Prepare to embark on a mesmerizing journey through the golden era of psychedelic blues and the seeds of the ‘jam band’ scene as Live Dead & Brothers takes the stage. Comprised of actual and legacy members from the extended Grateful Dead and Allman Brothers families, this exceptional ensemble is set to revive the timeless magic of the late 1960s and early 1970s, bringing fans an experience like no other.

The line-up is pedigree and generational featuring Berry Duane Oakley from The Allman Betts Band, Mark Karan from Bob Weir & Rat Dog, Scott Guberman from Phil Lesh & Friends, Pete Lavezzoli from Oteil & Friends and very special guest, slide guitarist, Steve Kimock. Together, these accomplished musicians skillfully recreate the magic of the Grateful Dead and Allman Brothers Band’s co-billed concerts during the period of 1969 to1973. Their performances capture the raw energy, improvisational prowess, and soul-stirring melodies that defined an era of musical innovation.

Live Dead & Brothers invites fans, both old and new, to come together and relive the vibrant, transformative spirit of the 60s and 70s. Whether you’re a lifelong devotee of the Grateful Dead and Allman Brothers or discovering their magic for the first time, this is a live music experience that transcends generations.

For over fifty years, Asleep at the Wheel’s Ray Benson has been traversing the globe as an ambassador of Western swing music and introducing its irresistible sound to generation after generation. More than 100 musicians have passed through the Wheel, but Benson remains the front man and the keeper of the vision, in the process racking up more than 30 albums, ten Grammy awards and literally millions of miles on the road.

“I’m the reason it’s still together, but the reason it’s popular is because we’ve had the greatest singers and players,” Benson explains. “When someone joins the band, I say, ‘Learn everything that’s ever been done, then put your own stamp on it.’ I love to hear how they interpret what we do. I’m just a singer and a songwriter, and a pretty good guitar player, but my best talent is convincing people to jump on board and play this music.”

Asleep at the Wheel has collaborated on records with genre-spanning friends, including Willie Nelson on 2009’s Grammy Nominated Willie and the Wheel and other critically acclaimed artists, including Brad Paisley, Jamey Johnson, Merle Haggard, George Strait, the Avett Brothers, Amos Lee, Old Crow Medicine Show and Lyle Lovett on Still the King,their 2015 critically acclaimed and Grammy winning tribute to Bob Wills. On their latest release, Half A Hundred Years, Asleep At The Wheel continued their contributions to the American music landscape when three original members of Asleep at the Wheel—Chris O’Connell, Leroy Preston, and Lucky Oceans—returned after 40 years to lend their voices and musicianship to a number of tracks on the album along with Emmylou Harris, Lee Ann Womack, George Strait, Lyle Lovett and Willie Nelson.

Asleep at the Wheel represents an important cornerstone of American roots music, even though some of its members and audiences represent a new generation. That far-reaching appeal remains a testament to Benson’s initial vision.

“It took me 60 years, but I’m doing what I’m meant to do—singing and playing and writing better than I ever have. A bandleader is just someone who gathers people around them to play the best music they can play. I just try and make the best decisions possible and kick some ass every night onstage.”

Photo credit: Curtis Clogston

Hailing from Asheville, North Carolina, Town Mountain is the sum of all its vast and intricate influences — this bastion of alt-country rebellion and honky-tonk attitude pushed through the hardscrabble Southern Appalachian lens of its origin.

“For us, it’s all about the interaction between the audience and the band — doing whatever we can onstage to facilitate that two-way street of energy and emotion,” says mandolinist Phil Barker. “Whether it’s a danceable groove or a particular lyric in a song, we’re projecting what we’re going through in our daily lives, and we feel that other people can attest to that, as well — it’s all about making that connection.”

Amid a renewed sense of self is the group’s latest album, Lines in the Levee, a collage of sound and scope running the gamut of the musical spectrum in the same template of freedom and focus found in the round-robin fashion of the musical institution that is The Band — a solidarity also found in the incendiary live shows Town Mountain is now revered for from coast-to-coast, this devil-may-care gang of strings and swagger.

“This is the sound we’ve been working towards since the inception of the band,” says guitarist Robert Greer. “We realized we needed to do what’s best for us. We’re being true to ourselves. It isn’t a departure, it’s an evolution — the gate is wide open right now.”

“We’ve always had such a reverence and respect for those first and second-generation bluegrass bands, and it was that sound that initially inspired all of us to get together,” Barker adds. “And that will always be part of our sound. But, we also need to grow as artists, and as individuals — for us, that means bringing in a wider palette of sonic influences.”

Formed by Greer and banjoist Jesse Langlais over 15 years ago on a ridge high above the Asheville skyline, the sturdy foundation of Town Mountain came into play with the addition of Barker not long into the band’s tenure. From there, the group pulled in fiddle virtuoso Bobby Britt and bassist Zach Smith. And though the road has been long, it’s also been bountiful.

“It’s definitely been a slow climb. But, it’s been a climb nonetheless, where each new opportunity is filled with a sense of gratitude — to be able to make music, to be able to play music with your friends,” Barker says. “And to be able to bring music to the people, and have them want to show up and listen to it? Well, we’re thankful for that every single day.”

Lines in the Levee also marks the band’s debut album release for famed Nashville label, New West Records. Well-known and championed as a fiercely independent act, the members of Town Mountain felt an immediate kinship with the record label — this genuine bond of creative fulfillment and sustained artistic growth to ensure the long game for the ensemble.

“We’ve always wanted to have a relationship with a label that felt right, and New West felt right,” Langlais says. “New West came to some of our shows and the ball started rolling. They knew they wanted to work with us, and we knew we wanted to work with them. New West lets the artist steer the ship and that’s what we were looking for — to have the autonomy to do what we want, but also have a great label behind us.”

Recorded at Ronnie’s Place (part of the Sound Stage Studios) on Music Row in the heart of Nashville, Lines in the Levee is a bona fide workshop in the seamless blend of Americana, country, bluegrass and folk roots — this crossroads of deep influences and cultivated visions each member of Town Mountain brings to the table.

“The studio has been part of Nashville for over 50 years, and there’s a certain mojo that comes from a space like that — you’re literally stepping into history and that history is in the air when you hit the record button,” Langlais says.

The album also cements the standing of drummer Miles Miller (of Sturgill Simpson musical lore) a creative force of nature, one who throws several more logs of ideas and inspiration onto the fire that burns brightly within the group — onstage and in the studio.

“When we were looking to add percussion to our sound, Miles was the guy we wanted. We’ve been good friends for a long time, and it just seemed like the natural fit to have him join us,” Greer says. “He’s a fantastic drummer who really elevates the music so high. And he truly understands how to bring drums into a string band setting, something not a lot of people can do.”

Lines in the Levee is also a moment in time for Town Mountain to take pause and glance over its shoulder at the road to the here and now. It’s this whirlwind blur of people, places and things that fly by, especially when your hardscrabble existence is spent along that lost highway — bouncing from town to town, show to show, all in an effort to turn long-held dreams into a daily reality.

“Right from the beginning, it’s always been about camaraderie and the creation of something unique, where we haven’t let any of the bumps on the music business road get us down too much,” Langlais says. “And I think we feel really comfortable with where the Town Mountain sound is right now — that’s a damn good feeling.”

More than a mere practitioner of her craft, Cristina Vane has a breadth and depth of serious musical skill compiled from countless miles across all kinds of geography. On her third studio album ‘Hear My Call,’ the pairing of a lifetime pursuit and growing treasure trove of songs makes for a record that demands to be heard.

Based in Nashville, Tennessee, her sound reflects and amalgam of experiences; born at the foothills of the alps in Italy and raised between Italy, England and France, Cristina’s half American – half Guatemalan heritage is as unique as her sound. She unapologetically blends her rock roots with her passion for pre war blues, old time banjo, country and bluegrass. Since her time busking on the Venice Beach Boardwalk and working at McCabe’s guitar shop, this deft multi instrumentalist has sharpened her fingerstyle/ slide guitar and clawhammer banjo skills and merged it with crystalline vocals, captivating songwriting, and an entrancing stage presence to make for a truly exciting act. Cristina has an extensive touring history and has provided direct support for: Molly Tuttle, Bob Weir, Jerry Douglas, Wynonna Judd, Sam Bush, Nikki Lane, Town Mountain, Duane Betts Rev. Peyton’s Big Damn Band, Arlo McKinley, and Willi Carlisle. She has been mentioned in Rolling Stone Country and NPR, and was featured in the Bank of America ad for Ken Burns’ “Country Music” documentary. She was an invited guest for Billy Strings’ String the Halls 3, has appeared on Travis Book’s (Infamous Stringdusters) Happy Hour and at Portland Blues Festival, Under the Big Sky, Four Corners Folk Festival, and Roosterwalk.

Acclaimed singer, songwriter, and musician Marc Broussard is an artist with a unique gift of channeling the spirits of classic R&B, rock, and soul into contemporary terms. The son of Louisiana Hall of Fame guitarist Ted Broussard of “The Boogie Kings,” he nurtured his musical gifts at an early age in the vibrant Lafayette, Louisiana music scene. After releasing a highly successful independent EP at age 20, Broussard made his major-label debut with Carencro. The album featured the breakout hit single “Home” and catapulted him into the national spotlight. The Louisiana-born and raised artist has created a wide range of music in his career. Carencro laid the groundwork with unequaled style, illustrating his knack for modern soul music and setting the stage for his long and distinguished career. That album and the others that followed solidified Broussard as a southern soul singer with a rarefied talent and an innate stylistic and emotional authenticity that have made him one of the most indelible artists of his generation. NPR cited, “His music radiates soulful Louisiana blues, but his songs blend those influences with raucous rock ‘n’ roll to create unique and infectious music.”

Over the past decade, Broussard released several notable albums with major labels and has since returned to his independent roots with a series of critically acclaimed original and philanthropic cover albums through his S.O.S Foundation (Save our Soul). Marc has accumulated millions of streams and hundreds of millions of views on viral YouTube videos.

Broussard’s incomparable brand of soul, an infectious mix of rock, blues, R&B, funk-pop, and soul coupled with his powerful vocals, has garnered worldwide praise from critics and fans alike. His recent release, S.O.S. 4 Blues for Your Soul, a collaboration with blues legend Joe Bonamassa is a stellar collection of blues and soul classics that debuted at Number One on the Billboard Blues Album Chart. The fourth volume in his S.O.S. series, the album benefits Bonamassa’s charitable foundation.

Marc Broussard’s new studio album, Time is a Thief finds the acclaimed singer/songwriter delivering an infectious ten-song set filled with gritty, rootsy hooks and dance-floor grooves, all wrapped around Broussard’s fervent vocals. Produced by Grammy-winning guitarist/songwriter/producer Eric Krasno and Grammy-nominated producer/guitarist Jeremy Most, Time Is a Thief has a funky, soulful sound and is wonderfully layered with diverse sonic textures that distinguish it from his previous recordings. His first album of new music since 2017’s, Easy to Love, Time is a Thief arrives via his Artist Tone Label.

There’s Something Undeniably Out-Of-Time About Both Kendra Morris And Her Indelibly Cool New Album I Am What I’m Waiting For (Karma Chief Records). It Combines Rough-Hewn Powerhouse Vocals With Arrangements That Betray Both An Extensive Record Collection And A Whimsical Instinct For Joyous Noises — Think Dusty Springfield Fronting Spoon Circa Kill The Moonlight Or A 60s Girl Group Creative Directed By Nick Lowe And PeeWee Herman. It’s Vibrant And Varied And Packed With Personality.

“How Do You Put Yourself Into A Record? Torbitt And I Wanted To Make It Feel Like You Cracked Open The Ooze In My Head,” Morris Says, Referring To Her Co-Writer And Producer Torbitt Schwartz AKA Little Shalimar (Run The Jewels). Morris Is An Accomplished Visual Artist And Stop-Motion Animator, So It’s Appropriate That I Am What I’m Waiting For Takes A Collagist Approach, Mischievously Recombining All Sorts Of Rock And Roll Ingredients — The Sass And Swagger Of Ronnie Spector, The More Acid-Fried Corners Of The Nuggets Compilations, Post-Modern Interpolations Of Mid-Century Exotica Music, The Cracking Snares And Sugary Urbanity Of ESG — While Offering Moments Of Vulnerable Insight From A Life Spent In Pursuit Of Creativity.

Morris Was A Musically Precocious Child And, After Playing In Florida Bar Bands, Moved To New York To Chase The Dream. Thus Began A Formative 13-Year Stint Bartending At The Beloved Lower East Side Dive The Library, Which Thrust Morris Directly Into The Heart Of Manhattan’s Fertile Post-Strokes Creative Scene. Brian Jonestown Massacre’s Anton Newcombe Lived Upstairs, Music Journalist Marc Spitz Was A Regular, And Touring Acts Would Come Through To Carouse After Playing Bowery Ballroom. During Those Moments, Morris Yearned To Join The Rarefied Air Of The Musicians On The Other Side Of The Bar.

All The While, Morris Pursued Her Music Dreams. “It Was Pure, 100% DIY. I Never Took No For An Answer. If I Didn’t Have The Money, I Figured Out How To Make It Happen: Videos, Artwork, Whatever.” After The Dissolution Of Her First Band, She Recorded 8-Track Demos And Performed Solo Shows Backed By Cassette Recordings Of Her Own Vocal Harmonies. Through These Shows She Connected With Longtime Producer Jeremy Page. It Was Kismet.

“I Worked With Jeremy For The Next 10-Plus Years,” Says Morris. “We Worked Together Through Some Of The Most Beautiful And Hardest Life Things I’ve Ever Gone Through.” It Was A Fruitful Partnership: Morris Signed To Wax Poetics For The Release Of Her “Seductive, Soulful” (Rolling Stone) 2012 Debut Banshee And 2013’S Mockingbird, Self-Released Her 2016 EP Babble (Reissued Earlier This Year), And Signed To Karma Chief For 2022’S “Beautifully Sung” (MOJO) Nine Lives. She’s Linked Up With A Murderer’s Row Of Collaborators, Including DJ Premier, MF Doom, Ghostface Killah, And David Sitek. Interview Magazine Called Her “A Modern Day Janis Joplin,” And NPR Praised Her “Lush, Moody Mix Of Neo-Soul.”

Despite Her Strong Professional And Personal Relationship With Page, Morris Knew That She Needed To Change Up The Energy For Her Next Project. “When My Birthday Arrived In April Of Last Year, I Had This ‘Aha’ Moment. ‘Oh Shit, I’m Halfway To The Age Of Average Human Life Expectancy! I Wanna Shake Myself!’ Jeremy And I Could Write Songs With Our Eyes Closed…But If You’re Chasing Evolution Then You Can’t Be Comfortable.”

She Connected With Torbitt Schwartz aka Little Shalimar whose production credits include Run the Jewels and Killer Mike’s 2023 Grammy winning album Mike and set about making I Am What I’m Waiting For. Morris Was Eager To Break Out Of Old Habits: She Started Playing Guitar Again Live, Realizing That Where She Saw Tics Developed To Cover Up A Lack Of Technical Ability, Others Saw A Musician With A Distinct And Stylish Rhythmic Signature. She Pulled Old Songs Out And Reworked Them. Less-Than-Perfect Takes Were Tolerated. She Put A Moratorium On Love Songs. As She Put It: “I Needed To Scare Myself Into Growth.”

Luckily, The Risk Paid Off. I Am What I’m Waiting For Is Not Only A Sophisticated And Joyful Sonic Reinvention, But An Unfiltered Expression Of Morris’s Idiosyncratic Worldview. Take “Special,” Which Takes A Bleak Approach To Coping With Fear And Statistical Unlikelihood. Says Morris: “I Hate Flying. I Have No Control Over It And That’s Something That Makes Me Crazy. So Something I Tell Myself When I’m Flying A Lot Is The Statistic That Your Plane Has The Same Chances Of Crashing As You Have Winning The Lottery. I Have Never Won Anything.” It’s An Anthem That Revels In Contentment, In Enjoying The Small Experiences That Texture Your Life — A Salve Against Self-Improvement Hacks And Motivational Influencers Infiltrating Your Feed.

Elsewhere, The Bell-Laden “Dominoes” Turns The Mundane Conflicts Of Domesticity And Cohabitation Into A Ronnettes-Worthy Rallying Cry And The Exotica-Steeped “All Your Jokes” Examines What Morris Describes As “The Need For Vulnerability In A Relationship When You Have Something To Lose.” There’s Even The Smoky, Doo-Wop-Tinted “Birthday Song,” A Valiant Attempt To Expand The Birthday Song Canon.

The Almost-Title-Track “What Are You Waiting For” Encapsulates The Album’s Spirit: Stabs Of Guitar Yield To Sirens-And-Bongo Breakdowns As Morris Champions Realness And Self-Reliance. It Hits Like A Conscious Statement Against Algorithmic Optimization. “When You Introduce Yourself To Someone,” Says Morris, “You Can Yada Yada The Broad Strokes Of Your Life. But It’s The Textures And Specific Details In Life, Music Or Art That Gives It Meaning.” Fittingly, I Am What I’m Waiting For Bravely Luxuriates In The Little Details. It’s The Rare Record That Doubles As Self-Portrait, Unvarnished Yet Thrilling Because Of Its Imperfections. 

This is an add on for the Marty Stuart concert. Tickets for the concert are sold separately (and must be purchased with this VIP package)

THE COUNTRY STAR” VIP PACKAGE:Limited to 40 people

• • VIP ticket buyers to be allowed access one hour prior to other ticket holds.
  • VIP Upgrade includes admission to a private pre-show event at the venue featuring a performance by Marty and the Superlatives, along with a Q&A Storytelling session with Marty and Band.
  • One VIP Laminate
  • Crowd Free Merchandise Shopping
  • Exclusive Signed VIP Poster
  • VIP Experience will begin approximately one hour prior to doors.

“You have to make the music that’s in your heart,” says Marty Stuart.  “Sometimes that lines up with what’s going on out there in the world, sometimes it takes the world thirty or forty years to catch up, but if you’re true to your heart, that’s all that matters.”

Altitude, Stuart’s exhilarating new album, is proof of that.  Recorded in Nashville with his longtime band, The Fabulous Superlatives, the collection finds Stuart picking up where he left off on 2017’s Way Out West, exploring a cosmic country landscape populated by dreamers and drifters, misfits and angels, honky-tonk heroes and lonesome lovers.  There’s a desert flare to the music here, a sweeping, spacious feel that conjures up wide-open horizons and endless stretches of two-lane highway, and the production is raw and cinematic to match, tipping its cap both to Bakersfield and Laurel Canyon as it balances jangle and twang in equal measure.  It would be easy for an artist as accomplished as Stuart to rest on his laurels at this point in his career, but Altitude instead showcases the work of a searcher with an insatiable appetite for growth and reflection, one whose ambition, much like his keen wit and rich imagination, only seems to grow with each and every release.

“I’ve always loved songs that feel like old friends but still sound new and fresh,” says Stuart.  “The beautiful thing about country music is that the blueprint Jimmie Rodgers laid down—rambling, gambling, sin, redemption, Heaven, Hell—it’s all just as relevant now as it ever was.  It’s the human condition, and if you’re honest about it and you’ve got a real band around you, you can make something that’s uniquely yours and stands the test of time.”

A Country Music Hall of Famer, five-time Grammy Award-winner, and AMA Lifetime Achievement honoree, Stuart knows a thing or two about standing the test of time.  Born and raised in Philadelphia, Mississippi, he landed his first big gig in Lester Flatts’ band at the tender age of thirteen, and by twenty-one, he was working on the road and in the studio with Johnny Cash.  Though Stuart built his early reputation backing up country and bluegrass royalty, it wasn’t long before Nashville recognized him as a star in his own right, and over the course of forty-plus years as a solo artist, he would go on to release more than twenty major label albums, scoring platinum sales, hit singles, and just about every honor the industry could bestow along the way.

“If country music had a president, it would be Marty Stuart,” famed documentarian Ken Burns once proclaimed.  “He is the embodiment of the culture.”

Stuart emerged as an unofficial caretaker of the culture, too, spending much of his career rescuing and collecting country music artifacts from throughout the genre’s history.  The first piece he picked up?  Patsy Cline’s makeup kit, which he bought from a junk shop for $75.  These days, Stuart, who Rolling Stone calls “one of the world’s foremost country experts and archivists,” has roughly 20,000 pieces in his collection, including a handwritten copy of Hank Williams’ “I Saw The Light” and Johnny Cash’s first black performance suit.  While select items have been exhibited everywhere from the Rock & Roll Hall of Fame to the Louvre, Stuart is hard at work building a dedicated arts and cultural center to preserve and display it all in his hometown of Philadelphia.

“I’m calling it The Congress of Country Music, and I want it to serve as an inspirational spot,” says Stuart, who’s raised funds for the center with annual late night jams at the Ryman featuring everyone from Emmylou Harris and Sheryl Crow to Tyler Childers and Billy Strings.  “I want it to be a touchstone where younger generations can learn about this stuff and figure out who they are and embark on their own musical journeys.”

It’s that last part that particularly excites Stuart, whose musical journey came full circle on Altitude.  Written primarily on the road, the collection was inspired in large part by Stuart’s 2018 tour supporting Byrds co-founders Roger McGuinn and Chris Hillman, who reunited for the 50th anniversary of their seminal Sweetheart Of The Rodeo album.

“I bought my first copy of Sweetheart Of The Rodeo for $2.99 at the discount bin in a shopping mall record store in Goodlettsville, TN, and it became the blueprint for my musical life,” Stuart recalls.  “Revisiting it on the road with Roger and Chris put me back under its spell all over again.  I was writing songs in dressing rooms and soundchecks and on the bus, and then one day, I looked up and there was enough to make an album.”

Stuart and his band spent much of 2019 breaking in the new material live, and by 2020, they were raring to get into the studio.  COVID, however, had other plans.  Not wanting to lose any momentum, Stuart moved the sessions from the temporarily shuttered Capitol Studios in Hollywood, CA, to East Iris Studios in Nashville, TN, where he and his bandmates were still able to perform live on the floor (albeit masked and six feet apart).

“We knew if we didn’t find a way to make the record in that moment, we might never recapture the same circle of fire around the songs we had going for us,” Stuart explains.  “If we waited for COVID to pass, the album might very well have passed us by, too.”

The electricity in the room is palpable on Altitude, which opens with the blistering and trippy “Lost Byrd Space Train (Scene 1).”  Played on Byrds guitarist Clarence White’s original B-Bender Telecaster (another prized possession in Stuart’s collection), the instrumental track chugs along at a breakneck pace, flirting with country, bluegrass, and even psychedelic rock as it sets the stage for the wide-ranging sonic journey to come.  Stuart keeps the energy high here—the scorching “Country Star” squeezes a lifetime’s worth of absurdist imagery into a three-minute tour de force, while the ecstatic “Time To Dance” is a slice of pure honky-tonk joy, and the rousing “Friend Of Mine” even offers hints of Link Wray and The Ventures—but he never loses sight of the emotional core of the music, even amidst all of the instrumental fireworks.  The ringing 12-string and bittersweet harmonies of “Sitting Alone,” for instance, only serve to heighten the song’s sense of distance and isolation; the hypnotic sitar line on “Space” amplifies the uneasiness and longing that simmers just beneath the surface; and the spare acoustic delivery of “The Angels Came Down” underscores the raw vulnerability in Stuart’s deeply autobiographical lyrics.

“‘The Angels Came Down’ is probably the most truthful song on the record,” Stuart reflects.  “There have been times in my life when I’ve felt like a lost and wandering soul, just chasing all the wrong things.  Some people lose their lives to that, but sometimes the angels offer you a hand up out of the darkness.”

It’s that big picture perspective that guides Stuart on the album’s old-school, shuffling title track, which takes a bird’s eye view of what really matters most in this life.  “To get to go and stay, must give all your love away,” Stuart sings over what turned out to be one of the final performances from late piano legend Pig Robbins.

“I like to say that the most outlaw thing you can possibly do in Nashville right now is play country music,” Stuart says with a laugh.  “This album is a reminder to me, and to anyone else out there who’s interested, that there’s still a few of us left who know how to do it.  This music is in our hearts.”

THE COUNTRY STAR” VIP PACKAGE:

• • • Limited to 40 people
    • VIP ticket buyers to be allowed access one hour prior to other ticket holds.
    • VIP Upgrade includes admission to a private pre-show event at the venue featuring a performance by Marty and the Superlatives, along with a Q&A Storytelling session with Marty and Band.
    • One VIP Laminate
    • Crowd Free Merchandise Shopping
    • Exclusive Signed VIP Poster
    • VIP Experience will begin approximately one hour prior to doors

Another Longworth-Anderson Series evening of great music, food, and drink!  Complimentary pre-concert reception features live local music, light bites from Ollie’s Trolley and N.Y.P.D. Pizza, and craft beer tastings from HighGrain Brewing Co.