Event Date: 04/18/2017   Event Time: 7:00 PM

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122 Riverside Drive , Asheville, NC 28801
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Event Date: 04/19/2017   Event Time: 6:00 PM

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620 Hendersonville Road , Asheville, NC 28803
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Event Date: 04/19/2017   Event Time: 7:00 PM

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TWO-TIME GRAMMY® Award Winners, Cathy Fink & Marcy Marxer celebrate their 45th recording, GET UP & DO RIGHT. They are master musicians with a career spanning over 35 years. Their superb harmonies are backed by instrumental virtuosity on the guitar, five-string banjo, ukulele, mandolin, cello-banjo, and many other instruments. An eclectic folk festival on their own terms, their repertoire ranges from classic country to western swing, gypsy jazz to bluegrass, and old-time string band to contemporary folk including some original gems. Their versatility defies a brief description, perhaps “well rounded Americana” does it best. “As close to flawless folk/bluegrass as it gets.” — Billboard Magazine

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743 Haywood Rd , Asheville, NC 28806
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Event Date: 04/19/2017   Event Time: 9:00 PM

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101 Biltmore Avenue , Asheville, NC 28801
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Event Date: 04/19/2017 - 04/20/2017   Event Time: 9:00 PM

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The music of Steely Dan is a perfect vehicle for Kung Fu. Best described from The Rolling Stone Encyclopedia of Rock And Roll – “Less a band than a concept, Steely Dan was one of the most advanced, successful, and mysterious pop units of the 1970s. Combining pop hooks with jazz harmonies, complicated time changes and cryptic, often highly ironic lyrics, the band sounded like no one else.” Kung Fu’s virtuoso collective of musicians create a fun and exciting action-packed fusion experience. The Steely Dan catalogue will be a unique journey for fans of the Fu. They tested the waters 2 years ago at their annual Toys For Tots Benefit by recreating a full rendition of Steely Dan’s album “The Royal Scam” while inviting original members of the band to join in the performance.

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468 Riverside Drive , Asheville, NC 28801
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Event Date: 04/19/2017   Event Time: 11:59 PM

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Ages 18+

Foxygen and Star Power is the Los Angeles songwriting duo of 24-year-olds Sam France and Jonathan Rado. In May 2011, France and Rado nervously handed off a CD-R of this homemade mini-opus Take the Kids Off Broadway (Jagjaguwar, 2012) to producer and visionary Richard Swift after his performance in a Lower East Side club. The duo, who had just mixed and burned the disc that very night, had been devotees of Swift’s outsider-pop oeuvre since high school, when they first began recording their own pubescent forays into oddball rock n’ roll (At least a dozen records were finished before they graduated high school).

Foxygen left the venue that night unsure whether Swift would truly listen or sling the disc into a dumpster on his way out. You’re reading this right now because Swift did listen. In fact, he fucking flipped for Foxygen’s bugged out, esoteric majesty and called upon them immediately to say as much. Eight months later, Foxygen was holed up for a week-long recording session at Swift’s neo-legendary National Freedom studio, creating what became their breakthrough, We Are the 21st Century Ambassadors of Peace & Magic (Jagjaguwar, 2013), a precocious and cocksure joyride across California psychedelia.

2013 saw the mercurial success of 21st Century, and with it, heightened demands for tour planning, added press days, demands on resources, the sacrifice of personal relationships, and the indefinite delay of recording plans. The quick-fire success made for an altogether turbulent 2013 for the band. Foxygen’s always captivating live performances shifted from eruptive to sometimes frightening — and then, just put on ice altogether. But at the close of 2013, France and Rado found secret sanctuary in their new studio, Dream Star, and holing up in some of LA’s most famous hotels for more recording. Writing music together is what their friendship has always thrived upon. At Dream Star in the northernmost passage of LA’s valley, they reformed as a punk band called Star Power. And the result, the svelte, 82-minute …And Star Power, is a morphing, splice-and-paste journey through soft rock indulgences, psych-ward folk, cartoon fantasia, D&D doomrock, and paranoid bathroom rompers. Foxygen, now expanded into a 9-piece touring machine as Star Power, calls the album “a cinematic, auditory adventure for the speedy freaks, skull krunchers, abductees, and misfits…the radio station you can only hear if you believe.”

foxygentheband.com

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101 Biltmore Avenue , Asheville, NC 28801
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Event Date: 04/20/2017   Event Time: 1:00 PM

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Genre: Funk/Rock Cover: Donation$ Show: 10PM Ages: 21+ The Reality Get ready for a fresh dose of The Reality! This funkadelic trio hails from the sunny shores of Tampa, Florida and has hit the bay area with a new sound that has the masses in a daze, like a hot summer’s day. With music as sweet and juicy as the first bite of one of the bands signature pineapples, pin your ears back and listen to their soul drenched music and see why fans are just begging for another sip! Known for their unique blend of funk, jazz, reggae and rock, the collective trio has brought a fresh and exciting presence to the music scene, always daring to push the limits and break new boundaries. Fans compare us to the classics such as Pink Floyd, and Jimi Hendrix, mixed with modern sounds such as Sublime, Red Hot Chili Peppers, and John Mayer, IF you can wrap your mind around that one. In addition to their wildly innovative original music, The Reality brings their same flair to cover classics such as "50 Ways To Leave Your Lover", "Three Little Birds", and "Little Wing" and modern hits like "Uptown Funk", "Suit and Tie" and "The Walk", making them perfect for your event! Available for weddings and private parties / luncheons as well as festivals and collaborated concerts. Look no further than The Reality for all your musical needs. Curious? Just click play and find out what The Reality is all about. Band Members: Dan Jones- Fueled by Cuban coffee, Florida orange juice, and medicinal herbs, you’ll catch this lead singer/songwriter/guitarist occasionally even sporting a trombone during the shows. Widely known in Ybor City (Tampa’s historic district) as the player to see for a number of reasons. His skills and knowledge of music and his instrumental prowess put him on another level of artistry completely. But beyond that, Dan’s passion for music and his clearly evident love of playing is what you really take home. The way he communicates a variety of emotions and color via sound is truly artistic and inspirational. Caleb Bone- Another rare Florida native, Caleb takes the smooth, melodic bass lines of Flea, Pino Palladino and Victor Wooten, and combines that with classic slap tones made by Les Claypool and Marcus Miller. In addition to his skills on his instrument, he is a 4 time Florida All-State singer. Making him “One of the best double-threats in the touring business” Dan stated. He also went on to say “I am truly blessed to be working with who I whole-heartedly believe are some of the best musicians in the area.” Caleb sings warm and rich harmonies with Dan’s melodies while simultaneously playing extremely intricate and innovative bass lines. Logan Charles III- Hailing from Detroit, Michigan, Logan brings that Motown funk that gives the band its backbone. In a word, Logan Charles III or “LC” is awesome. In several words, this man has some serious chops on the drums, he could literally play all day. In addition to being one of Florida’s favorite drummers to dance to, LC can play very in-depth keyboard solos while keeping the drums going at the same time. “It is hard for me to process when I’m watching him do it live, I almost forget to play sometimes” Caleb stated after a late night studio session. Once you see it live, you’ll understand why. web: http://www.music4pina.com/ vid: https://youtu.be/kcg0xV4v1fE

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55 College Street , Asheville, NC 28801
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Event Date: 04/20/2017   Event Time: 7:00 PM

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WHEN:  Thursday April 20, 2017DOORS: 7pm  |  SHOW: 8pmGENRE:  neo-folkAGES:  all agesSEATING:  seated general admissionTICKETS:  $15 adv. / $18 d.o.s. / $20 VIP (guaranteed seating in 1st three rows!)FACEBOOK EVENTWEB LISTING JOSHUA JAMES: WEBSITEHEAR SOME MUSICSEE A VIDEO “There is a mystic in the mountains high above the Great Salt Lake/ He’s dancin’ in the heaven far below his golden gates/ He’s lookin’ at our cars below/ And laughin’ at our rock & roll,” sings Joshua James on the first lines of “Mystic.”  The singer-songwriter is based in American Fork—where he co-owns Northplatte Records—and pens these songs from his personal spiritual epicenter, Willamette Mountain.  In From the Top of Willamette Mountain, James deals in the currency of mysticism, trading thoughts of life’s repressiveness and his misgivings about organized religion for a search for the holy, a personal quest for transcendence or something similar. He does it openly on this, his third album.

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18 CHURCH STREET , Asheville, NC 28801
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Event Date: 04/20/2017   Event Time: 8:00 PM

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31 Patton Avenue , Asheville, NC 28801
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Event Date: 04/20/2017   Event Time: 9:00 PM

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101 Biltmore Avenue , Asheville, NC 28801
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Event Date: 04/20/2017   Event Time: 9:00 PM

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Genre: Indie/AltCover: $12 ADV // $15 DOS Doors: 9pmAges: 21+ The Hip Abduction Sometimes inspiration strikes from the immersion of living in a far away place. The view of the ocean. The sound of a rainforest at sunrise. The smell of an open-air market. The embrace of the wild human experience. However, maybe the nostalgia for a certain place might be attributed instead to a feeling, or a time, or even a person. Sometimes, inspiration stems from a place that everyone can relate to, but maybe no one’s actually been. This is the music of The Hip Abduction, the vibrant St. Petersburg, FL-based collective that formed over a mutual appreciation for West African and early Jamaican reggae/dub music. The Hip Abduction began through informal jam sessions and quickly coalesced into a sound that attracted national attention. For Gold Under the Glow, the band’s third full album released on March 11, 2016, THA engage an indie pop acumen alongside a highly emotive and roots driven sound. Recorded in Nashville, Gold Under the Glow was produced by Dabney Morris (Wild Cub) who is credited with incorporating synth-pop teeth into the band’s global foundation and summery vibe. It’s a smart blending of world pop and club aesthetics that appeals to both audiences.The Hip Abduction featuring David New (lead vocals, guitar), Chris Powers (bass), Dave Johnson (baritone and tenor sax), Sean Fote (keyboards), Matt Poynter (drums, vocals), John Holt III (kamale ngoni, guitar, vocals), and Pat Klemawesch (kamale ngoni, guitar, vocals) have shared stages with the likes of Grace Potter, Ziggy Marley, Umphrey’s McGee, Thievery Corporation, Matisyahu, 311, Galactic, and Moon Taxi, and has performed at Shaky Knees, FloydFest, Wanee Music Festival, Suwanee Hulaween, Deep Roots Mountain Revival, Sunfest, Orange Blossom Jamboree, Tropical Heatwave Music Festival, The BIG What? and more. Watch out for more festival plays in 2017 including Jam Cruise and Sweetwater 420 Fest as well as coast to coast dates. Fans should also be on the lookout for surf footage and travel photos from this Florida coastline collective. web: http://thehipabduction.com/vid: https://youtu.be/NUVvj29Kac8 Mobley Cutting vocals in the woods behind his college dorm. Mixing in the backseat of a sedan. Sneaking into the music department after hours to teach himself to play new instruments (and sneaking out before the faculty arrived in the morning). From the start, Mobley's work has been marked by solitude, ingenuity, and a drive that could only be called obsessive. Whether you experience his music on record or at one of his live shows (on stage, he's electric), the passion is palpable. Mobley grew up all over the world, from the Spanish Mediterranean to the California coast. Perhaps it's because of this itinerant childhood that he finds it so hard to sit still. Over the last few years, he's composed dozens of pieces for stage and television (with placements on HBO, Fox, and NBC), played 200+ national tour dates (with the likes of Phantogram, JUNGLE, Mutemath, Robert Delong, & Wavves and at festivals like SXSW, CMJ, Savannah Stopover and Float Fest), and recorded (then scrapped) two whole albums in pursuit of the songs that would become his forthcoming full-length debut, Fresh Lies. Mobley wrote, produced, and played every instrument on the album. The music -- which Mobley calls "post-genre pop" -- defies easy classification, drawing liberally (often simultaneously) from an array of musical traditions. He's equally at home on a playlist next to The Weeknd and TV on the Radio alike, while his electronic, dub-dabbling production style calls to mind the intricate work of artists like James Blake and Thom Yorke. This summer and fall, he's touring as a one-man band, singing and playing keys, guitar, bass, drums, and samplers. He's spanning the United States and Mexico in support of his newest EP release, Some Other Country, out now on Violent Films.web: http://mobleywho.com/vid: https://youtu.be/PjD1xH5GyKU

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31 Patton Avenue , Asheville, NC 28801
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Event Date: 04/20/2017   Event Time: 10:00 PM

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Genre:  Reggae Cover:  Donation$ Show:  10PM Ages:  21+ Of Good Nature w/ Crane at The One Stop at Asheville Music HallAVL 420 SHOWOf Good Nature (Charlotte, NC) www.ofgoodnature.comAnthony Crane Music (Atlanta, GA) www.cranemusic.net

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55 College Street , Asheville, NC 28801
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Event Date: 04/21/2017   Event Time: 8:00 PM

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87 Haywood Street , Asheville, NC 28801
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Y&T

Event Date: 04/21/2017   Event Time: 8:00 PM

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Before Mtley Cre, before RATT, even before there was a Metallica, Y&T was slogging away in sweaty rock clubs around America. When the band formed in the early 1970s, little did they know they would set the standard for hard rock bands that trailed. Many of the biggest acts of the '80s became popular opening for headliners Y&Tand cut their teeth on the band, as evidenced by the Y&T mentions in tell-all books by acts such as Metallica and Mtley Cre. Born in Oakland, California, Y&T is one of the San Francisco Bay Area's own innovators of the hard rock sound. World-renowned headliners on their own, the band also remained the most requested support act on the hard rock road, touring with icons Ozzy Osbourne, AC/DC, Aerosmith, Mtley Cre, and more. Whether performing to a festival crowd of fifty-thousand or in an intimate nightclub, Y&T's high-energy set still captivates legions of fans around the globe, proving Y&T's music timeless.Originally formed as Yesterday and Today, the initial powerhouse quartetfeaturing Dave Meniketti (lead guitar/lead vocals), Phil Kennemore (bass), Leonard Haze (drums), and Joey Alves (rhythm guitar)tore through the '70s and '80s with their own brand of hard rock. After two '70s albums on London Records, they shortened their name to Y&T and released eight albums on A&M in the '80s. Two more albums with Geffen Records marked an era of change with Jimmy DeGrasso (Alice Cooper, Suicidal Tendencies, Megadeth) on drums and Stef Burns (Alice Cooper, Berlin, Huey Lewis) on guitar.With a discography of 18 albums and three greatest hits collections, Y&T has sold over four million albums since their 1974 inception. The band received extensive airplay with hits such as Forever, Rescue Me, Mean Streak, and Summertime Girlswhich played in heavy rotation on MTV. Y&T songs have been featured in a multitude of movies and television shows, including Real Genius, Out of Bounds, Baywatch, and Hunter. After five top 100 albums, songs that tipped into the 40s, two Bammie Awards, and many international television appearances, Y&T's hits are still played on VH1 Classic and classic rock radio stations everywhere.In 2010, Y&T recorded their first studio album in 13 years, featuring original members Dave Meniketti and Phil Kennemore, with longtime members John Nymann on guitar and Mike Vanderhule on drums.

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185 Clingman Avenue , Asheville, NC
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Event Date: 04/21/2017   Event Time: 9:00 PM

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38 N. French Broad Ave , Asheville, NC 28801
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Event Date: 04/21/2017   Event Time: 9:00 PM

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101 Biltmore Avenue , Asheville, NC 28801
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Event Date: 04/21/2017   Event Time: 9:00 PM

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WHERE: Asheville Music Hall, 31 Patton Ave, 28801WHEN: Friday April 21, 2017COVER: $15 adv. / $20 d.o.s.DOORS: 9pm | SHOW: 10pmGENRE: Punk Jazz! AGES: 21+WEB LISTING: http://ashevillemusichall.com/scheduleThe Mike Dillon Band:WEBSITE: http://mikedillonvibes.com/HEAR SOME MUSIC: https://soundcloud.com/the-royal-potato-family/sets/mike-dillons-vibesSEE A VIDEO: https://youtu.be/i9IBasYrSyM• 2015 Drummies Artist Awards - Winner Rock/Pop/Hip-Hop Percussionist• 2015 Drummies Artist Awards - Runner up Percussionist of The Year• 2014 Downbeat Critics Choice -- Vibraphone• 2014 Downbeat Readers Poll Winner - Vibraphone• 2012, 2013 and 2014 Downbeat Rising Star How many artists can claim being praised a "punk rock provocateur," "jazz vibraphone visionary" and "percussion virtuoso" in the same sentence? There's only one: Mike Dillon. Whether through his affiliation with artists like Les Claypool, Brave Combo and Ani DiFranco, collaborations such as Garage A Trois, The Dead Kenny Gs and Critters Buggin or bands he's fronted, including Billy Goat and Hairy Apes BMX, the Texas-native has set his own standard for 25 years now.Pulling from an arsenal of musicians Dillon has played with and known over the years, he will be touring with some of the "baddest" musicians on the planet including Claude Coleman Jr. (Ween), Norwood Fisher (Fishbone), Doug Belote (Ernie K. Doe), Andre Chomondeley (Project Object), James SIngleton (James Booker) , Patrick McDevitt (Band Of Outsiders), Johnny Vidacovich (Professor Longhair), JJ Jungle (The Coup), David Butler (American Babies), Brad Houser (Critters Buggin), Robb Kidd (Papa Mali), and many more.Dillon's most recent recording Band of Outsiders was crafted at Studio Center in Miami with the help of co-producers Gary Vandy and Richard Maloney Jr. Vandy is an old school engineer whose work includes over 200 platinum records predominantly in the disco and dance genres. His love of Zappa is what attracted him to Dillon’s work. In the age of pro-tools chicanery, the production is straightforward, capturing Dillon and his band playing live in a room.“Two tours of Mexico and a steady dose of Brazilian music was the jumping off point for these new songs,” explains Dillon. “Add our love for The Melvins, Deerhoof, Bad Brains, Dead Kennedys, Trouble Funk and all things New Orleans and this album surpasses our intention to make the freakiest, most vibrant dance music on the planet.”Lyrically speaking, Mike Dillon draws from his love of Miguel de Cervantes, William Burroughs, Kurt Vonnegut and Robert Anton Wilson to tell stories of New Orleans debauchery mixed with age-old themes of travel, love, self-destruction and greed. Delivered with Dillon’s trademark vocal rasp, the record has the intensity of a Tom Waits-meets-Frank Zappa black comedy. Rumor has it that Dillon lived in the same apartment that Waits shared with Rickie Lee Jones for the past seven years. However, Dillon discounts those rumors: "This apartment has housed dudes from Morning 40 Federation, Ani DiFranco, an old Conga player and a bunch of heroin addicts.”Taken in its entirety, Mike Dillon's Band of Outsiders is a snapshot of four musicians hitting full stride. Having relentlessly toured the country in 2013—both headlining and opening for artists like Fishbone, Clutch, Primus and Galactic—its 13 songs bristle with a group mind, spill over the sides with the visions invoked during countless dead-of-night drives crisscrossing the country in a van and hit their target with a sonic assault only possible from a band that’s played 400-plus shows over the last two years.“People are always trying to figure out how to describe our music. Maybe we should call it New Orleans punk jazz Brazilian math rock? It’s a gumbo of tribal percussion, The Meters, old school hardcore, Brazil, hard bop and anything else that might move us,” concludes Dillon. “But you know, I really don’t care what you call it. We kick out the jams harder than anyone, and we also know when to heed the lessons of The Minutemen's Double Nickels On The Dime and keep things straight to the point. There’s a reason we called the record what we did. We’re the living, breathing definition of a band of outsiders, but together we deliver simple majestic beauty, let’s leave it at that.”amandla:WEBSITE: www.amandlanet.netHEAR SOME MUSIC: https://soundcloud.com/amandlanetSEE A VIDEO: https://youtu.be/-KARe1tu0CcAmandla is the music and group of Claude Coleman Jr., familiarly known as the perversely versatile, original drummer for the group Ween. His 25-year discography stretches across an eclectic array of artists and players throughout the NY/NJ area and beyond.Amandla is CCJ as singer-songwriter. On record he is performing on all instruments, engineering and producing. Live, he is Amandla’s frontman and guitarist. Coleman’s song career began in 1989 with the band Skunk. Signed to TwinTone Records in Minneapolis, MN. Skunk’s second release Laid (1991) featured three Coleman-penned tracks including the slow falsetto burner I Think I Don’t Mind, later re-recorded for debut Amandla release, Falling Alone (2001). Falling Alone was a contextual portrait of Coleman’s influences, jumping categories around alt-rock-soul-folk-psychedelic exploration. Gene Ween sings on the Tyrannosaurs Rex cover, Summer Deep. The second amandla record The Full Catastrophe (2006) took the span of four years in which Coleman became a near-fatal accident survivor, turning crippling injuries around to perform again. The record and his miraculous recovery story profiled by The New York Times and NPR. On Catastrophe, Coleman continued Amandla’s crossing style boundaries, bringing Costello-esque pop and flirting with jungle music moods. It has been reviewed as “a minor masterpiece”. Currently, the drummer, singer-songwriter, multi-instrumentalist, engineer / producer, music teacher, writer, web designer and carpenter has just completed the third record entitled Laughing Hearts, release date Valentine's Day, 2017.

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18 CHURCH STREET , Asheville, NC 28801
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Event Date: 04/22/2017   Event Time: 2:00 PM

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Earth Day Party!!!! If you've never been to Sweeten Creek Brewing, don't wait, it's a super cool outdoor gig that's family and dog friendly.

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1127 Sweeten Creek Road , Asheville, NC 28803
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Event Date: 04/22/2017   Event Time: 2:00 PM

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Salsa Shark will present a concert of Afro Caribbean Jazz featuring Jason DeCristofaro (vibes), Warren Gaughan (piano), Kevin Kehrberg (bass), Ruben Garcia (congas) and Isaac Wells (timbales/percussion). 2 PM - 3 PM, and open to the campus community and public.

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701 Warren Wilson Rd , Asheville, NC 28805
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Event Date: 04/22/2017   Event Time: 6:00 PM

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Join Bri & the Astrotones for some killer powerpop! 6:00-9:00pm

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1078 Tunnel Road , Asheville, NC 28805
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Event Date: 04/22/2017   Event Time: 7:00 PM

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WHERE:  The Altamont Theatre, 18 Church Street, AshevilleWHEN:  Saturday April 22, 2017DOORS: 7pm  |  SHOW: 8pmGENRE:  soul / folk rock / r&bAGES:  all agesSEATING:  seated general admissionTICKETS:  $15 adv. / $18 d.o.s. / $23 VIP (guaranteed seating in 1st three rows!)FACEBOOK EVENTWEB LISTING RYAN MONTBLEAU: WEBSITEHEAR SOME MUSICSEE A VIDEO Ryan Montbleau has been an acclaimed singer, songwriter, and bandleader for more than a decade, but with his new album I Was Just Leaving the New England-based artist has truly arrived. Contemplative and richly emotive, the album offers a glimpse into the often-lonesome life of the relentlessly traveling troubadour, a strikingly single-minded existence too often clouded by the blur of constant motion. Recorded at New Orleans’ Esplanade Studios over four days in January 2016 with producer Anders Osborne and engineer/mixer Mark Howard (known for his work with such icons as Bob Dylan, Tom Waits, Neil Young, and U2), the album marks Montbleau’s first full length release in the wake of a series of seismic personal shifts. Songs like “Bright Side” and the touching title track reveal a uniquely blessed artist who has truly found his voice, his gift for melody and a remarkably open-armed approach. “There’s no part of this record that I am unsure of,” Montbleau says. “All the juice of the last fifteen years is in there. My humanity and my heart are on this record.” Montbleau has been among America’s finest songwriters and performers, earning national attention and a fervent fan following with songs like “75 and Sunny” and his breakthrough cover of Tracy Chapman’s “Fast Car,” the latter a Spotify smash with total streams now in excess of 14 million.  After twelve years on the road Montbleau found himself at a crossroads in 2016.  “Within a very short time, my world got flipped around. My partner was gone, my band of ten years was gone, my friends were all far away.  The one thing I had was a career, because it turns out that was all I had worked on. When the dust settled, I realized I didn’t really have much of a home life.”  “I thought all along that I had been building a home but it turned out I was just leaving.  That’s where the title of the song and the record came from.  So many raw feelings were just aching through me at that point. Eventually they vibrated out through the guitar, through singing.  I had to sing these songs.” An artist’s artist, Montbleau has collaborated with such diverse performers as Martin Sexton, Trombone Shorty, and Galactic. His association with Anders Osborne extends back to 2012 when the New Orleans-based singer/songwriter/guitarist played on Ryan’s Ben Ellman-produced FOR HIGHER alongside such fellow Big Easy icons as Ivan Neville and The Meters’ George Porter, Jr.  Two years later, Anders and Ryan reconnected on the road backstage at a festival.  The seeds were planted for a collaboration. Montbleau’s guitar playing and vocals are both front and center on I Was Just Leaving, with Osborne accompanying on drums, percussion, bass, guitar, and harmonica, each used simply and sparsely for maximum effect. Osborne and Howard built upon that same goal, creating space and capturing rawness by utilizing as many early takes as possible.  “Bright Side,” the album’s first single, is perhaps the song most emblematic of Montbleau’s growth as both a human being and artist. At once finely etched and strikingly direct, “Bright Side” is an ideal distillation of his approach to songwriting, balancing multiple shades of emotional nuance with a fearless, unfettered sentimentality that ultimately leads to a greater truth. I Was Just Leaving marks a singular milestone for Ryan Montbleau, the moment in which this exceptional singer, songwriter, and performer has blossomed into a fully matured artist. “I’ve been planting these seeds for so long and it has all led up to this moment. It feels like finally the fruits of all my efforts are coming out. I’m still working hard but there’s an ease to what’s happening. I have a career that I’ve built, that I’ve earned. Now what’s fun is putting out the best music I can and seeing what happens.” CRIS JACOBS: WEBSITEHEAR SOME MUSICSEE A VIDEO Whether alone with just the guitar and his voice or surrounded by a full band, Cris Jacobs enchants listeners with his inspired, poignant songwriting, virtuous guitar playing, and soulfully transcendent voice. Artists across the board have discovered Jacobs’ musicianship and supple versatility, resulting in an impressive variety of formats in which he has played over the last few years. After a decade, five records, and 200 shows a year as principal songwriter and frontman for beloved Baltimore-based band The Bridge from 2001-2011, Jacobs wasted no time continuing to write music of his own and exploring different configurations for his craft. He released his debut solo album, Songs for Cats and Dogs, in 2012, and continued to perform relentlessly, both with his new band and as a solo artist. In doing so, he quickly garnered the admiration of a variety of predecessors and peers: rock legend Steve Winwood saw Jacobs perform in 2014 and soon invited him to open his national tour. The following year, Sturgill Simpson extended the same invitation. Never limited by genre, Jacobs and New Orleans heavyweight Ivan Neville recorded a collaborative album under the band name “Neville Jacobs”, which will be released in 2017. As an adapting, evolving, versatile musician who has survived on his own merit, Jacobs continues to win over audiences of many tastes, as he brings his characteristic authenticity and soul to every set. Jacobs feels there are common threads across many genres of music, and he has harnessed over a decade of trans-genre exploration on his second solo album, Dust to Gold, released in 2016, from American Showplace Music. The album is a soul-stirring expression of the current chapter of his creative evolution, featuring twelve well-crafted songs that masterfully weave through the sweet and rugged landscape of soul, country, folk, blues, gospel, and rock and roll. Through every turn, one can easily feel Jacobs’ reverence to his influences, but the result is an original, eclectic record with a sound that is authentically his. In a given moment, Jacobs’ guitar playing is gritty, soulful, rich, and lyrical. It’s subtle, yet adventurous. His voice is at once sweet and sultry, with a honeyed whiskey croon that delivers his thoughtful, expressive lyrics.

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18 CHURCH STREET , Asheville, NC 28801
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Event Date: 04/22/2017   Event Time: 7:00 PM

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743 Haywood Rd , Asheville, NC 28806
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Event Date: 04/22/2017   Event Time: 8:00 PM - 8:00 PM

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All three composers on the April concert program had a firm grasp on the art of choosing the perfect instruments for the right musical moments. Solo piano combines perfectly with the orchestra in Chopin’s Piano Concerto No. 2, featuring guest solo pianist Soyeon Kate Lee. Debussy’s Petite Suite and Franck’s Symphony in D minor take advantage of the full palette of the orchestra to beautiful effect. Single tickets for all concerts are $22-62, depending on seating section (reduced youth pricing is available).

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87 Haywood St. , Asheville, NC 28801
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Event Date: 04/22/2017   Event Time: 9:00 PM

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1410 Tunnel Rd , Asheville, NC 28805
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Event Date: 04/22/2017   Event Time: 9:00 PM

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Don't miss Break Science at New Mountain AVL on Earth Day • April 22, 2017! Tickets are on sale now! Raised and influenced by the rhythm and culture of NewYork City, Adam Deitch and Borahm Lee fuse generationsof the city's rich musical legacy with their own deep-rooted connection to hip-hop heritage. Merging theirproduction styles seamlessly, the duo creates arefreshingly original take on electronic music. The liveshow transcends expectations with Lee's seasoned trip-hop/dub/jazz vibes on keyboards and Ableton Live andDeitch's thunderous breakbeat style on drums. Keys / Borahm Lee Drums / Adam Deitch

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38 N. French Broad Ave , Asheville, NC 28801
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Event Date: 04/22/2017   Event Time: 9:00 PM

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106 North Lexington Avenue , Asheville, NC 28801
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Event Date: 04/23/2017   Event Time: All Day

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Ages 18+

We’ve all heard about the iconic vibe of Route 66, the neon lights on Broadway and the ocean air of the Pacific Coast Highway. But there are untold stories emanating from countless blue highways across the land – like Interstate 20, which cuts a 1500-mile swath from South Carolina to Texas, and cuts deep into the spirit of those who’ve spent their lives traversing it.

Lucinda Williams is one of those people, and with the expansive, enveloping The Ghosts of Highway 20, she brings those stories to life – and gives listeners a remarkably vivid look at how the highway has been a literal and figurative backdrop throughout her entire life. The intensely involving 14-song collection may be the most deeply felt, deeply affecting work of Lucinda Williams’ illustrious 35-plus-year career, a career that has been established on a foundation of remarkably personal songs.

“It is literally a map of my life in a lot of ways,” says Lucinda. “We were driving between shows and between cities, and I kept seeing things that brought me back to times and places in my past. Like when we played in Macon, Georgia, a place I lived when I was five or six years old, I got out of the bus and I was transported back to when I saw this street singer, Blind Pearly Brown. It was like nothing had changed. All these things started percolating in my brain, and the songs just came.”

The thread of Highway 20 connects those songs, mirroring the winding route of the road itself, a street that cleaves close to Williams’ childhood homes, the final resting place of her mother, the sites where signposts of her formative years are forever planted. The connection runs deep here, particularly on the dark and moody tones of the album’s poignant title track, on which Lucinda ponders the lives that were lived, the legacies that were left and the imprints that remain on her own soul, conveying those vignettes with a palette that’s nuanced enough to give the listener pause to ponder, but unvarnished enough that her message is impossible to miss.

She cuts closest to the bone with “Dust” (a song built around a poem written by her late father, poet laureate Miller Williams, whose “Compassion” she interpreted on 2014’s Down Where the Spirit Meets the Bone) and “Bitter Memory,” a bracing consideration of times gone by, one that doesn’t sugarcoat things with the usual veneer of nostalgia. Lucinda continues down that path with “Louisiana Story,” a sequel of sorts to her classic

“Baton Rouge” that captures its faded Delta setting with a wizened beauty. “I didn’t want to repeat myself, but I kept coming back to the story I was telling there,” she explains. “I wanted to describe, like a photograph of what I recall back then – the humming of the fans, the tar sticking to the bottom of my feet when I went out to play and other vivid recollections that I’ve never forgotten from that time.”

The sense memory is strong here, in Lucinda’s storytelling, and in the interplay between the musicians, notably guitarist Bill Frisell (who last joined her on Down Where the Spirit Meets the Bone). His intuitive, incisive playing – especially in tandem with fellow guitarist Greg Leisz, adds sunshine and shadow, darkness and light, sometimes within the same passage. That pair underscores the heretofore unheard tenderness that Lucinda brings to the lullaby-gentle “Place in My Heart” and a palpable layer of grit to a surprising version of Bruce Springsteen’s “Factory” (a darkly pensive Darkness on the Edge of Town tale about “Men [who] walk through these gates with death in their eyes,” an image that fits seamlessly into the album’s hyper-real depictions of life).

“I know people throw the word around a lot, but this is one of the most organic things I’ve ever worked on,” says Greg Leisz, who co-produced and played guitar on the album. “There aren’t any overdubs, there’s no sweetening, it was the musicians getting into a headspace and bringing the songs to life. We were ecstatic to see how the whole thing came together, how [Lucinda] reacted to seeing the process unfold. It was a one-of-a-kind experience.”

Lucinda Williams has been maneuvering down a path all her own for more than three decades now, emerging from Lake Charles, Louisiana, where her iconoclastic upbringing helped her forge the stunning Lucinda Williams (aka, the Rough Trade album). Somehow, that milestone 1988 set eventually disappeared from shelves, but was reissued 25 years later, as a deluxe edition that garnered unanimous acclaim — including Jim Farber of New York’s Daily News hailing it by calling it “A perfect work. There’s not a chord, lyric, beat or inflection that doesn’t pull at the heart or make it soar.”

For much of the ‘90s, Lucinda moved around the country, turning out work that won immense respect inside the industry – as borne out by the Grammy afforded Mary-Chapin Carpenter’s interpretation of Williams’ “Passionate Kisses.” While her recorded output was sparse for a time, the work that did was invariably hailed for its indelible impressionism – like 1998’s Car Wheels on a Gravel Road, which notched her a second Grammy Award. Over the next decade, she crafted such classic sets as West (2007), and Blessed (2011), which the Los Angeles Times dubbed “a dynamic, human, album, one that’s easy to fall in love with.”

Lucinda credits the injection of vitality and passion that emerged in part to Tom Overby, her partner in both life and music, who’s acted as both a sounding board and collaborator, contributing production ideas and offering encouragement to forge forward in directions that she might not have otherwise explored. That creative connection has grown increasingly electric over the years, as borne out by 2014’s Down Where the Spirit Meets the Bone, which Blurt’s Fred Mills referred to as “A snapshot—or feature-length film, take your pick – of a woman fully renewed and at the height of her creative powers.” The album won the 2015 Americana Music Association Award for Album of the Year.

The Ghosts of Highway 20, which has its roots in the sessions that produced that last outing, takes things even further. Williams stretches fearlessly here, experimenting with jazzy vocal phrasing that’s reminiscent of Van Morrison’s more adventurous offerings, and giving full voice to her literary side – which has its roots in childhood encounters with Flannery O’Connor (who her late father called his “greatest teacher”). The most dramatic example of that freewheeling spirit arrives at the close of the album – in the form of the 13-minute “Faith and Grace,” a churning groove powered by the drumming of Jamaican legend Carlton “Santa” Davis (best known for his work with the late Peter Tosh) and Jamaican hand drummer Ras Michael, whose haunting vocals add to the track’s intensity.

“That song does sum up what the album is all about for me,” says Williams. “It isn’t a jam, it’s a groove, and I just got into the room with those guys and went off. I had no idea what I was going to do, but I went with it, we all went with it, and it felt so spiritual, so real. It surpasses anything I’ve ever done, I think – and it makes me really excited about where I could take things in the future.”

lucindawilliams.com

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101 Biltmore Avenue , Asheville, NC 28801
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Event Date: 04/23/2017   Event Time: 6:00 PM

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WHEN:  Sunday April 23, 2017DOORS: 6pm  |  SHOW: 7pmGENRE:  indie-folkAGES:  all agesSEATING:  seated general admissionTICKETS:  $22 adv. / $25 d.o.s. / $35 VIP (guaranteed seating in 1st three rows!)FACEBOOK EVENTWEB LISTING Noah & Abby Gundersen: WEBSITEHEAR SOME MUSICSEE A VIDEO For Noah Gundersen, the past few years have brought about immense growth and change, both as an artist and as a young man grappling with issues of identity and independence. It should come as little surprise, then, that his stunning new album, ‘Carry The Ghost,’ is so heavily influenced by existential philosophy. What’s so striking, though, is hearing a 25-year-old articulate such weighty themes, packaging them into heartbreakingly gorgeous melodies with a plainspoken language that cuts to the quick upon first listen. Then again, Noah Gundersen has never aimed for ordinary.Though only a little more than a year has passed since the 2014 release of ‘Ledges,’ ‘Carry The Ghost’ finds an older, more sophisticated Gundersen attempting the difficult work of unraveling our purpose here, searching for answers about the nature of man and the meaning of our relationships. Gundersen came to an understanding of himself as the sum of his experiences, a view he embraces as a positive one and which led him to delve into the works of existentialist writers and philosophers like Ortega. For Gundersen, the personal history that shapes each and every one of us is the titular ghost, and it’s the thread that ties the entire record together.The album’s more ambitious scale showcases a natural evolution following the success of ‘Ledges,’ which earned raves everywhere from NPR’s World Café to CBS Saturday Morning. Hailed as a “powerful debut” by SPIN, the record delivered on the promise of a string of previous EPs, which poetically tackled issues of faith and doubt and loss and desire as Gundersen transitioned into adulthood. It earned him a devoted national fan base, with many introduced to his music through placements on popular television series like ‘Sons of Anarchy,’ where his introspective and brooding songs proved to be an invaluable piece of the storytelling.With ‘Carry The Ghost,’ Gundersen once again looked inward to find inspiration. “This album grew out of a desire to know myself, to know how I was supposed to live,” he explains. “And in that process, I realized that maybe there is no ‘supposed to be.’ The concept of ‘Carry The Ghost’ is that we’re made by our experiences and to accept that instead of fighting it. The last several years have been a process of accepting things as they are and to not see them as so black and white or right or wrong, to accept that we’re not made to be a certain way, but that we are involved in an ongoing process of becoming.”Recorded at Seattle’s Litho Studio, ‘Carry The Ghost’ explores issues of self-discovery and existentialism with an erudite sophistication across 13 magnificent tracks. Collaborating more than ever before with his touring band—which includes his sister Abby and brother Jonathan—Gundersen set out to push boundaries and confound expectations, experimenting with tone and structure and creating rich sonic textures that ebb and flow beneath his stirring, solemn voice.The album opens with “Slow Dancer,” a haunting piano meditation on the anger and frustration that can often be a part of the process of healing from a broken heart. “Light me up again if it makes you feel free,” he sings. Dramatic as it can be, this is not an album about conflict, but rather acceptance and understanding. “Why try and fix it?” he asks on “The Difference.” “Maybe you were made this way / Maybe the pieces were intentionally different.” Later in the album, he strives to “understand the space between the man and the mirror,” and on “Show Me The Light,” he looks to his first love and recognizes, “You were the worst and the best thing that happened to me.”“With ‘Show Me The Light’ in particular, there’s a dualism that shaped me and I’m ultimately grateful for, even though it was painful,” says Gundersen. “There are good things to be taken from most bad things. Again, that’s the idea of embracing our history.”“There’s a social and religious tendency to see ourselves as inherently broken and in need of fixing,” he continues, “and this is me challenging that idea, saying, ‘Maybe we were made this way and maybe we are not actually broken and maybe it’s okay that we don’t have the answers.’”While Biblical references have frequently played a role in Gundersen’s songwriting, he casts off his last subconscious bonds to religion in “Empty From The Start,” which plays out as something of an existentialist manifesto. “This is all we have / This is all we are / Blood and bones no holy ghost / Empty from the start,” he sings. But rather than leading him to embrace nihilism, the revelation causes Gundersen to find more meaning than ever in humankind, and brings out a new degree of selflessness, as he concludes, “The only thing worth loving more than me is loving you.”“If we are ultimately alone and there is no God and no one will ever truly know what’s going on inside of us, I think the most valuable thing we can do is to at least attempt to know someone,” he explains. “And that’s what I think love is, whether it’s romantic love or familial or simply friendship or companionship. To make someone else feel slightly less alone, and in that process become slightly less alone yourself, that to me seems like one of the few truly valuable things that we can do in this life.”The concepts of value and meaning are clearly ones that occupied much of Gundersen’s consciousness during the writing of the album. He tackles the notions on “Selfish Art,” asking, “Am I giving all that I can give? Am I earning the right to live?”“I think that’s a question that I’ve come to terms with more recently,” he says. “I realized while writing these songs that so much of what I do in life as a professional artist, the idea of getting paid to talk about your feelings, is inherently selfish and narcissistic. While I do believe in the transformative nature of art, I have to be conscious of not becoming self-obsessed, which can come so easily.”It’s a difficult balance, but perhaps the greatest triumph of ‘Carry The Ghost’ is that Gundersen pulls it off with a seemingly effortless refinement. This is the sound of a songwriter looking inward to look outward, accepting his limitations to liberate himself. It’s the sound of an artist pushing himself mentally and musically to understand his place in the world and seize control of it, and in doing so, illuminating a portrait in which others may see themselves. If Ortega is to be believed, ‘Carry The Ghost’ is the sum sound of Noah Gundersen’s past, but it’s also nothing short of a thrilling preview of his future.

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18 CHURCH STREET , Asheville, NC 28801
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Event Date: 04/23/2017   Event Time: 7:00 PM

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$15 Longtime Asheville favorite and "Celtic guitar god" Robin Bullock back for his “Homecoming”concert with acoustic guitar, mandolin and cittern. 5PM Door :: 7:00PM Show General Admission Seated Lounge Show :: Limited Tables Available with Dinner Reservation otherwise seating is first come first serve. Only 50 tickets will be sold to this concert. (Call 828-575-2737 for dinner reservations)

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743 Haywood Rd , Asheville, NC 28806
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Event Date: 04/23/2017   Event Time: 9:00 PM

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701 Haywood Road , Asheville, NC 28806
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