Prices do not include shipping and fees. 2-Day tickets are shipped as ONE wristband and are only valid for one attendee.
Prices do not include shipping and fees. 2-Day GA+ tickets are shipped as ONE wristband and are only valid for one attendee.
Prices do not include shipping and fees. 2-Day tickets are shipped as ONE wristband and are only valid for one attendee.
There are some things that don’t need to be overcomplicated, and a Black Keys album is one of them. For more than twenty years, childhood friends Dan Auerbach and Patrick Carney have come together in settings ranging from musty midwestern cement basements to expensive Hollywood multitrack facilities to the kind of tasty custom-built space where their remarkable new album, Dropout Boogie, was recorded, and there has been one constant: When these two musicians get in a room together with no distractions besides their instruments, the songs instantly emerge.
We’re talking about going in with nothing written and leaving ten days later with a nearly finished album, as with Dropout Boogie. Recorded last year at Auerbach’s Nashville studio, Easy Eye Sound, it is the best execution yet of all of The Black Keys’ finest instincts: a ten-track testament to the enduring power of their signature brand of elemental blues rock. “It was pretty effortless.” says Auerbach. “We didn’t talk about it ahead of time. We were living in the moment, playing music, and going with our gut the whole time. That’s always been the beauty of the thing Pat and I do. It’s instant.”
Whether it’s the electrifying jolt of lead single “Wild Child,” the guttural stomp of “It Ain’t Over,” or the hypnotic blues groove of “Good Love (feat. Billy F Gibbons),” Dropout Boogie exudes that same sense of ease, and the confidence to mix new ideas with their classic impulses. “Dan and I never have a preconceived notion of what we want to do,” says Carney. “But I know that both of us felt like Delta Kream hit a reset button for us. We were so proud of it and excited by it, and we had made it in just two days. Going into Dropout Boogie, we had it on our minds that this shouldn’t be difficult. I mean, it shouldn’t be too easy, either. But it shouldn’t be difficult. And the thing that was different this time was that when we ran into difficulty with a song, we asked for help.”
It may be pure coincidence that Dropout Boogie’s release comes one day before the twentieth anniversary of their debut album, The Big Come Up, but the symbolism isn’t lost on Carney and Auerbach, who cherish their history together. Even the title of the album is a celebration of their roots: “The title Dropout Boogie comes from a track on Captain Beefheart’s Safe As Milk. That was one of the first albums Dan and I bonded over—it was the first record that we were both into that nobody else we knew was into.”
Reflecting on Dropout Boogie’s connection to their early days, Auerbach says: “I don’t get back to Akron much. But when I sit down and play with Pat, I’m instantly transported to a basement in Akron. And it’s a really good feeling. It’s the natural chemistry Pat and I have. Being in a band this long is a testament to that. It was a real gift that we were given.” Carney agrees: “After twenty years of making music together, we’ve made an album that we think is one of our best and we had more fun making it than any of the others. We’ve each gone through our shit, but none of the other stuff matters. I feel so detached from anything but the music.”
Recently, those good-time bootscooters known as Lord Huron booked the live room in Whispering Pines for a recordin’ spell. Those boys know what they’re doin’, having made a few records with us. But the live room, this was a first, If you’ve ever recorded at the Pines, then you know nothing’ is off limits. Guitars, cymbals, pianos, pedal steel, mandolins, microphones, saxophones – I was glad to see their hands on all of it. I even heard ‘em talk about recordin’ a gigantic string and woodwind orchestra in some dang place like Sweden.
The boys filled the air – and my own soul – with those tales of hard luck, heartbreak and redemption, as if they had become conduits for the spirits of the room and were usin’ them to tap into that cosmic eternal. It was like some long, lost dream come to life, a forgotten classic from a parallel dimension, the echo of a memory that wasn’t mine. But the feelin’ was real. I must have drifted off in a cosmic slumber with the tunes janglin’ heavy and happy in my heart. When I woke, the light from the next day was easin’ into the Pines and I was alone. But somethin’ caught my eye: a hand-scratched note bound to a faded vinyl record called “Long Lost.” I brushed off the dust of the cover and saw that the artist was none other than Lord Huron. Say Tubbs, the note read. Time washes away what man creates but “Long Lost” might convince you that a note can live on. Be good now. And just like that, they were gone.”
Stand for Myself is the anthemic new album from Yola. Produced by Dan Auerbach, the record is a timeless masterpiece marking an idiosyncratic sonic shift, which will defy all expectation. A sophisticated and diverse sonic mix of symphonic soul and classic pop, tracing an expansive musical thread to Yola’s most eclectic musical inspirations. Yola’s inimitable vocals share nuanced stories of allyship, black feminine strength through vulnerability, collective awakening and loving connection from the sexual to the social. Yola declares that it is only when we stand for ourselves, and acknowledge our complexity, that we can be truly alive. For Yola, living is more than merely surviving.
War Hippies – the country music duo and lifestyle brand from USMC and U.S. Army combat veterans Scooter Brown and Donnie Reis – arrived on the scene in 2022 with a bang and have already garnered widespread critical acclaim for their genuine songwriting and stellar live performances.
With a combined 25 years of touring experience and more than 30 million streams, neither is a stranger to musical success. An award-winning songwriter, Brown has collected numerous industry accolades and toured extensively with Charlie Daniels, Travis Tritt, the Marshall Tucker Band, Whiskey Myers and others, while Reis is a world-renowned violinist who has spent years on the road playing violin/fiddle, keys and guitars and written and recorded hit songs for a variety of artists as well as film and TV projects.
The pair’s throwback country feel, unique stories and positive message resonates with both fans and fellow artists alike – Randy Travis joined War Hippies on stage for their debut headlining performance and Travis Tritt, along with Chris Janson, added the duo to their 2022 ‘Can’t Miss Tour’ months before War Hippies even released their first single. On tap for 2023 is new music and more shows, all while War Hippies continue their advocacy work supporting fellow veterans and military families.
Donnie Reis is a decorated US Army Combat Veteran who served with the 216th Engineer Battalion under the 1st Infantry Division during OIF from 2004-2005. He was a prodigy violinist who gave up his full scholarship to Miami University to join the United States Army in 2001.
Some fourteen years ago, a few young men from London formed a band. It was a happy accident, with nothing unusual about how they formed; shared musical interests, an interest to both make and perform music whatever the occasion, and this comparatively unique passion for community and collaboration. They called their band Mumford & Sons, and have jokingly regretted it ever since. You can’t get everything right.
But there was plenty they did get right. The live show for one. Stood in formation across the front of the stage, like a solid back four that nobody’s finding gaps in, they clasped those instruments like their lives depended on it. Leaving their hearts up on those stages, and having won the hearts of all those in the crowd, the growing fervour around Mumford & Sons became inescapable.
Breathe in, let’s go: Number 1 albums around the world. Grammy Awards. BRIT Awards. Ivor Novello Awards. Q Awards. Billboard Awards. Sold out arena tours. A debut US stadium tour. Festival headline slots. Bob Dylan’s backing band. Backed by Bob Dylan. John Fogerty’s backing band. Backed by John Fogerty. Sharing riffs with Tom Morello. Adventures with Baaba Maal. Trips to Senegal. South Africa. Europe. America. South America. Japan. Australia. New Zealand. Asia. Gentlemen of the Road; their own community-minded, self-curated festivals. Wilder Mind. Babel. Sigh No More. Memories. A massive, massive success. Breathe out. Decade 1. Tick.
In 2018, Mumford & Sons released their substantial fourth album, Delta. Helmed by producer Paul Epworth, it’s a record finding Mumford & Sons at their most adventurous. Men now, with responsibilities far removed from the day job, but men who feel at their most comfortable with who they’d become. In a studio. On the road. Making music. Collaborating. Trying different things. Leaning on their strengths. Brothers. United.
Producer/songwriter/performer Maggie Rogers’ new album Surrender is available now. Released in July of 2022 to widespread critical acclaim, the album follows Rogers’ 2019 Capitol Records debut Heard It In A Past Life, which found tremendous success debuting at No. 2 on the Billboard 200 and landing Rogers Best New Artist GRAMMY® Award nomination.
A mesmerizing live act, Maggie has built a global fan base headlining sold out tours on both sides of the Atlantic and performing show-stealing festival sets across the US and throughout the UK and Europe. These shows, equal parts euphoric as they are intimate (despite ever increasing room size), have become one of Rogers’ strongest calling cards. With over one billion global streams to date, Maggie’s second LP Surrender is out now, and this year promises to be one of her most thrilling yet.
New York. London. LA. Firebrand. Punk. Renegade. Bold-faced icon. Startling songwriter. Grammy nominee. Pop sensation. Academy of Country Music and Country Music Association Award winner. Record setter. Brash live force. Brazen recording artist. Spider monkey on a tear. What if the story began with a banjo? With a residency trying to figure out writing songs?
Perhaps a high gloss, but busted life and ultimately a secessionist raising in Jackson, Ohio? No wonder Elle King is hotter than a pepper sprout. Even more than ZFG attitude, there’s the forthright attack on a life lived frayed at the edges and pulling at the scenes. Sure, she had famous parents, but when it gets real for King, it all happens with her Maw-Maw and Paw-Paw in a scrappy Southern Ohio town that puts the “just” in getting by.
“Home isn’t a longitude, latitude or a place,” King begins, explaining what anchors the energetic songwriter. “It’s the fucking people. My grandfather was a carpenter who had a shed, where he always played country music. PawPaw always had a truck, some kind of Ford Ranger – and he had dogs that are mongrel dogs, typically used for hunting; they lived outside and barked their heads off.
With one foot in the real world and the other in a charmed dimension of his own making, Amos Lee creates the rare kind of music that’s emotionally raw yet touched with a certain magical quality. On his eighth album Dreamland, the Philadelphia-born singer/songwriter intimately documents his real-world struggles (alienation, anxiety, loneliness, despair), an outpouring born from deliberate and often painful self-examination. “For most of my life I’ve walked into rooms thinking, ‘I don’t belong here,’” says Lee. “I’ve come to the realization that I’m too comfortable as an isolated person, and I want to reach out more. This record came from questioning my connections to other people, to myself, to my past and to the future.”
In the spirit of fostering connection, Lee made Dreamland in close collaboration with L.A.-based producer Christian “Leggy” Langdon (Banks, Meg Myers). “I met with Leggy, who I really didn’t know anything about, and before we even started to work we had a very open and vulnerable conversation about what was going on in our lives,” he recalls. “So much of what I do is solitary work, and it felt good to find someone I could connect with—sort of like, ‘I’m a lonely kid, and I wanna play.’” Thanks to that palpable sense of playfulness, Dreamland embodies an unpredictable and endlessly imaginative sound—a prime showcase for Lee’s warmly commanding voice and soul-baring songwriting.
“No one escapes the marks left behind when it comes to love or the absence of it,” says singer-songwriter S.G. Goodman, describing the inspiration behind her sophomore album Teeth Marks. “Not only are we the ones who bear its indentations, but we’re also the ones responsible for placing them on ourselves and others.”
When the Kentucky native released her debut album, Old Time Feeling, she was rightly coined an “untamed rock n roll truth-teller” by Rolling Stone. The roots-inflected rock n’ roll record saw Goodman lending her gritty, haunting vocals to narrate the dual perspectives of her upbringing as the daughter of a crop farmer, and a queer woman coming out in a rural town.
Now with Teeth Marks, co-produced by Drew Vandenberg (Faye Webster, Drive-By Truckers, Of Montreal) in Athens, Georgia, she picks up the threads of Old Time Feeling. But where her critically acclaimed, Jim James-produced debut zeroed in on the South, reframing misconceptions in slough water-soaked tones, her latest album pulses with downtown Velvet Underground electricity, shifting its focus inward – though never losing Goodman’s searing and universal point of view. Teeth Marks is what you might get if Flannery O’Connor and Lou Reed went on a road trip.
Drawing influences from the aforementioned Velvets, as well as Pavement, Karen Dalton, and Chad VanGaalen, Goodman brings 11 powerful vignettes to life, with a sound that ventures deeper into indie rock and punk territory than she ever has before. Though Teeth Marks is a love album, Goodman doesn’t aim her focus on romantic relationships alone. Instead, she analyzes the way love between communities, families, and even one’s self can be influenced by trauma that lingers in the body. Teeth Marks is about what love actually is, love’s psychological and physical imprint, its light, and its darkness. It’s a record about the love we have or don’t have for each other, and perhaps, more significantly, the love we have or don’t have for ourselves.