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Mar
18
Fri
Mammoth WVH & Dirty Honey Live March, 18 2022 @ The Bluestone
Mar 18 @ 6:30 pm – 11:45 pm

Mammoth WVH & Dirty Honey Live March 18th, 2022 6:30 PM

The Bluestone
Columbus, Ohio

https://www.ticketmaster.com/event/05005B5B9DE84DB9

WRKZ presents Mammoth WVH & Dirty Honey in Columbus, OH at The Bluestone March 18th, 2022.

Tickets on sale Friday, November 5th at 10 AM!

About Mammoth WVH

Official Website: www.mammothwvh.com

Official Facebook Page:www.facebook.com/MammothWVH

Official Twitter: www.twitter.com/MammothWVH @MammothWVH

Official Instagram: www.instagram.com/mammothwvh @mammothwvh

Official YouTube Channel:www.youtube.com/MammothWVH

First impressions last a lifetime. Wolfgang Van Halen has prepared a lifetime to make his first impression. The songwriter, vocalist, and multi-instrumentalist worked tirelessly towards the introduction of MAMMOTH [Explorer1], his self-titled 2021 debut album. Playing every instrument and singing each and every note, his music presents a personal and powerful perspective, balancing memorable hooks and tight technicality. As many times as audiences have experienced his talent alongside the likes of Tremonti,Clint Lowery, and of course, Van Halen, they meet Wolf as an individual for the very first time now.

“You only have one chance to make a first impression, and I wanted to do so to the best of my abilities,” he affirms. “Throughout the whole process, I was finding who I am musically and by the end, I got a pretty good handle on a sound I can claim for myself.”

His father often played guitar against his mother’s pregnant belly, and Wolf absorbed those vibrations from the womb. At the age of 10, his Pop gave him a drum kit for his birthday. To this day, Wolf considers himself “a drummer before anything else.” As he developed as a musician, he learned how to play guitar in order to perform “316” —which his father penned for him —at a 6th-grade talent show.

It may come as a surprise, but outside of his father teaching him one drumbeat from an AC/DC song, Wolfgang taught himself every instrument. “My dad wasn’t the best teacher,” he laughs. “I would ask him to play something, and then he would just proceed to be Eddie Van Halen. He would look at me and say, ‘Do that.’ to which I would laugh and sarcastically reply, ‘Sure thing, no problem.’”

In the summer of 2006 when he was 15 years old, Wolf grabbed a bass and began noodling. While at the legendary 5150 Studios, his impromptu woodshedding inspired Eddie and Uncle Alex. Endless family jam sessions followed. By summer’s end, Wolfgang phoned David Lee Roth’s manager and by winter Roth showed up for rehearsal. They rocked “On Fire,” and “That’s how the 2007 tour began,” says Wolf.

Not only did Wolf canvas the world with Van Halen while in high school, but he also held down the low end on 2012’s A Different Kind of Truth—which debuted at #2 on the Billboard Top 200. When not on tour with Van Halen, he cut bass for Tremonti’s critically acclaimed Cauterize [2015] and Dust [2016] in addition to joining the band on the road. In 2019, Wolf handled drums and also played bass on half of the 10 songs for Clint Lowery’s solo debut, God Bless The Renegades.

In the midst of all this, at the beginning of 2015, Wolf broke ground on what would become MAMMOTH with producer Michael “Elvis” Baskette [Alter Bridge, Slash] behind the board. Wolf began to embrace his voice, inspired by everyone from his father, to bands like AC/DC,Foo Fighters, Nine Inch Nails, TOOL, and Jimmy Eat World. “I’ve been singing my whole life, but it wasn’t until MAMMOTH that I really found my voice. Elvis was great, and he helped me gain the confidence to become a lead vocalist.”

“The name Mammoth is really special to me.” says Wolf. “Not only was it the name of Van Halen before it became Van Halen, but my father was also the lead singer. Ever since my dad told me this, I always thought that when I grew up, I’d call my own band Mammoth, because I loved the name so much. I’m so thankful that my father was able to listen to, and enjoy the music I made. I’m really proud of the work I’ve done and nothing made me happier than seeing how proud he was that I was continuing the family legacy.”

About Dirty Honey

Official Website: https://www.dirtyhoney.com/

Official Facebook Page: https://www.facebook.com/DirtyHoneyMusic/

Official Twitter:  https://twitter.com/dirtyhoneyband @DirtyHoneyBand

Official Instagram: https://www.instagram.com/dirtyhoneyband/@dirtyhoneyband

Official YouTube Channel: https://www.youtube.com/channel/UCsxtEOcwpVO9Rnw93Fuv2pQ

Some musicians take a while to build an audience and connect with fans. For the Los Angeles-based quartet Dirty Honey, success came right out of the gate. Released in March 2019, the band’s debut single, “When I’m Gone,” became the first song by an unsigned artist to reach No. 1 on Billboard’s Mainstream Rock chart. Their second single, “Rolling 7s,” went into the Top 5 and was still headed up when COVID changed everything. That same year, Dirty Honey opened for The Who, Guns ’N Roses, Slash, and Alter Bridge and was the “do-not-miss-band” at major rock festivals such as Welcome to Rockville, Rocklahoma, Louder Than Life, Heavy MTL, and Epicenter. On its first U.S. headline tour in January and February 2020, the band sold out every date.
When it came time to record its self-titled full-length debut album, the band—vocalist Marc LaBelle, guitarist John Notto, bassist Justin Smolian, and drummer Corey Coverstone—wasn’t about to mess with what was already working. Teaming up with producer Nick DiDia (Rage Against the Machine, Pearl Jam), who also produced the band’s 2019 self-titled EP, Dirty Honey again captured the lightning-in-a-bottle dynamics and energy of their live sound.
“As a guitarist, I’m always inspired by the everlasting pursuit of the perfect riff,” says Notto. “I also wanted to extend the artistic statement that we had already made. We weren’t looking to sound different, or prove our growth, necessarily. It was more about, ‘Oh, you thought that was good? Hold my beer.'”
“Because of the pandemic,” added drummer Coverstone, “we had a lot more time to write and prepare, which was great. It meant that we were able to workshop the songs a lot more, and I thinkit really made a difference.”
Dirty Honey’s album indeed builds on the band’s output to date, with airtight song writing that plays up their strengths: sexy, bluesy, nasty rock’n’roll, melodic hard rock, and soulful 70s blues-rock. On “The Wire,”LaBelle reaffirms his status as one of contemporary rock’s best vocalists, while “Another Last Time” is a raunchy, timeless ballad about a toxic relationship that you just can’t stop saying goodbye to. “Tied Up” and the album’s lead single “California Dreamin,’’ both feature smoking guitar solos bookended by massive riffs and hooks.
“‘California Dreaming’ was the last song we wrote,” said bassist Justin Smolian. “We finished it about two weeks before we recorded it, so the song was still so new, and we were trying out different things,so every take was a little different. But there was that one where we just captured it, and it was magic.”
Although each band member started playing music as kids—at the age of eight, Notto’s parents even bought him a red-and-white Stratocaster—each one brings eclectic influences to Dirty Honey’s sound. For example, drummer Coverstone has studied with jazz and L.A. session drummers but loves heavy metal; Notto grew up listening to ’70s funk and R&B as well as rock ‘n’ roll,and bassist Smolian has a bachelor of music in classical guitar and loves Tom Petty and The Beach Boys.
LaBelle meanwhile,takes cues from hissongwriting idols (to name a few, Robert Plant, Steven Tyler, Mick Jagger, Chris Robinson, and the late Chris Cornell) when coming up with lyrics. As a result, the songs on the Dirty Honey albumhint at life’s ebbs and flows—shattering heartbreak, romantic connection, intense soul-searching—while giving listeners space to draw their own conclusions.
“Sometimes,if you just let lyrics pass behind your ears, they sound like cool shit is being said,” LaBelle says. “And then once you dive in, you realize, ‘Oh, that’s really thoughtful.’ But it still doesn’t have a meaning that’s easy to pinpoint. There’s an overarching idea that is really cool, but it’s not necessarily on-the-nose.”
Although the Dirty Honey album may sound effortless, its genesis had a bumpy start. The day before the band members were due to fly to Australia to track the album, Los Angeles entered lockdown due to the COVID-19 pandemic, and traveling was off the table. However, Dirty Honey was still eager to work with DiDia, so they devised a Plan B: recording the full-length in a Los Angeles studio with one of DiDia’s long-time engineers, and the producer beamed into the proceedings via the magic of modern technology.
“He was able to listen to what we were laying down in real-time, through this app,” says LaBelle. It was like he was in the room with us. It was surprisingly seamless the way it all went down.”
Having to switch gears delayed the start of recording slightly, although this extra time ended up being a boon. Dirty Honey rented a rehearsal space and demoed the album’s songs in advance, meaning the tracks were in good shape when DiDia came onboard. Notto mixed and recorded these workshopped tracks himself, which helped him rediscover one of Dirty Honey’s biggest strengths: being well-rehearsed while not overpolishing their work.
“I’ve learned just a little bit more about what people might mean when they say, magic—you know, ‘This one has the magic,'” he says. “We would do two and three different demos of a song, so there would be a few versions. On a few occasions, the version that people kept going back to was the sloppiest, if you look at it from a performance standpoint.”
LaBelle agrees. “It’s just about getting the performance right and not thinking about it too much. I never like to be perfect in the studio. None of the stuff that I really liked as a kid was. I don’t really see myself getting away from that too much in the future just because I think you lose the soul if you do it too many times, if it’s too perfect.”
Notto also admits that the creative process isn’t necessarily always all fun and games. But for him and the rest of Dirty Honey, pushing through those tough times and coming out stronger on the other side is worth it. “When you finally come through on those moments, that’s where the real magiccomes in,” he says. “What makes all of our songs fun to play and listen to is we don’t allow ourselves to stop short of getting the best possible results out of each one of them.”

Jul
2
Sat
Aaron Lewis and the Stateliners July 2 @ The Bluestone (Parking lot)
Jul 2 @ 4:00 pm – 11:45 pm

WCLT T-100 Presents

Aaron Lewis and the Stateliners

with Tyler Booth

North to Nashville & Bim Strawser

Live in Columbus Ohio

July 2, 2022 4 PM

Things to Know! July 2, 2022 The Bluestone Parking lot party

The gate opens at 4 PM music will start at 5 PM 

THANK YOU FOR SUPPORTING OUR BUSINESS AND LIVE MUSIC!!

  • PARKING IS AVAILABLE ALL AROUND THE VENUE. OUR PARKING IS BEING USED FOR THE SHOW BUT MANY LOTS WILL BE OPEN AROUND US.
  • THE ENTRANCE TO THE SHOW IS ON THE WEST SIDE OF OUR LOT. PLEASE REVIEW THE MAP.
  • ALL patrons must have a valid ticket to enter. We only guarantee tickets bought through our Eventbrite site. Tickets bought through 3rd party sites are not guaranteed.
  • All patrons must receive a WRISTBAND to enter and stay on the grounds. DO NOT REMOVE YOUR WRISTBAND.
  • Veterans and first responders that wish to view the concert from the VIP area must receive a VIP wristband when they enter. A valid I.D. will be required to show proof of service. We value our veterans and ask that the space is used for them and them only. 
  • All patrons that purchase alcohol must have a valid I.D. no exception 
  • Credit cards and debit cards will be accepted. NO ATM will be on site
  • Lawn chairs are allowed but will be searched. Please remove them from any coverings when entering.
  • The show is rain or shine and will only be stopped if lightning is close. If the show is stopped, We will make every effort to resume the show. 
  • The Bluestone will be open to all that have a wristband. We will have tables and chairs to relax and cool off! You are welcome to purchase alcoholic drinks inside the Bluestone and bring them to the concert area. Miller Lite, Coors Light, and Truly canned drinks will be available in the concert area. PLEASE DRINK RESPONSIBLY!
  • We will not tolerate fighting of any kind! We are here to celebrate Independence Day and have fun. We have the right to remove any problems and we will do so without a refund. HAVE FUN AND PLEASE RESPECT YOUR NEIGHBORS!
  • What can’t I bring to a show with me?
    For the safety of both concert patrons and our staff, we do not allow the following items:

    • Oversized bags or backpacks of any kind 
    • Outside food, drink, bottles or cans
    • Coolers or umbrellas
    • Recording devices, go-pros, selfie sticks, drones, phone stabilizers
    • Fireworks, candles, laser pointers, incendiary devices
    • Inline skates, skateboards, bicycles, razer scooters, helmets
    • Pets (exceptions for service dogs, etc…)
    • Any form of weapon, including knives, tasers, mace or pepper spray
    • Anything with spikes/studs on them (shoes, bracelets, rings, clothing)
    • Strollers, car seats
    • iPads and other tablets (with camera capabilities)
    • Musical instruments and promotional materials (flyers, CDs, stickers)
    • Inflatables, signs, banners
    • Illegal drugs and drug paraphernalia
    •  Our show is a general admission standing room only EVENT, which means that there is no assigned seating if there’s seating at all.. If you require ADA-accessible seating for our show, a member of our Guest Services staff can help accommodate your needs when you arrive.
  • Can I bring a camera, video camera, or recording device?
    The camera policy is set by the artist. Generally, the rule is that no professional cameras or recording devices of any kind are allowed. Many artists will allow you to bring a disposable or small digital camera. If you have a question about the camera policy for the show, please contact us.
  • Does my child need a ticket to get in?
    Yes. Everyone, regardless of age, must have a ticket unless otherwise posted.
  • What time is the show?
    The time listed on your ticket is the time that the doors will open for the show. Live music will usually start about an hour after the doors open, but that’s always subject to change. Also, we don’t usually know the set times, that’s up to the bands to decide.

 

Country Music’s Aaron Lewis comes to the parking lot of The Bluestone at 583 East Broad Street Columbus, Ohio July 2, 2022. Tickets for the events will go on sale Friday, February 4th at 10 AM. Aaron Lewis has played The Bluestone many times since 2012. This show is expected to sell out quickly like years before. The larger crowd, outdoors with food and brew. Come celebrate Independence day with Aaron Lewis and more artists to be announced. A day of fun, patriotism, and most of all Music!

Aaron Lewis grew up in Springfield, Vermont, listening to his grandparents’ country 8-tracks. Those roots inspired the multi-platinum frontman and founder of Staind to return to his origins and since has quietly made an impact on country music without flexing to let everyone know what a big deal he is. With a decade invested in a genre that’s seen him record with George Jones, Charlie Daniels, Vince Gill, Alison Krauss, Mickey Raphael, the Cox Family, Ben Haggard, Dan Tyminski, and producer Buddy Cannon, he has claimed two #1 Billboard Country Album debuts for his albums Town Line and Sinner. Lewis’ single “Am I The Only One,” debuted on Billboard’s #1 Hot Country Song,” only the time a debut has topped the chart since 1958. The hard-touring, workingman’s star’s latest album Frayed at Both Ends was released in January of 2022, his most personal and unplugged work.

Jan
21
Sat
Carter Winter Live January 21, 2023 @ The Bluestone
Jan 21 @ 8:00 pm – 11:45 pm

Carter Winter Live January 21, 2023

January 21, 2023, at 8 PM

Doors Open 7 PM

the Bluestone

Carter Winter

Hometown native Carter Winter will headline our stage on January 21, 2023

With a rich baritone voice and a talent for crafting engaging lyrical stories, singer/songwriter Carter Winter is quickly becoming established as one of the most brilliant new singer/songwriters in country music.

His passion for touring the country and meeting fans has put him on stages coast to coast, where inspiration can strike at any time. The passion for each song he writes is what ultimately drives him to be even better, saying “each song is its own piece of art.”

“Higher on You,” Winter’s latest work of art, is a brand new song co-written with label mate Sam Grow and hit songwriter Taylor Phillips. The single’s artwork — a whimsical hand-drawn self-portrait — reveals yet another dimension of Winter’s artistry not as well known.

“With every new song and project I create, I feel like I get closer to my sound and who I am as an artist,” commented Winter. “This song is such a good vibe, it’s different yet familiar and I’ve never been more excited for a single release!”

The song is the first new music released by Winter following his Average Joes Entertainment debut album, “Temptation,” released to critical acclaim in late 2018. Produced by Grammy award-winning producer, Chad Carlson, the album yielded the hit song and video, “Skylines,” which was added to rotation on CMT Music.

The Ohio native’s first EP, “Some Kind of Fire,” was released in 2015, and was followed by 2016’s “The Whiskey In Me.” Winter is currently writing and recording songs for his next album scheduled for release in late 2020.

Called “country music’s modern traditionalist,” Carter Winter connects with an audience through a fresh sound that like Carter himself, is surprisingly familiar, yet raw and honest. Winter has been influenced by living a life on the edge, but having the wherewithal to share life’s ups and downs through songs. As a creative talent, he has always been compelled to do what he does, even if there’s no fallback option. When it’s all said and done, the challenges are what makes the music stand out, on its own perch.