Doors 7:00pm // Show 8:00pm // Ages 21+ // $31 Advance & $41 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
MAC SABBATH
with THE CYBERTRONIC SPREE and PLAYBOY MANBABY
Based out of Los Angeles, CA but born from the bowels of Outer Space, Mac Sabbath is here, and it is time for a dinner rock revolution.
Vocals / Ronald Osbourne
Guitar / Slayer MacCheeze
Bass / Grimalice
Drums / the Catburglar
Doors 7:00pm // Show 8:00pm // Ages 21+ // $25 General Admission / $29 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7:00pm // Show 8:00pm // Ages 21+ // $26 Advance & $31 Day of Show // $85 4-Pack
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Rebels & Renegades Pre Party with
THE STEEL WOODS
plus ZACH TOP
Doors 5pm // Show 6pm // Ages 21+ // $21 General Admission / $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7:00pm // Show 8:00pm // Ages 21+ // $30 Advance & $35 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
GBH
with NIIS and THE VAXXINES
GBH, also known as Charged G.B.H, are a hardcore punk band from Birmingham, England. The band formed in 1978, and were known as Charged GBH from their formation until 1984. The band's original lineup was Colin (Col) Abrahall on vocals, Colin (Jock) Blyth on guitar, Ross Lomas on bass, and Andrew Williams on drums. The band mostly toured in England during the 1980s, however they did make several excursions out of the island, including several tours to the United States. Some of their most famous shows that they played during the 1980s were at the 100 Club in Oxford Street in London. They are considered by many to be pioneers in the UK punk rock genre, specifically in hardcore.
1982 saw GBH's first LP, City Baby Attacked By Rats. The album was marked lyrically with harsh criticism of British and European culture, typical of UK punk. It was also full of violence, morbidity (especially in reference to the song "Passenger On The Menu", which describes in graphic detail the experiences of the passengers on the Uruguayan Air Force Flight 571), atheism, nihilism, social anarchism, and generalised absurdity. However not political, the album's lyrics do seem remarkably socially aware. This kind of content would later follow up in later GBH releases. Musically, the album was loud, and fast, with most songs staying under three minutes, typical of the hardcore punk genre. This is also a trademark of future GBH releases.
Doors 7:00pm // Show 8:00pm // Ages 21+ // $21 Advance & $26 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
NIGHT BEATS
with PEARL CHARLES
Doors 7:00pm // Show 8:00pm // Ages 21+ // $36 Advance & $40 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
DIRTWIRE
with AMBER LILY and ZAK POWERS
Dirtwire stands poised between ancient Mother Earth and modern technology, a blend of ethnomusicology and the psychedelic trance state, gut-bucket delta blues and what the band variously dubs “back-porch space cowboy blues, swamptronica, and electro-twang.” It’s a sound informed by Dirtwire’s travels and performances around the globe, where East meets West and North joins South. From the favelas in Brazil, Femi Kuti’s Shrine in Lagos, Tokyo’s bluegrass clubs, Ayahuasca ceremonies in Central America, Gamelan performances in Bali, desert festivals in the Australian Outback, and the 20th anniversary of Kazakhstan’s modernized new capital Astana, the band spreads its message by building bridges across musical cultures in their own unique way.
Dirtwire plays an array of instruments both ancient and modern, including West African kamale ngonis, jaw harps, space fiddles, whamola basses, Rickenbacher electric 12 string guitars, bowed Banjos and mouth harps from around the globe, all interwoven into modern laptop beat creation. Hailing from the underground west coast electronic bass music scene Dirtwire finds itself at the forefront of experimental electronic music production mixing in their wide array of world instruments with sampled beats and 808’s. Dirtwire’s live shows are a communal psychedelic journey, ranging from down home boot stomping get downs, to bass and blues electronic mashups, to ethereal cinematic beat driven soundscapes. Woven into each is the exploration of where live instruments meet computer production, and where tradition meets experimentation.
Doors 7pm // Show 8pm // Ages 21+ // $25 Advance & $28 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
THE ORIGINAL WAILERS
with TOP SHELF
In 1974 when Bob Marley went solo, on the brink of international stardom, he surprised the music community by choosing as American born lead guitarist, Al Anderson. It was Anderson's stunning lead work on such classics as No Woman, No Cry, & Three O’clock Road Block, that first alerted rock fans to the Wailer’s music.
Andersons’ musical achievements with Bob Marley & The Wailers include the platinum award winning albums, ‘Live at the Lyceum’, ‘Babylon by Bus’ and ten times platinum album ‘Legend’.
The Orignal Wailers received their own Grammy nomination in 2013 for their album ‘Miracle’ making it Andersons’ second Grammy Nomination. Al Anderson is the sole member of the Bob Marley & The Wailers mid - 1970’s lineup in the Original Wailers.
The Original Wailers also include Chet Samuel (Lead Vocals / Guitar), Omar Lopez (Bass Guitar), Paapa Nyarkoh (Drums), and Adrian AK Cisneros (Keyboards and Organ) who continue the legacy of Bob Marley & The Wailers’ music.
Doors 5pm // Show 6pm // Ages 21+ // $21 General Admission / $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7pm // Show 8pm // Ages 21+ // $16 Advance & $19 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
ANDREW DUHON
with ISMAY
Doors 7:00pm // Show 8:00pm // Ages 21+ // $21 Advance & $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
MARY LATTIMORE
with JEREMIAH CHIU
Through evocative, emotionally resonant music, Goodbye, Hotel Arkada, the new LP from American harpist and composer Mary Lattimore, speaks not just for its beloved namesake — a hotel in Croatia facing renovation — but for a universal loss that is shared. Six sprawling pieces shaped by change; nothing will ever be the same, and here, the artist, evolving in synthesis, celebrates and mourns the tragedy and beauty of the ephemeral, all that is lived and lost to time. Documented and edited in uncharacteristically measured sessions over the course of two years, the material remains rooted in improvisation while glistening as the most refined and robust in Lattimore’s decade-long catalog. It finds her communing with friends, contemporaries, and longtime influences, in full stride yet slowing down to nurture songs in new ways. The cast includes Lol Tolhurst (The Cure), Meg Baird, Rachel Goswell (Slowdive), Roy Montgomery, Samara Lubelski, and Walt McClements.
“When I think of these songs, I think about fading flowers in vases, melted candles, getting older, being on tour and having things change while you're away, not realizing how ephemeral experiences are until they don't happen anymore, fear for a planet we're losing because of greed, an ode to art and music that's really shaped your life that can transport you back in time, longing to maintain sensitivity and to not sink into hollow despondency.”
Memories, scenes, and split-second impressions have long filled Lattimore’s musical universe. As one of today’s preeminent instrumental storytellers, she has “the uncanny ability to pluck a string in a way that will instantly make someone remember the taste of their fifth birthday cake," writes Pitchfork's Jemima Skala. Lattimore's impulse to record life as it happens matches her drive to travel and perform, as profiled by Grayson Haver Currin for The New York Times: "Lattimore recognized that being in motion shook loose strands of inspiration, moods she wanted to express with melody. She needed, then, to remain on the go." That sense of fluidity has also made her a prolific collaborator outside of solo work. 2020's Silver Ladders, recorded with Slowdive's Neil Halstead, opened the door for Lattimore to widen the vision of her primary project as well, and its proper follow-up is the natural next scale. “All of these people I asked to contribute have deeply affected and inspired my life.”
For the title and inspiration, Lattimore’s mind returns to the island of Hvar in Croatia, where she first saw those silver ladders at the water’s edge. “There's a big old hotel there called the Hotel Arkada, and you could tell it had been hosting holiday-goers for decades in a great way. I walked around the lobby and the empty ballrooms and it looked like a well-worn, well-loved place. My friend Stacey who lives there told me to ‘say goodbye to Hotel Arkada, it might not be here when you get back’ and I heard soon after that it was actually going to be renovated in a very crisp, modern way.” Lattimore became fixated on the ingredients that make a place special — for Hotel Arkada, the patinaed chandeliers, the patternedbedspreads, the echoes of its intangible charm — and how when those leave this world, as they inevitably always will, it feels important to memorialize them, “to bottle it for a brief second.”
Doors 7:00pm // Show 8:00pm // Ages 21+ // $21 Advance & $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
PETTY THEFT - SAN FRANCISCO TRIBUTE TO TOM PETTY AND THE HEARTBREAKERS
At the forefront of legendary Rock and Roll bands, you are sure to find Tom Petty and The Heartbreakers.
Since 2003, San Francisco based Petty Theft has been touring the United States performing Tom Petty’s songs true to the originals and in the spirit of the Heartbreaker’s live shows.
“Best of Marin 2023 : Best Tribute Band” – Pacific Sun
“Best of the North Bay 2023 : Best Tribute Band” – The Bohemian
“Best of the North Bay 2022, 2021 : Best Cover Band” – The Bohemian
“Best of Marin 2022, 2020, 2019, 2018 : Best Cover Band” – Pacific Sun
“Best of Marin 2015: Best Local Band” – Pacific Sun
“Best Band San Francisco North Bay” – 2013, 2012, 2011 – The Bohemian
Doors 5pm // Show 6pm // Ages 21+ // $21 General Admission / $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7pm // Show 8pm // Ages 21+ // $25 Advance & $30 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
JMSN
Hailing from Detroit, Michigan – JMSN (pronounced ‘Jameson’) has emerged on the international stage as one of the music industry’s most sought-after performers and producers. JMSN has built a reputation for himself through his unforgettable live performances and his trademark sounds, garnering nods from R&B/Soul legends, such as Puff Daddy, Usher, and founding member of The Commodores, Thomas McClary. JMSN’s impressive talents have been tapped by the likes of Kendrick Lamar, Mac Miller, J. Cole, The Game, Tyga, Ab-Soul, Kaytranada, Sango, Ta-ku, and many more leading some to describe JMSN as “your favorite artist’s favorite artist.”
Doors 7:00pm // Show 8:00pm // Ages 21+ // $31 Advance & $36 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
CIRCLES AROUND THE SUN
Los Angeles-based instrumental supergroup Circles Around the Sun is a contemporary instrumental rock band, initially formed with the purpose of creating music for “Fare Thee Well”, a series of reunion concerts played by the surviving members of the Grateful Dead. Those shows celebrated the band’s 50th anniversary and served as their official send-off, while Circles Around the Sun was designed to reflect the Dead's overall spacy and groove-laden feel. After the tour, the group released a self-titled album from the Fare Thee Well gigs, supporting the record with their own road trip. The response was so positive that they continued on with a follow-up project, Let It Wander, in 2018. This record was less influenced by the Dead and more free-form, delivering on the roots influence of jazz-funk, soul, and fusion. The band underwent a fundamental transition in 2019. After completing the Meets Joe Russo EP and a third album, their guitarist Neal Casal committed suicide on August 26, 2019. He left his bandmates a note asking for them to continue in his absence– to continue recording, touring, and playing together. The band decided to carry on with a rotating cast of guitarists, landing on John Lee Shannon as the permanent replacement.
In this metamorphosis, Circles Around the Sun spans both heartbreak and hope. Doors close; windows open; new directions extend themselves in mysterious ways. But sometimes you know it’s real from the first beat. It just clicks. It’s just how Neal would want it. It’s Circles Around The Sun.
Doors 7:00pm // Show 8:00pm // Ages 21+ // $22 General Admission / $27 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share.
It’s a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020.
But knowing he couldn’t simply recreate this time in his life at will, Thomas—who hails from Brattleboro, Vermont—set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand.
“I wanted to make an album to remind myself that life is magical,” he reflects.
And so, Thomas seized upon his memories, creating what he calls “an album about love and nature and youth.”
The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist’s back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. Images of his youth abound: from Route 91 which runs through his hometown (in “Smalltown Stardust”); to Redtooth, a spectre who used to roam the streets (“Bandits Of Blue Sky”); to old friends, old haunts and old dreams (“Always Find Me”); to Vermont’s Rock River, which gave its name to a song of a torch still burning for past love: “Those days are gone and we can’t rewind/ Cuz people grow and places change/ But my love for you will never fade away.”
But at the core of Smalltown Stardust is Thomas’s desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs and create a setting unmistakably far away from Los Angeles. “I consider nature to be my religion,” he explains, and Smalltown Stardust is nothing if not a spiritual exploration. Thomas’s identification as a sort of eternal spiritual seeker is underscored in one of the album’s sweetest moments, “A Meditation,” which features a home audio recording of Thomas as an eight year old, trying his hand at leading a meditation. It’s a journey that he continues to this day, as he intones on “Portrait of God”: “Walking in the woods, wading in the river” and “breathing in the mountain air” before heading back to a place where he finds himself “Oil painting in my garage/Let my colors flow/ I’m working on my portrait of God.”
While so much of Smalltown Stardust invokes idealized traces and places of Thomas’s past, the album’s recording process made his communal vision a reality. Thomas’s Los Angeles home in2020formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021’s Fun House and 2022’s Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Thomas describes the time with a fitting metaphor: “I’ve always thrived around other people making things. You want to bloom with each other.”Ashworth’s contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. As Thomas notes, “I tried to follow her vision a lot. It helps to open your world to collaborators. You always get something completely different than you would have expected.”
With the gorgeous orchestral tones of “Love Letter to Plants,” it’s immediately clear that Thomas is declaring a wider vision of what his music can be. Gone are many of the squalling guitars of previous King Tuff records, replaced with thoughtful, tender touches of cello and violin on “LoveLetter to Plants,” “Pebbles In A Stream” and “The Bandits Of Blue Sky”; a plaintive saxophoneon “Always Find Me”; and orchestral vocal harmonies with Ashworth that lift the songs to acelestial plane. (Though the rollicking, joyous leads on “Portrait of God” show Thomas hasn’t lost his touch on guitar.) On “How I Love,” Thomas makes clear that all of this is by design: “So lost in nothing but noise for so many years, I forgot to love.”
In the end, Smalltown Stardust is not merely a nostalgia trip. In making the record, Thomas not only conjured a special time in his life, he found new inspiration, surrounded by a small circle of collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us. “I’m a different person now than I was 20 years ago when I first started it. But oddly, when I first started the band, it was more like this,” he says. Which is to say, things have come full circle. Or as Thomas intones on “The Wheel”:
“Ooh we were just kids then…
Caught up in the turning of the wheel….
And it’s coming ‘round again.”
Doors 7:00pm // Show 8:00pm // Ages 21+ // $14 Advance & $16 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
ATTA BOY
with ANGELICA ROCKNE
Resurfacing like cicadas, L.A.-born Atta Boy has never been in a hurry. Instead, responding to some strange seasonal instinct when it comes to recording, their unique, beguiling, comforting, and yet aching blend of pop-Americana seems to arrive in waves, well-formed, fully-gestated, yet hungry and soul-searching. Mixing indie influences with coffee-shop confessionalism, the quartet first found eachother in the hazy days of high school. Navigating the high-strung emotional peaks and valleys of American adolescence, this close-knit crew shaped those experiences into a considerably mature debut, 2012’s Out of Sorts, to be released before they were old enough to order a drink. And then they disappeared.
The lifelong friends recorded a steller introduction, then, like dandelion tendrils tossed to the wind, dispersed to discover themselves. “I didn’t think of myself as in a band,” recalls lead singer Eden Brolin, “we’d recorded a record.” But the four kept in touch, and the record began to make the rounds like a lazy ‘78 discovered in a dusty basement, evoking a warm nostalgia that would come to mark the band’s particular style. In time, word-of-mouth would carry their debut like a rumor. Evolving from a whisper in first period to an anthem by last-bell, and the fans sprouted-up like wildflowers.
“It was almost like we were some urban legend,” muses keyboardist Dashel Thompson, ``the album existed, and we existed, but Atta Boy was hibernating.” While the group was collecting themselves, they remained in close contact, and eight years later, drummer Lewis Pullman sought to recapture that first spark like a lightning bug in a mason jar with a rousing group text reading: ”Alright gang…we’ve got money in the bank, we’ve got songs unsung, strings to strum, and a summer that’s begging and pleading for us to make something of it.”
“We should make a record. Easy peasy lemon motherfuckin’ squeezy.” And it was settled.
Returning in 2020 with their follow up, Big Heart Manners, Atta Boy skirted the sophomore slump by delivering yet another wise-beyond-their-years collection of warm, inviting, and at-times even raucous tunes that built up from breezy pianos and shuffling riffs into explosively evocative crescendos- capped by Brolin’s sweet, sentimental, and slightly strange lyrical stylings.
“Given everything going on, the moment, with so much sadness, we felt weird releasing new music, but we didn’t want to wait around for a perfect time that would never come,” guitarist Freddy Reish relays. “Fans were reaching out, they had been reaching out, and it’s so amazing– if our music could help even a little bit, we wanted to share.”
And the fans responded in turn. Without even a single tour, Atta Boy’s fan-base had swelled and the demand was palpable like summer heat radiating off warm asphalt. Compared to their first hiatus, their third record has mercifully followed so much faster.
Glowing with the (nearly) all-analog production tone that has become Atta Boy’s signature calling card, 2022’s Crab Park inhabits an even deeper spiritual groove– that embodies the honesty, openness, and accepted vulnerability you can only find among a group of real, old friends who managed to find some weird way to actually go home again.
“Home…domesticity…it’s there in the record…but I think it’s more about the idea of elemental particles breaking down and reforming.” Ponders Brolin. “I think we were responding to the idea of milestones, the past and the present, how far we’ve come. How much has changed, and how much hasn’t,” agrees Thompson.
Lyrically, title track CRAB PARK, speaks to the somehow shocking comfort found in a mutual communion between lovers, not only with each other, but with a place, and more than a place, but a place and an idea. “And I never ever thought it would be me and you at Crab Park/ With the bittersweet and final spark of Firework Friday/ Can’t explain it if I wanted to…” Brolin coos as she explores the intimacy of a delightfully discovered, unexpectedly perfectly-imperfect reality.
Yet here they all are again, the old friends with new stories to share. Back-end barn-burner, BOYS, also captures this catch-me-up energy. Holding court ahead of the record, Brolin brought out a notebook and asked each bandmate for five things that make them happy. “I wanted to check-in with the boys, and bring their experiences together into the album,” she explains. Still, even this happy homecoming is tinged by the bittersweet; lyrically leading to questions like, “What’s home when home’s where everyone’s gone/ and a bed is made in every town?”
Finding themselves between the nostalgic interplay of roadhouse piano and barroom balladeering, Atta Boy still comes off mostly upbeat and endearing. Their inventive song structures and swelling melodies reveal a bolstered confidence that, coupled with toe-tapping tempos, charmingly carry listeners through thoughtful meditations that just can’t help but reveal a hallowed hollow for that which is lost, and that which is yet to be found.
In their most contemplative moments they aren’t afraid of wandering the halls of memory. Single DEEP SEA LADDER puts this knowing form of nostalgia on full display as Brolin belts: “I know this house is sinking, every shingle out of line/ But this house is mine.” It’s a neat trick she somehow pulls off over and over, both owning the moment and admitting to only a transient and groping apprehension of the tiny gestures that make up a whole, beautiful life.
All that to say, this band of old-neighborhood besties aren’t at all naive about the pitfalls of the past. Atta Boy willingly acknowledge the honeytrap of the good-old-days and evoke a wisened awareness of their still rising trajectory. As seen on the mean memory-trip that is SPRING SEVENTEEN, a touching little ditty wholly embracing the saccharine reality inherent in wonton reminiscing, Brolin soulfully sings, “Lost in a brief memory/ like a song you get used to/ loosen the grip of reverie…I don’t know you like I used to.”
It’s in this spirit of entropy and negentropy that Atta Boy have once again found themselves coalescing around a shared, collective pang that drives their collaboration and their joyful celebration of all things living, dying, dissolving, and reforming– like a perennial posy pushing through the underbrush to bloom under the first shouts of springtime sunshine, beautiful and golden. Again. And again.
Doors 5pm // Show 6pm // Ages 21+ // $21 General Admission / $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7:00pm // Show 8:00pm // Ages 21+ // $31 Advance & $36 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
ALO
with SHIRA ELIAS (of Turkuaz)
ALO is a lot of things. Put simply, it’s a rock band, a family, an artistic outlet, a community, a business. But that only scratches the surface of this 3O-year musical vision-quest. ALO is an adventure, it’s a Spring break road trip to Colorado, it’s an all-night drive from Salt Lake City to San Jose. It’s the comfort of hanging out with life-long friends, of relaxing on a couch and finding treasures hidden in its cushions. It’s a coffee table full of amazing books on art, philosophy and music. It feels old and new, fresh and classic. It holds tension and dreams and possibility in its folds. It hopes to unveil something magical, something unheard of, something the world needs. It smells of super burritos and vans full of lemons, old bongs and epic hikes. It’s a sound of growing up in the San Francisco Bay Area. It’s a sound of northern California, with sprinkles of Santa Barbara and Augusta, Georgia. It was born of childhood friendships, of shared destinies, of inside jokes and of a desire to make people happy. It’s not for everyone, although it tries to be. It wants you to love and share in its vision. It’s long and meandering, then suddenly sharp, abrupt! It’s feral and clever, and it means you no harm. It’s love and freedom, collected and catalogued, then released back into the wilds from whence it came, over and over again. It’s an orchestrated liberation of our animal soul.
Doors 7:00pm // Show 8:00pm // Ages 21+ // $25 Advance & $30 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
FOREVERLAND - THE ELECTRIFYING TRIBUTE TO MICHAEL JACKSON
When Foreverland took the stage for the first time one San Francisco night in June 2009, no one could have predicted that just two weeks later, Michael Jackson would pass away. But since that moment, Foreverland: The Electrifying Tribute to Michael Jackson, has been leading a larger-than-life celebration of his musical legacy from coast to coast.
A different kind of tribute band, you won’t see any impersonations here. Instead, Foreverland simply aims to honor and do justice to the music and spirit of the King of Pop. Throughout this truly unforgettable performance, die-hard fans will relive their favorite MJ moments, and younger crowds will rediscover the amazing music that remains timeless.
The band has mesmerized audiences around the country with their one-of-a-kind performances of the music of Michael Jackson, and they continue to play to bigger and bigger crowds. Foreverland’s four dynamic vocalists, powerhouse rhythm section, and slamming horn section recreate hits like “I Want You Back,” “Don’t Stop Till You Get Enough,” “Smooth Criminal,” and “Thriller” from the Jackson 5 era through the end of Michael’s incredible career with energy, groove, and force.
Michael Jackson lives forever with Foreverland, as they carry out his mission to move audiences' hearts and dancing feet with music night after night.
Doors 5pm // Show 6pm // Ages 21+ // $21 General Admission / $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7:00pm // Show 8:00pm // Ages 21+ // $50 Advance & $55 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
MELVIN SEALS & JGB | NIGHT 1
Melvin Seals has been a powerful presence in the music industry for over 30 years with a long-established reputation as a performer, recording artist and producer. Melvin is most revered for his powerful, high-spirited, Hammond B-3 organ, and keyboards in the Jerry Garcia Band. Melvin spun his B-3 magic with the Jerry Garcia Band for 18 years and in doing so helped pioneer and define what has now become "Jam Band Music". From blues to funk to rock to jazz, Melvin Seals serves up a tasty mix with a little R&B and gospel thrown in to spice things up.
Melvin and JGB bring an intuitive, expressive style, soul, spontaneity and remarkable chops to the table. John Kadlecik on lead guitar and vocal duties, John-Paul McLean's savory bass, Jeremy Hoenig on the drums and, of course, a heapin' helpin' of the wizard's magic on Hammond B-3 Organ and keyboards. Their chemistry is the focus from which they create a spontaneous and high art where the sky is the limit musically. They offer an exciting, often psychedelic musical journey that changes nightly and keeps the audience dancing and smiling (and some staring in amazement) for hours.
Adding his rock-gospel-soul-rhythm and blues touch with his funky style of playing, no wonder Jerry nicknamed him "Master of the Universe". Melvin continues to treat music lovers to his unique brand of melodic flavor with JGB. Come see and hear for yourself!
MELVIN SEALS & JGB:
Melvin Seals - Hammond B3 Organ, Keyboards & Vocals
John Kadlecik - Electric Guitar & Lead Vocals
John-Paul McLean – Bass & Vocals
Jeremy Hoenig - Drums
Doors 7:00pm // Show 8:00pm // Ages 21+ // $50 Advance & $55 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
MELVIN SEALS & JGB | NIGHT 2
Melvin Seals has been a powerful presence in the music industry for over 30 years with a long-established reputation as a performer, recording artist and producer. Melvin is most revered for his powerful, high-spirited, Hammond B-3 organ, and keyboards in the Jerry Garcia Band. Melvin spun his B-3 magic with the Jerry Garcia Band for 18 years and in doing so helped pioneer and define what has now become "Jam Band Music". From blues to funk to rock to jazz, Melvin Seals serves up a tasty mix with a little R&B and gospel thrown in to spice things up.
Melvin and JGB bring an intuitive, expressive style, soul, spontaneity and remarkable chops to the table. John Kadlecik on lead guitar and vocal duties, John-Paul McLean's savory bass, Jeremy Hoenig on the drums and, of course, a heapin' helpin' of the wizard's magic on Hammond B-3 Organ and keyboards. Their chemistry is the focus from which they create a spontaneous and high art where the sky is the limit musically. They offer an exciting, often psychedelic musical journey that changes nightly and keeps the audience dancing and smiling (and some staring in amazement) for hours.
Adding his rock-gospel-soul-rhythm and blues touch with his funky style of playing, no wonder Jerry nicknamed him "Master of the Universe". Melvin continues to treat music lovers to his unique brand of melodic flavor with JGB. Come see and hear for yourself!
MELVIN SEALS & JGB:
Melvin Seals - Hammond B3 Organ, Keyboards & Vocals
John Kadlecik - Electric Guitar & Lead Vocals
John-Paul McLean – Bass & Vocals
Jeremy Hoenig - Drums
Doors 7:00pm // Show 8:00pm // Ages 21+ // $37 General Admission / $42 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
“Everyone knows that you can sing…”
For The White Buffalo – aka singer / songwriter / guitarist Jake Smith, Oregon-born, Southern California-raised – it was time to take the less travelled path; to assemble notions for studio album Number 8, the follow-up to ‘On The Widow’s Walk’ (Snakefarm, 2020), and embark on a voyage of discovery.
Out with the old, the organic, the expected, the tried; in with the new – new producer, new studio, new location, no distractions, no looking back…
Enter ‘Year Of The Dark Horse’…
“You think we’re a country band? A folk band? Americana? Rock? What the fuck are you gonna say now?!” laughs Jake. “With this album, I wanted something outside of what I’ve ever done. I wanted to open up. Do something dangerous. I’m hard to put into a singular genre as it is, but now I really wanted to take away any kind of preconception or pigeon-holing.
“And don’t ask me, cos I don’t know what it is! It’s a genre-bending thing – there’s elements and influences from ELO, Daniel Lanois, Tom Waits, The Boss, circus, pirate music, yacht rock, and I’m driving and pushing some of these numbers in a way I’ve never done before.
“At the top of the pandemic, I put the acoustic guitar on its stand, got a synthesizer and began writing on it, not really knowing how to play keys, just exploring the different sounds and landscapes. In the not knowing, it allowed me to expand my vocal melodies and compositions in ways the guitar had possibly limited.”
When Jake, flanked by regular touring / recording compadres, bassist / keyboard player / guitarist Christopher Hoffee and drummer Matt Lynott, crossed the threshold of East Nashville’s Neon Cross Studio, a converted Southern Baptist Church, he wasn’t chapter an’ verse prepared, as usual.
The time before recording had been a crazy one, so there were a bunch of loose ends to be tied (“I’m a perpetual procrastinator” – Jake), plus only three of the 12 songs had been completely written. Jake had maps in his head, but most were mere bones of compositions with only a few key lyrics penned. This allowed producer / studio owner Jay Joyce – plus trusted assistant, Jason Hall – the wiggle room to really get involved, to guide and explore new frontiers …
“It was a whirlwind of creativity,” recalls Jake. “We tracked 12 songs in 11 days; no over-thinking, no looking for perfection, no egos, no playing it safe, just feel, and I’ve never had a producer act so much like a producer… twisting, elevating and contorting our talents!”
With an impressive clientele numbering Eric Church, Brothers Osborne, Fidlar, Ashley McBryde, Halestorm, Little Big Town, Cage The Elephant, to name just a few, multi-instrumentalist Joyce has a reputation for working at an intense level.
He’s a Grammy Award-winning Producer of the Year (2018), has 4 CMA and 5 ACM Awards, and when it comes to making music, the Ohio native is never one to take the obvious route – perfect for an album featuring a dozen musical vignettes, individual yet constant in flow; an album loosely based around the shifting of the seasons and the shifting of a relationship; an album showing off the complete scope of Jake’s song-writing craft, from the stripped back to the fully loaded…
“Jake is fierce, he basically wrote a whole movie,” says Jay. “We holed up in an old church, in the midst of the pandemic. It was just the four of us, making the soundtrack to his movie, and I have to say, it was inspirational.”
To keep the storyline as clear as possible, the 12 songs were recorded in sequence, with every square inch of Neon Cross brought into play; a new sonic palette was required, a unique set of sounds, and if it meant pushing the musicians into new, sometimes uncomfortable, areas, well, that was the price to pay…
“Oh, he would break at least one of us on the daily!” exclaims Jake. “At some point, we all questioned if we could even sing or play! We’d start at 11, have lunch at one or two, be done by seven, and we felt like we’d gone to war!! Exhausted, our heads spinning. Like, what did we even do today?!
“A lot of stuff was tracked on the fly, and Jay would help guide arrangements, bridges, links, all sorts of things, then he ended up adding other elements in the mix to bind it all together. He’s an insane musician and he would change things on a dime. We’d spend an hour getting a drum tone, then he’d say, ‘Sounds amazing, but any fool can make a drum kit sound good’. So he’d abandon all of that, and end up using a 50 dollar child’s kit mic’d with a singular microphone and pump it through a tiny Marshall amp. His mind works in a manner I’ve never witnessed in anyone else!”
But what about the vocal recording? Surely Jake’s signature baritone, a much-revered calling card, required nothing more elaborate than a candle-lit corner, some honey, cigarettes and coffee…
“Not reallyl!” laughs Jake, “he kept putting me in strange and awkward positions – on two or three of the songs, he sat me down on a low-profile couch, with the mic a foot off the ground, so I’m hunched over singing with my knees higher than my head. He was taking away my body, my power. He’d say, ‘Everyone knows that you can sing, bro, what else is there…?’ He was looking for a vibe, a cool factor, not vocal acrobatics.
“And he’s meticulous about trimming the fat, and about syncopation, where the words are landing. He would also sense if something wasn’t quite working, or if it was getting repetitive; on ‘Love Will Never Come’ he forced me to abandon the vocal melody and lyrics I had prepared, nearing a hundred words, saying it sounded like, ‘Hickory Dickory Dock… I’m bored after hearing that melody twice’. He made me take an entirely different approach, on the spot, like, ‘Make up something cool. Now! GO! GO!’ I’ve never been challenged like that before! The first thing that spilled out of me was the map for that performance.
“He’s a fucking genius with a splash of bullying ex-wife. You know he’s right, you trust him, and he will push you beyond what you think you’re capable of.”
For ‘Year Of The Dark Horse’ to achieve its full potential, Jake knew the experience had to be immersive, which is why the Nashville location proved crucial. Not only were the three musicians away from the lures of home, but the house they all stayed in was just a block from the studio, and filled with a variety of instruments. Wherever they were, they could hone in on the project, and some of the songs came together while the clock was ticking…
“I wrote ‘Love Song #3’ eight days into recording,” remembers Jake. “I knew the story and the scope of the album needed a true love song, so I wrote one from a melody I had swimming around in my head.
“I work strangely well under desperate conditions,” he continues, making sure to give credit to his fellow musicians, his ‘band of brothers’; they hadn’t heard the songs at all prior to entering the studio, “coming in blind”, but they collectively stepped up to the plate, and beyond, sometimes getting a tune out of instruments they’d never even heard of!
As for Jake, he was happy to embrace a project where new boxes were being ticked on a daily, sometimes hourly, basis. This time around, it was all about building on glories past, adding fresh, exciting, more left-field moments to a style and a sound that has seen his music growing in stature worldwide, supported by key placements in the worlds of TV and film (‘Sons Of Anarchy’, ‘Californication’, ‘The Punisher’, ‘The Terminal List’, etc.).
Over the years, Jake has built a second-to-none reputation for the emotional weight of his music, and here this core element dramatically underpins a body of work that allows the imagination of the listener to play an important part throughout, building on a tale of debauchery (of the drunken variety) and blame, of love and loss, a life lived against the odds, the whole thing set in one lunar year, following our anti-hero through the highs and lows of the seasons.
And who is this mysterious Donna? And what was she doing in the bar? And in the bathroom?! (‘She Don’t Know That I Lie’). She’s right there at the heart of the action, and the song that bears her name is probably the most propulsive on the album – an open display of Jake’s deep regard for the great Jeff Lynne…
“During the pandemic, I would ride around on my bike with a speaker on the back, tripping balls, and listening to ELO,” he recollects. “I love Jeff Lynne!”
Hard on the stiletto’d heels of ‘Donna’ comes album closer ‘Life Goes On’, which bring things to a conclusion in gentle, reflective tones. Jake felt his way through the song in the studio, then when he stepped up to do it for real, was told by Joyce that his first take was ‘the one’…
“He wouldn’t let me have another crack! ‘You can’t beat that!’ One single imperfect take when I wasn’t even aware we were recording. Pure, honest, true...”
Which effectively sums up ‘YOTDH’ as a whole, The White Buffalo’s most unpredictable and inventive work to date, the most well-rounded, too – surprising, spontaneous and spectacularly genre resistant.
‘Year Of The Dark Horse’, coming soon via Snakefarm: normal rules do not apply.
Doors 7pm // Show 8pm // Ages 21+ // $35 Advance & $40 Day of Show / $160 Meet & Greet
***This is a fully seated general admissions show. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
HENRY ROLLINS: GOOD TO SEE YOU
On the Good To See You tour Henry will faithfully recount the events of his life in the brief pre-COVID period since the last tour and when things got even stranger over the last several months. It's been an interesting time to say the least and he's got some great stories to tell.
In describing Henry Rollins, the tendency is to try to squeeze as many labels as possible into a single sentence. “Rollins is many things,” says The Washington Post, “diatribist, confessor, provocateur, humorist, even motivational speaker…his is an enthusiastic and engaging chatter.” Entertainment Weekly’s list includes “Punk Rock icon. Spoken word poet. Actor. Author. DJ. Is there anything this guy can’t do?” TV Guide has more concisely called him a “Renaissance Man” but if Henry Rollins could be reduced to a single word, that word would undoubtedly be “workaholic.” When he’s not traveling, Rollins prefers a to keep a relentless schedule full of work, with gigs as an actor, author, DJ, voice-over artist and TV show host to name a few of the roles that keep his schedule full. Rollins has toured the world as a spoken word artist, as frontman for both Rollins Band and Black Flag and as a solitary traveler with insatiable curiosity, favoring road-less-traveled locales in places such as Nepal, Sri Lanka, Siberia, North Korea, South Sudan and Iran.
Doors 5pm // Show 6pm // Ages 21+ // $21 General Admission / $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7:00pm // Show 8:00pm // Ages 21+ // $15 General Admission / $18 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7pm // Show 8pm // Ages 21+ // $22 Advance & $24 Day of Show
***This is a fully seated general admissions show. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
MATT ANDERSEN
with ADAM BALDWIN
A powerhouse performer with a giant, soul-filled voice and commanding stage presence, Matt Andersen has built a formidable following the old-fashioned way: touring worldwide and letting his stunned audiences and new devotees spread the good word of his righteous tunes all over. And the world has indeed woken up and discovered him, helping him amass over 18 million views on YouTube. In addition to headlining major festivals, clubs and theatres throughout North America, Europe and Australia, he has shared the stage and toured with Bo Diddley, Buddy Guy, Greg Allman, Tedeschi Trucks Band, Randy Bachman, Little Feat, Jonny Lang, Serena Ryder, and more. Andersen nabbed the 2013 and 2016 European Blues Award for Best Solo/Acoustic Act, three Maple Blues Awards in 2012, and was the first ever Canadian to take home top honours in the solo/duo category at the 2010 International Blues Challenge in Memphis. Since the release of Weightless in early 2014, Andersen has received a JUNO nomination for Roots & Traditional Album of the Year, a CIMA Road Gold award, and eight Maple Blues Awards.
Doors 7:00pm // Show 8:00pm // Ages 21+ // $23 Advance & $26 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
MORILLO & KR3TURE
with AGUA MAYYIM
MORiLLO
At the young age of 7, Morillo first stepped into the world of music by sitting down behind a set of drums and discovering his passion for creating captivating grooves. With three albums, three EPs, and a multitude of singles and remixes released on establish labels like Gravitas Recordings, Muti Music, High Vibe Records, Tribal Trap, Hybrid Trap, Simplify, and Play Me Records, Morillo has built a project and musical identity for himself that has been celebrated on main stages and festivals around the world.
KR3TURE
Eclectic, eccentric, and fun are some words that describe KR3TURE (“Creature”), a multi-instrumentalist & producer from the mountains of Santa Cruz, CA. By blending live instruments with deep bass, KR3TURE makes powerful & emotive music that is positive, gritty, and heartfelt. He creates his own signature sound of soulful and sublime bass music, making bodies move & spirits lift. His live performances are full of energy and excitement as he improvises on guitar and sax, often getting down to dance with the audience.
Doors 7pm // Show 8pm // 21+ // $29 Advance & $34 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
ALTIN GÜN
with PACHYMAN
Hailing from Amsterdam but coming from various backgrounds, Alt?n Gün has captured the world’s imagination with an indelible fusion, for over five years now. The band combines psychedelic rock, deep funk, synthpop, cosmic reggae, and more with the rich and incredibly diverse traditions of Anatolian and Turkish folk music. Debut album On (2018) quickly captured the world’s attention and a year later the band earned a prestigious GRAMMY® Award nomination for “Best World Album” with it’s sophomore LP Gece (2019).
After two years of recording separately from home during the pandemic and releasing Âlem and Yol (2021) as a result, the band members of Alt?n Gün now recorded a live album in the studio again, called A?k. This album sees Alt?n Gün swinging away from the electronic, synth-drenched sound of their home-recorded albums, to capture all the infectious power and urgency of the band’s famously, propulsive live performances. A?k (2023) therefore marks a new start for the band, that is ready to tour the world again.
Recorded using vintage equipment and techniques, the ten groundbreaking tracks on A?k all represent visionary new readings of traditional Turkish folk tunes, revealing how these ancient songs remain eternally resonant and ripe for reinterpretation. This results in an exuberant return to the 70s Anatolian folk-rock sound that has characterized Alt?n Gün’s first two albums.
Doors 7:00pm // Show 8:00pm // Ages 21+ // $25 General Admission / $30 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 5pm // Show 6pm // Ages 21+ // $21 General Admission / $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7:00pm // Show 8:00pm // Ages 21+ // $20 General Admission / $24 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Jenny and the Mexicats it's a fusion of nationalities and personalities, a band that has a very particular history. The band had its beginnings in Madrid as Pachucos y la princesa, in June 2008
It all started when Icho (double bass) invited Jenny to live in Madrid. Jenny in her 20s had come to the right place. Icho called the best guitarist he knew, Pantera a guitarist with very versatile flamenco technique, they had played together for many years in a rockabilly and punk band in their hometown in Mexico.
Pantera proposed a colleague that he played with in the world of flamenco and he played the cajon. David, an extraordinary Spanish cajon player. And that's how they all got together.
That's how a little adventure of an English girl started and gives rise to Jenny and the Mexicats.
Their first concert was Wonderland, a small festival that generates money to help cancer research in the UK, in August 2008. The roots that this new sound carried, made Jenny start to compose a lot and so Jenny and the Mexicats started to rehearse in the place where everyone had met ... a flamenco tablao, las carboneras.
Doors 7:00pm // Show 8:00pm // Ages 21+ // $21 Advance & $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
JOY OLADOKUN: LIVING PROOF TOUR
with IZZY HELTAI
Joy Oladokun has partnered with PLUS1 so that $1 per ticket will go towards supporting gun violence prevention initiatives.
Joy Oladokun documents her life in songs. For as much as she examines her place in the world as the first-generation daughter of Nigerian immigrants and a proud queer Black person, she also celebrates the little details and the simple pleasures of being alive. Of course, the narrator’s humble demeanor belies the gravity of her extraordinary accomplishments thus far—from captivating audiences on sold out tours and late-night television to finding herself with a guitar in hand on the White House lawn in celebration of equality. After grinding it out for years, she reached critical mass with her 2021 major label debut, in defense of my own happiness. It graced countless year-end lists and led Vanity Fair to declare, "Her name is both prescient and redundant. She oozes energy that shifts a room’s center of gravity and makes you happy for it. It is charisma and she has it in spades. It’s the way she approaches her craft too.” Along the way, she’s delivered unforgettable performances on The Late Show with Stephen Colbert, The Tonight Show Starring Jimmy Fallon, PBS’s Austin City Limits and NPR Music’s Tiny Desk (Home) Concert and more and captivated festivalgoers at Bonnaroo, Hangout, Lollapalooza, Newport Folk Festival and Ohana Festival. Not to mention, she’s also appeared on HULU’s Your Attention Please: The Concert and landed prominent syncs on CSI: Vegas, This Is Us, Grey’s Anatomy, And Just Like That and Station 19, to name a few. Plus, she has joined forces with the likes of Chris Stapleton, Brandi Carlile, Maren Morris, Lucie Silvas, Noah Kahan and Jason Isbell for collaborations. Now, she takes stock of the trip so far on her highly anticipated forthcoming full-length album, Proof of Life [Amigo Records/Verve Forecast/Republic Records].
Doors 5pm // Show 6pm // Ages 21+ // $21 General Admission / $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7pm // Show 8pm // Ages 21+ // $21 Advance & $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
PETE FLOYD - Premier 8-Piece Pink Floyd Tribute
Pete Floyd is a premier Pink Floyd Tribute Experience led by two Petes. This 8-piece band brings authentic album-worthy renditions of Pink Floyd favorites with soaring vocal talents, exquisite musicianship, and visual experiences that has grown their fanbase exponentially and sold out local venues since the founding in 2021.
Pete Delaney - Guitar/Vocals, Pete Hale - Guitar/Vocals, Teal Collins- Guitar/Vocals, Bob McBain - Keys, Toby Tyler - Bass, Sean England - Drums, Paige Clem-Vocals and Alex Garcia-Sax and Keys
Doors 5pm // Show 6pm // Ages 21+ // $21 General Admission / $25 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 7:00pm // Show 8:00pm // Ages 21+ // $19 Advance & $23 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
G-Space Live - The Second Renaissance Tour: Chapter Two
Doors 7:00pm // Show 8:00pm // Ages 21+ // $21 Advance & $26 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
AN EVENING WITH: STEELY DEAD
Hailing from the vibrant music scene of Denver, Colorado, Steely Dead is a national touring band that has satisfied the curiosity of music lovers with their unique blend of Grateful Dead and Steely Dan. Comprised of four exceptionally talented musicians – Dave Abear on guitar, Matt Abear on bass, Chris Sheldon on drums, and Dylan Teifer on keys – Steely Dead has gained a dedicated following with their electrifying performances and soulful interpretations of classic tunes.
Steely Dead’s repertoire is a carefully crafted fusion of Grateful Dead and Steely Dan songs, between the arrangement and precision studio recordings of rock legends Steely Dan, cross-pollinated with the Grateful Dead’s free-flowing, melodic improvisation and masterful song segues. Steely Dead merges these major concepts together infusing the influence into each band, all the while creating an original jam element with the song segues. Steely Dead’s performances are a musical journey that takes audiences on a nostalgic trip through the golden era of rock and roll.
As a national touring band, Steely Dead has built a loyal fan base that eagerly anticipates their shows and follows them from city to city. Their performances are not just concerts, but communal gatherings where fans come together to celebrate the music they love, dance, and create lasting memories.
Steely Dead’s performances are a testament to the power of live music, bringing people together and creating an unforgettable experience that resonates long after the last note fades.
Steely Dead is not just a band; it’s a musical experience that captures the hearts and souls of music lovers everywhere.
Doors 7:00pm // Show 8:00pm // Ages 21+ // $22 Advance & $26 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
THE LEMON TWIGS
with THE UMBRELLAS
Doors 7:00pm // Show 8:00pm // Ages 21+ // $23 Advance & $26 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
CAYUCAS & MATT COSTA
CAYUCAS
A return to musical roots is a time-honored tradition for many established artists who have endured for the better part of a decade. Forming and shaping an identity can take an album or two, and perpetuating forward motion while perfecting a sound can take another. Sometimes a swerve gets thrown in, an unseen obstacle sets itself in the middle of a path, or an experiment or two get eked out for one reason or another. But oftentimes by this point in a career an itch pops up to circle back to where it all began in order to do what the artist does best. And so, for their fourth album as Cayucas, brothers Zach and Ben Yudin are heading back to the beach—in other words, to the sunny, vibrant, melodic rock from which they first paddled out.
MATT COSTA
Doors 7:00pm // Show 8:00pm // Ages 21+ // $24 General Admission / $27 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Nothing’s bigger than life. All vastnesses—expanding space, infinite time—crouch inside of consciousness. On a historical scale, to say nothing of a cosmic one, the individual human life vanishes, and yet it’s the only aperture any of us get into reality. It’s barely there, and it’s all there is.
That’s the paradox Bell Witch drives at. For more than a decade, the Pacific Northwestern doom metal band has sent tides surging over the seawalls of the song form, unraveling conventional expectations about the ways music stations itself in time to absorb a listener’s attention. Rather than seek catharsis, the duo’s songs heave themselves through time at a glacial pace, staving off resolution in favor of a trancelike capsule eternity. Invoking both boundlessness and claustrophobia in the same charged gesture, Bell Witch cultivates a sense of time outside of time, an oasis inside an increasingly frenetic media culture.
For their new album, The Clandestine Gate, bassist Dylan Desmond and drummer Jesse Shreibman exploded Bell Witch’s bounds. Like 2017’s lauded Mirror Reaper, The Clandestine Gate is a single 83-minute track—a composition that pulses and breathes on a filmic timeframe. It constitutes the first chapter in a planned triptych of longform albums, collectively called Future’s Shadow. “Eventually, the end of the last album will be looped around to the first to make a circle,” says Desmond. “It can be continuously looped, like a day cycle. This would be dawn. The next one would be noon. The following one would be sundown, with dawn and sundown both having something of night.”
Bell Witch began tracing the sequences that would form Future’s Shadow in live performance while on tour with Neurosis and Mono. At first, Shreibman and Desmond planned to release each chapter in the sequence as they completed it, touring each album in between. Then, in early 2020, pandemic restrictions forced them to step back from that timeline. Locked out of their rehearsal space, they worked on what would become The Clandestine Gate at a slower burn than any of their previous projects. The album germinated over the course of more than two years, a pace that allowed their music to evolve organically to a state of more focused, grounded minimalism.
While traces of organ and synthesizer hovered over Mirror Reaper and Bell Witch’s 2020 collaboration with Aerial Ruin, Stygian Bough Volume 1, The Clandestine Gate drew those instruments closer to the center of its compositions. “We started experimenting with letting more of the elements shine on their own,” says Shreibman. The band reunited with their longtime producer Billy Anderson as they began negotiating these new compositional weights. The record begins with an eight-minute organ passage that builds slowly, like the susurrations of dawn, before Desmond’s distortion-choked bass cleaves it open. Throughout their new material, Shreibman and Desmond also took the opportunity to implement new vocal strategies. “I wanted the vocals to be more active, rather than being on top of the soundscape,” notes Shreibman. On The Clandestine Gate, Bell Witch’s twinned voices build off of the chantlike textures of previous records while steering toward more developed melodic lines, structured harmonies, and rhythmic death metal growls.
The expansive scale of Future’s Shadow gave Bell Witch more leeway to plumb themes that have long percolated throughout their work. The concept of eternal return—that time doesn’t end and death doesn’t punctuate life, but both go on forever in an infinite loop no one can remember—inflected the development of The Clandestine Gate after Desmond encountered the idea in Nietzche’s book The Gay Science. “I read the eternal return concept and was like, ‘oh, yeah, all of our songs have been about this all the while,” Desmond says. “Anything could be applied to a cyclical point of view. The sun comes up every morning. Spring comes every year, winter comes every year. Everything has a cycle: a life, a death, an existence, a non-existence.”
The films of 20th century Russian director Andrei Tarkovsky similarly supplied a framework for the movements of The Clandestine Gate and Future’s Shadow as a whole. Tarkovsky’s movies creep glacially, powered by the performances of his actors, which imbue his weathered landscapes with a tumultuous interiority. Simple actions—carrying a candle across a room, tossing a metal nut into an overgrown field—carry life-and-death weight, a strategy echoed in Bell Witch’s suspension of minimal melodies across planetary expanses. “Tarkovsky’s intention of poetry through visuals has a strong parallel to ours through sound,” notes Desmond. “His drawn-out scenes are similar in execution to what we’re doing musically, and his films are a big inspiration for this album and triptych.”
The immense gravity of a work like The Clandestine Gate allows these ideas to simmer in a way that feels profoundly and somatically intuitive—not just a philosophical exercise, but an embodied truth. By slowing down both their creative process and the tempo of the music itself, Bell Witch digs even deeper into their long standing focus: the way life spills on inside its minuscule container, both eternal and fleeting, a chord that echoes without resolution. As both the beginning and end of the Future’s Shadow triptych, The Clandestine Gate opens a new chapter in Bell Witch’s macroscopic minimalism: the start of a yawning orbit around an increasingly massive core.
Doors 7:00pm // Show 8:00pm // Ages 21+ // $22 General Admission / $24 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Doors 6:00pm // Show 7:30pm // Ages 21+ // $22 Advance & $27 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
MIKE RENWICK'S HOLIDAY DELUXE
Doors 7:00pm // Show 8:00pm // Ages 21+ // $27 General Admission / $32 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Patterson Hood is a prolific writer and performer whose character-driven stories are packed with political subtext. He is best known as front-man, singer, songwriter and guitar player for the critically acclaimed rock and roll band Drive-By Truckers, but is also a writer of essays, columns and short stories as well as a solo performer and producer.
In the past few years he has written an op-ed on the on-going controversies surrounding the confederate flag for The New York Times Magazine, a piece on Vic Chesnutt for The Oxford American’s annual music issue, and retrospectives on David Bowie for American Songwriter and Merle Haggard for NPR. Most recently in October of 2016, Patterson published his first short story featured in “The Highway Kind,” a car-themed crime fiction anthology.
Drive-By Truckers have released 13 studio albums and played over 2,500 shows in the past twenty five years. They also released a 35-song, career-spanning box set in 2015 that was recorded live at The Fillmore in San Francisco. Their last three studio albums, American Band (ATO Records, 2016) and the recently released The Unraveling (ATO Records, 2020) and The New OK (ATO Records, 2020) have seen the band move into a more direct political and topical sphere of writing garnering praise from critics and fans around the globe. The New Ok was an unplanned album that came out of the social unrest around the Covid 19 Pandemic and was released in the fall of last year.
In addition to the rave reviews from NPR, Rolling Stone, The Independent, UNCUT, MOJO, Pitchfork, Chicago Tribune and The Guardian, Hood and partner Mike Cooley appeared on CNN’s Reliable Sources where they were interviewed by John Avlon. The Unraveling entered the charts as the #1 Americana Album in the UK. In the US it was the #1 album on the Independent Chart, #1 Americana / Folk, #2 Rock, #2 Vinyl and #10 on Billboard’s Top Albums chart and #65 on the Billboard 200. The Unraveling Tour has been selling out venues all over the US, UK and Europe.
In addition to his work with Drive-By Truckers, Patterson has amassed three solo albums and co-produced or played on additional albums by Jerry Joseph, Bettye LaVette, Booker T. Jones and The Dexateens. As a speaker and lecturer, he has spoken and conducted classes at Princeton, The University of Indiana, The University of Georgia, and The University of Alabama. In 2015, he spoke at the Frank and Kula Lumpuris Distinguished Lecture Series at the William J. Clinton Presidential Center in Little Rock, Arkansas, and also delivered the commencement address to the graduating class of 2015 at the University of Northern Alabama.
Alabama is near to Hood’s heart, being born in Florence and raised in the Muscle Shoals area. He attended The University of Northern Alabama before he moved to Athens, Georgia where he lived for twenty-one years. Athens is the home base for Drive-By Truckers. Every year they play a sold out three-night stand at the legendary 40 Watt Club that is known as HeAthen’s Homecoming. Part of those proceeds go to the suicide prevention non-profit Nuci’s Space which Hood and his wife Rebecca have been very involved with for 20 years.
“Southern Rock Opera,” Drive-By Truckers’ best known work, is a concept album that examines growing up in the post-civil rights South and something called “The Duality of the Southern Thing.” Hood penned an article for The Bitter Southerner in 2013 titled “The New(er) South,” and in it he revisits many of those same themes found on the record by giving a glimpse into his first 28 years of life in Alabama. “I grew up as a living part of the legacy of Muscle Shoals music,” Hood says. His father, David Hood, co-founded Muscle Shoals Sound Studio and was a bassist in the Muscle Shoals Sound Rhythm Section, more casually known as The Swampers. He built his career by backing up African-American R&B stars as a white southerner in the thick of the 1960’s civil rights movement, playing on records by Aretha Franklin, Etta James, The Staple Singers, Percy Sledge, and Odetta to name a few. Willie Nelson, Rod Stewart, Bob Seger, Paul Simon, and Simon and Garfunkel also worked with him over the years. David’s monumental career is celebrated in the 2013 award-winning documentary, “Muscle Shoals.” Patterson claims that this environment his father created for him to grow up in was the breeding ground for a lot of his current viewpoints. He is still “fiercely proud” of his hometown, its music scene, and the beautiful music his father created there, but also “ashamed” of the political landscape he had to endure. “Such is the duality of the Southern Thing,” Patterson says.
Hood and his family relocated to beautiful Portland Oregon in the summer of 2015 where they have been renovating a 100 year old house. In addition to touring, recording and writing, Hood has also recently done a little acting with small roles in a couple of upcoming films (The Dark Divide with David Cross and an indie film called Rag and Bone).
Doors 7:00pm // Show 8:00pm // Ages 21+ // $16 Advance & $20 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
JEFFREY MARTIN
with Special Guest ANNA TIVEL
On a small corner lot in southeast Portland, Oregon, Jeffrey Martin holed up through the winter recording his quietly potent new album Thank God We Left The Garden. Long nights bled into mornings in the tiny shack he built in the backyard, eight feet by ten feet. What began as demos meant for a later visit to a proper studio became the album itself, spare and intimate and true. Recorded live and alone around two microphones, Jeffrey often held his breath to wait for the low diesel hum of a truck to pass one block over on the busy thoroughfare. During the coldest nights, he timed recording between the clicks of the oil coil heater cycling on and off.
Martin's fourth full length album, Thank God We Left The Garden comes out on Portland's beloved Fluff and Gravy Records Nov __. He produced and engineered it himself, recalling, "There was a magic quality to the sounds I was getting in the shack with these two cheap microphones, some lucky recipe of time and place that allowed my voice and the way I play guitar and the shape of these new songs to come together with the kind of honesty I was craving."
So much has happened in the world since the release of his previous album One Go Around (heralded by No Depression as 'the poetry of America'), and Jeffrey has filled the time doggedly, but happily, touring the US and Europe, watching it all unfold in a stream of small town conversations and city sprawl. In a moment where depth is so often traded for the instantaneous, where tech billionaires are building rockets to escape the planet, where the dead-eyed stare of artificial intelligence is promising to existentially upend our world, and where divisiveness in our culture is breeding delusional levels of certainty, Jeffrey Martin's new record feels like a hopeful and fully human antidote.
Doors 7pm // Show 8pm // Ages 21+ // $27 Advance & $32 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
COCO MONTOYA
“’Just play what you feel, be real about it, and enjoy yourself.’ That’s what Albert Collins taught me,” says the award-winning guitar virtuoso and soul-deep singer Coco Montoya. The self-taught, left-handed Montoya mastered his craft under Collins’ tutelage. Incorporating lessons learned from his mentors, the iconic Collins (for whom he originally drummed), and UK legend John Mayall, Montoya puts his own stamp onto every song he performs. Since his first solo album in 1995 (which won him the Blues Music Award for Best New Artist), Montoya’s endlessly inventive guitar work and passionate, hard-hitting vocals have kept him at the top of the blues world. With his new Alligator Records album, Writing On The Wall (his sixth for the label), Montoya delivers what he is already calling one of the best records he’s ever made. For the very first time on Alligator, he decided to bring his road-tested band—noted keyboardist and songwriter Jeff Paris (Keb’ Mo’, Bill Withers), bassist Nathan Brown, and drummer Rena Beavers—into the studio with him. Between the camaraderie of the long-time bandmates and the sheer talent of all involved, the results have left Coco, in his words, “over the moon.”
Produced by Grammy Award-winner Tony Braunagel (Bonnie Raitt, Taj Mahal) and co-produced by Jeff Paris, Writing On The Wall is a tour-de-force of memorable, hook-filled songs, sung with passion and fueled by equally memorable, top shelf musicianship. The 13 tracks include five written or co-written by Montoya. The set opens with a signature, career-defining performance of the soul-baring I Was Wrong, written for Coco by songwriter Dave Steen. From the blistering Save It For The Next Fool to the enjoy now/pay later philosophy of Jeff Paris’ (I’d Rather Feel) Bad About Doin’ It to the riveting reinvention of Lonnie Mack’s Stop, Montoya delivers each song with heart-pounding emotion. Special guest Lee Roy Parnell adds his well-seasoned slide guitar to the smoldering A Chip And A Chair. And Coco’s friend, guitarist Ronnie Baker Brooks (son of late Alligator star Lonnie Brooks), joins in for some good-natured fun on the droll Baby, You’re A Drag and adds his blistering playing to the searing cover of Bobby Bland’s You Got Me.
“I am so proud of this one,” Montoya says of Writing On The Wall. “We recorded in Jeff Paris’ studio and everything just gelled together. And the band inspired me; they all gave extra effort at every turn. Jeff, Nathan and Rena played so great, they ended up making me play even harder. They made me sound better than I am!”
Henry “Coco” Montoya was born in Santa Monica, California, on October 2, 1951, and raised in a working-class family. Growing up, Coco immersed himself in his parents’ record collection. He listened to big band jazz, salsa, doo-wop and rock ‘n’ roll. His first love was drums; he acquired a kit at age 11. He got a guitar two years later. “I’m sure the Beatles had something to do with this,” Montoya recalls. “I wanted to make notes as well as beats.” But guitar was his secondary instrument. Montoya turned his love of drumming into his profession, playing in a number of area rock bands while still in his teens and becoming an in-demand drummer.
In 1969, Montoya saw Albert King opening a Creedence Clearwater Revival/Iron Butterfly concert at the Shrine Auditorium in Los Angeles. He was transformed. “After King got done playing,” says Montoya, “my life was changed. When he played, the music went right into my soul. It grabbed me so emotionally that I had tears welling up in my eyes. Nothing had ever affected me to this level. He showed me what music and playing the blues were all about.
I knew that was what I wanted to do.”
The next chapter of Montoya’s story was kick-started by a chance meeting in the mid-1970s with legendary bluesman Albert Collins. Montoya says, “Albert was coming through Los Angeles and needed to borrow my drum set, which I left at the club where he was going to be playing. I went down to see his show that night and it just tore my head off. The thing that I had seen and felt with Albert King came pouring back on me when I saw Albert Collins.”
A short time later, Collins hired Montoya as his band’s drummer. With Albert mentoring Coco on the guitar during the band’s downtime, Coco soon became Collins’ second guitarist. “We’d sit in hotel rooms for hours and play guitar,” remembers Montoya. “He’d play that beautiful rhythm of his and just have me play along. He was always saying, ‘Don’t think about it, just feel it.’ He was like a father to me,” says Coco, who often slept at Collins’ home. When Collins declared Montoya his “son,” it was the highest praise and affection he could offer. In return, Montoya learned everything he could from the legendary Master of the Telecaster.
Needing a more regular paycheck, Montoya left Collins’ band after two years and took a job tending bar, jamming on weekends at Los Angeles clubs. One day, legendary British musician John Mayall heard Coco playing Otis Rush’s All Your Love (I Miss Loving) onstage. Soon after, Mayall called on Montoya to join his famous Bluesbreakers. Filling the shoes of previous Bluesbreaker guitarists Eric Clapton, Peter Green and Mick Taylor would not be easy, but Montoya knew he could not pass up the opportunity to play with another legend. For the next ten years he toured the world and recorded with Mayall on seven albums, soaking up the experience of life on the road and in the recording studio.
Montoya’s recorded debut as a bandleader came with 1995’s Gotta Mind To Travel (originally on Silvertone Records in England and later issued in the USA on Blind Pig Records). The album became an instant fan favorite. Blues enthusiasts, radio programmers and critics sent praise from all corners. The album immediately made it clear that Montoya ranked among the best players on the contemporary scene. Two more Blind Pig albums followed, and Coco was well on his way.
In 2000, Montoya’s Alligator debut, Suspicion, quickly became the best-selling album of his career, earning regular radio airplay on over 120 stations nationwide. Montoya’s fan base exploded. After two more highly successful and massively popular Alligator releases—2002’s Can’t Look Back and 2007’s Dirty Deal—Montoya signed with Ruf Records, cutting both a live and a studio album. Returning to Alligator with 2017’s Hard Truth and 2019’s Coming In Hot, the guitar master continued to blaze his trail. “Montoya unleashes one career-topping performance after another,” declared the UK’s Blues Matters.
Still an indefatigable road warrior, Montoya continues to tour virtually nonstop, bringing audiences to their feet from New York to New Orleans to Chicago to San Francisco. Across the globe, he’s performed in countries including Australia, Belgium, Switzerland, Germany, Norway, England, Brazil, Argentina, Spain, Mexico, Ecuador, Italy, Poland, Russia, the Czech Republic and Canada.
Now, with the dynamic Writing On The Wall and a tour calendar busting at the seams, Coco Montoya is as excited as he’s ever been to perform the new songs live with his burning-hot band. Montoya’s well-earned reputation as an eye-popping live performer precedes him. Vintage Guitar states, “Coco keeps getting better and better. He plays with fire and passion rarely seen in this day and age.” Billboard declares, “In a world of blues guitar pretenders, Coco Montoya is the real McCoy. He exudes power and authenticity. Be prepared to get scorched by the real thing.”
Doors 7:00pm // Show 8:00pm // Ages 21+ // $17 General Admission / $19 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
WHISKERMAN & KING DREAM (Album Release) + Special Guests
King Dream is a Bay Area rock ‘n’ roll band helmed by Oakland native Jeremy Lyon, a lifelong songwriter and multi-instrumentalist who crafts dive bar anthems with heart, brains and soul. Hard-rocking yet poignant, his music combines a love for American rock masters like Springsteen and Petty with ‘60s West Coast psychedelia and more contemporary torch-bearers like My Morning Jacket and The War on Drugs — all brought to life by a band of Northern California’s most in-demand players.
Lyon has played Outside Lands and Hardly Strictly Bluegrass, toured nationally and internationally, and also knows what it’s like to busk on the street. King Dream songs deftly balance hope and world-weariness. They seem wise beyond their years, and they also have a way of sneaking up on you. Their shout-along choruses and searing guitar solos are at home in a darkened saloon, to be sure, but also — you know the giddy, ragged vulnerability that arrives when you’ve been awake for way too long on a road trip? Between the good times and the clinks of beer bottles these songs inspire a wistfulness, deep in your bones, for a place you’ve never been.
Whiskerman is a rock-and-roll overture to our great unraveling.
Over the last 12 years the Oakland band has developed an underground reputation for tackling the sublime with their ambitious songwriting, thunderous stage show, and acute lyricism. They have since emerged as an engine of the Bay Area’s revitalized psychedelic and festival scenes. Frontman Graham Patzner, who will crow like a medicine show preacher, and then coo you into the arms of his lovesick eternity, might be a spitfire protege of the underworld himself, though, through and through he will remind you that there is no rapture without artistry. On the surface this is splendid rock-and-roll, rooted in the classic, psych and glam rock tradition, but the pageantry and chaos of Whiskerman’s performances will leave you describing an experience more than a sound.
Whiskerman have released four studio albums, their most recent, Kingdom Illusion, is a rock and roll vision quest that ushers the band’s elegiac psychedellia towards a louder, pushier, more colorful sound. Their past albums have been described as “ecstatic psychedelia, sturdily constructed pop-rock, pick-and-grin folk all together as a single picture.” (Flood Magazine)
The band is: Graham Patzner (vocals, guitar, violin and piano), Will Lawrence (bass), and Charles Lloyd (guitar and sitar), Nick Cobbett (drums), and Jeremy Lyon (guitar).
Doors 7pm // Show 8pm // Ages 21+ // $22 Advance & $26 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
ZOSO - THE ULTIMATE LED ZEPPELIN EXPERIENCE
Doors 7:00pm // Show 8:00pm // Ages 21+ // $31 Advance & $35 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
KELLER WILLIAMS
Virginian, Keller Williams, released his first album in 1994, FREEK, and has since given each of his albums a single syllable title: BUZZ, SPUN, BREATHE, LOOP, LAUGH, HOME, DANCE, STAGE, GRASS, DREAM, TWELVE, LIVE, ODD, THIEF, KIDS, BASS, PICK, FUNK, VAPE,SYNC, RAW, SANS, ADD, SPEED and CELL.Each title serves as a concise summation of the concept guiding each project. Keller’s albums reflect his pursuit to create music that sounds like nothing else. Un-beholden to conventionalism, he seamlessly crossesgenre boundaries. The end product is music that encompasses rock, jazz, funk and bluegrass, and always keeps the audience on their feet. Keller built his reputation initially on his engaging live performances, no two of which are ever alike. For most of his career he has performed solo. His stage shows are rooted around Keller singing his compositions and choice cover songs, while accompanying himself on acoustic guitar, bass, guitar synthesizer and drum samples; a technique called live phrase sampling or “looping”.The end result often leans toward a hybrid of alternative folk and groovy electronica, a genre Keller jokingly calls “acoustic dance music” or ADM.” Keller's constant evolution has led to numerous band projects as well;Keller & The Keels, Grateful Grass, KWahtro, Keller and the Travelin’ McCourys, Grateful Gospel and More Than A Little to name a few. Keller can be found playing clubs and festivals around the U.S. with these projects throughout the year.