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Tickets to The Bluestone
Down Home Tour
presented by 92.3 WCOL
w/ special guest Neon Union
March 11, 2022 at 7 PM
at The Bluestone
Official Website: https://www.jimmieallenmusic.com/ [jimmieallenmusic.com]
Official Facebook Page: https://www.facebook.com/jimmieallenmusic
Official Twitter: https://twitter.com/jimmieallen/ @JimmieAllen
Official Instagram: https://www.instagram.com/jimmieallen/ @jimmieallen
Official YouTube Channel: https://www.youtube.com/jimmieallen
Official Website: https://www.neonunionmusic.com/ [neonunionmusic.com]
Official Facebook Page: https://www.facebook.com/Neon-Union-Music-108322624961837
Official Twitter: https://twitter.com/neonunionmusic @neonunionmusic
Official Instagram: https://www.instagram.com/neonunionmusic/@neonunionmusic
For multi-platinum selling, trailblazing Country star and current GRAMMY Award nominee Jimmie Allen, a simple phrase sums up his view on life and music: Never give up.
A native of Southern Delaware – the “slower, lower” part of the state, he explains – Allen has carried that mantra with him through good times and bad, whether than meant living in his car or receiving his first ACM nomination for New Male Artist of the Year in 2019, a CMA Awards nomination for New Artist of the Year in 2020, subsequently winning the ACM Award for New Male Artist of the Year – the first Black artist to win that category since its inception, and a win with which he hopes “open[s] some doors for more Black artists to have success in country and more Black artists to feel comfortable enough to do country if that’s what they want to do” – as well as the CMA New Artist of the Year Award in 2021. GRAMMY.com has hailed Allen as one of “5 Black Artists Rewriting Country Music.” His current nomination for Best New Artist at the 64th Annual GRAMMY Awards in 2022 is his first ever GRAMMY nomination; he is also the only Country nominee in an all-genre category.
With the 2018 release of his debut album Mercury Lane – named in tribute to the street he grew up on and the origin of his incredible journey – on BBR Music Group’s Stoney Creek Records, a lifetime of never giving up brought him full circle.
“I didn’t quit, I never will,” he says. “Stuff ain’t easy, and you shouldn’t quit either. There’s a big difference between busting your ass and sitting on it.”
For Allen, musical dreams and a love of true-to-themselves artists like Alan Jackson, Aaron Tippin, Montgomery Gentry, and Jason Aldean brought him all the way to Nashville and beyond, –from traveling around the world to places like Japan, Germany and the UK; to performing a tribute at the Kennedy Center Honors for Garth Brooks, the national anthem at the Indy 500, returning to American Idol as a mentor after being cut from the same competition a decade ago, and other once-in-a-lifetime moments.
But it was actually a nightmare which turned this promising singer into the artist he is today. After a series of bad breaks Allen was forced to live in his car, too proud to ask for a bail out. For months he worked multiple jobs and finally saved enough for an apartment, but hit then another snag – country music wasn’t ready for him.
“People were just trying to help,” he says now. “But they wanted me to change my sound and told me I had to lose my boots. The turning point came when I stopped listening, and finally let my music be a natural reflection of who I am.”
Since then Allen has been following his own compass, and it’s leading somewhere special. In 2017, he caught his big break and signed a record deal with BBR Music Group/Stoney Creek Records and a team who embraced his individuality.
“I don’t regret the hard times,” he explains about his trials. “I think each thing you do adds a layer, whether it’s a layer of toughness, perseverance, motivation, or just a layer of wisdom. At the end of the day you come back to what you know, and what’s embedded in you.”
What’s embedded in Allen is a powerful, soulful sense of groove – “If my body don’t move in the first four seconds, it ain’t for me,” he says – a love of deep messages and a knack for razor-sharp hooks.
Those driving forces formed the bedrock of Mercury Lane – a cutting-edge mix of country, rock, R&B, and pop, produced by Ash Bowers and Eric Torres, that received critical acclaim, with Rolling Stone raving that it “challenges the narrowly defined model of what constitutes a next big thing in country music” and The New York Times hailing it one of 2018’s strongest, calling it a “conventional country album, filled with songs about the small details.”
With Mercury Lane, Allen made history as the first Black artist to launch a career with two consecutive No. 1 hits on country radio, with “Best Shot” claiming the No. 1 spot for three weeks and his second single “Make Me Want To” hitting the top spot in March 2020.Allen’s hard-earned dreams are finally becoming reality, but he shows no signs of limiting himself.
He followed up the success of Mercury Lane with his July 2020 collaboration project, Bettie James, that has amassed171+ million streams and has further established Allen as Country’s next superstar. The star-studded seven-track project combined his deep love of family and genre-spanning taste in music. Named in honor of Allen’s late grandmother, Bettie Snead, who passed away in 2014 and his late father, James Allen, who passed away in 2019, Allen hand selected artist that touched the life of Allen, his grandmother and father in some way, allowing their legacies to weave seamlessly throughout Bettie James. The wide array of hitmakers include Brad Paisley, Charley Pride, Darius Rucker, Mickey Guyton, Nelly, Noah Cyrus, The Oak Ridge Boys, Rita Wilson, Tauren Wells and Tim McGraw.
“My dad and grandmom were two completely different people, but both played a huge part in my life,” Allen says of the motivation for the project. “Since they died, I have been wanting to leave trails of their legacies throughout my music.”
The result is a musical composition of love, heartbreak, perseverance, hope and faith. Jimmie’s current single “Freedom Was A Highway” pairs Allen with his friend and Country music superstar Paisley for a breezy, windows down track that joins Allen’s distinctively breezy grooves with a Paisley signature guitar solo.
Bettie James received a slew of critical acclaim for not only the music, but the historic nature of various collaborations, and the project’s subsequent place in country music history. NPR calls the project an “announcement of [Allen’s] arrival” and a “huge step for country” while Billboard hails it “a powerful statement from a developing voice.” The EP appeared on several “Best of 2020” lists including Billboard, Rolling Stone and Sounds Like Nashville.
Rolling Stone describes “Why Things Happen” – which brings together three generations of Black country artists in Allen, Darius Rucker and Charley Pride – as “part polemic, part proclamation, and part prayer… opening up space for the artists to bear witness.”
Reflecting on Allen’s wide-ranging musical sensibilities, Music Row notes of the project: “While some artists still in the early sunrise of their careers, with a handful of hits to their credit, would be focused solely on extending their chart successes, it’s clear that Allen’s goals for his music are loftier than mere chart hits and No. 1 parties—he’s striving for music that testifies to his full spectrum of creative abilities.”
Allen, who has an incredible knack for connecting with people of all backgrounds and interests, enjoyed collaborating with other artists so much while making his monumentally successful predecessor that he didn’t want to stop – so instead, in trademark Allen fashion, he kept going. The result: Bettie James Gold Edition. Released June 25, 2021, the 16-track album doubles down on Allen’s expansive love for music across genres, with nine brand new collaborations with Babyface, Breland, Keith Urban, LANCO, Lathan Warlick, Lindsay Ell, Little Big Town, LOCASH, Monica, Neon Union, Pitbull, teamwork. and Vikina.
As Hits Daily Double notes, for Allen, “it’s about being grounded in the genre’s traditions and protecting the roots as much as it’s about creating a future for country music that’s more expansive and inclusive.”
“When it comes to music I love, I don’t really get wrapped up in boundaries or genres. After we finished Bettie James, I was like man, there’s so much music out there that I love, so many artists that I love, and I just wasn’t done making collaborations,” Allen says of the impetus for Bettie James Gold Edition; a sentiment that Billboard echoes, applauding that the album “broadens country’s borders.”
Beyond the music, Allen has also established Bettie James Fest in their honor. Consistently vocal about his deep reverence for his family, hometown, and home state, the inaugural sold out event took place August 7, 2021 in Allen’s hometown of Milton, DE.
Allen is currently featured in The Country Music Hall of Fame® and Museum’s annual American Currents: State of the Music exhibit with his friend and fellow country artist Darius Rucker. The exhibit’s Unbroken Circle illustrates the connection between country music’s past and present by pairing artists with those who have influenced them or share musical perspectives. The exhibit runs through February 2022.
Additionally, he is a member of the 2021 Artists Committee for the 44th Kennedy Center Honors.
Much like his approach to music, Allen’s other creative pursuits know no boundaries.
Allen’s debut picture book, My Voice Is a Trumpet, was published July 13, 2021 with Flamingo Books, an imprint of Penguin Young Readers. Illustrated by veteran illustrator Cathy Ann Johnson, the book is a powerful story about speaking up for what you believe in,
at any age. The book has received a starred review from School Library Journal, who hails that “the rhythm and flow of words perfectly match the art while advising readers to choose love and use their voices in a powerful song.”
“It’s very important to me that kids learn at a young age that they have a voice, and that it is powerful. It is up to us as adults to teach them to use their voice to encourage and show love,” Allen says of his first ever book. “Being a father of two kids, I try to encourage them to be themselves and love everyone around them. I’m hoping this book inspires at least one child and they always remember their voice is a trumpet.”
Allen also serves as Executive Music Producer for Netflix’s series Titletown High, which premiered globally on August 27. His song “Big In A Small Town” is the theme song for the series, which follows a Georgia town where football rules and winning is paramount, a champion high school team tackles rivalries, romance and real life as they work toward the ultimate goal: a state title. Full of high stakes sports action and relatable teenage drama, Titletown High delivers a complex portrait of the most unique football culture in America.
He most recently competed for the coveted mirrorball trophy as a contestant on Dancing With The Stars’ landmark 30thseason on ABC in the fall of 2021, reaching the quarterfinals with his pro partner Emma Slater.
As Allen’s rising star power shows no signs of slowing down, he remains unapologetically himself and proof of what can happen when you never give up.
Downtown Disco Columbus
March 12, 2022 8 PM
at The Bluestone
Downtown Disco Columbus is exactly what it sounds like: a Saturday Night Fever Disco Bash! One night a year, The Bluestone gets a disco makeover. Dress the part and get ready to groove! This is a multi-generational party that is fueled by disco-era music we all love. Only 800 tickets are available, so get yours soon! Full bar service will be available and operated by the Bluestone and their staff! To learn more www.discolumbus.com.
March 24, 2022 7 PM
at The Bluestone
Multi-Platinum selling band LANCO continues to forge new territory after the roots-frontier explorers and live-performance junkies broke out with the 2x Platinum multi-week No. One hit “Greatest Love Story.” Creating a heartland rocker for a new generation, the band followed up with the Billboard Country Albums chart topper HALLELUJAH NIGHTS, marking the first Country group to earn a No. One debut in a decade. Additionally LANCO garnered another PLATINUM certified hit with “Born To Love You”, before the launch of their new anthemic HONKY-TONK HIPPIES EP, which was self-produced by the band, with each track penned by at least two members. The group traveled to the iconic Fame Studios in Muscle Shoals, AL to record the new music, absorbing its heart-pounding and soul-shaking influence. Now set to release five new tracks fit perfectly for the road. New music from the ACM “New Group of the Year” follows multiple nominations from the CMT, CMA, ACM, AMA and iHeartAwards, while Lancaster became the first member of a group to win NSAI’s “Songwriter/Artist of the Year” award. As LANCO continues to “bring the full-band sound back to Country” (Newsday) the five-man band will build off their deep-rooted connection with fans on their headlining HONY-TONK HIPPIES TOUR.
Top of the World Tour
Presented by maurices
March 25, 2022 7 PM
at The Bluestone
Lauren Alaina | Sitting Pretty on Top of the World
Ten years into her Nashville career, Lauren Alaina is in the upper echelon of country music’s most authentic voices, beloved personalities, and open hearts. She’s earned a reputation as one of the genre’s most compelling storytellers by boldly incorporating her struggles and heartache into her critically acclaimed first two albums. Lauren’s third studio collection, Sitting Pretty on Top of the World, is an artful evolution of immaculately penned, unflinching reflections of the mountains and valleys on her journey.
Sitting Pretty on Top of the World opens with the telltale sound of a needle dropping down on a record, and with that, Lauren sets the tone for some of the most captivating music of her career. Lauren was inspired to lean into the tenets of classic country music for this project and on the albums lead track, “It Was Me,” she offers a timeless country ballad filled with heartsick self-reflection. Lauren’s voice emotionally soars through the aching, introspective lyrics: “It wasn’t you I didn’t love, it was me.”
“The other person isn’t always the bad guy,” Lauren concedes. “On ‘It Was Me,’ I’m taking full ownership of being in the wrong. It was really hard to admit that I was the one at fault and to realize that I didn’t love myself enough to allow someone else to love me.” But the vulnerable “It Was Me,” co-written with Hillary Lindsey, is a song Lauren considers to be one of the best she’s ever written.
Lauren takes pride in the exposed transparency of her songwriting on this project, and though most writing sessions took place via Zoom, Lauren was crafting verses and choruses alongside the likes of award-winning songwriters including Liz Rose, Lori McKenna, Hillary Lindsey, Emily Weisband, David Garcia, Jordan Reynolds, Ben Johnson and Kennedi Lykken. She co-wrote 14 of the album’s 15 songs, much of it inspired from recent life experiences including two impactful break-ups, the loss of her stepfather, and like much of the world, Lauren struggled with despondency as she adapted to life in the pandemic.
The album’s title track “On Top of the World” delves into the dark reality behind polished facades. Writing the song with Jordan Reynolds and Sasha Sloan after the pandemic forced her to stay home for the first time in a decade, Lauren, in a heightened emotional state, revealed how she felt enveloped in loneliness and sadness.
“I’ve been on the road and touring for 10 years and having that taken away so suddenly felt like an abrupt stop to everything I’ve been working for, and that was a really scary thing for me,” she says, “but the whole world stopped for everybody, and I needed to find new ways to connect with people.”
Lauren applies that same honest vulnerability throughout the album from the harrowing ballad “What Do You Think Of?” featuring Danish Pop Star Lukas Graham, to the pensive flow of “I’m Not Sad Anymore,” to the beautiful simplicity of “Good Ole Boy” with its scaled back production that truly allows Lauren’s vocals to shine.
“This whole thing [album] is about loving yourself and being brave and being strong,” Lauren says. “I was faced with all these trials, and I hope people feel themselves in these songs. I think we all live the same stories with different characters. And maybe people realize new beginnings can be good.”
“Getting Good,” a duet with Trisha Yearwood, is the only song Lauren didn’t write on the album. Penned by Weisband, the song is a poignant truth-telling about choosing to be happy. Drawn to the concept, Lauren says, “Life is all about perspective, and you sometimes you have to shift your perspective.”
Lauren punctuates the lovelorn with the playful yet forthright “When the Party’s Over” and with the propulsive yet nostalgic “Run.” She also teamed up with Emily Weisband and the album’s producer Paul DiGiovanni to write the lighthearted, here-for-the-fun, rebound tune, “Getting Over Him,” featuring country star Jon Pardi. Lauren rounds out the album with the beautifully hopeful “Change My Mind,” which she co-wrote with Seth Ennis and Cameron Bedell.
Then with the familiar crackle of a vinyl record nearing its end, the album comes to a close. A journey from start to finish. Lauren explores life in these unique times and Sitting Pretty on Top of the World is the salve and the soundtrack for anyone traversing their own personal quest for hope and new beginnings.
March 31, 2022 7 PM
at The Bluestone
FOR DILLON CARMICHAEL, THE LAST THREE YEARS HAVE BEEN A WHIRLWIND, TO SAY THE LEAST.
Since unleashing his critically acclaimed 2018 debut, Hell On An Angel, he’s toured with everyone from Lynyrd Skynyrd and Trace Adkins to Dwight Yoakam and Justin Moore, written a song for Travis Tritt’s latest album, racked up millions of streams on Spotify, gone viral on TikTok, and even gotten engaged. And while you might have expected the cancellation of a year’s worth of tour dates to finally slow him down, Carmichael instead used his pandemic downtime to head right back into the studio and record Hot Beer, a brand new collection of high-energy, feel-good country.
“I felt like my catalog could use a little more fun in it,” says Carmichael. “After putting out a record as heavy as Hell On An Angel, I wanted to make something faster, something looser, something that’d leave you with a smile on your face.”
Recorded with producers Jon Pardi and Ryan Gore, Dan Huff, and Phil O’Donnell, Hot Beer is all sly humor and raw heart, with tongue-in-cheek lyrics and double entendres lurking around every corner. Carmichael’s rich, velvety baritone is still very much front and center here, but there’s a newfound playfulness to his delivery that manages to offer up a knowing wink even as it breaks your heart. It’s a delicate tightrope for any artist to walk, but if Hot Beer proves anything, it’s that Dillon Carmichael is a songwriter who knows how to take his fun seriously.
“Whether I’m singing a tear jerker or a party tune, the only thing that really matters to me is that it’s a great song,” Carmichael says. “And great songs are honest songs.”
Growing up in the small town of Burgin, KY, Carmichael inherited his passion for honest music through familial osmosis: his father and uncles performed in a Southern Gospel Quartet, his mother sang all over the eastern part of the state, and her brothers (John Michael and Eddie Montgomery) both enjoyed massive chart success. As a kid, Carmichael fell in love with country legends like Waylon Jennings and Vern Gosdin alongside the rock and roll he heard on the radio, and by the time he hit his teens, he was writing his own songs and performing live.
“I didn’t at any point consciously decide I was going to be a musician,” says Carmichael. “It just happened naturally. I found a kind of truth in country music that I couldn’t get anywhere else.”
After finishing high school, Carmichael relocated to Nashville, where he earned a publishing deal at the tender age of 18. It was his first taste of life outside of rural Kentucky, and the discovery of a whole city full of like-minded artists whose lives revolved around making music thrilled him. Buoyed by his early success, Carmichael began collaborating all over town with some of most revered writers in the business, but no Nashville resident had a bigger influence on him than producer Dave Cobb, whose stewardship helped guide Hell On An Angel from a dream to a reality.
“Dave just immediately understood my vision,” says Carmichael. “He helped me zero in on my truth.”
Merging a sonically progressive palette with a tasteful reverence for the past, Hell On An Angel was at once old school and modern, traditional and contemporary, timeless and timely. The New York Times compared Carmichael to Randy Travis and said his voice “moves with the heft and certainty of a tractor-trailer,” while NPR praised his “deep holler,” and Parade raved that “Carmichael defines pure country.” He landed on Artist To Watch lists from Billboard, Rolling Stone, Taste of Country, Pandora, and more, reached #2 at country radio’s Most Added chart with his debut single, “Dancing Away With My Heart,” and electrified festival crowds from Seven Peaks to Faster Horses.
“One of the things I learned getting to play big festivals and arenas and theaters was that it doesn’t matter if there’s 200 people or 20,000 people in the audience,” says Carmichael. “They’re there to hear country music and have a good time. It’s that simple.”
And so Carmichael began plotting his follow-up to Hell On Angel with those good times in mind. Reaching back to the lighthearted 90s country that had always held a special place in his heart, he began cutting a series of lively, uptempo, sometimes hilarious tunes full of mischief and innuendo. Lead single “Hot Beer,” written by Carmichael’s good friend HARDY, rattles off a list of everything the singer would rather do than get back together with his cheating ex (“I’d rather drink a hot beer / Build a fire in the pouring rain / Burn all of my fishing gear / Then set sail in a hurricane”), while the anthemic “Big Truck,” written with David Lee Murphy and Jessi Alexander, questions the true source of his partner’s affection, and the bawdy “Sawin’ Logs” spins a tale of two lovers on very different pages.
“Phil sent me that song last year and it was our summer jam,” says Carmichael. “We rocked out to it all the time, and I posted an acoustic version to TikTok just for fun one day. It ended up getting millions and millions of views and everyone started singing along to it at my shows, so I knew I had to record it.”
Not everything on Hot Beer is quite so irreverent, though. The sweetly sincere “Since You’ve Been In It” celebrates the kind of love that makes everything better; the bittersweet “Somewhere She Ain’t” reckons with the ghosts of a lost love that just won’t fade away; and the grateful “Lucky Man” takes stock of the little things that add up to a beautiful life.
“My uncle Eddie originally recorded ‘Lucky Man’ with Troy Gentry back in 2006,” says Carmichael, “and I thought putting my own spin on it would be a nice nod to my family legacy, as well as a tribute to Troy, who passed away in 2017. I’ve loved that song ever since I heard them sing it for the first time, and I’m honored be able to share my version of it.”
With live music returning and his calendar filling up once more, Dillon Carmichael is indeed a lucky man. And with Hot Beer, it’s clear he’s ready to dive back into the whirlwind and have some serious fun.
The Bluestone does not require COVID Vaccinations to enter our venue. We follow all local guidelines and cleaning procedures. The current Columbus “Mask Mandate” for an indoor event does not apply to anyone who is “ACTIVELY EATING OR DRINKING.” We kindly ask that you enter the building with a mask on. You can keep it on or remove it as long as you are actively EATING OR DRINKING! This will be a full capacity show, and it is an “ENTER AT YOUR OWN RISK EVENT.”
Lawrence Live In Concert
with special guests Stacey Ryan & The Wonderlands
April 1st, 2022 @ 7 PM
Lawrence is headed to Columbus, OH at The Bluestone April 1, 2022.
Tickets on sale Friday, November 26, 2021 at 12 PM!
- Spotify: https://open.spotify.com/artist/5rwUYLyUq8gBsVaOUcUxpE
- Facebook: https://www.facebook.com/lawrencetheband
- Twitter: https://twitter.com/lawrencetheband?lang=en
- Instagram: https://www.instagram.com/lawrencetheband/?hl=en
- YouTube: https://www.youtube.com/channel/UCr5v6l4EIKiImmJU-COJ0Sg
- TikTok: https://www.tiktok.com/@lawrencetheband?lang=en
Said The Sky
April 6, 2022 9 PM
at The Bluestone
Disco Donnie and My Best Friends Party present :
Said The Sky – Sentiment Tour Columbus
1. a view of or attitude toward a situation or event; an opinion
2. exaggerated and self-indulgent feelings of tenderness, sadness, or nostalgia
“A brand new show.
Brand new visuals.
Brand new music.
A brand new experience that I can’t wait to share with you. ”
SAID THE SKY
A blend of soaring melodies and emotive bass lines. Said The Sky is an experience through music.
Playing piano and various instruments since the age of eight, Colorado native Trevor Christensen is coming forward with a fresh perspective on music. Bringing his melodic background and technical training into his music, Said The Sky works to capture everything beautiful in what people know as EDM. His last 3 years have been devoted to his production, and bringing the ideas build up in his head from his entire childhood to life. His music is, what he hopes it to be, an experience: A captivating blend of moving bass lines, and soaring melodies.
Local Support TBA
VISUALS BY SIF
Whitey Morgan and the 78’s
with Alex Williams
April 10, 2022 7 PM
at The Bluestone
About Whitey Morgan:
In a career spanning 15 years, Morgan has released five studio albums and a live recording from his hometown of Flint, Michigan. Additionally, he has toured relentlessly averaging over 125 shows annually. Rolling Stone has described him as a “Waylon Jennings acolyte.. modern day outlaw [with a] hard hitting blue-collar brand of music” while NPR Music hailed, “Staying close to the sound and subject matter of classic outlaw artists like Waylon Jennings, Merle Haggard and David Allan Coe, Morgan is poised to lead this hand-worn brand of country to the next generation.” His most recent LP, Sonic Ranch (2015), was released to critical acclaim and praised by Detroit Free Press as, “a bold well-crafted album that doesn’t forsake the gritty undercurrent running through Morgan’s stuff.”
Whitey Morgan and the 78’s anticipated new album, self-produced by Morgan, was recorded in the Neve Room at famed Sonic Ranch Studios in Tornillo, Texas. Featured on the record are collaborations with acclaimed songwriters Travis Meadows and Ward Davis plus a cover of ZZ Top’s “Just Got Paid.” Alongside Morgan, the 78’s consist of Brett Robinson (pedal steel guitar), Joey Spina (guitar), Alex Lyon (bass) and Eric Savage (drums).
Of the recording, Morgan shares, “It’s not like my vision happened overnight. I’ve been chipping away at it forever. It’s slowly evolving and it’s going in a little bit different direction. It’s not so straightforward anymore. This record definitely has a wider path, it’s broader, but it still sounds like a Whitey Morgan record.” With grandparents from Tennessee and Kentucky and hometown roots in Flint, Michigan, Morgan’s family geography has factored into his approach to music.
BTSM: Once Upon A Time In Cyberworld Tour
April 13, 2022 8 PM
at The Bluestone
BLACK TIGER SEX MACHINE –
VISUALS BY SIF
ft. Joyous Wolf & Classless Act
April 24, 2022 6 PM
at The Bluestone
Gifts From The Holy Ghost
Dorothy Martin’s life changed forever when she was forced to face death on her tour bus some three years ago. After her guitar technician had taken an overdose, and the light began to lift up and out from his body, Dorothy instinctively began praying for his survival. While he may have temporarily died, the technician was astonishingly, miraculously restored back to life as Dorothy and her crew formed a prayer circle near his body. It was this moment that seemed to bring Dorothy to life too. She was gifted a rebirth with a divine intervention that caused a radical and spiritual awakening in the singer, the result of which can be heard on Gifts From The Holy Ghost, Dorothy’s third studio album as front woman for the pseudonymous, blues-rock band Dorothy.
Gifts From The Holy Ghost is the album she’s always wanted, and has perhaps been destined to make. Born from a sense of divine urgency, it is Dorothy’s most bombastic and gloriously, victorious rock and roll work yet. Each song built on triumph—the unshackling of chains, the slaying of demons with a sword of light—the album is a healing and remedial experience, made to unify listeners and point them towards a life full of purpose. It is Dorothy’s greatest gift yet. “This album had to get made, I felt like I had a mission,” she said.
While the band’s first, irreverently named album ROCKISDEAD, was made on a combination of whiskey and heartbreak—inspiring Rolling Stone to name them one of rock’s most exciting new acts, and Jay-Z to sign them to his label Roc Nation—Gifts was built on recovery, health, and holiness, in a way that reverses the clichéd ‘good girl gone bad narrative’.
With the combined powers of Keith Wallen, Jason Hook, Scott Stevens, Phil X, Trevor Lukather, Joel Hamilton and the legendary ear of Chris Lord Alge, Gifts From The Holy Ghost is made from a musical palette which seems to encompass each of the musician’s influences, as well as many of the essential sounds of rock music’s history—from swampy blues to ‘90s alternative —in a way that makes the case for rock and roll itself. Not only is the genre alive, but it’s more invigorated than ever.
“I think this album is going to speak to a lot of people, it’s meant to be healing, unifying, eye-opening, ear-opening, heart-opening and celebratory,” Dorothy said, adding: “I wanted to make the realest album I could make, and I went in with the question does this make me feel alive? Does it make me feel free? If a song didn’t give me chills or make my heart soar, then it didn’t make the cut.”
Born in Budapest, Hungary, Dorothy has always been an instinctual writer and artist. Throughout her life, she’s been asking the big questions, both in and outside her art: ‘What’s the meaning of life? Why are we here? How are we here?’ When she couldn’t find the answers to those questions, she’d numb out the empty uncertainty with drugs and alcohol. She was eventually admitted to rehab and a new chapter was opened in her spiritual journey. Now, with angels whispering in her ear and the spirit moving her steps, she’s found her answers. “I’m just here to impart inspiring messages to people while having fun and rocking out!”
You can hear Dorothy’s powerful resilience across the album, particularly on “Big Guns”, which finds the singer at her boldest; sauntering over slide guitars as she steps into combat. Anthems like “Rest In Peace” bring a sweeping cinematic scope to the album, whereas “Black Sheep”, a rallying cry for unity, explodes with layered gang vocals: “we are blood, we are family,” Dorothy breaks curses, going toe-to-toe with the blistering guitar riffs.
The album’s lyrics are a perfect balance of specificity and generality, so that the listener can attach their own darknesses and triumphs to the songs, while still getting a sense of Dorothy’s own. “We are all one human family.” she declares.
Does that mean Dorothy has overcome all of her own adversities? “It’s a journey and it’s about progress not perfection,” she responds. “I’ve had a lot of deep revelations about my life, stuff I hadn’t been able to cope with until now. Now I’m learning new tools.” With Gifts From The Holy Ghost, Dorothy identifies her purpose as an artist. She conquers darkness with light, numbness with feeling, disharmony with unity—all while delivering one of this year’s most fun rock & roll records.
Joyous Wolf Bio
A gritty howl opens Joyous Wolf’s upcoming debut LP, Enigma, and it’s the perfect introduction since the band plays rock & roll at its most primal and passionate. Guitarist Blake Allard’s bluesy riffs harken back to the classic hard rock of AC/DC, Cream and Deep Purple while still packing a thoroughly modern wallop, while frontman Nick Reese’s voice seems to come from deep in his gut as he sings about everything from warring kingdoms to a tribute to a fallen friend. Together, with bassist Greg Braccio and drummer Robert Sodaro, Joyous Wolf’s members work together to create some of the most exciting, promising and unwieldy back-to-basics rock to come out of Southern California in recent years.
Whether nimbly navigating the swaggering, powerful groove of their go-to concert opener, “Mountain Man,” or digging into their instruments for a jammy, funky guitar solo “Major Headthrob,” the group has an unpredictable quality – a sort of unique freedom within rock & roll – that makes Enigma compelling. Part of the credit for this goes to producer Val Garay (Santana, Neil Diamond, Reel Big Fish) who came aboard at the last minute to help them achieve the record’s raw sound, which captures how Joyous Wolf sound live. But mostly, the electric feeling that defines Enigma is just something in the band’s DNA.
“When I’m playing rock & roll, it’s the only time where I feel indestructible,” Reese says. “When I heard Elvis sing ‘Heartbreak Hotel’ for the first time, I knew exactly what my heart wanted and what I wanted.”
“I think people are starting to realize the overproduction and fakeness of pop music, which is why rock is coming back,” Allard says. “We love being a rock band.” Joyous Wolf formed in November 2014, but their roots stretch back to sixth grade when Reese first crossed paths with Sodaro by fate – they had to assemble next to each other because their names were alphabetically side-by-side. Reese recalls a middle-school battle of the bands where neither he nor Sodaro was playing, but Reese declared that one day he was going to be “the best singer ever” and that Sodaro would play drums. It would take a few years, but after stints where both musicians duked it out playing in punk and alternative bands (“all of that crap,” Reese adds) they fulfilled Reese’s prophecy. The singer drafted Allard, whom he’d met randomly in the acoustic room at a Guitar Center when the two jammed on CCR’s “Born on the Bayou,” and Sodaro brought in his high-school friend Braccio to play bass.
Before long, the quartet was jamming in Sodaro’s folks’ garage, annoying the neighbors and entertaining the local authorities. “Once on Halloween, we were rehearsing at 11 p.m. writing songs, and we faced Nick’s monitors out the window toward a canyon full of houses,” Allard recalls. “Then we saw this car at the front gate, and it’s the sheriff. He comes into the practice room and goes, ‘Hey guys, I hate to shut you down because it sounds really good, but we got a complaint from across the canyon that it was too loud.’ We still practice but not like that anymore.”
One of the first songs they played together was “Sleep Weep Stomp,” Enigma’s slow-burning, sludgy blues burner. It’s the style of music that Reese feels closest to. “I’m a blues singer, 100 percent,” he says. “That’s my everything.” The singer grew up on blues, jazz, and Fifties rock & roll. “When my dad showed me, Elvis, that was the end of it,” he says. “I needed to hear every artist that inspired Elvis and then the people who inspired them. Suddenly I had a record collection. It all felt natural: B.B. King made me want to scream my pain away. You hear all these people and you want to express all the things you love. I don’t care if people think it’s old or not current. It doesn’t matter to me.” By his own estimation, he didn’t hear anything “current” until he was 13 and borrowed his sister’s Discman only to hear the Strokes’ “Is This It”. Similarly, Allard was raised on classic rock. “My dad taught me my first song ever, ‘Sunshine of Your Love,’ by Cream,” he says. “I always went back to that kind of old blues-rock music. Even if I was into metal or hard rock, I always went back to the classics like B.B. King, Jimi Hendrix, Black Sabbath, and Led Zeppelin.”
These influences shine through on Enigma. “Killing the Messenger” begins with some crushing classic heavy-metal riffs before giving way to a boogieing verse riff where Sodaro and Braccio can bash out their rhythms freely while Reese yowls a tale about two warring kingdoms, and how an evil monarch tricks one of his most popular subjects into delivering a nasty message to the other kingdom only so he would be executed. Reese says the moral Is “life isn’t fair and it isn’t always a happy ending.” The beat-heavy “Mountain Man,” whose lyrics lambaste one of Reese’s former less-than-refined coworkers at a coffee shop, whom the singer says claimed he could “carve a knife out of the tree,” began with a guitar riff that was so forceful that the band couldn’t deny its power. “He had this little riff and we were laughing because it was so stupid-simple,” Reese says. “And it is. It’s our quote-unquote ‘dumbest song,’ but when we used it to open at the Viper Room, the audience response became one of our staple songs.”
The band is also able to channel more somber tones. The acoustic “Remember By” showcases thoughtful performances by both Allard and Reese, who wrote the song in tribute to a friend of his who had taken his own life. It came from a moment of pure inspiration. “I recorded us when we were fooling around, and it was perfect,” Reese says. “I pushed for us to record that song so hard. I said, ‘Please do it exactly like you did it. Please.’ That was me saying goodbye.”After they put out their Daisy EP in late 2015, it took the band about two years total to fine-tune and perfect Enigma. And while songwriting was a big chunk of that (the ominous riff for “Turning Blue” took them six months to perfect), they went through several passes of mixing and mastering it to get it to sound like it does. When Garay finally came aboard, they were able to establish the right mixture of nuance and directness. “It’s so much more animal,” Reese says, using the perfect adjective, to describe the way Enigma turned out. That “animal” sound has earned Joyous Wolf some notable gigs, including performances at L.A.’s famed Whisky a Go-Go, the Viper Room and the Regent Theater, where they recently opened for Eagles of Death Metal. Now they’re ready to move on to even bigger stages. “When we play a show, we go out and we kick ass,” Reese says, sounding confident. “We’re headhunters”. Headhunting on the road will now be even easier, with their upcoming record Enigma, an album that demonstrates what Reese calls Joyous Wolf’s “mojo.” – Kory Grow Rolling Stone Magazine 2017
Classless Act Bio
When they released their debut single “Give It To Me” in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their “Weekly Wire” Spotify playlist, identifying it as one of the top new releases of the summer. And other iconic outlets, like SPIN Magazine, were early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars.
The band – consisting of members Derek Day (Vocals), Dane Pieper (Guitar), Griffin Tucker (Guitar), Franco Gravante (Bass), and Chuck McKissock (Drums) – initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they’ve united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the 70’s and alt-rock groups from the 90’s. Their music echoes the hallmarks of previous generations – anthemic rhythms, shreddy guitars, soaring vocals – but punches its way into the future with clever arrangements, sharp musicianship, and proficient songwriting.
Already making noise in the industry, the band has been in the studio with world-class producers like Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden, and The White Stripes. The band recently landed a deal with Better Noise Music, Mediabase and Billboard’s #1 rock label for 2020. Their debut album is expected in 2022, when the band will be hitting the road with Mötley Crüe, Def Leppard, and more, on their Summer Stadium Tour.
Pecos & the Rooftops
May 12, 2022 7 PM
at The Bluestone
Pecos & the Rooftops are a close knit group of friends from northeast Texas that came together while in college in Lubbock. The band is Pecos Hurley (Vocals/Acoustic Guitar), Brandon Jones (Rhythm Guitar), Zack Foster (Lead Guitar), Kalen Davis (Bass), and Kade Trentham (Drums). Their latest E.P. “Red Eye” released January 24, 2020.
with Ryan Charles
May 13, 2022 7 PM
at The Bluestone
Breathing fresh Rocky Mountain air into the Nashville music scene, Ian Munsick is pioneering a new brand of country. The Wyoming-born singer / songwriter’s upbringing was a mix of working the ranch and working crowds. Under the tutelage of their fiddle-playing father, Munsick and his two older brothers grew up playing everything from bluegrass to The Beatles. Incorporating elements across genres, he has now begun to establish himself as a progressive artist with an old soul. Captivated by traditional lyrical truth and the modern soundscape, Munsick followed his ear to Music City.
In 2017 he released a self-titled EP, winning iHeartRadio’s Rocky Mountain Song of the Year for the rootsy “Horses Are Faster” and becoming the only artist who simultaneously qualified two tracks as finalists in the NSAI/CMT songwriting competition. Since then, Munsick has signed a major label record deal with Warner Music Nashville, earned more than 100 million global streams and been named one of Spotify’s inaugural Hot Country Artists to Watch. His debut album Coyote Cry features his mile-high tenor underscoring self-penned songs that conjure equal parts epic adventure and down-to-earth wisdom. The record marks the dawn of western pop-laced country, pulling a thread straight from Chris LeDoux through Post Malone. Munsick hit the road in the fall alongside labelmate Cody Johnson and his own sold-out, headlining dates. He wrapped the year with his Grand Ole Opry debut and is starting 2022 strong as a MusicRow Next Big Thing artist. Fans are finding that with Ian Munsick, western country is reborn.
About Ryan Charles
Western rapper Ryan Charles hails from the valley of Buffalo, WY. Similar to his hometown, once referred to as the most lawless town in America, Charles brings a style all his own — meshing the cowboy lifestyle with flow of 2000’s rap. A natural-born entertainer, Charles quickly became one of the most skilled freestyle rappers on the school bus, eventually making the move to Seattle, WA to pursue his music career more seriously. As an artist, Charles has released a few singles, including the jiggy buckaroo bop “Gettin’ Western” in 2020 and most recently, “Old Dirt Fancy” in 2021. Known for his signature fashion sense, light hearted twang and high-energy live shows, Charles continues to work on new music in Nashville, TN.
May 15, 2022 6 PM
at The Bluestone
Bio: Iration has a natural affinity for reggae and island sounds. Their love and appreciation for music spans across a wide range of styles and genres including rock, pop, R&B and funk. Over the past 15 years, the celebrated five-piece – Micah Pueschel [Lead Vocals / Guitar], Adam Taylor [Bass], Joe Dickens [Drums], Cayson Peterson [Keyboard / Synth] and Micah Brown [Guitar / Vocals] – have perfected their distinct hybrid style of music, blending all influences together as evidenced on their seventh, and most recent, full-length album Coastin’ [Three Prong Records). A record about being thankful for the moments that we have.
Iration has been touring nationally since 2008, performing at festivals nationwide from Lollapalooza to Sunfest and Hangout, closing stages at festivals like Bottlerock and Outside Lands. The Hawaiian-bred musicians look forward to spreading their original sound and ‘Aloha spirit’ all the while never forgetting to get a surf in when possible.
May 19, 2022 7 PM
at The Bluestone
Want to get a bead on Paul Cauthen?
Good freakin’ luck — especially on his third album, COUNTRY COMING DOWN.
Suffice to say that the singer, songwriter and proud son of Tyler, Texas — steward of a rich, resonant, bass-leaning tenor dubbed Big Velvet — covers a lot of ground and embodies a lot of characters. He’ll tell you right off the bat that he’s “Country As Fuck,” throwing down a wad of “Fuck You Money” and heading into the night to “Cut a Rug.” His “Country Clubbin'” has as much to do with swinging as his swing. But a song or two later dude’s vowing to be loving his wife “Till the Day I Die” and, in COUNTRY COMING DOWN’s title track, dreams of living in “a cabin in the country, far away from the city lights” where “life is slow and easy.”
The fact that all of that exists within the same guy, who’s full of good humor, sharp wit and a heart as big as his home state is what makes Cauthen someone who’s easy, and exciting, to spend 10 songs with.
“Y’know, you got your bangers and you got your ballads,” Cauthen acknowledges. “You got your meaningful songs where you’re opening up more of your vulnerable side, and then you’re putting on a fucking show — all in one album. And it’s all honest, I’ll tell ya that. Everything on there is something I’ve felt or thought before.”
COUNTRY COMING DOWN has been in motion awhile, actually. The title track, one of several co-writes with good Nashville pal Aaron Raitiere, has been around since before Cauthen’s dark sophomore album ROOM 41. Its sense of campfire calm and “damn near off the map” idyll set a bar, for both music and lifestyle, that Cauthen aspired to, while the rest of the new album, recorded at Modern Electric Sound Recorders in Dallas with regular collaborators Beau Bedford (Texas Gentlemen) and Jason Burt (Medicine Man Revival), shows that Cauthen was able to get there without losing any of the playful “hot dog holly golly dagnabit” good-time spirit that rolls off his tongue like a tumbleweed in the west Texas panhandle.
As he promises in “Country As Fuck,” “I ain’t gotta sell my soul. If I want it then I grab it.”
“I’m having fun,” Cauthen says. “I’ve finally figured it out. I’m more settled and comfortable. I know I’m good at making records and great at entertaining. That’s my gift more than anything, to be able to get up there and deliver these songs to people.”
That gift is part of Cauthen’s DNA, of course, from a family deeply steeped in music. Texan on both sides, his paternal grandfather went to school with Hank Williams while his maternal grandpa, who worked with Buddy Holly and the Crickets during his youth, introduced Cauthen to singing. His grandmother taught him to play piano, while his grandfather and great uncle were the song leader and preacher, respectively, of the local Christian Church of Christ.
“Yeah, I had no choice, really” Cauthen says now. “(Music) is what I call my birddog trait; You don’t have to tell a birddog to jump in the river and grab the duck and bring it back to you. And you don’t have to tell me to get up on stage and perform. That’s what I’m supposed to do. My family enjoyed watching me perform when I was a kid; I would get up in front of everybody at Christmas with my guitar and play ‘Jackson’ with my grandmother. I learned my trade, y’know?”
Cauthen pursued that trade into young adulthood, showcasing at Cheatham Street Warehouse in San Marcos and forming the duo Sons of Fathers, whose early albums were produced by Lloyd Maines. After the group ran its course, Cauthen set off on his own in 2016, recording MY GOSPEL partly in Muscle Shoals, AL.; The album made Rolling Stone’s list of Top 40 Country Records that year. 2018’s HAVE MERCY EP began his association with Bedford and featured contributions by other members of the Texas Gentlemen, and also led to Cauthen’s Grand Ole Opry debut as a solo artist on June 22, 2018.
The critically acclaimed ROOM 41, meanwhile, chronicled and exorcised a rough period in Cauthen’s life, marked by a romantic breakup, substance abuse, depression and anxiety issues. “My growing years were like going to college,” Cauthen confesses. “I just got screwed so many times by so many different people on this whole freakin’ journey. I had this void I was trying to fill in my heart, with booze or any type of, just, abuse. I made every stupid mistake you can make in the business, and in life, in order to learn ’em all.
“I don’t feel that hurt anymore. I’ve changed.”
Marriage helped, he says. So did cleaning house and restructuring the business operation that surrounded him. That allowed Cauthen to plunge into COUNTRY COMING DOWN with a lighter heart and wicked humor — one that allowed him to find the profound meaning in a “schmoozie bougie brouhaha.”
If you want to know what that sounds like, tuck into the album’s sonic array, an austere, sinewy attack that puts Cauthen’s vocals dead center in the ride. “We’ve really unleashed Big Velvet in this situation, which I love,” he says. Nowhere is that more true than “Country As Fuck,” with a taut groove and loping gait tailor made for a 21st century honky tonk. Cauthen, Bedford and Burt play with that template throughout COUNTRY COMING DOWN, punctuating “Caught Me At a Good Time” with a sharp guitar solo, “High Heels” with a tasteful Wurlitzer break and the satiristic “Country Clubbin'” with a disco beat and chorus of female backing vocals.
But just when you buy in — and happily convert — to Cauthen’s brand of unapologetic hedonism, the soul comes out. “Till The Day I Die” smoothes his raw heart with the promise of true and lasting love, while the stock-taking “Roll On Over” takes a wistful look in his rearview mirror. And “Country Coming Down” realizes a dream of calm — although not exclusive of the next sojourn with “Champagne & a Limo.”
I’m always on a quest, sonically,” Cauthen explains. “I was wanting to go at this just serving the song, more, ‘What does this call for?’ rather than worrying about genre or sonic palette or any certain sound. I had a lot of these songs brewing for a long time, and we just let them grow on their own.”
His muse fully engaged, Cauthen is looking towards doing more of that in the future, with a few conceptual ideas up his sleeve about what he might do next. No matter what direction he takes, however, he won’t be abandoning that cabin in the hills or the “Country Clubbin'” life; Cauthen will just be adding more to the mix he’s stirred together.
“It’s just about looking at yourself in the mirror and knowing that what you’ve done to this day has been in good standing, with good morals and a good compass in life, driven the right way,” he says. “Legacy is all we have — that, and try to be a good person as well. If you get all that together, then you can do whatever the fuck you want and it’ll be alright.”
Led Zeppelin Evening
August 14, 2022 7 PM
at The Bluestone
A lot of talented children have probably been asked by a parent to entertain family and friends, maybe in the living room, maybe sing a little, play an instrument. No big deal and a good way to get used to performing for others. But when Jason Bonham was a small child and got called in to entertain, the family friends he played his drums for could be anyone from Jimmy Page to some of the guys from the group Bad Company. That’s what happens when your father is drummer John Bonham, one of the original members of the legendary rock band Led Zeppelin.
At the age of only five, Jason could play the drums, at least a scaled-down set of them, with skill. When he was 17 he was a member of the band Air Race. The group signed a record contract with Atlantic Records, recorded one album, and opened for big names like Queen, Meat Loaf, Ted Nugent, and AC/DC. John Bonham died in 1980, but Jason, who has marked a few places in music history himself, has stepped in from time to time to help keep his father’s memory alive.
In 1988, Jason took his father’s spot in the televised, first-ever Led Zeppelin reunion at the Atlantic Records 40th Anniversary concert, which included Robert Plant, Jimmy Page, and John Paul Jones. Later than year. he went on to tour with Page and recorded the album Outrider with him.
By 1989, he completed the album The Disregard of Timekeeping, in his new band called “Bonham”. One of the tracks from this first effort, “Wait for You,” earned him a gold record. By 1992, with partners like Canadian vocalist Daniel MacMaster, guitarist Ian Hatton, and bassist and keyboardist John Smithson, Bonham finished another album: Mad Hatter.
Jason teamed up with greats like Paul Rodgers, Slash, David Gilmour, Jeff Beck and others in 1993 to work on a Tribute to Muddy Waters album. The record’s success brought a nomination for a Grammy Award. A year later, Jason, along with Rodgers and Slash, appeared at the memorable Woodstock II. That same year, he recorded a new album, Peace 4 Me, in his group now known as Motherland with Marti Frederksen on vocals.
In May 1990, Jason married Jan Charteris, in Stone, Kidderminster in a wedding reception that included a jam with Jimmy Page, Robert Plant, and John Paul Jones. Jason represented his father when Led Zeppelin was inducted into the Rock and Roll Hall of Fame in January 1995, with his sister Zoe by his side. He soon put together another solo project which culminated in “In the Name of My Father – The Zepset” cd, which featured the songs of Led Zeppelin. Proceeds from the album went to charity. The album followed up with When You See the Sun.
The Healing Sixes soon caught his attention and decided to tour and record them the Indiana-based band, from 1999–2003. In 2001, Jason appeared in the film Rock Star which starred Mark Wahlberg. The band in the movie, Steel Dragon recorded the songs featured in the movie and the soundtrack.
Following an album with Debbie Bonham, the younger sister of John Bonham, Jason was invited to drum for hard rock group UFO. In 2006, he also recorded with Joe Bonamassa.
Jason starred with Ted Nugent, Evan Seinfeld (Biohazard), Sebastian Bach (Skid Row) and Scott Ian (Anthrax) on the VH1 reality tv show, “SuperGroup”, in May 2006. The musicians formed a band called Damnocracy for the show, during which they lived in a mansion in Las Vegas for twelve days and created music. Most recently, Jason has performed and recorded with Foreigner.
On December 10th, 2007, Jason played drums in the most anticipated concert of all time – the Led Zeppelin reunion at London’s O2 arena with surviving members Jimmy Page, John Paul Jones and Robert Plant.
Columbus Folia – Brazilian Day
September 3, 2022 7 PM
at The Bluestone
Saturday September 3rd @ The Bluestone Venue.
Celebrating Brazil’s Independence day!!!
This is more than a party, it’s a manifestation of Brazilian culture and people with the most authentic experience. This is an electrifying event!
This year’s theme is the Bahia Salvador Carnaval, or so called Micareta.
What is Micareta ? They are off-season celebrations similar to carnaval but very different from the samba schools parade. The central feature of a micareta is to bring lots of people together, lots of music and dancing and everyone wearing a customized T- shirt called ABADAS . Get ready to dress up with your sexiest outfits, wear your abadas , and get ready to party like never before!
September 03 @ The Bluestone include:
– From Florida, The featured band Italo – playing a mix of traditional and modern Brazilian Music.
– Jullyana Ramalho & banda will bring the perfect combination of electrifying music from Bahia ( Ivete Zangalo, Daniela Mercury, Claudia Leite) to Rio Samba style!…
– Guest DJ will be spinning in between sets all of the hottest & newest music from Brazil
– At the Door grab your abadá T-shirt