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Tickets to The Bluestone
Lost Dog Street Band
With The Local Honeys
October 8, 2022 7 PM
at The Bluestone
About Lost Dog Street Band
Returning to the stripped-back, string band sound of their busking years, Lost Dog Street Band’s new album Glory is a searing testament to recovery, redemption and resolve. Fronted by songwriter Benjamin Tod and his wife, fiddler Ashley Mae, the DIY band began out of desperation on the sidewalks of Nashville roughly a decade ago, but now sustains a significant national audience that’s drawn to their authentic songwriting, old-time instrumentation, and hard-won independence.
“I wanted to make an album with the specific intention of being raw but full at the same time and to get back to our roots,” Benjamin Tod says. “Everyone on this album has been a busker. Douglas Francisco, who plays slide guitar — I met him on the streets busking. Jeff Loops, our bassist, was in a busking band, too. That flavor was important to me, just getting back to the root of things.”
By centering the songs of Glory around acoustic arrangements, without the drums or steel guitar of prior albums, these harrowing personal stories become even more graphic. It’s a feeling that Benjamin Tod himself describes as “a logical glimpse of climbing out of hell.” He observes, “Something that was shocking to me was realizing that as soon as I got sober, that was really the beginning of the journey. Choosing to get sober was barely even a milestone.”
Leading the album, “Until I Recoup (Glory I)” vengefully demands justice and describes the fight for glory after it’s been unjustly taken away. The lyrics read like a mission statement of redemption.
Similar to Steve Earle’s influential Train a Comin’ album from 1999, Glory conveys the hard work that goes into getting clean, particularly in tracks like “Fighting Like Hell to Be Free,” “Beautiful Curse” and “Jalisco Bloom.” Calling to mind the skillful writing of Guy Clark or Townes Van Zandt, “What Keeps Me Up Now” views that phrase from multiple angles, from sleepless nights to a suicide attempt, where “the belt was a noose when I came to on the ground.” It’s one example of the “dark country” description that the band occasionally uses to describe their sound. In contrast, “End With You” finds Benjamin Tod feeling damn glad that he’s found a relationship that’s sustained him for a decade, through the achievements as well as the obstacles.
Raised in Sumner County, just outside of Nashville, Benjamin Tod was primarily raised by his grandmother and grandfather. However, at age 7, his mother surprised him with a cheap electric guitar –then his competing father bought him a pawnshop classical guitar. With nobody to show him how to play, they were little more than toys. However, at 14, he and a friend each received a Fullerton parlor guitar from his friend’s father. The boys started getting interested in folk music and protest songs, which led Benjamin to the streets of Nashville to busk.
Meanwhile, Ashley Mae was spending more and more time in Nashville, where her mother worked the overnight shift at rock station WKDF. She’d already tapped into the small punk scene in Rapid City, South Dakota, where she grew up, but found an even deeper community in Music City. At 20, she taught herself to play fiddle, shedding as much of her classical violin training as she could. When she met Benjamin Tod at a punk show, introduced by a mutual friend, they bonded immediately.
At 17, they left Nashville together for a life of street performance, hopping trains, and scraping by on less than $300 a month. After four years of terrible gigs and almost no traction, Benjamin Tod decided in 2016 to abandon the band. “I’d been a hardly functioning drug addict and alcoholic for over a decade. I was sick of the lifestyle and it seemed like it was going nowhere,” he admits.
An invitation from the band Devil Makes Three came out of the blue in 2016. Benjamin Tod found out about it in a train-yard, about to hop a train from Asheville, North Carolina, to Knoxville, Tennessee. “Without that, Lost Dog never would have moved forward from that point,” he says.
Lost Dog Street Band gained traction through that tour, but when Benjamin Tod and Ashley Mae separated for a year and a half, the momentum evaporated. Instead of going back on the road, they filmed performance videos of songs from Benjamin Tod’s solo album, I Will Rise, and posted them to YouTube without much expectation other than promotional use. However, that decision proved to be the turning point, as curious listeners discovered the band and their ticket sales skyrocketed.
Those early fans especially will embrace the spare but spirited sound of Glory, applied to tracks like “Cost of the High,” which directly addresses the fallout of addiction, as well as “Hayden’s Lament,” where the choice is given between “getting dead or getting tough.” Right after the plaintive country ballad, “Losing Again,” Benjamin Tod brings out the banjo for “I Believe (Glory II),”which basks in the emotion of finally finding that glory.
Without touring in 2020, Benjamin Tod and Ashley Mae settled on a parcel of land in rural Kentucky that they bulldozed themselves, building a cabin with well water and solar panels. Every week, even now, Benjamin Tod says he takes account of his situation as a recovering addict.
“In society as a whole, there’s a real lack in examples of actual recovery,” he says. “There’s not a brutally honest take on how painful the process is, but how rewarding it is at the same time. Every step that you make helps encourage you to meet the next milestone. It’s like a punch in the face and the kiss on the cheek every day. It’s very personal for me, the concept of digging out of hell, because I had to do that in order to gain my own dignity back. Everything follows after that. You have to earn your own respect of yourself before you earn it from anybody else.”
The Prince Experience
Friday, October 21, 2022
Since 2002 Gabriel Sanchez has been portraying Prince in his critically acclaimed show The Prince Experience. What started off as a small local theatre production of Purple Rain, has expanded into what has become a night of unbelievable entertainment, that keeps anyone who has seen it, talking long after the last encore is played.
Here Come the Mummies
October 23, 2022 6 PM
at The Bluestone
Here Come the Mummies is an eight-piece funk-rock band of 5000 year-old Egyptian Mummies with a one-track mind. Their “Terrifying Funk from Beyond the Grave” is sure to get you into them (and possibly vice versa).
Since their discovery HCTM has been direct support for P-Funk, Al Green, Mavis Staples, KC and the Sunshine Band, and Cheap Trick; rocked Super Bowl Village; become a regular on The Bob and Tom Show; played massive festivals like Summer Camp, Common Ground, Voodoo Fest, Musikfest, Suwannee Hulaween, and Riverbend; and sold tickets by the thousands across large swaths of North America.
Maybe that’s why the ladies (and some dudes) can’t stop losing their minds over these mayhem-inducing mavens of mirth.
Some say they were cursed after deflowering a great Pharaoh’s daughter. Others claim they are reincarnated Grammy-Winning studio musicians. Regardless, HCTM’s mysterious personas, cunning song-craft, and unrelenting live show will bend your brain, and melt your face. Get ready, for Here Come The Mummies.
- HCTM “‘KILLED’ it… Not only did they pack their stage – they were the hit of the night when they jumped on stage with moe. in front of 20,000.” – Jay Goldberg, Summer Camp Music Festival
- “Here Come The Mummies are one bad-ass band, a hybrid of Idris Muhammad, George Clinton, Ohio Players, and Earth, Wind & Fire.” -Blurt Magazine
- “A band unlike any other.” -examiner.com
- “That’s the most fun I’ve had in 20 years.” -Bob Kevoian, The Bob & Tom Show
- “Cock wobbling brilliant.” -Joe Elliott of Def Leppard
Disco Donnie Presents and My Best Friends Party present:
October 29, 2022 9 PM
at The Bluestone
with Dalton Dover
Welcome to the Block Party World Tour
November 11, 2022 7 PM
at The Bluestone
About Priscilla Block
Country artist Priscilla Block draws listeners in with her unfiltered, relatable songwriting and catchy melodies. Pegged as an Artist to Watch by Amazon Music, PANDORA, Spotify, CMT, The Boot, MusicRow, HITS, Sounds Like Nashville, Country Now, Music Mayhem and more, Priscilla’s honest and upfront approach promotes self-love, empowerment, and acceptance through her own blend of country pop and southern rock, dubbed the Block Party sound.
Early in the pandemic, Priscilla was struggling to make ends meet after losing her job and her apartment. Unable to get out and play in person due to Covid-19, Priscilla began experimenting on TikTok and quickly developed a rabid fanbase with songs like “Thick Thighs,” “PMS” and “Just About Over You.” Fans rallied together to independently fund Priscilla’s recording and since its release, “Just About Over You” peaked both the iTunes Country and All-Genre song charts, the song was named one of The New York Times Best Songs of 2020, and it recently reached Top 15 on country radio. “Just About Over You” along with “Wish You Were the Whiskey,” “I Bet You Wanna Know” and more expected on Priscilla’s upcoming debut album.
Originally from Raleigh, NC, Priscilla moved to Nashville to pursue music shortly after high school. In Nashville, the affable, hardworking, student of life worked multiple jobs to make ends meet, then a chance encounter with her idol – Taylor Swift – was the sign she needed to dive all the way in on her music. Priscilla is a seasoned performer sharing the stage and opening for artists including Dierks Bentley, Jon Pardi, Kelsea Ballerini, Rodney Atkins and more. She is currently on the road with Ashley McBryde.
Follow Priscilla on Instagram, Facebook, Twitter, and TikTok for more on her music journey.
Yumi Zouma & Horse Jumper of Love
November 13, 2022 7 PM
at The Bluestone
There is a closeness at the heart of Turnover’s aptly titled new album, ‘Altogether.’ Though it’s the first collection the trio has written while living on opposite coasts, the record actually represents the group’s most collaborative and connected work to date, showcasing the intuitive, near-telepathic relationship frontman Austin Getz has developed over the years with his bandmates.
“Instead of making things more difficult, being far apart helped us learn to appreciate each other even more,” says Getz. “As a band, we’re closer now than we’ve ever been before.”
Recorded at Philadelphia’s Studio 4 with longtime creative foil Will Yip at the helm, ‘Altogether’ finds the group breaking new ground on a number of fronts. Pop sensibilities inform the writing for the first time, with elements of funk, jazz, lounge, and disco mingling alongside the band’s trademark indie grit and punk energy. Lush melodies and infectious hooks reflect the newfound freedom and confidence that have inspired Getz since his cross-country move to northern California, while adventurous recording techniques and instrumentation lend a fresh perspective without sacrificing the kind of precise detail and rich intricacies that have come to define the band’s recent studio output. The result is an album that boasts both sonic sophistication and emotional accessibility in equal measure, a major leap forward in sound and vision that reveals time apart as the true key to togetherness.
The title is fitting in another way as well, according to Getz. “On this record, more than in the past, we wanted to keep in mind the beauty of writing ‘popular music,’” he explains. “By that I mean music for people who don’t have the time to delve into the niches and find fringe artists, music for those of us who are busy with work or our families or whatever problems might be around. Music is real magic that can change people’s days and lives, and the more people listening and loving, the better.”
Turnover first emerged roughly a decade ago in Virginia Beach, VA, but the group’s critical and commercial breakthrough didn’t arrive until six years later, when they cracked the Top 5 on the Billboard Heatseekers Chart with their acclaimed sophomore album, ‘Peripheral Vision.’ The band—which consists of Getz, his brother Casey on drums, and their childhood friend Danny Dempsey on bass—followed it up in 2017 with ‘Good Nature,’ a streaming smash that racked up roughly 40 million plays on Spotify alone and which Vice proclaimed to be “their best album yet.” Reviews were similarly glowing around the world (Pitchfork praised the record’s “rhythmic propulsion and harmonized guitar sparkles,” while Exclaim! hailed its “shimmering instrumentation and luscious harmonies,” and The Line of Best Fit swooned for its “plush production” and “subtle maturity”), and the album earned the band headline dates everywhere from Brooklyn Steel to The Fonda Theatre along with their first appearance at Coachella.
“With ‘Peripheral Vision,’ I was starting to experiment with psychedelics, and I was feeling alienated from a lot of the things I’d been raised to believe and accept,” Getz reflects. “That album asked a lot of questions, and I felt like ‘Good Nature’ was my attempt to find the answers to those questions. This time around, though, I found myself in a very different place, both literally and metaphorically.”
Starting over from scratch somewhere new, particularly somewhere as rural and isolated as Getz’s new home in northern California, proved more challenging than he had anticipated.
“The move was great in a lot of ways,” he explains, “but the experience also de-romanticized a lot of the notions I had about leaving everything behind and relocating to the woods. I realized I’d been undervaluing a lot of things that were actually really important to me, like having friends and family close by. I had to come to terms with being a stranger and learn how to trust new people and make new connections all over again.”
For the first time, Getz found himself looking inwards instead of outwards for inspiration, writing as an act of self-exploration rather than in response to any external stimuli.
“There was a deepening of my relationship with music that came out of the whole experience,” he explains. “Instead of waiting for some revelation to arrive, I would make myself sit down with a guitar or at the piano and just play until something interesting happened. Often what came out surprised me.”
Sometimes an entire song would reveal itself in ten minutes; other times, Getz would land on a guitar riff or a chord progression that he’d revise for months. The band spent time writing together in-person on tour and during time off in New York and Portland, with Yip flying out to join the band for the latter.
“Will’s much more than just a producer for us at this point,” says Getz. “He’s a close friend and a reliable piece of what our sound has become.”
That sound is the product of a remarkably wide range of influences and tastes, which Turnover synthesizes on the album into a whole far greater than the sum of its parts.
“Working remotely for the most part, everybody was able to send ideas around on their own schedules, and nobody felt too protective of anything, so the new songs started to reflect each of our personalities more than ever before,” says Getz. “Collectively we like everything from jazz to folk, disco to rock and roll, and a lot in between, and it’s where we all intersect that things start to feel special. With the three of us and Will all contributing to the writing together, the songs turned out better than anything any of us could have done on our own. That’s what makes the experience of being a band really unique as opposed to just one artistic mind.”
‘Altogether’ demonstrates the band’s eclectic mix of personalities from the very start, opening with a lo-fi, jazzy intro that quickly gives way to the driving drums and delay-drenched guitar of “Still In Motion.” Like much of the album to come, the song is a meditation on change and perspective, on learning to quiet your mind and appreciate the moment before it’s gone. The bittersweet “No Reply” reckons with guilt over failing to be present with a loved one, while the effervescent “Much After Feeling” recognizes the sacrifices we make to stay connected across geographical distance, and the breezy “Parties” grapples with the kind of self-consciousness that can leave us prisoners of our own design.
“There’s a part in that song where the tone completely changes,” says Getz, “and that represents the moment when your walls finally come down and you start to just appreciate where you are. The lyrics go from describing the nervousness you feel in a particular moment to just describing the moment itself because you’re finally out of your head and able to recognize the beauty that’s all around you.”
Getz taps into that beauty throughout the record, stopping to smell the roses and ground himself in ways that might have seemed impossible even just a few years ago. “Starting to feel at home in the country,” he sings on the hazy “Valley of the Moon,” while the sultry sax of “Ceramic Sky” hints at the simple and sensual pleasures of falling in love, and the playful “Plant Sugar” channels 80’s Britpop as it makes a case for mindfulness.
“I was stressed out when I first started writing that song, but then I looked up at the sky and saw the constellations and felt ridiculous for being worried about anything,” he laughs.
“It reminded me that sometimes you just need a little change in perspective to appreciate how lucky you really are.”
Turns out, that’s all Turnover needed, too.
with George Birge
November 17, 2022 7 PM
at The Bluestone
About Matt Stell:
THE COUNTRY MUSIC INDUSTRY HAS LONG BEEN FILLED WITH ITS SHARE OF CHARACTERS. FROM WILLIE TO HANK AND DOLLY TO WAYLON, EVERY LEGEND STARTS OUT AS JUST ANOTHER ARTIST THAT DOESN’T FIT EASILY INTO SOME PREDETERMINED BOX. AND AS HARD AS COUNTRY MUSIC MAY TRY TO FIT MATT STELL INTO ONE OF THOSE TRIED AND TRUE BOXES, IT’S DARN NEAR IMPOSSIBLE.
Heck, he’s 6’7.
But more so than the massive physique that helped Stell become a collegiate basketball standout, the Platinum certified singer has proven via the songs he sings and the shows he puts on that he is far too powerful of an artist to ever fit into some sort of singular category. In fact, to describe Stell in a few words would be a complete disservice to the man he is and the artist he looks to become as he releases his new EP Better Than That on October 16.
“If you cut a groove too deep, it’s hard to get out of it,” he remarks with a chuckle. “I’ve never wanted to be some one-dimensional artist, and with this new EP, I think I’m determined to show that there is much more to me than just a guy who can sing a love song.”
Indeed, the Arkansas native comes from a long line of self proclaimed badasses. He can spin a romantic verse as easy as he can rock out an anthem. He can overanalyze a word as easily as he can let the melody ride a lyrical wave. And yes, he gets as much enjoyment out of discovering a hook in the writing room as he does hooking a fish.
“When you step out into that river and the salmon are still swimming upstream like they have for thousands of years, it’s a real cathartic, therapeutic thing for me,” he says of a recent fishing trip to Alaska. “It’s a great reset.”
In everything he does, it’s evident that Stell is reflective and adventurous and funny and pretty damn smart. And if he’s being totally honest with himself, he’s never been one to love a love song.
Yep, you heard that right.
Granted, it was in fact a love song that catapulted Stell to country music success in 2019 via his massive hit “Prayed for You,” a life-changer of a song that spent two weeks at the number one spot. As the only debut single to top Billboard’s Country Airplay chart in 2019, and one of NSAI’s “10 Songs We Wish We’d Written,” the hit has gone on to rack up some impressive stats with over 270 million streams, his first RIAA Platinum certification and more than 20 million views of its official music video to date.
But there’s a catch.
“If the only thing you’ve heard is ‘Prayed for You,’ you would have a different idea of who I really am,” Stell explains. “Knowing that you are making music that means something to people is the ultimate compliment, but there is so much more to me.”
A few more of the many facets of Stell are currently on display via his current top 10 and rising single “Everywhere But On,” a song that Stell calls ‘autobiographical’ in the way that it tells the story of a man trying to escape the memories of a long lost love.
“Having two songs on the radio is an incredible thing, but what’s even more incredible is finding your own voice and your own identity,” he says.
Stell showcased a whole bunch of identities in another Better Than That EP standout – “If I Was a Bar.” At a time when some of his fellow artists were perfectly content in simply sitting down with their guitar and playing their songs during the pandemic that Stell lovingly refers to as a ‘damn biological hurricane,’ Stell and his rather relentless work ethic turned out a music video that had him playing thirteen different roles in the span of a 3-plus minute song.
“I threw every stitch of clothing I have ever owned into my truck for that video shoot,” laughs Stell of the somewhat restrictive project. “Sometimes creativity benefits from constraints.”
Yet, there were few constraints on Stell’s songwriting during the creation of the new Better Than That EP, which was co-produced by Stell alongside Ash Bowers. Via songs co-written by Stell such as “I Love You Too,” “Chase It Down” and the title track “Better Than That,” the listener can still hear Stell’s distinctive way of wrapping a lyric around a memory and the twist he can put on a phrase.
“Songwriting is a craft that can get better the more time you put into it,” remarks Stell, as he laments to himself about how much he hates clichés.
But for the first time in his still evolving career, Stell relied on outside writers on three of the eight tracks of the Better Than That EP in an effort to fill in the blanks of the overall project.
One of those cuts is “Sadie,” a melodic brain-buster of a song that offers ‘a sparse lyric but one in which every word means something.’ Another outside cut is “Look At Me Now,” perhaps one of the most earth-shattering love songs in recent memory. Yes, the guy who says love songs aren’t his thing just might make history with yet another love song.
But before Stell looks too far into the future, he finds his soul planted deeply in the present. He is praying for the day he can plug his amp back in and jump on the bus with his band and play these new songs for a live crowd.
This new chapter in his journey leaves Stell with a whole bunch more ammunition in the writing room and a unique vantage point to view the characters in his songs…and the character he might ultimately turn out to be.
We Were Cowboys Tour
December 10, 2022 7 PM
at The Bluestone
Sometimes he can’t even believe it.
With over 165 million on-demand streams, believers at country radio and the support of over a dozen digital tastemakers – Spotify, Amazon Music and Pandora among them – Kameron Marlowe has exploded onto the country scene, emerging as the big-voiced authentic talent modern fans crave. But if you ask the humble everyman himself, he’ll tell you straight up: He never saw this coming.
“I didn’t think I had what it took to be an artist,” says the all-natural singer-songwriter, blessed as he is with a tender, dynamic vocal growl. “So, I took a different route at first.”
Lucky for everyone, all roads lead to destiny. Now singed to Columbia Nashville and standing on the verge of a bright future, the North Carolina native is right where he belongs – in the spotlight. It just took a few twists and turns to get here.
Growing up, Marlowe lived in the Charlotte-area suburb of Kannapolis, and his path was indeed headed elsewhere. He did love music from a young age – schooled by his grandfather on the ‘90s country giants, and captivated by high-energy rockers like Stone Temple Pilots, Puddle of Mud and Kings of Leon. Plus, he sang in church and loved classic vocalists like Ray Charles and BB King, even forming a teenaged cover band that turned heads (the wrong direction, he jokes).
But after starting college in hopes of studying music, life intervened, and Marlowe left to help his family, taking a steady job selling car parts in his hometown instead.
A hint of what could have been came in 2018, with a Top 24 appearance on Season 15 of NBC’s The Voice. But even with a resonate baritone as inviting as a Southern breeze, and a genuine small-town swagger, Marlowe left with nothing more than some new friends in Nashville – plus an interest in songwriting. It seemed like music had passed him by, and to be honest, he was fine with that.
By 21, he was back home and back on the job, ready to settle down with a white-picket future. He was ready to put a ring on his girlfriend’s finger. But when she abruptly ended the relationship, telling him she wanted a different future, his whole world shook. Suddenly adrift and questioning the path he’d chosen, Marlowe put pen to paper for just the third or fourth time in his life … and that musical therapy session changed everything.
“It was a really hard break-up situation, and I didn’t know what I wanted to say,” Marlowe explains, thinking back to that fateful night. “So I came home, and just tried to write something down for myself to get over it.”
Over a day-and-a-half, Marlowe wrote and revised, whittling the track down to a tight, classic heartbreak ballad with a modern edge, totally by himself. Full of raw emotion and vivid, heart-on-the-floor storytelling, it became “Giving You Up,” and for most people the story would end there. He’d scratched the itch to express his pain.
But not Marlowe. He was raised to finish what he started, and decided instead to get it recorded – after all, it’s not like he had a wedding to pay for. Once again, he had no idea it what was coming.
“I just felt like I was supposed to finish that song,” he says now. “It was my ‘If I am ever going to try music, now is the time ’moment. My life had just been flipped upside down, and the whole plan I had made with trying to get married was gone. So I spent a little money to get recorded, and figured I’d see what happens. … After that? I’ve just been blessed with the reaction to it.”
Showcasing his easy Carolina croon, equal parts velvet and vinegar, and built around the done-mewrong devastation, fans flocked to the song in the millions, feeling for Marlowe as he kicked the habit of loving his ex for good. He soon made the move to Nashville full time, and now just a few short years later, the real work has begun.
After signing with Columbia and releasing a self-titled EP in 2020, Marlowe tapped another electrifying power ballad as his single debut, sending the buzzed-and-broken “Sober as a Drunk” to country radio. In response, he was named to more than a dozen “ones to watch” lists, opened for stars including Lee Brice, Dustin Lynch, and Chris Young, and sold out headlining club shows throughout the Southeast. He’ll join Brad Paisley for his TOUR 2021 beginning in July. And now by working with mega-producer Dann Huff (Keith Urban, Thomas Rhett, etc.), he’s being challenged to believe in himself like never before.
“I think the next batch of music is going to be a lot better,” he says. And by early accounts, he’s right. Matching a muscular mix of country’s timeless and trendy with a hardwired connection to his heart, these fresh songs show an artist who’s just beginning to tap his from-the-gut potential – and find a home for that show-stopping voice.
His vocal shines through a wide grin in the first new release, easy going “Tequila Talkin’,” as Marlowe matches the fun of Friday-night flirting with an upbeat, summertime sway. He co-wrote the tune with Dan Isbell and Ray Fulcher, and makes no apologies for the good natured pick-up line – or its fiddle-laced sound, pulled straight from his ‘90s favorites.
“Honestly, it kinda just came from trying to meet girls at the bar,” he says with a laugh, thinking back to his earliest days at Nashville’s Red Door. “It was like ‘Man, I always get a little extra confidence from tequila, I don’t know about you! ’And I’m such a sucker for a fiddle in a country song that I just decided to go for it.”
It was Marlowe’s love of music, and the steady tug of destiny which pulled him into the spotlight. And now that he’s here, he’ll see it through to the end – just like his first hit. With a debut album in the works, he’s living a life he never thought possible, and it’s all because he gave his dream a shot. Now he’s hoping fans will do the same.
“It feels really weird, because my life was completely different a couple of years ago,” he admits. “But I really put in a lot of effort to write these songs from the heart, so check out the lyrics. See what you think on a deeper level.”
The Dolly Disco
December 17, 2022 8 PM
at The Bluestone
This ain’t no disco
It ain’t no country club either…
Giddy up girls, for THE DOLLY DISCO
The Dolly Parton Inspired Country Western Disco Dance Party!
This is for the 9 to 5 workin’ girls with a calling from another era who just want something a little classic. Join us in Rainbowland where you’ll dance with somebody, hand in hand to the music of Dolly Parton, Kasey Musgraves, Orville Peck, Shania Twain, ABBA, Miley Cyrus, Cher, Whitney Houston, The Chicks, Madonna, Tina Turner, Sheryl Crow and more.
So wrangle your country-disco dancing queens and come party!
February 9, 2023 at 7 PM
Kolby Cooper lost his childhood and found his voice.
Cooper was 14 when cancer took his dad, and he channeled that painful loss into songwriting. He was 18 with the responsibility of a wife and baby on his shoulders when he used his high school graduation money to record an EP. And now, barely old enough to buy a round for the band, Cooper is pouring his signature blend of scorching break-up anthems and gut-wrenchingly relatable songs into a new record for BBR Music Group.
Far from the typical music industry inroads, Cooper has been riding the fast track from a small Texas town driven by necessity and inspired by his fathers working-class principles.
“Losing my dad and then becoming a dad made me think, “This just can’t be a fun thing. I mean, it’s fun – but it has to be a job too,” Cooper said with candor. “I have to work my ass off. I’m not Just trying to pay rent.”
In three short years, Cooper has accomplished what has eluded seasoned Nashville insiders amassing more than 110 million Spotify streams and playing numerous, sold-out show around the country, with thousands of fans singing along to his searing, wry lyries.
Drawn to his unrestrained, fresh sound, Cooper is earning early praise for his rough-hewn velvet vocals, layered over wailing electric guitar, and a buoyant Texas bottom-end. His new record is Country with clear influences from his Lonestar State roots. ‘The result “is authentic to me,” said the humble outlier. “I m older and understanding more about myself, and the music, and what I want to say. This is exactly what I set out to sound like.
At 22, he is coming into his own as a master storyteller and an angry advocate for the heartsick as he writes each of his songs from the deeply personal “Boy from Anderson County,” an autobiographical look at how love can propel a boy into becoming a better man, to “Good For You,” a sneering, steel-guitar slice of resentment, and the dreaded “its not you, it’s me pathos of
“Excuses, which was inspired by his guitar player’s sudden breakup.
Cooper is refreshingly kind and happy for someone who can readily tap into rage and angst. He embodies and moves confidently between contradictions from the defiant to the forlorn.
“People ask me, ‘Why do you write these breakup songs? You must have a bad past with exes.” he said laughing. “Ive been dating my wife since we were seniors in high school. I write from the perspective of what I see – a lot of tough relationships in a small town that I witnessed firsthand.
with MUST DIE! KOMPANY, HOL!, AUSTERIA
February 23, 2023 at 7 PM
Following his sell-out 55+ date headline FRACTAL Tour in 2022, Subtronics is bringing the next iteration of his live show with The ANTIFRACTAL Tour. Hitting the road at the top of 2023, the 24-date run is co-produced by Live Nation and Insomniac’s Bassrush, and kicks off January 13th at Downtown Las Vegas Events Center in Las Vegas, NV.
Subtronics will be bringing a new state-of-the-art audio/visual experience to stages across the US, from January to March, headlining some of the country’s most legendary venues and arenas including a previously announced performance at Kia Forum in Los Angeles, Pechanga Arena in San Diego, Masonic Temple in Detroit, as well as a double-header at the Armory in Minneapolis, and more.