainably for forever. And we need to look to them to be the leaders of this because they have a lot of answers.”

The album closes with the title-track, which hits home for the mid-twenty-something artists as a more frequently discussed topic. “It’s an intense feeling when you find the person you want to spend the rest of your life with, somebody you want to have children with,” Zak explains.

“But with this research or the social justice issues highlighted this year, and the pandemic, sometimes I feel like ‘how could you even think about bringing kids into this world?’ I probably will not die from climate change because I’m privileged and I live in the United States, but it will seriously impact my children’s lives.”

Somewhere, buried in damning data, is a glimmer of hope—despite the present challenges, society is still looking for room to grow. Zak says, “I’m never going to give up looking for hope, for an answer to this question. I’ll always seek that space for my unborn child to thrive in a world.”

GoldenOak’s new album is due June 25th. GoldenOak hopes to reconnect with their fans in the New England festival circuit this summer, the hallowed ground where the duo first found their footing. Their entrance single, “Islands,” will introduce the concept collection on April 2nd, setting the tone ahead of symbiotic duo’s Room to Grow.

“This record contains several reasons to fight climate change,” says Lena. “But overall, it’s about continuing to find the reasons why, and here are the stories we can learn from. Room To Grow reminds us that there is a way forward.”