King Mackerel & the Blues are Running
This is a seated show The musicalKing Mackerel & The Blues Are Running is a long-running and beloved theatrical performance of music and stories about fishing and life along the Carolina coastline. Called “a pure salt watered delight” by the late Clive Barnes, New York Post theater critic, King Mackerel is full of tall tales and rollicking songs told by The Coastal Cohorts–a trio of good-ole boys who happen to be staging a benefit concert to save the Corncake Inlet Inn. The lively cast of fishermen-musicians sings up a storm, tells fish stories, ghost stories, and relates accounts of first loves and ones that got away. The Coastal Cohorts are working to protect North Carolina’s coast—and beyond!—by supporting The Nature Conservancy, and you can, too! Please consider adding a donation at checkout. 100% of donations will go directly to TNC’s North Carolina chapter. Productions and personnel The musical, written and conceived by Bland Simpson and Jim Wann with help from Don Dixon and Jerry Leath Mills, has had many productions around the Carolinas, up and down the East Coast, and from Atlanta to Indianapolis to Calgary in Canada. The original line-up of Coastal Cohorts has carried the show from Key West to Martha’s Vineyard over King Mackerel’s 40-year run. Those players include Don Dixon, bassist, singer-songwriter and renowned record producer of such musical groups as REM, the Smithereens, Marti Jones, Hootie & the Blowfish and more; Bland Simpson, pianist, of the Red Clay Ramblers and Kenan Distinguished Professor of English & Creative Writing at the University of North Carolina; and Jim Wann, guitarist, principal composer-lyricist of Pump Boys & Dinettes, the Broadway hit that was a Tony and Drama Desk Nominee for Best Broadway Musical and winner of the Olivier Award in the U.K. HistoryKing Mackerel opened in 1985 at a westside Chapel Hill club called Rhythm Alley (a club occupying a former location of Cat’s Cradle) and has also had successful runs Off-Off-Broadway at the Laurie Beechman Theatre in New York (in 1995 and on numerous other occasions), and at the Kennedy Center in Washington, D.C. (1996). The original Cohorts continue to play live shows, so check back here for dates. Website
King Mackerel & the Blues are Running
This is a seated show The musicalKing Mackerel & The Blues Are Running is a long-running and beloved theatrical performance of music and stories about fishing and life along the Carolina coastline. Called “a pure salt watered delight” by the late Clive Barnes, New York Post theater critic, King Mackerel is full of tall tales and rollicking songs told by The Coastal Cohorts–a trio of good-ole boys who happen to be staging a benefit concert to save the Corncake Inlet Inn. The lively cast of fishermen-musicians sings up a storm, tells fish stories, ghost stories, and relates accounts of first loves and ones that got away. The Coastal Cohorts are working to protect North Carolina’s coast—and beyond!—by supporting The Nature Conservancy, and you can, too! Please consider adding a donation at checkout. 100% of donations will go directly to TNC’s North Carolina chapter. Productions and personnel The musical, written and conceived by Bland Simpson and Jim Wann with help from Don Dixon and Jerry Leath Mills, has had many productions around the Carolinas, up and down the East Coast, and from Atlanta to Indianapolis to Calgary in Canada. The original line-up of Coastal Cohorts has carried the show from Key West to Martha’s Vineyard over King Mackerel’s 40-year run. Those players include Don Dixon, bassist, singer-songwriter and renowned record producer of such musical groups as REM, the Smithereens, Marti Jones, Hootie & the Blowfish and more; Bland Simpson, pianist, of the Red Clay Ramblers and Kenan Distinguished Professor of English & Creative Writing at the University of North Carolina; and Jim Wann, guitarist, principal composer-lyricist of Pump Boys & Dinettes, the Broadway hit that was a Tony and Drama Desk Nominee for Best Broadway Musical and winner of the Olivier Award in the U.K. HistoryKing Mackerel opened in 1985 at a westside Chapel Hill club called Rhythm Alley (a club occupying a former location of Cat’s Cradle) and has also had successful runs Off-Off-Broadway at the Laurie Beechman Theatre in New York (in 1995 and on numerous other occasions), and at the Kennedy Center in Washington, D.C. (1996). The original Cohorts continue to play live shows, so check back here for dates. Website
Magnolia & Johnson Electric Co.
Dante High
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chokecherry
San Francisco’s dreamy chokecherry — comprised of vocalist/guitarist Izzie Clark and vocalist/bassist E. Scarlett Levinson — are back with a gorgeous new single. Watch the video for “Goldmine,” directed by Jack Boston, here. This song almost appeared on the band’s Messy Star EP, released last fall. But something in that moment told chokecherry to hold on to the song. It was ultimately a smart choice, as the song took further shape in seamless fashion when the band returned to the studio with producer Zach Tuch in January. “Goldmine” is a chokecherry breakup anthem… but with a twist. “It is completely resolute in the idea that things will never be the same again, playing with modern riffs and brooding harmonies against the backdrop of our youthful inspirations,” says Levinson.” It is reminiscing about a time that no longer exists, and the brutal challenges we find along the path to letting go of something we once cherished.” It’s a dreamy, breathy-whisper lovesick anthem with a Wes Anderson-like atmosphere, with the occasional break of a symbol ting and crash. Allow the whimsy of the chorus to envelope you and turn your living room, your bedroom, or wherever you may be into a space where the sun sets over crashing waves. Each instrument moves delicately but with purpose, like a time capsule to the best of the ’90s and ’00s. The song was mixed by Chris Coady (DIIV, Yeah Yeah Yeahs, Future Islands, Yung Lean). “I drew upon a recent heartbreak to write some of the lyrics I sing in ‘Goldmine,” says Clark. “It felt potent and fresh — getting into the studio right away helped me work through some of the emotional disarray I was feeling. The upbeat guitar riff acts as an optimistic bookend, a glimmer of hope against the heartache. The song also explores stages of grief. The bridge is a desperate bargain — ‘If it’s too heavy, we can dumb it down’ — can’t we run back to what’s familiar, even if it comes with gut-wrenching baggage? The song is colored with an almost naive longing for a person (or feeling) you don’t want to let go of yet.” Levinson concurs, “My hope is that people who listen feel the tangible nostalgia and know they aren’t alone in whatever loss they’re experiencing; it is a collective sorrow. I feel endless heartbreak over parts of my past that no longer live in my present, and Goldmine helps me slip into the rose-colored reminiscence of those days. The title lyrics ‘Goldmine, tastes just like a fire’ allude to the idea that the most beautiful things can burn you, but the chorus is a simple confession of still missing and longing for that time (no matter how imperfect). We’ve all been there.” Regarding the video itself, director Boston said, “It was important that every decision we made had motivation, no matter how abstract. You can watch it and just enjoy the vibe, but there’s intention behind all of it. It’s a breakup song; breakups come with a spectrum of emotion. I was also drawn to the idea that the physical location of an intense breakup becomes emotionally radioactive — like Chernobyl or something — and leaves a kind of residue in the air.” Website | Facebook | Instagram
The Brudi Brothers
Mom+Pop Music recording artist, beloved musicians, songwriters, and poets, The Brudi Brothers, today announce a fall tour including headlining shows and cities in support of Wyatt Flores and 49 Winchester and release a live cover of one of the most mysterious folk songs ever written, “House of the Rising Sun”. Originally a traditional folk ballad dating back to the 19th century, “House of the Rising Sun” has been recorded in many forms — from early Appalachian versions in the 1930s, to Bob Dylan’s acoustic interpretation, to The Animals’ 1964 arrangement that reached audiences worldwide. The Brudi Brothers’ version draws on this history while adding their own interpretation. When introducing the song on tour, the Brudi’s give respect and honor to the song: ”So Lead Belly recorded this one with his wife, He’s our favorite and then Dave Van Ronk copied the song…then Bob Dylan copied him…and Bob Dylan got copied by…The Animals and so he couldn’t do it after that so it’s been stolen so we’re stealing it now.” “This song has always resonated with us—it’s one of those pieces that carries the weight of history and heartache,” said Johannes, “It is a song full of mystery but also so accessible. We recorded it live in Denver, Colorado, honoring the song’s legacy while making it our own.” The Brudi Brothers fall multi-city tour starts in their hometown of Seattle on September 3, opening for Wyatt Flores and then hitting many US cities including Sacramento, Chicago, Atlanta, Austin and New Orleans, among many others. They are hosting a fanclub presale on Tuesday morning using the code MOTHERLAND with the general onsale happening on Friday, 8/22. The Brudi Brothers signed with Mom+Pop, and their viral song, “Me More Cowboy Than You,” a quirky and cheeky track, amassed colossal attention with sudden virality across social platforms, including TikTok, Instagram, YouTube, Spotify, and Apple Music, with over 1.4 billion views and 60 million streams. On “Me More Cowboy Than You,” the irreverent lyrics poked fun at the “cowboy craze” that is sweeping pop culture, a sentiment that resonates with many including this verse: “The boys and girls are acting real strange, pretending they’re welders and cowboys and such, buying old work gear from the exchange, but you can tell their hands don’t do very much, Saying me me me me me more cowboy than you!” The Brudi Brothers have amassed loyal fans who come to see them play live throughout the Pacific Northwest and California. The Brudi Brothers finished their summer tour opening for Grammy Award-winning roots artist, Sierra Ferrell. YouTube | Instagram | Bandcamp | Facebook | Spotify
Don Was and the Pan-Detroit Ensemble – “Blues For Allah” 50th Anniversary Show
Music has always loomed large in the life of Don Was. Born in Detroit in 1952, he has enjoyed a multi-faceted career as a musician, record producer, music director, film composer, documentary filmmaker, and radio host. Since 2011, he has also served as President of America’s venerated jazz label, Blue Note Records. As a record producer, he has won six Grammy Awards, including Album of the Year in 1989 for Bonnie Raitt’s Nick of Time and Producer of the Year in 1994. Albums he has produced have sold close to 100 million copies for a wide array of artists such as The Rolling Stones, Bob Dylan, Willie Nelson, John Mayer, Ringo Starr, Wayne Shorter, The B-52s, and Charles Lloyd. In 1995, he produced and directed the Brian Wilson documentary I Just Wasn’t Made For These Times, which won the San Francisco Film Festival’s Golden Gate Award. As a film composer, he received the 1994 British Academy Award (BAFTA) for Best Original Score for the film Backbeat. He also won the 2014 Emmy Award for Outstanding Music Direction for CBS’s The Beatles: The Night That Changed America. In 2018, Don joined Grateful Dead guitarist Bob Weir to form the Wolf Brothers, a band that continues to tour in the U.S. and overseas. In April 2023, he served as Music Director for Willie Nelson’s 90th birthday celebration at the Hollywood Bowl, and he is featured in the Willie Nelson & Family documentary on Paramount+. In September 2024, he was honored with a Lifetime Achievement Award by the Americana Music Foundation at Nashville’s Ryman Auditorium. He also hosts Dinner With Don Was, a weekly radio show on John Mayer’s SiriusXM Channel 14. At Blue Note Records, Don fiercely protects the label’s 85-year-old legacy, meticulously preserving its revered catalog of Black American Music. His work includes overseeing acclaimed vinyl reissue series such as Tone Poet and Classic Vinyl, as well as signing and producing many of the label’s current artists, including Robert Glasper, Charles Lloyd, Wayne Shorter, Dr. Lonnie Smith, Gregory Porter, and Jason Moran. Don’s deep Detroit roots keep him closely tied to the city. For the past 15 years, he has music-directed and played bass in the Don Was Detroit All-Star Revue, part of Detroit’s annual diversity festival, the Concert of Colors. From 2009 to 2012, he hosted The Motor City Hayride on SiriusXM’s Outlaw Country channel, and since 2021 he has co-hosted The Don Was Motor City Playlist, a live weekly show on Detroit’s NPR station WDET-FM. Don is also the voice of Neville the Dog in the hit Amazon Prime Video children’s series Pete the Cat. THE PAN-DETROIT ENSEMBLEDon Was’ latest group, The Pan-Detroit Ensemble, features top-tier jazz musicians from his hometown. “There’s a unique sound and feel to Detroit that permeates the music in a way that resonates all over the globe,” says Was. “There’s a rawness, a lack of pretension, and an unmistakable underlying groove that reflects the people and culture of the entire city.” The band includes longtime collaborators such as Blue Note artist Dave McMurray on saxophone and Eminem’s Oscar-winning collaborator, keyboardist Luis Resto. Website | Facebook | Instagram | Spotify | YouTube
Eliza McLamb – Good Story Tour
It appears to be a trophy at first. Look closer, and you’ll see the cover of Good Story features Eliza McLamb holding a makeshift award, hot-glued together from scraps she and her mother salvaged. It is, of course, silver — a self-deprecating wink introducing the timbre of McLamb’s sophomore album. These last few years, McLamb’s been parsing her upbringing, the songs she wrote about it, and the whole endeavor of the stories we tell about ourselves. “If you get really good at telling the story of who you are, you become the story you told instead of the ever-dynamic, ever-changing person you have to be,” McLamb says. “I did really well telling the story of who I am, but I began asking: What’s the point of it?” At only 23, McLamb has already lived multiple lives. In her late teens, McLamb found success via co-hosting the podcast Binchtopia and sharing songs on TikTok. She soon pulled back from the platform, feeling it didn’t represent her actual ethos as a songwriter. Instead, she signed to Royal Mountain and released her 2024 debut Going Through It, a document of a complex, traumatic childhood that led to searching phases — dropping out of college during the pandemic in favor of working on Midwest farms, eventually leaving her North Carolina hometown behind for Los Angeles. It all gave her plenty of stories to tell on Going Through It. And now on Good Story, she wonders how that process affected her. Yet the homemade trophy of Good Story’s cover is far from a jocular consolation prize alone. It’s a symbol of the layered, accomplished writing McLamb arrived at as she interrogated everything she thought she was about as an artist. After touring Going Through It in the spring of 2024, McLamb began writing new material and found herself encountering an age-old trope. “I felt like I had spent my whole life writing the first record,” she says. She could’ve mined her experience for a whole catalog of music, but she wanted to step back and reassess her impulses as a writer. Good Story directly reflects upon the process of making not only Going Through It, but the process of making art derived from our personal lives altogether. “I carved out room and brought in new songs that felt fresher, able to pick up on ideas outside of this compulsion to build a personal narrative,” McLamb explains. Then, she laughs: “But then I wrote all these songs about the compulsion to make a personal narrative.” Though Los Angeles had served her well for a time, McLamb had begun to feel suffocated by her life there. “I was on a personal mission to stop being so solipsistic,” she cracks. It led to another cross-country move to New York City. She found herself reinvigorated by being in a dense city colliding with so many different people. She fell into new scenes — music circles, but also literary crowds. Inspired by her new surroundings, McLamb’s writing process changed too. Songs arrived to her while on the subway, or on walks near her apartment. Once she had enough material, McLamb reconvened in upstate New York with guitarist Jacob Blizard and illuminati hotties’ Sarah Tudzin, who had produced Going Through It. A greater sense of confidence allowed McLamb to open herself up to co-writing. Before Going Through It, McLamb had never played with a band. Bandcamp | Instagram | YouTube | Spotify | Bandcamp
Ryan Davis + The Roadhouse Band
New Threats from the Soul is a masterclass in reducing the sublime to the prosaic, immensity to infinitesimally, and vice versa (the trick can only work both ways). Everything in our universe is essentially flotsam or jetsam, rubbish heaps of fragments and shards. We, especially, are jerry-rigs of bubblegum and driftwood, inconsistencies and incoherencies, dead dreams and necrophagous hopes. The record functions in parallel with Kafka’s winking dictum that there is an infinite amount of hope in the universe, just not for us. New Threats suggests that maybe, just maybe, something like redemption is possible, but only once we’re entirely emptied out and hawked in toto down at Walden Pawn. Next month, the Roadhouse Band will play a handful of dates in the Midwest and South, with a robust UK and EU tour to follow. Today’s newly announced dates will bring the band to additional cities in the South and Midwest, as well as cities on the West Coast. A full list of dates is available below. “New Threats from the Soul [is] a beautiful and wildly smart record about making do in an upside-down world.” — Amanda Petsurich, The New Yorker “If you don’t know it yet, it’s my privilege to tell you that Ryan Davis is one of the greatest songwriters of his generation.” — Nathan Salsberg Website | Instagram
Shelagh Bella, Owen and the Smokes, The Band Juniper
Shelagh Bella Owen & The SmokesThe Band Juniper
