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SUMMARY:Vincen García
DESCRIPTION:VINCEN GARCÍA is a Spanish bassist from Valencia\, acclaimed as one of the most prestigious figures in the modern jazz and funk scene worldwide. He has over 14 years of professional experience\, having developed a distinctive\, modern sound marked by energetic and gritty execution. \nBorn into a musical family—his mother a vocalist and his father a trumpeter—Vincen was introduced to performance and touring at an early age. He began playing bass in his high school band and developed his craft entirely as a self-taught musician \nVincen is among the most listened-to bassists globally in terms of streaming\, amassing hundreds of thousands of followers and millions of views and reactions. Additionally\, he has been one of the most impactful artists in the genre\, performing at festivals such as the Montreux Jazz Festival (Switzerland)\, the North Sea Jazz Festival (Netherlands)\, or the Pori Jazz Festival (Finland). His first album\, titled *Ventura*\, is received an overwhelmingly positive reception in cities around the world. Vincen García also collaborates on tours with international artists like Cory Wong and Jesús Molina. The artist will present his second album in 2026 with a world tour that will span every continent. \nWith all of this\, he has become one of the most important and influential Spanish artists on an international level.
URL:https://yeehaw505.com/event/vincen-garcia/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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SUMMARY:TOPS w/ Riki
DESCRIPTION:TOPS\nTOPS — musicians David Carriere\, Jane Penny\, Marta Cikojevic\, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key\, their first full-length since 2020 and with new label home Ghostly International\, is a captivating reintroduction for the Montréal band: ever refined\, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different\, at times darker tones. The album faces feelings once locked away\, engaging the give-and-take between happiness\, hedonism\, and self-destruction. While often inhabited by fictional figures\, their glowing\, grooving\, self-produced songs draw from personal observations: intimacy (both inside and outside the band)\, toxic behavior\, drug use\, and apocalyptic dread. When recording started\, they noticed a shift and leaned in\, jokingly dubbed “evil TOPS\,” says Penny. “We’re always kind of seen as a soft band or like naive or friendly in a Canadian way\, but we made it a challenge to really channel the world around us.” Through the lens of a looming epoch and the clarity that comes with age\, TOPS dip into a more sinister disco realm with Bury the Key\, giving their soft-focus sophisti-pop a sharpened edge. \nRIKI\nRiki is the Los Angeles based dark synth-pop outfit commandeered by the mysterious Niff Nawor\, a visual artist and musician active in the deathrock / anarcho-punk scenes of the California bay area (formerly a member of Crimson Scarlet)\, before founding her solo endeavor as Riki in 2017. \nRiki returns with her 2nd simulacrum of pitch-perfect synth-pop\, aptly titled for the precious substance it is: Gold. Inspired by notions of symbolic power\, letting go\, and transmutable realms of the heart\, the album further refines her rare gift for making swooning melancholia as anthemic as it atmospheric. Working with Telefon Tel Aviv co-founder Josh Eustis at his Pasadena studio\, the sessions unfolded fluidly and fruitfully\, focusing on “quieter moments” and refining the record’s palette and voice. Occasional interruption from a nearby flock of wild parrots infused a mood of California dreaming\, purple sunsets dissolving into deepening neon night. \nLike all the most elusive pop\, Riki’s songcraft is simultaneously direct and oblique\, dynamic and detached\, shifting from sparkling chorus to elliptical outro according to its own poetic logic. She characterizes her lyrical muse as “very much what’s going on in my life\, things I wanted to say but didn’t have the platform.” This subcurrent of dream fulfillment animates the melodies with a specificity and immediacy that transcends her pantheon of 80’s influences: from Saâda Bonaire and Strawberry Switchblade to Bryan Ferry\, Bananarama\, and beyond. Gold skews less dance floor than her instant classic 2020 debut but taken as a collection it’s equally stirring\, stylish\, and exquisitely produced. Evocatively layered arrangements of drum machinery\, sequencer\, fretless bass\, grey sky guitar\, saxophone\, and FX\, anchored by Riki’s singular voice\, alternately widescreen and wounded\, yearning beyond time for ecstasies both fleeting and forever: “Thought I knew you\, but you’ve gone far away / it’s not in your nature to stay / but the thought that I need you\, grows stronger every day / the colors begin / to change.”
URL:https://yeehaw505.com/event/tops-w-riki/
LOCATION:Tumbleroot\, 2791 Agua Fria St\, Santa Fe\, NM\, United States
CATEGORIES:Music
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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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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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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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