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Dorothy
ft. Joyous Wolf & Classless Act
April 24, 2022 6 PM
at The Bluestone
Columbus, Ohio
DOROTHY
Gifts From The Holy Ghost
Roc Nation
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
Columbus, Ohio
BIO
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.
Ian Munsick
with Ryan Charles
May 13, 2022 7 PM
at The Bluestone
Columbus, Ohio
ABOUT IAN MUNSICK
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.
Iration
May 15, 2022 6 PM
at The Bluestone
Columbus, Ohio
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.
Paul Cauthen
May 19, 2022 7 PM
at The Bluestone
Columbus, Ohio
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.”
Jason Bonham’s
Led Zeppelin Evening
August 14, 2022 7 PM
at The Bluestone
Columbus, Ohio
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.
Matt Nathanson
with Donovan Woods
August 31, 2022 6:30 PM
at The Bluestone
Columbus, Ohio
Columbus Folia – Brazilian Day
September 3, 2022 7 PM
at The Bluestone
Columbus, Ohio
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
18+
Motion City Soundtrack
Commit This To Memory 17 Year Anniversary Tour
September 11, 2022 7 PM
at The Bluestone
Columbus, Ohio
Old 97’s
with Vandoliers
September 21, 2022 7 PM
at The Bluestone
Columbus, Ohio
Drew Holcomb & The Neighbors
Let’s Go Somewhere Tour
with The National Parks
September 23, 2022 7 PM
at The Bluestone
Columbus, Ohio
Drew Holcomb & The Neighbors
Drew Holcomb & The Neighbors is an Americana act hailing from Nashville, Tennessee.
Drawing influence from Tom Petty and Bob Dylan, Drew Holcomb has found his place in today’s landscape of singer/songwriter Americana. He and his band have developed their sound through extensive touring, performing alongside Amos Lee, Willie Nelson, John Hiatt, NEEDTOBREATHE, Don Henley, and more.
The band has sold over 150,000 albums to date and played over 2,000 concert dates in 7 countries. Their songs have received over 60 TV placements, appearing on How I Met Your Mother, Criminal Minds, Parenthood, Nashville, HOUSE, Justified and more.
Their latest album, Dragons, is available now.
THE NATIONAL PARKS
In nature, wildflowers signify freedom. Nobody plants them. Rather, they blossom on their own. The same could be said of The National Parks. Since emerging in 2013, the Provo, UT quartet — Brady Parks [guitar, vocals], Sydney Macfarlane [keys, vocals], Cam Brannelly [drums], and Megan Parks [violin] — has quietly grown into an independent phenomenon with roots embedded in blissful pop, cinematic electronics, organic orchestration, and rock energy. Racking up over 150 million total streams, selling out headline shows on tour, and acclaimed by NPR, Paste, Atwood Magazine, PopMatters, and more, the group continue to bloom on their two-part independent album, A Mix For The End Of The World. The first half of songs will be released on October 8, 2021, marking their official follow-up collection to the band’s critically acclaimed fourth full-length, Wildflower.
“This album is all about the uniqueness of our day so why not take a new approach to releasing an album too?” states Brady. “We came up with the idea of releasing the album in two parts during the recording process. We felt like the songs we had written fit together so well but that they were only one chapter of the full story. Part 2 coming in 2022!”
Over the past eight years, The National Parks have diligently worked towards their mission statement of creating authentic, heartfelt music that is beautiful, epic and true to them, without chasing any trends. As the story goes, Brady performed at open mics as a singer-songwriter around Utah and often hosted a show at his apartment complex. Sydney attended one of these homey gigs and reached out to jam shortly after. Right off the bat, the musicians recognized they found “a match made in heaven.” After meeting via mutual friends, Megan joined the fold—and eventually married Brady!
The National Parks introduced itself on 2013’s Young, staking out a spot in the Top 15 of iTunes Top Singer/Songwriter Albums Chart. A year later, the filmmakers of Love In The Tetons tapped the band to pen a companion single for the film. Their contribution, “As We Ran,” has not only amassed over 20 million Spotify streams, but the first month of its proceeds benefited the National Parks Conservation Association. Following the release of Until I Live in 2015, Salt Lake City Weekly proclaimed them Utah’s “Band of the Year.” Joined by Cam behind the kit, they unveiled Places in 2017. Securing coveted placements on Spotify’s Pop Chillout, Indie Pop and Morning Commute playlists, the record yielded a series of fan favorites, including “1953” [7.8 million Spotify streams] and “Lights in the City” [2 million Spotify streams]. Along the way, The National Parks packed headline gigs, toured with Andy Grammer and Peter Bjorn and John and performed everywhere from KAABOO Del Mar and SXSW to Snowmass Mammoth Fest and Oyster Ridge Music Festival.
Their 2020 album Wildflower elevated the group and ushered in this new chapter in their growing discography. The album spawned the singles “Waiting For Lightning,” “Wildflower,” ‘Time” and “I Can Feel It” [10 million Spotify streams collectively] along with their own The Wildflower Podcast. The pop-infused “I Can Feel It” not only found success at Triple A radio across the country, but was also prominently featured in Netflix’s hit movie The Wrong Missy.
For A Mix For The End Of The World, the four-piece continues to showcase their sonic evolution along with Brady’s deep and heartfelt songwriting. The 8-track collection, recorded at June Audio in Utah and produced and mixed by their longtime collaborator Scott Wiley, was inspired by love and life.
“I kept having visuals in my mind of life in a small town,” describes Brady. “I pictured old trucks, dirt roads, tape players and actually included a lot of those sounds on the recordings. I wondered what my life would look like at the end of the world. Love, fear, joy, uncertainty, peace…all of it.”
The National Parks first introduced the new collection in July 2021 with the double release of “Headlights” and “Summer Bird.” The folk-tinged “Headlights,” with beautiful harmonies from Brady and Sydney, is a song about escaping chaos to be with the person you love most and trying to shut out the noise of the day for a minute to focus on the beauty of life. The track ended up sparking the inspiration for the rest of the songs featured on part 1 of the album. On “Summer Bird,” warm acoustic strumming and soft vocals soon opens up to a big chantable chorus of “I just want to fly away with you” amidst dreams of brighter days ahead.
“I wrote ‘Summer Bird’ during this past winter,” shares Brady. “In Utah, winter is amazing at first. I love it when the first snow falls and you can feel the magic in the crisp air. Towards the end of winter, it gets old to me. The days are short, the weather is cold and cloudy, and I long for the rebirth of spring and the warmth and adventure of summer. Life can be like that too, so this song is about being with your love and heading for those warmer days.”
The National Parks have perfected their signature style of blending folk/Americana and modern synths and drum sounds with big choruses you can’t help but chant along to on A Mix For The End Of The World as evidenced on the cosmic love song and latest single “UFO.”
“Even though this song isn’t about aliens or UFOs, it was definitely inspired by our government releasing documents and footage of UFO sightings,” Brady reveals. “I started thinking about what that feeling would be like. I used that as a metaphor to describe my experience seeing Megan for the first time. Love at first sight has to be a similar feeling to seeing a UFO, right?”
Adjacent to creating their new music throughout 2020 and 2021, The National Parks have curated their very own Superbloom Music Festival, which they’ll headline. The first-ever event comes to life October 9, 2021 under the stars at Sand Hollow Resort in Utah, near Zion National Park, featuring a stacked bill.
In the end, The National Parks follow a muse of creative freedom to the fruition of a dream and continue to offer glimmers of optimism for our collective future.
“We hope that these new songs can bring a sense of life,” he heaves off. “Although we don’t have the answers to what we are all going through and experiencing, we know that love and joy still exist. This album – both parts of it – is about working through the good and bad and everything in between, so we hope that it helps people to not feel alone in everything they are working through as well.”
American Aquarium
September 28, 2022 7 PM
at The Bluestone
Columbus, Ohio
American Aquarium
“Country music was the voice of the people. It wasn’t always the prettiest voice, but it was an honest voice,” says American Aquarium founder and frontman BJ Barham. “I think that’s where country music has lost its way.” He pauses, then adds, North Carolina accent thick and voice steady: “I operate in the dark shadows of what we don’t want to talk about in the South.”
These days, those shadows are tall and wide, making it hard to recognize a neighbor, family––even yourself. On American Aquarium’s new album Lamentations, Barham shines light on dark American corners with heartbreaking conversations, long looks in the mirror, and empathetic questions, all through songwriting that is clear without sacrificing its poetry, and direct without losing its humanity. “As a songwriter, my number one job is to observe and then translate what I observe into a song, a story, a lesson,” Barham says. “I’d be doing myself and the listener a huge disservice if I didn’t talk about the things I see, which is a country, divided.”
As much as Barham appreciates an indignant protest song or one-sided anthem, he isn’t writing them. Instead, on Lamentations he’s making the political personal, reaching out to humanize folks with opposing viewpoints, and offering dignity instead of demonizing. The result is the strongest writing of Barham’s already stout career. “I’m still very much standing up for what I believe in––I don’t think anyone can question what side of the aisle I stand on,” he says. “But hopefully people listen and at least try to understand why their Sunday School teacher wears a Trump hat.”
Barham has built a fiercely devoted fanbase hundreds of thousands strong, fortified with 15 years of sold-out American Aquarium shows across the country and Europe. The band’s 2018 release Things Change strode confidently into that distinct territory where rock-and-roll and politics meet, prompting Rolling Stone to announce Barham “earns every bit of his Southern Springsteen cred.” In 2019, the American Aquarium lineup also shifted again: Shane Boeker remains on guitar, and bassist Alden Hedges, keys player Rhett Huffman, pedal steel ace Neil Jones, and drummer Ryan Van Fleet joined the group.
A beloved live band known for consistently playing at least 200-250 dates a year, American Aquarium chose to be more selective in 2019, winnowing the schedule to 92 shows. For Barham, sober for six years now, is a dad to a toddler and still happily married, the adjustment was a must. “We’re learning how to balance being in our mid-30s and being rock-and-rollers,” he says. “Being home was the most rewarding experience. It allowed me to be creative and write about things that really matter.”
Lamentations reflects that elevated focus. Barham, who is no longer religious but was raised Southern Baptist, wrote down the word “lamentations” in 2018, and knew it’d be his next album title before he’d written a single song for the record. He felt an anchoring connection to the word itself––defined as “the passionate expression of grief or sorrow”––but also to the Old Testament book in the Bible. “Lamentations is one of the few books in the Bible where there’s this doubt of God––this guy, crying out to the heavens, like, Why? If you love us so much, why did you let Jerusalem fall to Babylon?” Barham says. “I saw a direct correlation between that and a Southern man today who voted for Trump. I wanted to write about a broken America and all the things that lead a human being to doubting something. Every song on this record touches on something a little different.”
Album opener “Me and Mine (Lamentations)” is brooding and stormy, plaintive acoustic guitar undergirding Barham’s weathered vocals. Searching, frustrated, and sad, the song was written from the perspective of a conservative Southern voter who feels unseen, unheard, and short on hope. The broader message is immersive and immediate: Settle in and listen closely. Times are hard, and this record is going to talk about it. Barham, who doesn’t agree with the song’s protagonist politically, imbues him with respect and sympathetic fatigue. “There are so many people who come out nowadays and say, If you voted this way, you’re a racist. You’re a misogynist. You’re a nationalist,” he says. “But that was my teacher, my librarian, my uncle. I know they aren’t bigots. So instead of saying, You’re a bad person because you did this, I want to know why you did this. I want to talk to you about this.”
Upbeat guitar rocker “Dogwood” follows, with a tragic story wrapped up in singalong lines. Barham points to the song and “Luckier You Get,” with its Springsteen vibes and an ear-worm chorus, as two of the album’s more lighthearted moments. “Bright Leaf” is another musical moment ready for a crowd, offering a clear-eyed look at the tobacco farms and industry of Barham’s home through sharp lyrics that thousands will shout-sing right back at him.
Featuring wry pedal steel and a shuffling back beat, “Better South” is an alternative anthem, written and sung by a native Southerner who believes in change. Line after line, “Starts with You” shows off Barham’s self-deprecating wit: “They say you’re only as sick as your secrets / If that’s the truth then, friend, I’m dying / Spent a lifetime salvaging shipwrecks, / Falling so long I thought I was flying.”
Throughout the record, the only victim of Barham’s harsh tongue is himself. Heartbreaking “How Wicked I Was” pleads for narrative omissions when it comes to explaining the past to his little girl. Album highlight “Learned to Lie” cuts just as deep: Barham delivers a gut-wrenching confession over lonely piano. Raw and intimate, its look at how we hurt the ones we love evokes the unblinking candor of 60s and 70s Loretta Lynn––that extreme honesty Barham first valued in country music, and now misses. “That was one of the first songs I played for the boys in the band, and they were like, ‘Are you sure you want to record that?’” Barham says. “It’s a hard song to talk about. It’s a heavy song. For better or worse, I’m going to be real with you live. I’m probably going to make you uncomfortable. And that I think that’s a beautiful part of rock-and-roll.”
“Six Years Come September” is another heartbreaker, masquerading at first as a familiar story before a sobering plot twist. “As a songwriter, that’s the best feeling in the world––ruining someone with lyrics and a well-executed story,” Barham says. He points to album closer “Long Haul” as a frontrunner for his own favorite track. Perhaps the closest the record comes to jubilation, “Long Haul” rolls through three steadfast commitments Barham holds true and dear.
Ultimately, Lamentations is a thrilling portrait of an artist and his band reaching new levels of skill, consciousness, and potential after 20 years in the trenches. Unruly and sincere, Barham emerges as an important American voice––and an unlikely peacemaker. “I’ve had to work really hard to carry water as a songwriter,” he says. “It feels really good to be in my mid-30s, writing songs that I think matter. I think when you listen to this record, something is going to change in you. You’re going to feel something. That’s the most important part of songwriting: making someone feel.
The Cadillac Three
Hillbilly Hypnotize Tour
w/ Ben Chapman
September 30, 2022 7 PM
at The Bluestone
Columbus, Ohio
Spending their formative years playing music together in basements and garages laid the foundation for THE CADILLAC THREE to put their own spin on each new record. They open a time capsule of their musical history together and expand on some of the grooves from COUNTRY FUZZ release with a new offering titled TABASCO & SWEET TEA via Big Machine Records. Dropping the sonic swirl with little warning, the new album is a welcome interruption to the mundane and stress felt around the globe.
“As we finished the last record, we knew we were only tapping the surface with songs like ‘The Jam’ for where we could go next musically and found ourselves inspired to dive into these sounds that we had never explored before as a band,” explains drummer Neil Mason. “We’ve always had a lot of influences, but ultimately found ourselves thinking about what we were listening to in high school — The Meters, Stevie Wonder, Medeski Martin & Wood and John Scofield.”
Lead singer and guitarist Jaren Johnston continues, “this album is a science project … constantly moving in different directions but keeping one cohesive feel throughout. We kind of have this innate thing going after all these years so it’s cool to kind of stretch into some new musical spaces with elements of a DJ set that flows from track to track, but mixed with 80’s Funk vibes and jam-band flow over hardcore Country lyrics.”
TABASCO & SWEET TEA explores hybrid sounds throughout the 11 modern-meets-nostalgia tracks. Connecting with their fans and creating no matter the obstacles, TC3 launched this new project at $3.99 for the first week so it is more accessible during a time when many are not spending as much on music, but need it now more than ever.
“We wouldn’t be where we are without our fans,” shares bassist Kelby Ray. “We lost the ability to tour and know many of our fans have also lost their ability to work consistently this year so we wanted to find a way to provide this album as cost effectively as we could. Our hope is that everyone who wants TABASCO & SWEET TEA can get it without breaking the bank.”
Jaren’s gritty vocals explode over unexpected guitar riffs as Kelby pounds out taut yet voluptuous bass lines mixed Neil’s gnarly, syncopated rhythms. Their boisterous, yet good-natured freewheeling vibe erupts with the title track and caps off the sequence with a calling-card biography, “Sabbath On Cornbread to reinforce the electricity of their live show:
These 3 longhairs born and raised here
Gonna keep on changin’ the game
Sticks and skins, slide and steel
Guitar man 3 hippie hillbillies from Tennessee
Keepin’ it heavy, keepin’ it real
Best damn band in Country, you best believe
You ainʼt never seen nothinʼ like The Cadillac Three
Known across the globe for their unpredictable concerts – equally impressive and amped in a sweaty club or festival main stage – TC3 delivers.
Maybe it’s a sign of the times this project is released now, as playlists reflect listeners finding comfort in old favorites when times are tough. TC3 finds the common ground interweaving traditions of American popular music and proving that new can still feel classic without being derivative yet simultaneously casting a vision for good times ahead.
Black Buffalo Presents
LARRY FLEET
larryfleet.com
The Bluestone
with special guest Megan Moroney
Saturday, October 1st, 2022
Larry Fleet | About
Don’t let Larry Fleet’s humble demeanor fool you: the Chattanooga-based Country singer-songwriter is the real deal, with fans in contemporary heavy-hitters like Jake Owen and living Country legends like Willie Nelson. He’s a thoughtful songwriter with a knack for a one-liner, an ear for a good hook and a powerhouse voice that strikes the perfect balance of soul and twang.
You can hear all this and more on Fleet’s new single “Where I Find God.” Written alongside award-winning songwriter Connie Harrington, “Where I Find God” is a beautifully heartfelt ode to family, fishing and Fleet’s unyielding faith. “Sometimes, whether I’m lookin’ for him or not / That’s where I find God,” Fleet sings, with his soul-drenched twang adding an element of gospel to the track’s stripped-down Country arrangement.
“Where I Find God” has already received an immensely positive response from fans, many of whom have shared their own experiences of faith and finding God. Some fans even count hearing the song itself among their life’s religious experiences, a life-changing phenomenon that gets right at the heart of why Fleet writes songs in the first place.
“I’ve had older people tell me, ‘I found God in 1982,'” Fleet says. “They’re telling their stories. Then other people tell me they fought with addiction. They heard this song and turned their truck around and tried to mend some fences with their family and go to Alcoholics Anonymous. To me, as a songwriter, that’s about as good a compliment that you can get: a song you wrote has changed someone’s life, for the good. I’m so proud of this song.”
Lost Dog Street Band
With The Local Honeys
October 8, 2022 7 PM
at The Bluestone
Columbus, Ohio
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.”
David Nail
Story to Tell Tour
with Tyler Braden
October 12, 2022 7 PM
at The Bluestone
Columbus, Ohio
Monster Energy Outbreak Tour Presents
BLANCO BROWN
The Bluestone
Thursday, October 13, 2022
The Prince Experience
The Bluestone
Friday, October 21, 2022
About:
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
wIth Saxsquatch
October 23, 2022 6 PM
at The Bluestone
Columbus, Ohio
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
www.herecomethemummies.com
www.facebook.com/herecomethemummies
twitter.com/hctmummie
WCOL Presents
Boxer’s Boo Bash
w/ HunterGirl & Noah Thompson
October 27, 2022 8 PM
at The Bluestone
Columbus, Ohio
