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DTSTART;TZID=America/Denver:20260518T193000
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SUMMARY:Jake Xerxes Fussell w/ Trummors
DESCRIPTION:JAKE XERXES FUSSELL\nReared in Georgia and now settled in North Carolina\, Jake Xerxes Fussell has established himself as a devoted listener and contemplative interpreter of a vast array of so-called folk songs\, lovingly sourced from a personal store of favorites. He has released five studio albums to-date\, beginning with his self-titled debut album\, released by Paradise of Bachelors in 2015. \nHis most recent studio album When I’m Called was produced by James Elkington and features the playing of Ben Whiteley (The Weather Station)\, Joe Westerlund (Bon Iver\, Califone)\, and others. Blake Mills contributes guitars on several tracks. Joan Shelley and Robin Holcomb provide backing vocals. In their review of the record\, Pitchfork wrote: “No other American singer is repurposing our old folk scripts with so much authority or ingenuity.” \nMore recently\, Fussell and Elkington collaborated on the music for Rebuilding – a feature film directed by Max Walker-Silverman and starring Josh O’Connor. A soundtrack of the same name was released on Fat Possum Records in November 2025. \n“Critics love to call things unclassifiable\, which can sometimes feel like a subtle admission of defeat. But Jake Xerxes Fussell’s music\, which draws heavily from nineteenth- and twentieth-century vernacular folk songs and archival field recordings\, is idiomatic\, and entirely his own…he is a folksinger in the truest sense\, collecting ideas and melodies and lyrics from distant and disparate traditions\, looking for the things that unite us in our humanity.” – The New Yorker \n“(Fussell) is one of the great magpies of American song\, collecting forgotten\, tarnished gems with a folklorist’s zeal…” – The Guardia \n“…maybe the leading interpreter of American folk music right now.” – Ann Powers\, NPR \nTRUMMORS\nThe trouble with so much Cosmic American Music is that it’s not all that ‘cosmic’ at all. The moves are there—the mood\, the ingredients\, musical and (ahem) otherwise\, the clothes—but the substance too often comes up a little thin. Maybe that’s fine: the Flamin’ Groovies weren’t quite the Beatles either\, and so to criticize the heirs of the Flying Burrito Brothers for failing to equal their forebears’ sense of stoned celestial wonder feels a little mingy\, like criticizing tomorrow for not being 1972. Enter David Lerner and Anne Cunningham’s duo Trummors\, though\, with their fifth and possibly best album—“possibly” only because the others\, too\, are so damn good—to blow this frequent quibble clean out of the water. 5 (yeah\, they went ahead and made their Numerical Album\, just like J.J. Cale once did) is so fresh\, so sparkling\, and so lovely\, whatever debts it owes to anybody else are immediately canceled. This may be music with an abundant sense of history\, a deep\, almost Talmudic knowledge of a thousand country rock records\, but it steps outside the shadow of that knowledge with a confidence that feels rare indeed. \nSome of that is in the writing. A song like “Hey Babe” might seem a wisp of a thing\, until you listen twice and clock lyrics as fatalistic\, and as beautifully compressed\, as a Robert Creeley poem\, coupled with a melody that feels like it’s lived inside you forever. Some of that is in the performances\, the way Lerner and Cunningham’s vocals fit together just so\, as ideally paired as George and Tammy’s as they float atop accompaniments from their supporting players—Dan Horne’s spacious pedal steel on “Yellow Spanish Roses\,” say\, or C.J. Burnett’s spare\, not-quite-barroom-feeling piano on “The Jalisco Kid”—that somehow manage to be at once understated and arresting. Some of it might be the occasional ways they make subtle adjustments to genre conventions (“Cosmic Monster” sounds closer to English psych monsters Dantalian’s Chariot than it does to canyon country\, thanks to Clay Finch’s electric sitar) without sounding schizoid or breaking faith with the record’s overriding mood and identity. But none of that really accounts for 5’s startling and unshakeable immediacy\, its ability to cut through the fog in one’s head and one’s mood every time it comes pouring out of the speakers. \nLerner and Cunningham lived with these songs a long while\, writing them before the Pandemic struck in 2020\, demoing them at home repeatedly before finally deciding to get together with Horne—an alumnus of previous records\, too\, as a player—in the producer’s chair for the first time. They tracked the record in LA over the span of about a week\, did a bit of overdubbing later in Taos\, and thus\, after that long period of uncertainty\, 5 arrived at its final form fairly quickly. Maybe it’s this paradox\, this meeting of speed and deliberation\, that gets at the record’s most striking quality\, how these songs feel at once heavy and light\, ancient and new\, like something carved into stone with a feather. It’s a quality that fills me with admiration. Indeed\, with something close to awe. \n—Matthew Specktor\, Los Angeles\, 2024
URL:https://yeehaw505.com/event/jake-xerxes-fussell-w-trummors/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Denver:20260516T193000
DTEND;TZID=America/Denver:20260516T193000
DTSTAMP:20260519T213419
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SUMMARY:Darrell Scott & Rob Ickes
DESCRIPTION:Get ready for a brand new collaboration as two giants of Americana\, Bluegrass\, and Country take the stage together. Darrell Scott and Rob Ickes join forces for a duo performance that blends soulful songwriting\, world-class Dobro\, and the kind of musical chemistry that can only happen between true masters. \nDarrell Scott\, an award-winning songwriter\, multi-instrumentalist\, and one of the most revered voices in roots music\, brings his rich\, soul-stirring vocals and renowned storytelling to the partnership. A Grammy-nominated artist and Americana Lifetime Achievement Award winner\, Scott’s songs have been embraced by Guy Clark\, The Chicks\, Garth Brooks\, Zac Brown Band\, and countless others. Rob Ickes\, a Grammy-winning Dobro legend and the most honored instrumentalist in IBMA history\, adds his signature touch: expressive\, inventive\, and technically unmatched. With 39 IBMA awards\, including a record-breaking 15 wins as Resophonic Guitar Player of the Year\, Ickes has shaped the sound of modern Dobro through his work with the highly acclaimed group Blue Highway and collaborations with music icons like Merle Haggard\, Dolly Parton\, Alison Krauss\, Tony Rice\, and Earl Scruggs. \nTogether\, Scott & Ickes deliver an intimate\, genre-crossing set that blends Americana\, bluegrass\, and roots traditions with fearless improvisation. It’s a chance to experience two of the best in the business pushing each other to new creative heights – live\, raw\, and unforgettable.
URL:https://yeehaw505.com/event/darrell-scott-rob-ickes/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Denver:20260501T193000
DTEND;TZID=America/Denver:20260501T193000
DTSTAMP:20260519T213419
CREATED:20260207T212423Z
LAST-MODIFIED:20260207T212423Z
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SUMMARY:The Heavy Heavy
DESCRIPTION:With the arrival of their debut EP Life and Life Only\, The Heavy Heavy immediately filled a longtime void in the musical landscape\, delivering a soulful breed of rock & roll untouched by modern artifice. As audiences across the globe grew enchanted with their era-bending sound\, the UK-based band began selling out headline shows in major cities like New York and Chicago\, opening for the likes of Black Pumas and Band of Horses\, and earning critical comparisons to Jefferson Airplane\, The Band\, The Mamas & The Papas\, and more—all with only a handful of songs to their name\, including the AAA radio top five singles “Miles and Miles” and “Go Down River.” After spending the past two years on the road and in the studio\, The Heavy Heavy now draw listeners even deeper into their dreamworld with their long-awaited debut album One Of A Kind. \nWritten entirely by co-founders Georgie Fuller and William Turner and mostly recorded at Turner’s studio in Brighton\, One Of A Kind maintains the self-contained approach of Life and Life Only—a seven-song project acclaimed by outlets like NME (who named them an essential emerging artist for 2023) and The Guardian (who noted that The Heavy Heavy “write and play music with that lick of madness that makes early Fleetwood Mac and peak Stones so thrilling”). To that end\, Turner produced\, engineered\, and mixed every track and handled most of the LP’s lavish instrumentation (including guitar\, bass\, piano\, organ\, Mellotron\, and more)\, with The Heavy Heavy’s live band lending their explosive energy to the album. But in a departure from the EP\, One Of A Kind leans away from Laurel Canyon-esque folk-rock and fully embraces their British roots\, finding a particularly crucial inspiration in the gritty and groove-heavy hedonism of the Rolling Stones’ Goats Head Soup. “A lot of our EP was very bright and pretty\, so we wanted to smash the door down like we do in the live show\,” says Turner. “Because we were creating an entire album\, there was so much more space to explore and expand\,” Fuller adds. “It’s still undoubtedly that Heavy Heavy sound\, but now we have all these other rooms to play around in.” \nFor One Of A Kind’s lead single\, The Heavy Heavy chose a sun-drenched and sing-along-ready number that serves as an auspicious bridge to the band’s new era. The last song written for the album\, “Happiness” bends toward the lush psych-pop of Life and Life Only while introducing a new level of visceral intensity. “We felt we needed a song that had that summery\, flowery feel of the EP\, and somehow at the last minute we were able to pull magic out of thin air\,” Fuller recalls. A fast fan favorite at their live shows\, “Happiness” channels a bold determination to break free from loneliness and stagnation\, ultimately providing an automatic mood lift thanks to The Heavy Heavy’s resplendent melodies and signature multi-part harmonies. \nKicking off with a majestic bang\, One Of A Kind opens on the rolling drumbeats and walloping riffs of its title track—a feverishly chanted anthem whose lyrics transform the listener into the protagonist of their own impossibly glamorous movie (e.g.\, “You’re getting down/You’re keeping on/You look the best/You’re all night howling”). Graced with a breathtaking vocal performance from Fuller (a classically trained singer)\, “One Of A Kind” quickly set the tone for the album’s larger-than-life vitality. “Something about the primal nature of that song inspired us to keep making songs that feel quite big and powerful\,” says Turner. Later\, on “Because You’re Mine\,” The Heavy Heavy sustain that feel-good spirit and share a carefree love song lit up in slinky grooves and hallucinatory lyrics depicting what Fuller refers to as “the psychedelic daydream of a wandering nomad type—someone who goes wherever the wind takes them.” \nAs One Of A Kind floats along\, The Heavy Heavy endlessly push into previously uncharted sonic terrain\, tapping into such unexpected influences as mid-’90s big beat on the bass-driven and gorgeously hazy “Miracle Sun.” “It’s a song with a lot of attitude to it—sort of our way of telling the world\, ‘We’re living the way we want to live\, and it doesn’t matter if you don’t understand\,’” says Turner. Meanwhile\, on “Feel\,” the band merges the mesmerizing grooves of Madchester-era Britpop with a bit of idiosyncratic poetry (“I am a freeloader love junkie/A real heavy cannonball and I’m hungry…I stand between the sun\, between the stone/I feel it in my fingers\, feel it in my bones”). And on “Wild Emotion\,” One Of A Kind offers up a country-infused serenade laced with galloping rhythms and twangy guitar tones partly inspired by the work of Dire Straits frontman Mark Knopfler. “That’s probably the most emotional song on the album\,” Turner points out. “It’s meant to have a reassuring message\, but at its center is the story of a woman who’s gone through a heartbreak and can’t find her way out of feeling hopeless and distraught.” \nAfter journeying through a whirlwind of sounds and textures—the hypnotic Mellotron of “Lemonade\,” the frenetic psych-rock organ and skyscraping vocals of “Dirt\,” the earthy acoustic guitar and sweetly playful harmonies of “Lovestruck”—One Of A Kind lands at the reverb-soaked splendor of its closing track\, “Salina.” Named for a sparsely populated volcanic island off the coast of Sicily (an otherworldly spot Fuller and Turner visited on vacation)\, the slow-building epic unfolds in so many exquisitely strange sonic details: moody cello lines\, thundering percussion\, a spellbinding pedal-steel part simultaneously played by two separate guest musicians. “‘Salina’ was one of those moments where we let ourselves get experimental with the production and create a whole ocean of sound\,” says Fuller. “We knew we had to put it at the end and let the reverb ring out in those final seconds—almost as if we’re leaving the album hanging in the air.” \nFormed in 2019\, The Heavy Heavy emerged from a potent alchemy of their eclectic sensibilities. Hailing from the small town of Malvern (a stretch of the English countryside he describes as “a beautiful place full of hippies and longhaired people”)\, Turner took up guitar in his early teens and later played in a series of psychedelic/surf-rock bands\, while Fuller’s extensive background includes performing at Montreux Jazz Festival as a teenager and acting in the London theater. As they moved forward with a mission of “making music that sounds like our favorite records ever” (including everything from Peter Green-era Fleetwood Mac to folk-blues act Delaney & Bonnie to Fleet Foxes)\, the duo dreamed up a batch of songs in a London flat and self-released an early version of Life and Life Only in late 2020\, eventually catching the attention of ATO Records and signing with the U.S.-based label in 2022. Fueled in part by the breakout success of “Miles and Miles” (their ATO debut single)\, The Heavy Heavy’s five-piece live band soon began playing bigger and bigger venues and taking the stage at leading festivals like Bonnaroo\, Boston Calling\, and Newport Folk Festival\, in addition to performing on “Jimmy Kimmel Live!\,” “The Late Show With Stephen Colbert\,” and “CBS Saturday Morning” and scoring major syncs with the likes of Nissan and Netflix’s “Outer Banks.” \nBecause of the rapturous response to their debut EP\, The Heavy Heavy found themselves in an unfamiliar headspace when it came to the creation of One Of A Kind. “With the EP we were making songs as a way to soundtrack our own lives\, but now it’s a different beast—it’s no longer theoretical\, which gives everything more weight\,” says Turner. But in the end\, the band discovered an essential touchstone in the connection they’ve forged with their fans over the last two years. “Not too long ago\, a woman came up to us at a show and told us she was getting a tattoo of one of our lyrics to remind herself to keep pushing on and keep chasing her dreams\,” Fuller says. “Moments like that always remind us that as long as we keep making what feels good\, chances are it’s going to make other people feel good too. I hope this album feels like a great big party to everyone\, and I hope it inspires them to live their lives however they want.” \n  \nLOU HAZEL \nLou Hazel grew up along the Allegheny River\, where New York meets Pennsylvania and Northern Appalachia slips into quiet obscurity. In a landscape of cold towns\, blue-collar fatigue\, and early brushes with hardship\, music wasn’t inherited—it was uncovered. There were no venues\, no mentors\, no real sense of a scene… only what you could scrape together with curiosity and a cassette deck. \nThat absence—of direction\, of mentors\, of art—shaped Lou’s songs as much as any influence. His music echoes the loneliness of those forgotten towns and the strange resilience it takes to create something where nothing was planted. Blending folk\, indie\, and an eye for the overlooked\, Lou writes like someone who’s learned to pay attention. His songs are spare\, vivid\, and weathered with warmth. \nAfter years of solo touring and home recording\, Lou found grounding in Durham\, North Carolina\, where a vibrant music scene and chosen community have helped shape his recent work. His latest record\, Riot of the Red\, captures the urge to get away from all of it—the news\, the noise\, the weight of a world gone sideways—and find stillness in the simplest things: a long drive\, a bare sky\, a familiar chord. Lou Hazel makes music for those who had to teach themselves how to listen.
URL:https://yeehaw505.com/event/the-heavy-heavy/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Denver:20260414T193000
DTEND;TZID=America/Denver:20260414T193000
DTSTAMP:20260519T213419
CREATED:20260206T212202Z
LAST-MODIFIED:20260206T212202Z
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SUMMARY:The Bones of J.R. Jones
DESCRIPTION:Growing up\, Jonathon Linaberry was obsessed with the radio. “I remember sitting there at night\, glued to the boombox\, cassette player ready to record whenever my favorite songs came on\,” he recalls. “There was something so thrilling about it\, something romantic that I think we’ve lost now that everything’s available at our fingertips. I wanted to find a way to get back to that place\, to recapture those feelings of excitement and anticipation and possibility.”
URL:https://yeehaw505.com/event/the-bones-of-j-r-jones/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260410T193000
DTEND;TZID=America/Denver:20260410T193000
DTSTAMP:20260519T213419
CREATED:20260206T212139Z
LAST-MODIFIED:20260206T212139Z
UID:10008586-1775849400-1775849400@yeehaw505.com
SUMMARY:The Wailers
DESCRIPTION:The Wailers are a rare breed of musicians who have earned their place in the annals of music history. Their culture-defining music\, embodying the spirit of the 70s reggae movement\, has left an indelible mark on the industry. The Wailers will be celebrating the 50th anniversary of the Rastaman Vibration album\, along with performing Bob Marley & The Wailers’ hits. Fans will be treated to a unique blend of nostalgia and modern reggae anthems\, making every concert an unforgettable experience.
URL:https://yeehaw505.com/event/the-wailers-2/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260409T193000
DTEND;TZID=America/Denver:20260409T193000
DTSTAMP:20260519T213419
CREATED:20260206T212036Z
LAST-MODIFIED:20260206T212036Z
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SUMMARY:Bab L'Bluz
DESCRIPTION:Bab L’ Bluz are reclaiming the blues for North Africa. Fronted by an African-Moroccan woman in a traditionally male role\, the band are devoted to a revolution in attitude which dovetails with Morocco’s ‘nayda’ youth movement – a new wave of artists and musicians taking their cues from local heritage\, singing words of freedom in the Moroccan-Arabic dialect of darija. Ancient and current\, funky and rhythmic\, buoyed by Arabic lyrics\, soaring vocals and bass-heavy grooves\, Nayda! seems to pulse from the heart of the Maghreb.
URL:https://yeehaw505.com/event/bab-lbluz-2/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Denver:20260403T193000
DTEND;TZID=America/Denver:20260403T193000
DTSTAMP:20260519T213419
CREATED:20260207T201509Z
LAST-MODIFIED:20260207T201509Z
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SUMMARY:Big Richard
DESCRIPTION:Bluegrass band Big Richard makes music for the 21st century’s twisted cultural unease. Their latest album Pet\, is a fierce\, provocative\, rejoinder to what troubles them and the world right now\, which was recorded live to tape in order to capture the fervor of their live shows. \nBig Richard is so much about our energetic delivery\, and so I think it’s been really important for us as a group to figure out how to do that for a record\,” says mandolin and guitar player Bonnie Sims. \n“We made the album all on tape and did it all in these single-shot performances\,” cellist Joy Adams adds. “The collection of songs\, we wanted to take our most hard driving\, heavy hitting songs\, we wanted to craft a banger set list. Like\, if we had a 30-minute set\, what would we put on there that says the most\, and makes people feel the broadest bunch of feelings? And it was all these songs.” \nAdams and Sims both studied music and toured and played extensively before (and outside of) joining Big Richard\, as did the other members of the band: Adams has three degrees in cello\, toured with Darol Anger and Nathaniel Rateliff\, and has recorded for television and film (including the Queen’s Gambit); Sims\, who grew up playing music with her family\, has a degree in commercial music\, with a vocal specialization in yodeling\, toured and recorded extensively with her husband\, Taylor Sims (including a platinum-certified record); fiddler Eve Panning\, who also grew up playing with her family\, studied violin performance and music education\, taught orchestra\, and played in bluegrass bands\, including touring widely with classical group Barrage; and bassist Hazel Royer started out playing music with her dad Eric Royer in the Boston\, MA folk and rock music scene\, and studied at the Berklee College of Music.\nPet\, the band’s sophomore studio album\, was engineered by Mark Anderson and produced by the Big Richard members\, will be released February 5\, 2026 on Signature Sounds. Anchored by staples from the band’s live sets\, the album includes their urgent\, vociferous version of Dave Olney’s anti-capitalist anthem\, “Millionaire\,” and an equally-vehement rendition of the anti-gun violence treatise\, “Red Fox Run\,” written by Cecelia and Andy Thorn (of Leftover Salmon). Both songs are emotionally potent at shows\, and the audience’s anger often palpable; feeling it together as they play is cathartic\, Sims says. \nBig Richard opens Pet full force\, with a blistering medley of Sims’ song\, “It’s Gonna Fall” and the Bill Monroe fiddle tune\, “Old Daingerfield”: “Our air has turned to poison and our water catches flame / You know we’re blowing out the ground under our beds in which we lay / And we’re digging holes we’ll never fill\, the ground shakes to protest / But we just close our minds and eyes and ears\, there ain’t no stopping progress\,” Sims sings about her despair at the destruction of the natural world through fire and flood\, and the fracking wells she sees springing up in Colorado. (At shows\, the band also jibs at Monroe’s infamous habit of claiming credit for all songs written by his band members\, by joking that Sims wrote both tunes.) \n“A lot of the time in our sets\, we like to follow a heavy-hitting song with an instrumental that meets that energy\,” Panning says of tacking “Old Daingerfield” onto the end of “It’s Gonna Fall.” “It feels good to reflect on something for a moment\, or keep going with it\, and keep that energy somewhere.” \nThe band applied the same pressure release system on Pet\, which features two entirely instrumental tracks written by Panning. Comparatively gentle\, “K’s March\,” inspired by a musical phrase Panning’s roommate used to sing around the house\, follows “Millionaire” with a wholesome old-time jam track that lets audiences blow off steam after being wound tight; and later in the album\, “Circus Jerk” (double entendre intended)\, hints at the band’s raunchy stage banter and bluegrass music’s reputation for showoff solos (by giving each band member her\nmoment to rip). \n“We’re in the most musically locked spot we’ve been in thus far\, since I’ve been in the band\, and this album feels like a really good reflection of that\,” says Royer\, who joined in 2023. \nUnapologetically outrageous and provocative\, the band’s name is a wink to the ‘big dick’ energy Big Richard is reclaiming from male bluegrass bands. They’re intent on making audiences laugh and feel a little uncomfortable\, for the sake of making them think\, as well. To that end\, the album’s cover portrays the band dressed in deranged clown outfits and crouching on railroad tracks in front of an oil refinery. And its title track “Pet\,” delivered like a slightly demented circus sound track and written by Adams\, is a rich paean for the people society too often lets fall through the cracks. \n“I wrote it thinking about people who are stuck in circumstances outside of their control\, whether they were born into it or not. That might be childhood trauma or poverty or a chronic health problem\, or something that they didn’t choose\, and they’re just hauling it around with them\,” Adams says. “I think in a deeper sense\, the song is reflective of how many people get lost in the big turning of the world right now.” It’s a sentiment and a sound she doubles down on later on the album with the spooky music box track\, “Holy Holy\,” about religious/childhood trauma and growing up with an addict in the house. \nBig Richard’s power to deliver emotionally evocative music derives in part from their rare make up. Though the album also employs toy piano\, banjo\, and octave mandolin\, the band primarily performs on bass\, mandolin and guitar\, fiddle\, and with Adams on cello\, which adds an extra sonic dimension for bluegrass (though Adams\, who wrote her doctoral dissertation on the history of cello in fiddle music\, says the cello actually predates the bass in string bands). \nStill\, among the strife and intensity\, Pet leaves room for a little sweetness. First with “Alaska\,” a yearning love-song Royer wrote about a crush when she was 16\, and then with a cover of Hank Cochran’s “Make the World Go Away\,” which concludes the album\, and often their live show\, too. At concerts\, the band’s four members descend from the stage\, and play the song clustered together in a clearing in the crowd\, a final act of gathering after an intense show. \n“Our live performances are so raw and so gritty\, and I think that our sound never really flourished in that digital landscape.” Adams says. “[Recording live to tape] we were all in the same room together\, very close together\, with a lot of mic bleed\, etc. And the energy was insane. It felt so good to record this way. Even on the first day\, we were like ‘wow\, this sounds like our band.’ And to do something that’s very real and gritty and has little mistakes in it just feels alive and human.”
URL:https://yeehaw505.com/event/big-richard-2/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260329T193000
DTEND;TZID=America/Denver:20260329T193000
DTSTAMP:20260519T213419
CREATED:20260206T211551Z
LAST-MODIFIED:20260206T211551Z
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SUMMARY:Tejon Street Corner Thieves
DESCRIPTION:Outlaw Alt-Folk group Tejon Street Corner Thieves hails from the Rocky Mountains of Colorado\, bringing new energy to the Bluegrass genre by mingling darker subjects and tones with depth-driven lyricism and performative musicianship.
URL:https://yeehaw505.com/event/tejon-street-corner-thieves/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260328T193000
DTEND;TZID=America/Denver:20260328T193000
DTSTAMP:20260519T213419
CREATED:20260207T201136Z
LAST-MODIFIED:20260207T201136Z
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SUMMARY:Charlie Parr w/ The Lowest Pair
DESCRIPTION:CHARLIE PARR \nIn the music of Charlie Parr\, there is a sincere conviction and earnest drive to create. The Minnesota-born guitarist\, songwriter\, and interpreter of traditional music has released 19 albums over two decades and has been known to perform up to 275 shows a year. Parr is a folk troubadour in the truest sense: taking to the road between shows\, writing and rewriting songs as he plays\, fueled by a belief that music is eternal and cannot be claimed or adequately explained. The bluesman poet pulls closely from the sights and sounds around him\, his lyrical craftsmanship built by his influences. The sounds from his working-class upbringing—including Folkways legends such as Lead Belly and Woody Guthrie—imbue Parr’s music with stylistic echoes of blues and folk icons of decades past. Parr sees himself merely as a continuer of a folk tradition: “I feel like I stand on a lot of big shoulders\,” he said in an interview. “I hope that I’ve brought a little bit of myself to the music.” \nWith a discography simultaneously transcendental in nature and grounded in roots music\, Charlie Parr is the humble master of the 21st century folk tradition. Parr started recording in Duluth in 2002\, where he lives today. Life in the port town on Lake Superior has a way of bleeding into his work the same way his childhood in Austin\, Minnesota does. Parr self-released his debut album\, Criminals and Sinners\, and did the same for his sophomore album 1922 (2002). With growing popularity abroad\, Parr signed with Red House Records in 2015\, where he recorded break-out albums Stumpjumper (2015) and Dog (2017). Parr’s music has an overwhelming sense of being present and mindful\, and his sound is timeless. \nParr’s mastery of his craft is only more apparent when contextualized within the history of folk tradition of which Parr has dedicated his practice The land and lives around and intersecting with Parr have always influenced him\, from the hills and valleys of Hollandale\, Minnesota to the Depression-era stories from his father. Parr strives to listen to everything: “I don’t see that I’d ever be capable of creating anything if it weren’t for these inspirations and influences\, books and music as well as the weather and random interactions with strangers and animals. So\, the well never runs dry as long as my eyes and ears are open\,” Parr said in a 2020 interview. Before he was even 10 years old Parr was rummaging through his father’s record collection—sometimes drawing dinosaurs on the vinyl sleeves—and listening to country\, folk\, and blues legends\, many of whom are staples in the Folkways catalog. When Parr sings and plays his resonator or 12-string\, you can hear influences like Mance Lipscomb\, Charley Patton\, Spinder John Koerner\, Rev. Gary Davis\, and Dock Boggs. This is especially true in his playing\, when\, after a diagnosis of focal dystonia\, Parr turned to greats like Davis\, Doc Watson\, and Booker White for two-finger picking inspiration. Gifted a 1965 Gibson B-45 12-string by his father\, Parr has never had a formal lesson and learned by to listening records and watching musicians he admired. \nParr’s first album with Smithsonian Folkways\, Last of Better Days Head (2021)\, foregrounded his lyrical craftsmanship and sophisticated bluesman confidence\, with spare production highlighting Parr’s mastery of guitar and elevating his poetry. Last of Better Days Ahead is a portrait of how Parr saw the world in that moment\, reflecting on time and memories that have past while holding an enduring desire to be present. In his 2024 release\, Little Sun\, Parr weaves together stories celebrating music\, community\, and communing with nature. Putting forth an ambitious and raw album that exemplifies the best of Parr’s sound: a blend of the blues and folk traditions he continues to carry with him and the steadfast originality of a poet. \n  \nTHE LOWEST PAIR \n“Kendl Winter and Palmer T. Lee\, both playing guitar and banjo and trading vocals; hers an achingly beautiful distinctive tone that complements his smoky delivery to perfection.” –– Americana UK \n\nThe Lowest Pair has questions. The duo\, made up of Kendl Winter and Palmer T. Lee\, know that we tend to see duality as a problem. We want life to be linear\, working through the dark to finally get to the light. Grief to joy\, despair to hope\, confusion to clarity––not a jangly cycle we can’t escape. But through their incandescent folk songs\, the Lowest Pair often ask: What if we sit with the mess? What if that’s not just more peaceful\, but more magical\, too? \nOn their 8th album Always As Young As We’ll Ever Be\, the Lowest Pair prove that over the last dozen years together\, they’ve become some of modern roots music’s most mesmerizing\, thoughtful purveyors. Produced by Tucker Martine (The Decemberists)\, the 10-track album puts the duo’s stark lyricism\, string-driven arrangements\, and raw compatibility on brilliant display and as a result\, Always As Young As We’ll Ever Be pulses with life. \nThe Lowest Pair’s musicianship is another beautiful testament not just to playing that breathes\, but playing that listens. Winter\, who grew up in Arkansas but has lived in Washington State for the last two decades\, and Lee\, a Minnesota native\, first gained attention as poetic singer-songwriters on banjos. While their family of strings has expanded\, their fundamental approach hasn’t: Respond to sounds and stories the other is making.
URL:https://yeehaw505.com/event/charlie-parr-w-the-lowest-pair/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Denver:20260326T193000
DTEND;TZID=America/Denver:20260326T193000
DTSTAMP:20260519T213419
CREATED:20260206T211229Z
LAST-MODIFIED:20260206T211229Z
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SUMMARY:Arkansauce
DESCRIPTION:The music of Arkansauce calls forth melodies of the Ozark Mountains’ rolling hills and raging rivers with their distinct blend of newgrass. This progressive string quartet features Tom Andersen on bass\, guitarist Zac Archuleta\, Ethan Bush on mandolin\, and Adams Collins on banjo. Their music features improvisational string leads matched with complex melodies\, intriguing rhythms\, and deep thumping bass grooves. Each member sings lead and harmony parts as well as contributes to the lyrics\, which offer authentic\, intelligent songwriting with hard-hitting hooks.
URL:https://yeehaw505.com/event/arkansauce/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260315T193000
DTEND;TZID=America/Denver:20260315T193000
DTSTAMP:20260519T213419
CREATED:20260206T210228Z
LAST-MODIFIED:20260206T210228Z
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SUMMARY:Goodnight\, Texas
DESCRIPTION:Goodnight\, Texas is a band you’ve almost certainly heard by accident somewhere. And now on second look\, you’re deep in their catalog and they’re telling you stories about trapped coal miners and lovebird bank robbers. Banjos and mandolins twinkle. Now you’re seeing Avi Vinocur and Patrick Dyer Wolf and their band live and they’re swelling to a fever pitch\, suddenly singing quiet harmonies off-mic\, and then rocking out again. You’re talking to them at the merch table for a good while and you’re legitimately excited about their new album Signals because\, more than ever before\, it captures the vast dynamic range of the show and blends it with their expansive and intricate songwriting.
URL:https://yeehaw505.com/event/goodnight-texas/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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DTSTART;TZID=America/Denver:20260305T193000
DTEND;TZID=America/Denver:20260305T193000
DTSTAMP:20260519T213419
CREATED:20260207T193003Z
LAST-MODIFIED:20260207T193003Z
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SUMMARY:JMSN
DESCRIPTION:Hailing from Detroit\, Michigan\, JMSN (pronounced jay-muh-sin) has emerged as one of the music industry’s most in-demand performers and producers. \nKnown for unforgettable live shows\, a signature sound\, and striking self-directed visuals\, JMSN has built a consistent career spanning more than a decade. His catalog includes eight studio albums and two live albums\, all created with a fiercely independent\, DIY ethos. A leader in the movement to empower independent artists\, JMSN has earned recognition from legends like Usher and Commodores co-founder Thomas McClary\, and has collaborated with artists including Kendrick Lamar\, Mac Miller\, Ab-Soul\, KAYTRANADA\, and Freddie Gibbs. \nFollowing a world tour of more than 100 shows in support of his latest album Soft Spot\, the project’s soul and energy have resonated widely with fans and industry peers alike. Praised for standout tracks such as “Soft Spot\,” “Love Me\,” and “Cherry Pop\,” the album has sparked viral moments and growing anticipation for what JMSN will create next.
URL:https://yeehaw505.com/event/jmsn/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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BEGIN:VEVENT
DTSTART;TZID=America/Denver:20260220T193000
DTEND;TZID=America/Denver:20260220T193000
DTSTAMP:20260519T213419
CREATED:20260207T191747Z
LAST-MODIFIED:20260207T191747Z
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SUMMARY:David Ramirez
DESCRIPTION:David Ramirez took a little time to get back to himself\, and now he’s dead set on making music for himself—for the sake of the music\, and nothing else. \n“I love all the records I’ve made in the past\,” says Ramirez. “But in making them\, there was always the thought in the back of my mind of where and what it could get me. I made both creative and business decisions with a goal in mind; a goal that often never came. This time it was all about just the joy of making it\, about having fun with it.” \nThe Austin\, TX-based singer-songwriter—whose career has seen six full-length studio albums\, three EPs\, countless collaborations\, and an illustrious supergroup project in Glorietta—spent a season of rest away from his focus on writing songs. In the wake of the end of a long relationship\, he wanted to prioritize processing his grief as a human\, not as an artist bleeding onto the page. \n“The last thing I wanted was to write a heartbreak record. So I stopped writing altogether\, and I just waited until I saw my heart start coming back to life. I wanted the next thing to be hopeful and sweet and beautiful—a testament to music and my love for it.” \nRamirez’s new record\, All the Not So Gentle Reminders\, is exactly what he was waiting for. The 12-song album is an expansive succession of dreamlike songs that indeed tell his stories—but more than anything\, lean into the possibilities of the trip that music can take us on. “I’ve been a songwriter for a long time. I love words and stories. But this was about music. I wanted the long musical intros and outros [as heard on “Dirty Martini\,” “Twin Sized Beds\,” “A Bigger World\,” and “Dreams Come True”] to contribute to the stories and be a part of them.” \nThe lead track\, “Maybe It Was All a Dream\,” sets this theme of the ethereal and dreamy from the outset. It’s a three-and-a-half-minute musical tour de force—at first\, a simple synth line over a subdued drum machine\, that eventually morphs into a grandiose rollick of organ\, drum rolls\, and electric guitars. All the while\, staticky\, broken voices repeat the almost-haunting coda that gives the record its name. In the end\, this “dream” is interrupted and punctuated by a recording of Ramirez’s own mother saying\, “David… David… it’s time to get up.” \nIn “Deja Voodoo\,” Ramirez questions his own memory\, wondering if he remembers his life as it really was\, or if even the past itself is a dream colored by time and distance. He sings\, “Maybe it was in another life. Maybe it was just a dream. Was it a memory passed down from another? A cosmic sunflare? Or just deja vu?” It’s easy to wonder whether the not-so-gentle reminders are themselves facts\, or just figments of our imagination— something to be trusted or something to move on from and reclaim our lives. \nThe songs for the album were written during a writing getaway David went on for two weeks\, where he holed up at Standard Deluxe—a music venue and art space in the tiny 100-person town of Waverly\, Alabama. His goal was to get out of the noise of Austin for a while\, to be alone\, to get back to writing with the “uninterrupted silence [he had] been missing.” \nAll the Not So Gentle Reminders was recorded at Spectra Studios in Cedar Park\, TX just outside of Austin\, engineered by Charlie Kramsky at the helm. He tapped local staples as the house musicians for the sessions\, including Barbara Frigiere\, Jeff Olson\, James Westley Essary\, and Christopher Boosahda (who also helped to produce the album alongside Ramirez). And in the spirit of the exuberance and joy of the recording\, he also called upon a handful of friends to contribute and sing background vocals throughout the album. \n“It made sense to bring in this group as we were so tight musically and relationally from touring together the last few years. Like all my albums before this I never want to repeat what I’ve previously made. This was no exception. I brought in Boosahda to co-produce because I had never tried my hand at the captain’s wheel\, and I wanted someone experienced and with a different musical background than me to bring some extra shine.” \nThroughout the album\, David tackles memory and dreams\, fleeting romance\, the possibility of something better ahead\, and his own deep appreciation for music and his place in making it. The fact that he considered giving it up altogether—a decision he thankfully didn’t follow through with—All the Not So Gentle Reminders only serves to be that much more impactful as a testament to music and its power. \nMost pointedly in “Music Man\,” he recalls his own turning point as a boy\, listening on a Walkman his father gave him… a fateful turn that led him to where he is today. “So take a look at me now. I’m quite the music man. Take a look at the crowd. We’re all here for the music\, man. It’s the music\, man.” On what is his most ambitious\, lush\, and exuberant record to date\, David is leaning in full-hearted to who he knows he is at his core—and not letting anything else stand in his way. \n“I will always be me. I’ve seen enough of the business to know that chasing its praises will only land me in a world of disappointment and self-doubt. I’m wholly back in my chi and\, fingers crossed\, have the strength to stay.”
URL:https://yeehaw505.com/event/david-ramirez/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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END:VEVENT
END:VCALENDAR