Performing to critical acclaim for over 25 years and over 3100 shows, Dark Star Orchestra continues the Grateful Dead live concert experience. Their shows are built off the Dead’s extensive catalog and the talent of these seven fine musicians. On any given night, the band will perform a show based on a set list from the Grateful Dead’s 30 years of extensive touring or use their catalog to program a unique set list for the show. This allows fans both young and old to share in the experience. By recreating set lists from the past, and by developing their own sets of Dead songs, Dark Star Orchestra offers a continually evolving artistic outlet within this musical canon. Honoring both the band and the fans, Dark Star Orchestra’s members seek out the unique style and sound of each era while simultaneously offering their own informed improvisations.
Dark Star Orchestra offers much more than the sound of the Grateful Dead, they truly encapsulate the energy and the experience. It’s about a sense of familiarity. It’s about a feeling that grabs listeners and takes over. It’s about that contagious energy…in short, it’s about the complete experience and consistent quality show that the fan receives when attending a Dark Star Orchestra show.
Dark Star Orchestra has performed throughout the entire United States, including a sold out debut at Colorado’s Red Rocks Park & Amphitheater, plus shows in Europe and the Caribbean with the band touching down in seven different countries. DSO continues to grow its fan base by playing at larger venues for two and even three-night stands, as well as performing at major music festivals including Bonnaroo, Milwaukee’s SummerFest, The Peach Music Festival, Jam Cruise, Wanee Festival, SweetWater 420 Festival, Mountain Jam, and many more.
In addition to appearing at some of the nation’s top festival, Dark Star Orchestra hosts its own annual music festival and campaign gathering, titled the “Dark Star Jubilee”, currently in its eighth year where DSO headline all three nights and are joined by a mix of established and up and coming national touring acts. Beyond the shores of the United States, DSO has taken its internationally-acclaimed Grateful Dead tribute to the beaches of Jamaica in the dead of winter for the past six years, with their event appropriately titled ‘Jam in the Sand’. Featuring an ocean-side stage, DSO sets up camp to perform shows for four nights along the tropical sands of an all-inclusive resort, selling out the event each year for hundreds of lucky attendees.
Fans and critics haven’t been the only people caught up in the spirit of a Dark Star show. The band has featured guest performances from six original Grateful Dead members Phil Lesh, Bob Weir, Bill Kreutzmann, Donna Jean Godchaux-MacKay, Vince Welnick, Tom Constanten and even toured with longtime Dead soundman, Dan Healy. Other notable guests have included Mike Gordon and Jon Fishman of Phish, Keller Williams, Warren Haynes, Steve Kimock, Peter Rowan, Ramblin’ Jack Elliot and many more.
“For us it’s a chance to recreate some of the magic that was created for us over the years,” keyboardist and vocalist Rob Barraco explains. “We offer a sort of a historical perspective at what it might have been like to go to a show in 1985, 1978 or whenever. Even for Deadheads who can say they’ve been to a hundred shows in the 90s, we offer something they never got to see live.”
Al Schnier (guitars, vocals) * Chuck Garvey (guitars, vocals) * Rob Derhak (bass, vocals) * Jim Loughlin (percussion, vibes) * Vinnie Amico (drums)
Hailed by American Songwriter for their “mind-bending musicality,” moe. is treasured for their mesmerizing musical synergy, unfettered showmanship, and smart, resonant songcraft. For three decades, the band has corralled myriad musical forms on a truly original journey rich with crafty, clever songwriting and astonishing resourcefulness. Fueled by an impassioned fan base, moe. has spent much of those thirty years on the road, encompassing countless live performances marked by eclectic wit, deep friendship, and exploratory invention. Having built an enduring legacy with hard work and a confirmed commitment to creativity and community, moe. seem as surprised as anyone to find themselves at such a significant landmark.
“The career just very subtly unfolded,” says co-founding bassist-singer-songwriter Rob Derhak, “without any of us noticing it actually happened.”
Al Schnier (guitars, vocals), Chuck Garvey (guitars, vocals), and Derhak first came together at the University of Buffalo in 1990, musician-friends uniting to play for the sheer fun of it. The band followed a handful of cassette-only releases with 1992’s FATBOY, recorded in an apartment studio above Buffalo’s Top Shelf Guitars with a bird’s eye view of Mighty Taco.
“We liked music, we liked to party, and we wanted to put those two things together,” says Derhak. “We wanted to do what seemed like the coolest thing we could possibly do and not have to work a regular job. It didn’t even seem like a decision had to be made. It’s was like, this is what we’re doing and it’s happening. The idea that thirty years later I would be a dad, paying a mortgage and earning a living, based on our band, with the same guys no less, that never even crossed my mind.”
Finding themselves with an increasingly avid local following, moe. ventured forth, now with master rhythmatist Jim Loughlin among their ranks. The more the band traveled, the more they grew creatively, evincing a remarkable willingness to progress as they went along. moe. quickly became part of a burgeoning scene centered around NYC’s Wetlands, a grassroots revolution that embraced freewheeling genre fusion — spanning funk and free jazz, country and classic rock, prog, new wave, calypso, pop and everything else under the sun — fan interaction, and unrestrained improvisation.
“We adapted,” Derhak says. “Initially we didn’t have quite as much of the same ideal at first. We didn’t jam or have long extended solos. But as we went from being an opening act to being a headliner, we didn’t have enough material to do two long sets. We needed more material so our songs started to stretch themselves out. We became a jam band.”
moe. widened its reach across America, earning new fans and national attention with their ingeniously imaginative interplay and a regularly growing catalogue. The band spent almost as much time in the studio as they did on the road, mastering their delightfully vibrant blend of inventive musicality and genre-blurring reach on now-classic LPs like 1998’s TIN CANS & CAR TIRES, 2004’s WORMWOOD, 2007’s THE CONCH (which reached #1 on Billboard’s “Heatseekers” chart), and 2012’s critically acclaimed WHAT HAPPENED TO THE LA LAS. As if all that weren’t enough, the moe. canon — released largely through their own Fatboy Records, as well as via two label deals, one major, the other independent — further includes a wide range of archival live releases (including 2000’s L), a Christmas album, even a re-recorded collection of greatest hits.
2020’s THIS IS NOT, WE ARE — the band’s 12th studio album and first since 2014’s NO GUTS, NO GLORY — includes eight new songs, most of which were road tested over the past two years of touring. In addition, the LP features one song making its first appearance anywhere, the Garveypenned “Undertone.” Self-produced by the band, THIS IS NOT, WE ARE sees moe. once again pushing their music forward while simultaneously rifling through their back pages on songs like Derhak’s nostalgic “Skitchin’ Buffalo” and the Al Schnier composition, “Crushing.”
“Our musical paths have diverged so many times,” Derhak says. “All of our original influences became part of what we were at the time and then as we played, our sound kind of just grew. It changed with the landscape of the music business and it changed with what we were listening to. For example, some of our albums further down the road reflect a much stronger Americana influence. It’s like, all of the things that we’ve learned in the past thirty years, all the things that we’ve done, have sort of come full circle.”
“We’re a better band now,” Amico — who came aboard in 1996 and has remained behind the kit ever since — says. “The reality is, you spent thirty years with people doing what you do, you get better. There’s no ifs, ands or buts about it. Your ears get more trained, your playing gets better and better, your ability to communicate with each other better.”
That preternatural interplay was of course honed through night after night, week after week, of on-stage togetherness. moe. is truly a live band, rightly adored by a fervent following for their epic concert performances, each one imaginatively improvisational, rhythmically audacious, and utterly unique. Indeed, the band has spent much of its 30-year career on the road, including innumerable headline tours, international festival sets from Bonnaroo to Japan’s famed Fuji Rock, music-themed cruises, and sold-out shows alongside such like-minded acts as the Allman Brothers Band, Robert Plant, members of the Grateful Dead, Dave Matthews Band, The Who, Gov’t Mule, and Blues Traveler, to name but a few. As if that weren’t enough, moe. has both promoted and headlined at multiple festivals of their own, including snoe.down and moe.down.
“We built our own career,” Amico says, “where we are able to play places like Radio City or the Fox Theater in Atlanta, playing SPAC (Saratoga Performing Arts Center), my hometown venue where I saw concerts as a kid. We’ve played Red Rocks eight times or nine times or however many times we’ve played it. The fact that we built a career that we’ve played these places and have sustained playing these places, it’s huge.”
That illustrious career path has been supported and nourished by the band’s ever-growing legion of devoted fans and followers, known lovingly as moe.rons. With their astonishing prolificacy and awe-inspiring longevity, moe. is among the rare bands that somehow manage to transcend time and trend to be passed down from one generation to the next.
“We’ve never been the kind of band where you’re one-and-done,” Amico says. “People have gotten married and had kids, now those kids are listening to us.”
“There are people who have been with us right from the beginning in Buffalo,” Derhak says. “Which is insane. But the thing is, we pick up people along the road. There are people who say, I’ve resisted listening to this band for years and then I finally did — I can’t believe I’ve wasted my time not listening to them for so long. Now they’re like, I need more albums, I need more shows.”
Impossible to pigeonhole as anything other than simply moe., this one-of-a-kind band has never been easily categorized, their sonic adventurousness and tongue-in-cheek humor distinctly and undeniably their own. Despite current circumstances, moe. is celebrating their milestone anniversary with characteristic self-deprecation and wistful optimism. Here’s to the next thirty.
“Thirty years is a long run,” Derhak says, “to be with the same guys. I haven’t even been married for thirty years. ”
“You just don’t think about thirty years down the line when you’re starting out,” Amico says. “I mean, you kind of do because that’s what you want to be doing for the rest of your life. Here we are, thirty years later — I’ve had this job longer than I probably would’ve had any job in the real world.”
Visionary GRAMMY Award-winning artist Warren Haynes is a cornerstone of the American music landscape, lauded as one of the most formidable guitarists and vocalists of the modern era and a prolific songwriter and producer. He effortlessly cross-pollinates genres and unfurls solos that broil with passion in his distinctive, signature style. Throughout his prolific career as part of three of the greatest live groups in rock history – Allman Brothers Band, Gov’t Mule and the Dead – and an acclaimed solo artist, he has become one of music’s most treasured storytellers and his artistry has led to thousands of memorable performances and millions of album and track sales. Haynes is a beacon of creativity and musical excellence that inspires fans as well as fellow musicians, evidenced by the diverse array of artists that he has performed and recorded with, including Dave Matthews Band, Peter Frampton, Chris Stapleton, Coheed and Cambria, Dave Grohl, Carlos Santana, Willie Nelson, and Dolly Parton, and many more. Haynes released his new solo album, Million Voices Whisper, on November 1, 2024, marking his first solo album in almost a decade and fourth solo release in his esteemed career catalog. The soulful blues-rock collection includes guest appearances from his ABB bandmate Derek Trucks, Lukas Nelson and Jamey Johnson. Haynes also curates and hosts the Christmas Jam, an annual star-studded holiday charity show in his hometown of Asheville, North Carolina, which will return for its 33rd event in 2025 due to Hurricane Helene recovery efforts this year. As one of the most celebrated and longest-running live concerts in the U.S., the Christmas Jam has raised nearly $3 million for Asheville Area Habitat for Humanity, constructing over 50 homes, and helps the region’s housing needs through newer partner BeLoved Asheville.
Few bands stick around for thirty years. Even fewer bands leave a legacy during that time that marks them as a truly special, once-in-lifetime type band. And no band has done all that and had as much fun as Leftover Salmon.
Since their earliest days as a forward thinking, progressive bluegrass band who had the guts to add drums to the mix and who was unafraid to stir in any number of highly combustible styles into their ever evolving sound, to their role as a pioneer of the modern jamband scene, to their current status as elder-statesmen of the scene who cast a huge influential shadow over every festival they play, Leftover Salmon has been a crucial link in keeping alive the traditional music of the past while at the same time pushing that sound forward with their own weirdly, unique style.
The band now features a lineup that has been together longer than any other in Salmon history and is one of the strongest the legendary band has ever assembled. Built around the core of founding members Drew Emmitt and Vince Herman, the band is now powered by banjo-wiz Andy Thorn, and driven by the steady rhythm section of bassist Greg Garrison, drummer Alwyn Robinson, and dobro player & keyboardist Jay Starling.
The current lineup is continuing the long, storied history of Salmon which found them first emerging from the progressive bluegrass world and coming of age as one the original jam bands, before rising to become architects of what has become known as Jamgrass and helping to create a landscape where bands schooled in the traditional rules of bluegrass can break free of those bonds through nontraditional instrumentation and an innate ability to push songs in new psychedelic directions live.
Salmon is a band who for more than thirty years has never stood still; they are constantly changing, evolving, and inspiring. If someone wanted to understand what Americana music is they could do no better than to go to a Leftover Salmon show, where they effortlessly glide from a bluegrass number born on the front porch, to the down-and-dirty Cajun swamps with a stop on Bourbon Street in New Orleans, to the hallowed halls of the Ryman in Nashville, before firing one up in the mountains of Colorado.
Melvin Seals & JGB with special guest Jennifer Hartswick
Melvin Seals has been a powerful presence in the music industry for over 30 years with a long-established reputation as a performer, recording artist and producer. Melvin is most revered for his powerful, high-spirited, Hammond B-3 organ, and keyboards in the Jerry Garcia Band. Melvin spun his B-3 magic with the Jerry Garcia Band for 18 years and in doing so helped pioneer and define what has now become “Jam Band Music”. From blues to funk to rock to jazz, Melvin Seals serves up a tasty mix with a little R&B and gospel thrown in to spice things up.
Melvin and JGB bring an intuitive, expressive style, soul, spontaneity and remarkable chops to the table. John Kadlecik on lead guitar and vocal duties, John-Paul McLean’s savory bass, Jeremy Hoenig on the drums and, of course, a heapin’ helpin’ of the wizard’s magic on Hammond B-3 Organ and keyboards. Their chemistry is the focus from which they create a spontaneous and high art where the sky is the limit musically. They offer an exciting, often psychedelic musical journey that changes nightly and keeps the audience dancing and smiling (and some staring in amazement) for hours.
Adding his rock-gospel-soul-rhythm and blues touch with his funky style of playing, no wonder Jerry nicknamed him “Master of the Universe”. Melvin continues to treat music lovers to his unique brand of melodic flavor with JGB. Come see and hear for yourself!
There are a lot of musical influences and sources that Daniel Donato has drawn on during his career and that inform his latest album, Reflector (Retrace Music), his first all-original album. But within those, Donato has carved out a unique and individualized spot for himself, one that speaks to the deep American music heritage that inspires him — and that he’s pushing towards the future with inspired, intentional vigor.
He calls it Cosmic Country, a moniker that’s both self-descriptive and a statement of purpose. It’s an organic rock band aesthetic with plenty of roadhouse twang; a showcase for Donato’s instrumental virtuosity and facility for melodically infectious songcraft. Bridging Nashville and the Great West, Kentucky and mid-60s northern California, tie-dye and plaid, it’s a world of his own, and a wide world of musical adventure at that.
While growing up in Nashville his his father, who turned his young son on to music of all genres, suggested the fledgling and industriously minded (even at just 14) artist start busking in Nashville’s lower Broadway area and outside concerts, for eight hours at a time on the weekends. One night, the two happened by Robert’s Western World where legendary honky-tonk local mainstay the Don Kelly Band were performing. “Their songbook was that of my main influences still to this day — Merle Haggard, Willie Nelson, Waylon Jennings, Bob Wills, Marty Robbins, Bill Monroe, traditional bluegrass music, Hank Williams Sr. — old-timey music with real stories and emotions that everybody has. It just hooked me right away.” Donato eventually became a member of the band, playing four hours a night at Robert’s (464 shows in total).
Another piece of the puzzle came through later in Donato’s teenage years — the Grateful Dead, thanks to a high school American History teacher who gave him a pile of bootleg recordings when he was 18. “When I discovered Jerry Garcia, there’s really never been anyone who writes like that,” says Donato. “From there I went on to discover Bob Dylan and all the great writers and made me want to make that part of what I did as well.”
The whole package of player, singer, writer and band leader was in place. Two albums in, Daniel Donato and Cosmic Country, featuring Nathan Aronowitz (keyboards/guitars/vocals), Will McGee (bass/vocals) and Will Clark (drums, percussion/vocals) are selling out venues throughout the country and bringing their brand of Cosmic Country to an ever growing, passionate fanbase.
Self-described “Brass House” trio Too Many Zooz make manically kinetic instrumental music that combines avant-garde jazz, EDM, punk rock, and sundry other traditions into their own distinctive brand of high-energy dance music. A viral sensation since they first emerged as New York subway buskers in 2013, Too Many Zooz have evolved into a globally recognized phenomenon who tour often and produce YouTube videos that have garnered millions of views.
Formed in 2013 in New York City, Too Many Zooz features the talents of baritone saxophonist Leo “Leo P” Pellegrino, trumpeter Matt “Doe” Muirhead, and drummer David “King of Sludge” Parks. Pellegrino and Muirhead initially met while students at the Manhattan School of Music where they studied jazz. They eventually joined forces with percussionist Parks, whom Pellegrino had played with in a separate busking outfit. They began playing live at various New York subway stations and quickly attracted crowds with their aggressive instrumental sound and Pellegrino’s ability to dance and hype the audience like a DJ while playing. In 2014, a video of the band went viral and helped set the stage for the group’s meteoric rise.
In 2016, the trio released their debut full-length album, Subway Gawdz, which featured guest spots from Kreayshawn, Armani White, members of Galactic, and Beats Antique. That same year they were featured on Beyonce’s Lemonade album, and performed with Beyonce and The Dixie Chicks at the CMA’s.
Too Many Zooz have continued to release EP’s – holiday-themed EP A Very Too Many Zooz Xmas (2018), ZombiEP (2019), a concept album about a fictional band playing a music festival during a zombie outbreak, Covers (2022), Pecking Order (2022), plus collaborations and remixes with The Floozies, Beats Antique, Spencer Ludwig, Moon Hooch, Dot Cromwell, Nitty Scott, Lester London, and RoRo. The band is currently in the studio putting the finishing touches on their sophomore LP.
Hot Buttered Rum gets its hands dirty planting songs with roots in Appalachia and branches in California. Five-string banjo and five-alarm fiddle dovetail with doghouse bass to frame the voices of the sextet’s two busy songwriters. Twenty years in, with fresh mud under its fingernails, HBR’s driven, danceable music continues to find its way into the hearts of fans nationwide.
Some music cannot be found on a map or within iTunes categories. Some music is so original it seems snatched from the great, invisible substrata that runs below all human activity, a sound aching to be born without a flag or fixed allegiance – free, questing, overflowing with immediate, tangible life. This is the music of Toubab Krewe, the vibrant instrumental powerhouse that creates a sonic Pangaea that lustily swirls together rock, African traditions, jam sensibilities, international folk strains and more. While nearly impossible to put into any box, it takes only a few moments to realize in a very palpable way that one is face-to-face with a true original who recognizes no borders in a march towards a muscular, original, globally switched-on sound.
Formed in 2005, Toubab Krewe has tenaciously honed their craft through relentless touring and a fierce dedication to carving out something they can truly call their own. The fruits of this hard work can be heard on their latest release, STYLO, (March 2nd, 2018). What Justin Perkins (Kora, Kamelngoni, guitar, percussion), Terrence Houston (drumset), Drew Heller (guitar, organ), Justin Kimmel (bass, keys), and Luke Quaranta (Djembe, Congas, Dundun, Sangban, Kinkini) have wrought on STYLO reflects the many miles and musical journeys that have transpired since their last studio album, TK2.
This is a band that actively draws inspiration from whatever source floats into their purview, something they’ve exhibited in their decade and a half of heavy gigging, including regular appearances at major U.S. festivals like Bonnaroo, High Sierra, Rothbury and Wakarusa, and abroad at such legendary gatherings as the Festival In The Desert in Essakane, Mali. Whether on their own or collaborating with luminaries like the Last Poets’ Umar Bin Hassan or Uncle Earl’s Rayna Gellert, Toubab Krewe has already earned the attention and respect of a broad musical community.
Toubab carries echoes of African greats like Ali Farka Toure, Orchestra Baobab and Salif Keita, no doubt picked up during the group’s travels to study and live in Guinea, Ivory Coast and Mali. But what truly differentiates Toubab Krewe from other Statesiders inspired by African music is how they innovate on what they’ve learned instead of simply recreating tradition. Toubab Krewe carves out a new trail honoring the African originators they admire by making something alive and contemporary.
Guitarist and songwriter Jeff Mattson is one of the Jam scene’s most lasting voices having taken over Long Island in The Volunteers and The Zen Tricksters then rising to national prominence with The Donna Jean Godchaux Band. Mattson has also played with Phil Lesh & Friends both before and after taking the lead guitar post at Dark Star Orchestra. Jeff’s songs appear on DJGB’s latest release, Back Around (Heart of Gold Records), and his work is prominently featured on five other albums (Donna Jean & the Tricksters [2008], For Rex: The Black Tie-Dye Ball [2006], Shaking Off the Weirdness [2003], A Love Surreal [1999], The Holy Fool [1996]). He is known for serving rock and roll through engaging, fiery guitar work lifted by gentle vocals.
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.
Hailed as a “fast-rising NY band” by Live For Live Music, and a group that’s “making waves in the scene” by JamBase, Organ Fairchild craft their organ-trio-meets-rock-band sound — described as “adventurous, vital and alive” by Glide Magazine — by synthesizing influences ranging from Soulive and Medeski Martin & Wood to The Grateful Dead, Steely Dan and the Meters. And when they’re on stage completely captivating an audience without a bass player – and nobody singing – there is no confusing them for any other artist on today’s scene. As FunkCity.net writes, “Get ready to be bowled over by this terrific trio – old school funk with new era notions of jam.”
After cultivating her dynamic voice and performance skills in backup roles and stage plays, Joslyn Hampton teamed with her stepfather, Marty Charters (a touring guitarist and songwriter who has shared the stage with legends such as Junior Wells, Buddy Guy, and Van Morrison), to compose a captivating set of tunes and assemble an ace band. Joslyn & The Sweet Compression (Kasym Moldogaziev- Guitar, Isaac Stephens – Trumpet, Smith Donaldson – bass, Rashawn Fleming – drums, Trevin Little – saxophone, and Sam Richardson – Keyboard) combine to deliver a hook-filled mix of funk and soul on their self-titled debut album, released in 2019. A headlining favorite at regional clubs and music festivals, they are poised to engage fans across the country with widespread touring in 2023.
In 2003 a new sound sprang up in the Rust Belt; a raucous, down-and-dirty sound, an intoxicating and gritty sound that pulled people in droves to dance floors across the Midwest. That new sound was the bluesy, upbeat, country-fried rock ‘n’ roll of The Spikdrivers. Front man Jesse Henry’s unique and down-home song writing meets the electrified ruckus and wild precision of the backing band similar to what might have been if Louis Prima had led The Band.
The band has four studio albums and three live records that brought their songs into the hearts and ears of listeners across the United States. The Spikedrivers can grab hold of an audience and turn them instantly to avid fans.
New Gypsy Cowboys
The New Gypsy Cowboys are comprised of Skip Vangelas from Dark Star Orchestra on bass, Johnny Markowski from NRPS on drums, Kenny Brooks from Ratdog on saxophone, Eric Cohen from A Brother’s Revival on pedal steel guitar, Josh Kates from Reflections on percussion, Pete Tonti from One Eyed Jacks on guitar, Chris Hanson on guitar and Andrew Hofstetter on keys.
The band is a tribute to the Bakersfield, Laurel Canyon and Marin County, CA country sound.
