Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
TUNE-YARDS
with KASSA OVERALL
Formed by Merrill Garbus in 2006, Tune-Yards has become a name synonymous with creativity and forward motion. Known for explosive performances, surprising song structures, and danceable rhythms, their music also highlights connections between song and social consciousness. The New York Times praised their debut album, BiRd-BrAiNs, as “a confident do-it-yourselfer’s opening salvo,” and relentless touring established Garbus as a commanding live performer.
Garbus stepped into the producer role with 2011’s w h o k i l l, a bold and sonically inventive album that earned critical acclaim, including the #1 spot on The Village Voice’s Pazz and Jop poll. By 2021’s sketchy., Garbus and bassist Nate Brenner had solidified their partnership, creating a fully collaborative work. The duo has announced their sixth studio record, Better Dreaming, to be released on May 14, 2025 on 4AD.
Tune-Yards has partnered with PLUS1 so that $1 per ticket goes to supporting Street Spirit and their work as an independent newspaper dedicated to covering homelessness and poverty from the perspective of those most impacted. The paper is sold on the streets of Berkeley and Oakland by unhoused people, who keep 100% of the donations they receive.
Show 8pm
***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 bar will be open at 6pm.
Felton Music Hall Presents:
SOULS OF MISCHIEF
with J.LATELY and AFTERTHOUGHT
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
UNCLE LUCIUS
with WOLF JETT (SOLO)
In September of 2024 Uncle Lucius released Live from Ear Studio. Recorded live to tape at Ear Studio in Austin, TX the record features select singles from their latest LP Like It’s The Last One Left plus three covers: “Bertha” by the Grateful Dead; “Shadow People”, a Tom Petty and the Heartbreakers staple and “Just To Satisfy You” made popular by Waylon Jennings & Willie Nelson.
Uncle Lucius has long been known for their unique blend of roots rock & roll and country soul. Since adding heavyweights Doug Strahan (guitar) and Drew Scherger (bass) to the fold, the band has expanded its palette, exploring new musical landscapes and reveling in the power that comes from following sonic avenues, without prejudice, wherever they lead. The results onstage speak for themselves.
During the years following the band’s farewell tour in 2018, their audience continued to organically grow, highlighted by the placement of their song “Keep the Wolves Away” in an episode of Yellowstone and its subsequent RIAA gold and platinum certifications. After a few years on hiatus – with a fresh outlook and a deep well of new ideas – the band members began to shake off their collective rust and blueprint songs that mirrored their career and current status, hitting on themes of resolve and resilience. The band released their first album in 8 years Like It’s The Last One Left last December via Thirty Tigers / Boo Clap Records. Since their comeback the band has toured consistently around the world and recently the 2nd single from Like It’s The Last One Left, “All The Angelenos”, hit #5 on the Texas Radio Charts.
Show 8pm // All Ages
***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 bar will be open at 6pm.
Felton Music Hall Presents:
TRESTLES
with CHARITY KISS
Trestles - Trestles in a beach rock project from Santa Cruz, California. Formed in 2021, the new band made a name for themselves playing in the college rock circuit during the major post-pandemic scene resurgence. While Trestles definitely allows the beach town aesthetic of Santa Cruz to seep into their music, the band is more interested in creating a sound that equally criticizes and celebrates west coast garage rock tradition. By finding a balance between the pretension of 1960’s musicianship and the accessibility of modern indie rock textures and pop sensibility, the band’s sound aims to be relentlessly rooted in the present. This attitude is delivered through sarcastic, yet aware lyrics that aim to make living in the moment feel like a study in social politics. Trestles' music is plainly meant for whoever who wants to hear it.
After becoming a quintessential new band to look out for, Trestles released their first LP Halfway Up The Hill in 2022. Propelled by the success of local indie anthems Dwell & Rip Curl Sweatshirt the band embarked on a couple of west coast runs, playing numerous sold out shows in college towns. In 2024, Trestles was recognized as Santa Cruz’s “Band of the Year” for their explosive live shows, solidifying them as one to watch.
Equipped with an expansive arsenal of unreleased, road-tested songs, Trestles will be making unavoidable noise. This year brought the release of Postcard EP, and singles Tell Me What You Know and The Beach Betrayed Me.
Charity Kiss - Charity Kiss is a rock band based out of Reno Nevada. Their desert rock sound is influenced by many of the different flavors of rock including garage, punk, and rock and roll. They released their first single independently in 2021 and since then have jumped into the rock world, touring the west coast extensively and releasing multiple eps and singles, most recently releasing their 12 song album "Slackademic" in 2025. Never failing to deliver a high energy show, Charity Kiss brings the people an electric variety of rock sound on their eternal quest to embody the ethos of independent music.
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
“DIZGO has one of the most operative names in the jamband scene, evoking a transcendence of genre: a dizzier disco, filled with a hodge-podge of genres, styles, and technical influences while still, at it’s core, a dance party.” -> Space Tapes
Dizgo redefines the live experience by blending jamtronica with funk, deep-groove soul, and psychedelic rock, taking the audience on a musical journey that includes intricate compositions and extended improvisation. The result is something both danceable and introspective: soulful vocals, interweaving analog synths, and shredding guitar all which join forces under the banner of Dizgo.
The band has played stand out performances at festivals such as Peach Music Festival, Summer Camp Music Festival, Resonance Music Festival, Werk Out Music Festival, Sonic Bloom Music Festival, and much more and has supported acts such as Goose, Pigeons Playing Ping Pong, Papadosio, The Main Squeeze, Aqueous, Lespecial, and more.
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
Lotus Lab Take Over at Felton Music Hall - Official Pre Party for Tides of Mystery
with SAKIYA, ZIPSE, and NEUMONIC
Sakiya - Embark on a sonic odyssey with Sakiya, a visionary DJ and producer whose beats transcend boundaries and unite souls. Renowned for her electrifying fusion of juicy world bass rhythms and vibey grooves, Sakiya is on a mission to connect all channels to the source.
Immerse yourself in a pulsating universe where Sakiya's music becomes a portal, channeling the energy of diverse crowds into a state of oneness. The dance floor transforms into a sacred space where bodies move in sync, and minds find their centered equilibrium.
Sakiya weaves a spellbinding narrative through spacey synthesis, enthralling world drum rhythms, and the mystical vibrations of Nyabinghi. As you tap into the primal beats, you'll discover the magic within, unlocking the portals to undiscovered dimensions of consciousness.
But it doesn't stop there. Sakiya's conscious hip-hop flows add a lyrical depth, prompting contemplation on the very essence of our existence. Her beats are not just music; they're a transformative experience, a journey into the realms of interdimensional being, where the mundane meets the magical.
Prepare to be captivated, as Sakiya takes you on a musical voyage that transcends the ordinary. Elevate your senses, expand your consciousness, and surrender to the irresistible allure of Sakiya's spellbinding sounds. The question isn't whether you'll want more—it's how soon you'll be ready for the next interstellar adventure.
Zipse - Zipse is a producer and DJ from Santa Cruz, California. Originally played drums and guitar for a few bands, shifted to producing and DJing after hearing some tracks from Caspa and Widdler. His style of bass music is rooted in Hip-Hop and old school Dubstep.
Now Caspa and Widdler are playing his tracks out at massives, and he has been direct support for both of them. He’s played Lightning in a Bottle, Emissions, other festivals, and flown out to shows in Colorado, Utah, New York, and many other states.
Zipse has self-released 70+ tracks, has released through the Widdler’s label, Heavy Traffic, Sub.Terranean, and We Got This. He has over 3 million streams online and most of his tracks are a free download on his soundcloud.
Neumonic - Specializing in broken beats with a strong UK influence, Neumonic has made a mark on the Bay Area bass scene and beyond producing and DJing UK Garage, Deep Dubstep, Drum & Bass and Breakbeat. He has been called up for direct support with acts like Hamdi, Interplanetary Criminal, Pendulum, Rudimental, Dirt Monkey, Gentlemen's Club, Sam Binga, Todd Edwards, Lyny, Notion, Justin Jay, Mary Droppinz and many more; as well as festival sets at Lighting In A Bottle the last two years and other festival plays at The Untz, Texas Eclipse, Vibey Desert, Umbrella Weekend, Renascence, Yoon and Coalesce New Years. Neumonic throws shows in the Bay Area as Garage Access and has helped push the recent explosion of UK Garage in America.
With releases on Enigma Dubz’s Morii Records, Justin Jay's label Fantastic Voyage, The Widdler's label Widdfam, Shadowtrix and Beastwang UK (Wang Records); Neumonic has been making waves with his productions along with his high energy multi-genre DJ sets. His musical influences are endless and we've seen Neumonic spin just about anything into his sets, playing the crowd perfectly and pushing new genres and styles to spice things up. We are excited for what's next with Neumonic!
Show 7:30pm // Ages 21+
***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:
KR3TURE
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
MY DOG JACK, NAT LEF KOFF and DEAD NETTLE
Nat Lefkoff
Nat Lefkoff is a Northern California-based singer-songwriter whose honest lyrics and powerful vocals blend folk, rock, and Americana. He’s toured nationally, building a strong following with performances that are both intimate and energetic. His latest album, There You Are, released in September 2024, explores themes of love, change, and self-discovery. Whether solo or with a full band, Nat brings a grounded, emotional presence to the stage that connects with audiences across the country.
My Dog Jack
My Dog Jack is one of San Francisco's rising Americana/folk bands. After playing live for years as part of various folk, jazz, and bluegrass groups around the Bay Area, the fellas joined forces last year to return to their songwriting roots. Inspired by legends like John Prine, The Band, and Kate Wolf, as well as contemporary artists such as Hurray for the Riff Raff, The Wood Brothers, and The Devil Makes Three, My Dog Jack brings a cold coast-influenced take on western music.
Dead Nettle
Dead Nettle is the moniker for local artist Lindsey Wall, blending haunting folk melodies with vivid, lyrical storytelling. Hailing from Bonny Doon, California, Lindsey weaves delicate guitar work and emotive vocals into songs that feel both intimate and timeless. Dead Nettle’s music draws inspiration from nature, memory, and the in-between spaces of life, creating a sound that’s raw, resonant, and deeply human. Lindsey is currently touring across the country, sharing her captivating live performances.
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
MASON JENNINGS
with LUCAS LAWSON
Minneapolis songwriter Mason Jennings shares his new video for the single, “Only Lovers Welcome” from his brand new album, Underneath The Roses out now via Loosegroove Records. Underneath The Roses is available on limited-edition colored vinyl and is available here. Watch and share the video for “Only Lovers Welcome” here.
Jennings writes that the songs from Underneath The Roses were, “Written in an unprecedented burst,” following the birth of his son, Western, in March 2022. Jennings explains, “I hadn’t written any songs in about a year. I had been dealing with the psychological after effects of the pandemic as well as the loss of my dad. So, when Western was born I didn’t expect to be writing much. But immediately he was responding to music in a very intense way. For this album, between May and November 2022, I wrote 48 songs! They certainly uplifted me and connected me with the creative spirit, and spirit in general, again. They cover all kinds of ground but, when I listen back, I think the central theme is overcoming fear with love.”
Jennings also released a video for, “No Ordinary Friend,” which he explains, “Depicts two of the most important decisions a person can make. One, whether or not they believe in a loving higher power and two, who they decide to choose as a life long romantic partner. This song is referring to both of those and the choices I’ve made.”
"Stone Gossard and Regan Hagar from Loosegroove Records helped me edit the 48 down to 11. I then enlisted the help of my Painted Shield bandmates to record the songs.”
Jennings and Gossard are ongoing collaborators in the band Painted Shield, who released their 2021 debut album on Loosegroove, the influential indie label that Gossard founded back in 1994 issued records from acts such as Critters Buggin, Malfunkshun, Weapon of Choice and Devilhead, and was the launching point for Queens of the Stone Age’s debut album in 1998.
Jenning’s previous album ‘Real Heart’ came out in January 2022 and received Triple/Non-comm radio across KCMP Minneapolis, WFPK Louisville, WPYA Birmingham, KRCL Salt Lake City, WMMM Madison, WQKL Ann Arbor, KCSN LA, KRVB Boise, WCLZ Portland, WDSE Duluth, WRLT Nashville, WXPN Philly, WXRV Boston, & WZEW Mobile.
Press highlights include: American Songwriter, Relix, No Depression, Grateful Web, Take Effect 9/10 review, & Jam Bands
Jennings adds “I called it Underneath The Roses because I feel like these songs are musical roses and when I look below them there are many thorns and so much dirt and soil. All of it was needed for them to come into existence and bloom. It’s been a long hard road of self-discovery and discernment for me the last few years and the roses wouldn’t be here without what lies underneath. Hope you enjoy the music!”
Show 8:00pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
FRANKIE AND THE WITCH FINGERS
with IGUANA DEATH CULT
Los Angeles psych-punk shapeshifters Frankie and the Witch Fingers have spent the last decade mutating their sound into bold, electrifying new forms. Their latest release, Trash Classic (via Greenway Records and The Reverberation Appreciation Society), plunges into a sewer-slick fusion of proto-punk venom, fractured new wave, and industrial grime. Brimming with wiry synths, angular melodies, and grooves that squirm and bite, it’s all delivered with a sly, playful wink. Fueled by relentless global touring and a fierce DIY ethos, the band has shared stages with OFF!, Ty Segall, Oh Sees, Cheap Trick, and ZZ Top, cementing their place as one of the most unforgettable live acts around. Frankie and the Witch Fingers continue to morph, dragging listeners into whatever warped direction their experimental journey takes next.
Iguana Death Cult -
After the pandemic hit, and the people of the world suddenly grew wary and suspicious of one another, Iguana Death Cult, one of Europe’s most exciting rock exports, became more than just a band to its members—it became therapy. “I think for the first ten times we went to jam,” says guitarist/vocalist Tobias Opschoor, speaking about the process of making the new album Echo Palace, “we just drank wine and talked about it, and just kept on talking for hours—and then were like, ‘OK, I have to go because I have to work tomorrow.’”
Taking place at frontman Jeroen Reek’s apartment in the Dutch city of Rotterdam, these gatherings slowly shifted from talking about this surreal chapter of their lives—the days of quiet streets and cramped buildings—to making music about it. “I was living in a really crappy, leaky, ready-for-demolition apartment,” explains Reek, “with just one heat source—like a really old-school, gas stove kind of thing.” Working on cold nights, they had to gather around that heater together—a cozy approach that ultimately got their creative flow going, fast.
Armed with the talents of Justin Boer on bass and Arjen van Opstal on drums, and tapping the keys work Jimmy de Kok for the first time on album, the band took their trademark melodic garage-rock style and expanded it out to make it vibier and looser, with each member contributing ideas to develop the sound palette in full. “We all get into this sort of blender and then everybody gives a little bit of a flavor to it,” says Opschoor.
The sounds they started to make tapped into the band’s acerbic bite established on their first two LPs, 2017’s The First Stirrings of Hideous Insect Life and 2019’s Nude Casino—albums that sometimes felt like Parquet Courts colliding with Super Furry Animals. (Paste described Nude Casino as evoking “the colorful mischief of nights out where even a humdrum accountant can feel like a Clint Eastwood desperado.”) Their explosive performances of these records turned them into a cult live act among psych fans, who have thrashed to the band everywhere from Amsterdam to Austin. (It was during a particularly bananas set at SXSW that the band won over Innovative Leisure.) But working on this new album, huddled together as the world split apart, everything began to flutter like Remain in Light.
Echo Palace may be the Iguana Death Cult music that’s most overtly about the strange cause and effect of groupthink, but the theme has been lurking there since the very beginning, when the band was first formed by childhood friends Reek and Opschoor over ten years ago. The name of Iguana Death Cult is a partial nod to Reek’s fascination with cults in general—and the “Iguana” part is a nod to Iggy Pop, whose first band was the Iguanas.
Watching the pandemic paranoia and conspiracy theories steeping across their country, Reek wrote lyrics reflecting the scene in front of him: “Purple, veiny soccer mommies,” he sings in a deep, foreboding voice on the song “Echo Palace,” “Sharpening their guillotines.” It’s a cut so infectious that it betrays the density of its lyrics, which were adapted from a poem Reek wrote about the repercussions of “shutting yourself off from everyone outside of your own ideology.”
While each song on the record wrestles with these confusing times, Reek is keen not to point fingers. “These songs were written in such a polarizing time – we lost friends to conspiracy theories and ideologies. There are so many conflicting views and opinions. But I also don’t want to sound like I have all the answers,” he explains. “We should continue to talk to each other.”
Echo Palace sees the band push their psych roots further than ever before. With a wide-spanning interest in disco, dance music, New York No Wave and artists such as ESG, Talking Heads, Medium Medium, plus Squid, Pottery and Parquet Courts, the record is a melting pot of energy, groove, and playful experimentation, with only one rule – the audience isn’t going to be able to stand still.
When it came time to record the full set, the band headed to PAF Studio in Rotterdam, and then had the self-produced album subsequently mixed by Joo-Joo Ashworth (Sasami, Dummy) at Studio 22 in Los Angeles and mastered by Dave Cooley (Tame Impala, Yves Tumor). As the instruments swirl and trade solos on “I Just a Want House,” a funky millennial nihilist anthem, you can practically hear the growth of a group that’s been pushing itself further and further with every tour and every Belgian-stove fuelled jam session. The album is a big swing, stretching Iguana Death Cult beyond its garage rock origins and taking them to a new realm.
It’s the type of project that warranted having legendary Dutch jazz saxophonist Benjamin Herman stop by to add to the squall on tracks like “Oh No” and “Sensory Overload,”. “He is a hero of ours”, the band admit. “We’d go and hear him play with our parents when we were kids.” The added sax led these heady thrashers to morph into calculated freakouts, which warranted Reek and Opschoor to scream their guts out on tracks like “Pushermen,” and Boer and van Opstal knowing when to bring the rhythm section to a jazzy simmer on tracks like “Paper Straws.”
The end result of Echo Palace is an appropriately worldly album from a group breaking past the confines of its home country. That’s not to say that Iguana Death Cult aren’t proudly Dutch; the group takes from the trademark hard work ethic of their Rotterdam base and applies it to their approach with music. But it’s 2022, and we’re less defined by our borders than ever before. “When we play in other countries, for me that gives the same amount of pleasure—or even more—than when we play in the Netherlands,” says Opschoor.
“We’re not just little countries anymore, everything is global,” adds Reek, speaking about society at large—but he might as well be speaking about Iguana Death Cult itself. “We’re turning into a global thing.”
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
Show 7pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
ERIK ROZITE MUSICAL TRIBUTE
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
THE ARCADIAN WILD
with TAYLOR RAE
The Arcadian Wild is an indie folk/pop group from Nashville, TN, led by songwriters Isaac Horn and Lincoln Mick and Bailey Warren on fiddle, The Arcadian Wild confidently inhabits and explores an intersection of genre, blending the traditional with the contemporary. Combining elements of progressive bluegrass, folk, and formal vocal music, The Arcadian Wild offer up songs of invitation; calls to come and see, to find refuge and rest, to journey and wonder, to laugh and cry, to share joy and community and sing along.
The band’s 2023 album Welcome marks the start of a captivating new chapter for the genre-bending trio, who returned to the studio with renewed purpose and insight after devoting the last few years to a series of critically acclaimed singles and EPs. Like much of the band’s catalog, the album blurs the lines between chamber folk and progressive bluegrass, drawing on everything from country and classical to pop and choral music with lush harmonies and dazzling fretwork, but this time around there’s a rawness to the writing, an embrace of candor and simplicity that cuts straight to the heart of things like never before. The result is perhaps the most arresting collection yet from a band known for its ability to stop listeners dead in their tracks, an exquisitely beautiful celebration of community, connection, and the power of belonging that feels tailor-made for these challenging times.
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
M. WARD & THE UNDERTAKERS - performing Transfiguration of Vincent in full plus more!
with BEBE STOCKWELL
WARD’S “SUPERNATURAL THING” DEFIES THE PASSING OF TIME
by James Cushing
Several times, as I listened to M. Ward’s supernatural thing, I asked myself what year it was. Was it 1952, and was I listening to a track from the Harry Smith Anthology? Was it 1972, and was I eavesdropping on the recording session for After the Gold Rush?
No, it’s 2023, and M. Ward is one of the special contemporary artists who invite such questions. Ward has clearly mastered the whole vocabulary of American popular music and made serious decisions about how to employ it for his own ends. What Ward shares with Harry Smith’s artists and Neil Young is a context of musical and human values: authenticity and intimacy. supernatural thing’s original songs sound freshly pulled from the ground, with a little earth sticking to them. Ward’s lyric delivery has that slight rawness the ear loves, and his voice has quiet dignity and great tenderness. Supernatural Thing is an open-hearted, inviting album.
The album’s guest stars — First Aid Kit, Shovels & Rope, Scott McMicken, Neko Case, Jim James, others — enliven the album with surprises. On “Too Young to Die,” the women’s voices in First Aid Kit spread a light frosting over the melody, and their Beach Boys-like chorus on “Engine 5” makes the song sound like an instant hit. The whole program has a lovely open house feeling, reminiscent of pre-pandemic house parties. It was at such parties in San Luis Obispo in the mid-1990s where I first heard M. Ward’s music. He was still a college student, writing his first songs and learning the vocabulary he uses today with such calm assurance.
I asked him about the title track, in which Elvis Presley appears with a message: You can go anywhere you please. “Well, all my songs depend on dream-imagery to some extent,” he replied, “and this was an actual dream I had about Elvis, when he came to me and said that. I don’t know if it’s pandemic-related or not.” This is the song where Ward sings “you feel the line is growing thin / between beautiful and strange,” which I told him I thought sums up the emotional tone of the album. (He agreed.)
“The title supernatural thing comes from an early thought as a kid that radio traveled the same airwaves as messages from supernatural things — and music, especially remembered music, is somehow tied up in this exchange,” he continued.
“The sending and receiving of messages from memory and dreams seem to move along this same often broken-up wavelength. In this way and many others, I see this new record as an extension, 18 years later, of my Transistor Radio record, but this new record is better because its more concise and has more voices and more moods — the way my favorite radio was and still is.”
I also asked about the guest artists, especially First Aid Kit, a new name to me. "First Aid Kit are twin sisters from Stockholm, and when they open their mouths, something amazing happens,” Ward explained. “It was a great thrill to go to Stockholm and record a few songs there. The sound from blood-related harmony singers is impossible to get any other way – The Everly Brothers, The Delmores, The Louvins, The Carters, The Söderbergs - all have the same kind of feeling in their vocals."
Eight of the album’s ten songs are Ward originals. There’s an unusual Bowie choice, “I Can’t Give Everything Away” from Blackstar, and a live rendition of Daniel Johnston’s “Story of an Artist.” “Bowie and Johnston are constant sources of inspiration for me, have been for I don’t know how many years,” Ward offered. Hearing the Bowie instrumental, so different in feel from the original recording, I was reminded of an evening long ago in San Luis Obispo when Ward, playing solo acoustic in a coffee house, sang “Let’s Dance” as a very slow ballad, revealing the lonely yearning the extraverted original only hinted at.
"When you can’t go out and see it for yourself, radio is still the best way for me to connect with the outside world. Whether it be music or talk or news or politics - FM or AM or satellite – I re-learned this while stranded indoors during the pandemic - It's constantly changing at the hands of someone far away who you don't know and there's a lot in that exchange to be inspired by when it comes to making records."
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
MOUNTAIN GRASS UNIT
Mountain Grass Unit, from Birmingham, Alabama, is a young quartet redefining bluegrass with a fresh narrative. Comprised of Drury Anderson (mandolin, vocals), Luke Black (guitar, vocals), Josiah Nelson (fiddle, vocals), and Sam Wilson (bass, vocals), they blend tradition with bold exploration. Their journey began with a shared musical passion, forming a sound that merges bluegrass with country, jazz, funk, rock, and metal influences. Their debut EP, "Runnin’ From Trouble," released in 2024, showcases their original music and inventive covers, inspired by legends like Tony Rice and Billy Strings.
Recorded at Nashville’s Hartland Studios, and produced by Mike Harris (Old Crow Medicine Show), the EP captures their live energy. The leading single, “Hey Mama,” explores life's transitions with inquisitive lyrics, while “Cicada Song” and “Smugglin’” highlight their funk and traditional sides.
2024 marked a turning point with performances at Renewal, DelFest and WinterWondergrass, broadening their audience and deepening their musical exploration. With plans for extensive touring, festival sets, and new music, Mountain Grass Unit is ready to share their luminous sound with the world, each performance a new chapter in their unfolding story.
Show 8pm
***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.
When it comes to songwriting, less is more, and simplicity is strength. Just ask Paul Thorn, who’s spent three decades turning soulful grooves and small syllables into songs that pack a big wallop. Maybe he learned the power of minimalism from his years as a pro boxer; maybe it just comes naturally. But whether he’s targeting heads, hearts, hips or the occasional funny bone, he somehow manages to condense large nuggets of wisdom into tight little mantras, the kind embroiderers stitched onto pillows before internet memes existed.
Thorn’s new album, Life is Just A Vapor, contains some beauties: “Life is a vapor, let’s live it while we can”; “tough times don’t last, but tough people do” (from “Tough Times Don’t Last”); “any mountain up ahead is just a hill” (from “Old Melodies”). They’re words of advice, comfort, support, encouragement, often meant to uplift, especially in times of struggle.
“I like for people to be touched by music and get something from it, something that they can take with them throughout the day,” Thorn says. “Every song on this album, there's a message in it of some sort about how to live life.”
American Blues Scene writer Don Wilcock calls Thorn “an everyman (who) addresses things we all think about, but few can articulate with the kind of candor, humor and folksy truth that immediately endear him to almost everyone lucky enough to hear his music.”
Whether he’s expressing love in “I Knew,” warning an ex’s new conquest about the dangers ahead in “She Will,” extolling the value of holding off on sex in “Wait” or listing the ingredients for making a marriage work in “Courage My Love” (“a half-acre on your daddy’s land / and a little luck / a load of white gravel in our driveway / so we don’t get stuck in a rut /a 3-horsepower lawnmower and courage my love”), Thorn delivers his messages with consummate skill — and pinpoint precision. One minute, he’ll unwind an outrageous tale full of wild characters (often accompanied by his own cartoonish illustrations); the next, he’ll tug at heartstrings with confessions of love, loss or failed dreams, balancing wit and pathos with an ease only the best storytellers can pull off. One of Thorn’s favorites was his friend and mentor John Prine, who inspired the title tune.
We’ll discuss that one in a bit, but first, we should mention that in “Wait,” a commentary about dating in the Tinder era, the fella who buys his dates dinner with a two-for-$20 coupon is someone Thorn actually knows. “Geraldine and Ricky” is based on real people, too — well, a real person and her hickory-headed dummy. Whether written solo, with longtime manager/collaborator/album producer Billy Maddox or with Chuck Cannon, Scotty Brassfield or Denny Carr, nearly all of these songs are inspired by or reference actual events or people; Geraldine was a traveling evangelist who couldn’t connect with children until she tried ventriloquism. When she spread the lord’s word through Ricky, kids were mesmerized — including 5-year-old Thorn, who requested, and got, a ventriloquist doll for Christmas.
“I would get up and tell jokes at church, and I'd take it to school and tell jokes at school,” he says, with that Tupelo, Miss.-formed accent and instantly charming, matter-of-fact delivery he
has. “I had my mind up that when I grew up, I was going to be a ventriloquist.” (His singing career actually began at 3 — in church, of course; Thorn’s dad was a Pentecostal minister.)
Over a snaky rhythm enhanced by guest guitarist Luther Dickinson, Thorn fictitiously paints Geraldine as “a toxic opportunist looking for anything that will better her situation.” When she lands a dying old sugar daddy, she dumps Ricky. But karma catches up to Geraldine, while Ricky, thankfully, gets rescued.
But Life is Just a Vapor is not all homilies and humor. “I’m Just Waiting,” a catchy, funky tune featuring blues guitarist Joe Bonamassa, deftly examines relationship insecurity. In “Chicken Wing,” over a cool melody on which guitarists Michael Graham and Bill Hinds (on slide) merge T. Rex with Southern rock, a former pimp and scam artist admits: “I’m in the winter of my life / I love my dog, I like my wife / I wash the dishes, I sweep the floor / I keep a 12-gauge behind the door.”
For the record, the song is not about the uncle Thorn introduced on Pimps and Preachers, one of a dozen albums he’s released on his own Perpetual Obscurity Records since founding the label in 2000. (Thorn made his recording debut on A&M Records in 1997, after ex-Police manager Miles
Copeland III heard him and had him open for then-client Sting, one of A&M’s top talents.) And just to be clear, Thorn’s definition of pimp includes “anybody that manipulates people and doesn't give them nothing in return.”
“I'm around pimps every day, especially in the music business,” he adds. “A pimp is a larger word than just somebody on the corner with a gold chain. ‘Chicken Wing’ is an overview of a bunch of pimps that I have known in my life and I melded their stories together. … all that song is about is different seasons of life.”
Speaking of seasons of life, two of the album’s most poignant songs contemplate the passage of time. “Old Melodies,” the kind of song a retro-country-loving couple might dance to after renewing their wedding vows, suggests challenges are easier to face with a partner by your side.
“It's about being together through life, and that's where I'm at,” Thorn says. “I'm 60 years old, and the stuff I'm writing about and singing about is for people that get what being 60 years old is.” Then he reveals the song’s sobering origin, which adds a different perspective.
“We had a family problem a long time ago, a relative that ran off the tracks with drugs and everything,” he explains. “When my dad was dealing with the pain of the heartache that somebody he loved was in a dark hole, he was just standing there, crying. And he said, “Man, ‘Amazing Grace’ used to be my favorite song, but now it’s ‘We Shall Overcome.’ Boy, that just hit me right between the eyes. They're both great songs, but ‘Amazing Grace’ is more like a praise song. ‘We Shall Overcome’ is, ‘We got something we gotta deal with, and we're gonna deal with it, and we're gonna get past it.’ I thought that was a beautiful thing he said.”
Thorn, a brilliant gospel stylist, could sing the heck out of either of those songs. If you haven’t heard his version of the O’Jays’ hit, “Love Train,” from Don’t Let the Devil Ride, his 2018 album of gospel covers, you haven’t experienced the song the way it truly should be heard.
On this album, he’s backed occasionally by Tupelo gospel group New Testament, or Muscle Shoals session singers Cindy Richardson and Marie Lewey (aka the Shoal Sisters) — who sing on “Life is Just a Vapor,” a phrase adapted from scripture.
It's safe to say no one but Thorn would start a song with the lines, “Me and John Prine was eating ice cream / at the Double Tree Inn Suite 1019.” And no one but Thorn would follow them with, “Don’t tell Fiona she won’t understand / Life is a vapor. Let’s live it while we can.”
Of his late friend, Thorn says, “He’s one of the greatest songwriters of all time, and one of the nicest people, too. I can't even count the times I've opened up for him, which was a great opportunity for me.”
As he will do for countless audiences, Thorn narrates the story behind those lyrics: “One night after I opened up for him,” he recounts, “John invited me and a few other friends to come to his hotel room and have some ice cream after the show. So I went, and it was a big thrill. Then the next morning I went on Facebook and I wrote about my encounter, and I said to the world what a moment it was for me to get to hang with John and have this ice cream and everything.
“Right when I posted it, his manager called my manager and said, ‘Take that post down immediately. John is a severe diabetic, and his wife Fiona is going to kill him for eating ice cream.’”
In total straight-man mode, Thorn nonchalantly adds, “Yeah, I got him in trouble for eating ice cream.”
And that’s how the finest troubadours do it: Set ‘em up with humor, then hit ’em in the feels with lines like, “Every day’s a gift, breathe in and hold it. / Every day’s a gift, it’s gone before you know it.”
Gorgeous, moving words. Simple, straight-forward and, if you’ve lost a loved one, or a hero like Prine, very likely tear-inducing.
“I'm just trying to put out a good body of work that will be remembered like John's music,” Thorn admits. “I'm trying to carry on his tradition, to keep it alive.”
Prine, the heavyweight champ at spinning humor and heartbreak into gold, would have loved this song, and this album. Maybe the lyrics he inspired will motivate someone to grab some thread and start stitching.
“Shoulda, woulda, coulda, I’ll do it someday, / Turns into time just slippin’ away. / The hour glass is runnin’ out of sand, / Life is a vapor. Let’s live it while we can.”
Show 8pm // $15 General Admission
***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.
Show 8:30pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
GIMME GIMME DISCO
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
THEE MARLOES
When you first hear Thee Marloes, their particular soul sound may seem familiar enough. There are the weighty drums, a crooning guitar, and a beautiful voice singing about unrequited love or the complications of relationships. But then there is something undeniably different about Thee Marloes and their music, something new and distinct. And while you may be acquainted with soul music, you've probably never heard it from Surabaya, Indonesia—the place Thee Marloes call home.
With Natassya Sianturi singing and playing keys, Sinatrya ("Raka") Dharaka on guitar, and Tommy Satwick on drums, how Thee Marloes came to be is pretty straight forward, but the result is anything but. With early influences from American hip-hop, classic soul, rocksteady and lovers rock reggae. Raka found himself driven to write his own songs. Night after night, after getting off work Raka would play and pen his songs with no real idea what he'd do with them. While raw, these early drafts had potential—that much he knew. After crossing paths with Tommy, Raka now had a partner to start fleshing things out with. With similar musical influences and passion, the duo began getting gigs both sitting in with other bands and DJing parties around Indonesia and Southeast Asia. While they didn't know it then, this time spent cutting their teeth, playing shows, and seeing what was out there, would serve as a crucial foundation for their sound to come.
A significant step was taken in 2019. Raka and Tommy saw a woman perform at a local show that truly captivated them. Her name was Natassya, and her voice had such feeling and range that they knew they had to work with her. Natassya, surrounded by a musical family, grew up in church honing her vocals in the choir. Those chops coupled with the fact that she was inspired by a spectrum of absolute global legends, ranging from The Jackson 5 family to Erykah Badu made her a perfect fit. Raka and Tommy invited her to join a recording session, and it was clear right away that she added a meaningful and talented depth to the music. So now, almost suddenly, with Natassya's addition, they were a trio that found an authentic voice blending an Indonesian vibe with the universal appeal of soul, jazz, and pop.
The sound Thee Marloes are putting together and recording doesn’t have much of a local scene in Indonesia. "We didn't have any real bands like that, with that raw soul sound," Raka explains. "So it made us think we can learn from it and make a new flavor with our sound." Without much of a road to follow—Thee Marloes paved one for themselves
and it began in their home studio. Acting as a kind of sanctuary, it was a place where creativity wasn't rushed allowing them to write, play, and jam freely, working out their different ideas and feeling out what works as a group. With little external pressure, their ideas flourished, ultimately giving way to an authentic sound. A sound that eventually caught the ear of Big Crown Records.
"I was, like, shaking when we heard from them," Natassya remembers of that first contact with Big Crown. "We couldn't believe it was happening." Of course, Thee Marloes knew of Big Crown—Lee Fields and El Michels Affair were heavily appreciated by them as they explored and developed their own sound. In hindsight, the connection was almost destined.
The world's introduction to Thee Marloes' debut album, titled Perak, started with their first 45 that showcased two distinctly different and unique sides of their sound. The A side “Midnight Hotline” is a punchy dancefloor number built on all funk-slapped drums, vibey piano, and jazzy guitar licks with lyrics that instantly get a hold of you. Contrasting that energy in the classic plug and ballad pairing dynamic, the B side “Beri Cinta Waktu” has all the makings of a beloved B side soul ballad but the lyrics are in Indonesian. Regardless of any language barrier, the sentiment in their music is palpable, helping to make their songs relatable and heartfelt, whatever tongue is native to the listener. The rest of Perak fits perfectly in between those bookends of both energy and language, “I Know” is a mid tempo burner that talks about pulling the veil of lies of a love affair founded on falsehood. “Not Today” is right up there with the grooviest feel good songs you could ever play on a Sunday morning. “Mungkin Saja” brings the tempo back up and brings every to the floor while “True Love” finds Thee Marloes dipping into the soulful side of jazz with a beat ballad that could soundtrack a Tarantino dance scene.
Perak is a journey from the heart of Surabaya into the spirit of the soul sound. It's about creating a space where none existed, and doing it because you love it. You can tell that Thee Marloes enjoy making their music, from the process of writing and recording, to performing in front of crowds. "We want to share what we live," Natassya tells us. No
matter what language you speak or culture you come from, Thee Marloes music and energy is so charming that we will all be keeping it close to the turntable for years to come.
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
Step aside, imitators — Cas Haley is the real-deal troubadour who showed up barefoot, guitar in hand, and turned the American songbook inside out. With a voice soaked in soul and sunshine, and a groove that rides the rail between back-porch blues and island vibrations, Haley doesn’t just perform — he testifies.
His sound? Think Sam Cooke on a front porch in Kingston, with a Stratocaster and a lifetime of stories to tell. Cas blends reggae, southern soul, Delta blues, and dusty Americana with the kind of authenticity you can’t fake and shouldn’t try. Every phrase he sings carries a weight of lived-in truth, wrapped in melodies that sway like a hammock on a Texas breeze.
But don’t get it twisted — Cas ain’t just a crooner. He’s a writer, a storyteller, a builder of songs that hit the heart and hips in equal measure. From tales of hard-won love to meditations on resilience and redemption, his lyrics cut deep but always shine with light. And whether he’s reworking a classic or unveiling something brand-new, the connection he makes with an audience is as electric as a summer storm.
America first caught a glimpse of his magic on America’s Got Talent, but that was just the opening riff. Since then, he’s crisscrossed the globe, shared the stage with legends, and carved out a corner of the musical universe where roots are revered and rhythm is religion.
Cas Haley isn’t chasing trends. He’s tapping into something older, wilder, and far more soulful — the timeless pulse of real music, played from the heart and meant to be felt.
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
MORILLO, DRMWVR, and CLOE DURAN
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
DUSTBOWL REVIVAL
How do you describe genre-defying roots music adventurers Dustbowl Revival? Even tireless founder and lead songwriter Z. Lupetin would agree you have to come to a show to find out. Going strong into their second decade after starting from a humble Craigslist ad posted in bohemian Venice Beach, some would say Dustbowl’s ever-evolving collective (there have been nearly thirty members!) plays a spicy cocktail of folky-funk or booty-shaking jangly rock n’ soul: expertly mixing their New Orleans-tinted brass section with their signature Laurel Canyon harmonies and fearless lyrics.
While most bands stay in one lane or fade away quickly, Dustbowl Revival is a testament to building a fanbase and their own sound the old-fashioned way, with hard work and moving songs that stick to your bones when you leave the concert. There’s a reason they continue to get written up in Rolling Stone and Billboard and get played on AAA radio 16 years after they set sail.
After releasing seven acclaimed albums starting in 2008, including their beloved live record With A Lampshade On (2015) recorded mostly at their LA homebase the famed Troubadour, and their charting self-titled record (2017) produced by Grammy-winner Ted Hutt (Flogging Molly, Old Crow Medicine Show), perhaps their magnum opus is 2020’s deeply personal Is It You, Is It Me - produced by Sam Kassirer (Lake Street Dive, Josh Ritter). It showcases their penchant for orchestral brass and intricate string work with politically-charged story-songs that unfold like mini-movies. It’s not surprising that Z. Lupetin was an award-winning playwright and screenwriter before music took the reins. “Get Rid Of You”, an ode to the courageous kids in Parkland, FL who stood up to demand common-sense control laws be passed is a heart-wrenching staple of each show.
While staying proudly independent, the band has garnered over ten million streams and counting - with romantic jams like “Honey, I Love You” (featuring bluesmaster Keb’ Mo’) and fan favorites like “Sonic Boom” and “Debtors Prison” leading the charge. Many first learned about the band after the now 98-year old legend (and fan of the group) Dick Van Dyke let the gang shoot a music video with him dancing in his signature straw hat at his house - and of course the quirky jam to “Never Had To Go” went viral.
It hasn’t always been easy - being a 7-8 piece band during the upheaval caused by the pandemic did make some in the band move on - but it also brought in a new supercharged group of amazing players - such as Lashon Halley and more recently Alex Nester on vocals, Chad Richard on electric guitar and Nick Phakpiseth on bass, while still featuring longtime brass players like Ulf Bjorlin, Vikram Devasthali, Joakim Toftgaard, Mike Jones, Max O’leary, and original drummer Josh Heffernan and special guest Michael Villiers to round out the band. Even their original lady singer Caitlin Doyle, who joined after one of the original Craigslist ads went live all those years ago - is back in the fold behind the mic.
After throwing five of own Sway At Home Festivals during the pandemic to keep the joy going, and creating their own in person gathering Sonic Boom Fest in the hills above Malibu, 2022 and 2023 brought fresh music with their Set Me Free EP and highly-playlisted folk singles “Beside You” and “The Exception” which the features Grammy-nominated The Secret Sisters. Lupetin became a dad and nearly lost his wife too and the track “Be (For July)” and its emotional music video brought in new listeners from around the globe.
Long known for their knock-out festival performances which often spill off the stage into the crowd - recent notable appearances at Hardly Strictly Bluegrass in San Francisco, Rhythm N Roots in Rhode Island, Waterfront Blues in Portland, The Cambridge Folk Fest in England and Tonder Festival in Denmark highlight a few of their favorite stops - not to mention their state-department tour of China which prompted a funny mini documentary on Youtube.
In 2019 the group completed a successful run of performing art centers paying homage to their heroes in The Band and in 2024-2025 Dustbowl is embarking on a new run of theaters and festivals showcasing the music of LA’s Laurel Canyon. A brassy Beatles cover will come this fall followed by a new record of originals slated for early 2025 - recorded in a cabin studio in Wisconsin with noted engineer Brian Joseph (Bon Iver, Sufjan Stevens).
However you sip their sound, Dustbowl Revival has become a beloved fixture of the Americana community - from playing tiny speakeasies and pubs around their southern California base, to headlining thousands of shows in ten countries and counting. Indeed, founder Z. Lupetin’s quixotic Craigslist ad hoping to find like-minded music-makers to play songs inspired equally by Wilco, Bob Dylan and Springsteen as Nina Simone, Fleetwood Mac and Bill Withers may seem confusing, but somehow it worked.
“Maybe we don’t know where this journey will take us or how long it will last,” acknowledges Lupetin, “That’s my take on the importance of what we try to do. Music elevates us, lifts us up, makes us change our minds, takes us out of our comfort zones. If just one person can be moved by just one song, that’s enough.”
Show 8pm
***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.
PUPPETEERS FOR FEARS
with special musical guest: BLUNDERBUSST
Puppeteers for Fears is an Oregon-based comedy troupe, specializing in original horror and science fiction rock’n’roll musicals performed with puppets. The company was founded as a one-night-only cabaret show for Halloween 2015, but was so popular that its various members kept going and never looked back. In the time since, PFF has written and performed a half dozen original rock and roll musicals covering everything from supernatural monsters to killer robots to lonely sasquatches, and sold out venues all over the country with its innovative and hilarious combination of puppetry, video, and live music.
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
THE SUPERVILLAINS
with THE B FOUNDATION
Show 8pm
***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 bar will be open at 6pm.
Felton Music Hall Presents:
COLLIE BUDDZ
Colin Patrick Harper hails from the tiny island of Bermuda. In the music industry, he is known as the reggae artist Collie Buddz. Buddz was born on August 21, 1984 in New Orleans, Louisiana. After graduating from high school, he attended Full Sail University in Winter Park, FL, where he decided to study studio engineering. Upon graduating from the top in his class at Full Sail in 2006, Buddz began looking for work in the recording industry as a performer or producer. One of his first major gigs was working with recording star Shaggy on the single "Mad Mad World" from Shaggy's new album at the time entitled Intoxication, which was released in 2007. That was the same year Collie released his self-titled debut album with Sony Music with tracks such as ‘Come Around’ and ‘Blind To You’. The album was a success and well-received by critics. WWE (World Wrestling Enterprises) fans would immediately recognize Buddz's voice from the entrance theme ("SOS") for WWE superstar wrestler Kofi Kingston, which was included on the 2008 compilation WWE The Music, Vol. 8. Over the next year, he would continue making guest appearances on the works of many other artists.
It is no small coincidence that his stage name "Buddz" is slang for marijuana. There have been photographs taken of the artist holding bongs and other pot-smoking paraphernalia over the years. Of course, other reggae artists such as Bob Marley have made weed seem an essential part of the reggae lifestyle. When not working in the studio, Collie found himself selling out venue after venue on one of his many exhaustive tours. Now with new music being released and a good reputation under his belt, Buddz finds himself playing at some of the biggest reggae music festivals all across the world such as, Reggae Rise Up, One Love New Zealand, and California Roots Music Festival
At the end of the decade, Buddz started his own record label called Harper Digital. In 2011, he would finally release his second album entitled Playback followed shortly with the Blue Dreamz EP. Buddz would then go on to release his next album, Good Life, fully independently through Harper Digital with features from the likes of Snoop Dogg, Jody Highroller, and the Bay Area’s very own, P-Lo.
More recently, he has finished up his fully self produced album Hybrid which came out in the spring of 2019. Hybrid is Collie Buddz's third full-length album. The album is fully produced by Buddz and features two tracks with Russ, as well as tracks with Tech N9ne, B Young, Stonebwoy, Dizzy Wright, and Johnny Cosmic. The first five songs on the album have been released and highly praised as singles. The FADER called "Love & Reggae" a "quintessential reggae jam," and Billboard praised "Bank" feat. Russ & B Young, claiming "Buddz effortlessly [flowed] on the self-produced melody." Meanwhile, "Bounce It" featuring Ghanian Grammy nominee Stonebwoy has gotten radio play around the world including on Sirius XM Pitbull's Globalization channel, and Buddz's latest single "Show Love" has quickly earned radio play on Sirius XM The Joint and was added to Spotify's elite New Music Friday playlist.
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
COYOTE ISLAND
with CHEROKEE SOCIAL
Mike O’Hehir, the man at the heart of Coyote Island, is an old soul, but the music he’s crafted
with his band and growing collection of diverse collaborators is as fresh as anything going today.
From the breezy and bouncy mix of Caribbean beats and contemporary pop production that
blasted “Here Before” into the post-pandemic public consciousness to the meditative and moody
organ that makes “Shine through the Darkness” a glimmering beacon for lost souls, his songs
are mood enhancements and attitude adjustments — perfect for a generation of music lovers
looking for a path forward.
Now, to follow the breakout success of their 2023 album “Holy Illusion,” Coyote Island have
released “Trust the Path,” featuring the Hip Abduction, the first single from a full-length they
have plans to release this August. Much like everything to come from a band named for the
coyote, often depicted as a wise and playful trickster in indigenous cultures, the sound is hard to
pin down. It opens warm and inviting, walks into a skittering chorus, then brings in thundering
drums and an ethereal guitar lead.
“You don’t have to please everyone/ You gotta listen to your soul now,” O’Hehir offers to open
“Trust the Path,” and that sentiment is core to the Coyote Island ethos. As he has moved from
itinerant troubadour criss-crossing the United States to rooted family man, he has put together a
band fully invested in exploring the possibilities offered up by everything from reggae to folk,
Afrobeats to Gypsy jazz, cumbia to psychedelia. Guitarist Amir Rivera, a co-writer on “Trust the
Path,” is versatile and wily. Fans know anything can happen when he comes strutting toward the
front of the stage. And the rhythm section of Garrett Jones on bass and Ryan Benoit on drums
navigate the often complex rhythms in a way that makes them feel comfortable and familiar.
Not that you have to be some kind of musicologist to appreciate what Coyote Island is doing.
Like Khruangbin or Father John Misty, Vampire Weekend or Talking Heads, they take these
authentic traditions and spin them into the future, bringing you along with them as they follow
their own path, trusting that they’ll figure everything out along the way. Or won’t. It’s that sort of
curiosity about the world that turns clubs into tent revivals, festivals into mystical experiences.
The coyote is elusive, by nature. You sort of have to let go of the wheel and see what happens.
With new music on the way that will challenge anyone to predict what comes next, O’Hehir and
crew find themselves creating deep connections to people via a shared vibration everyone can
only hear for themselves: “It’s all about you,” he likes to tell folks. “You have to dance in
authenticity.”
Cherokee Social- Cherokee Social frontman Julian Navarro has been singing as long as he could walk. He grew up surrounded by studio equipment and instruments that cultivated him into a highly skilled songwriter, producer, and multi-instrumentalist. After years of playing in bands, touring as a bassist, and releasing albums he met Alex Creighton, a guitarist from Denver, Colorado. The two formed a fast commitment to each other and to using their music to bring communities together every time they play live. The pair’s relentless stage energy and clever combination of blues guitar, pop songwriting, and indigenous-influenced percussion has landed them a growing and dedicated fanbase in a short time. Currently they are in the depths of creating their debut album, sure to bring a unique sound to the realm of indie pop, but they’ve already tantalized with infectious hits like “Cinnamon Sugar” and “Tamagotchi,” brand new for Summer 2025.
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
FANTASTIC NEGRITO
3x GRAMMY® Award-winner Fantastic Negrito releases his highly anticipated new album, Son of a Broken Man, on October 18 2024 via his own Storefront Records. The new album sees Fantastic Negrito encapsulating his inimitable style, from hard-hitting guitar riffs to expressive ballads, with the unexpected twists that have become his trademark. It stands as one of his most personal works to date, exploring family, deception, and the human desire to hide the true self as he dives deep into the struggle between father and son.
Born Xavier Amin Dphrepaulezz, Fantastic Negrito's story is a testament to resilience and the transformative power of music. By now much has been made of Negrito’s unique story – growing up in an orthodox Muslim household, a doomed major label deal, the near-fatal car crash that permanently damaged his guitar playing hand—as well as the remarkable redemption arc that began in 2015, when he won the first-ever NPR Tiny Desk Contest.
He has since earned three GRAMMY® Awards for “Best Contemporary Blues Album," and shared stages with everyone from Sturgill Simpson to Chris Cornell to Bruce Springsteen. He's collaborated in the studio with the likes of Sting, E-40, and Tank and The Bangas, performed on countless headline world tours and at festivals such as Lollapalooza, Glastonbury, Newport Folk, and WOMAD, and founded the Revolution Plantation, an urban farm aimed at youth education and empowerment.
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
JON CLEARY & THE ABSOLUTE MONSTER GENTLEMEN
After thirty-five years of being at the forefront of the ever-evolving musical landscape of New Orleans, Grammy Award winner Jon Cleary decided to bring that sound back home, both figuratively and literally. He assembled his Absolute Monster Gentlemen (his acclaimed all-star big band) in his home studio in the Bywater neighborhood of New Orleans, drew up a setlist of some of his most beloved songs– and some new favorites– and rolled tape.
“We set out to capture that sound in the old-fashioned way: everybody in the room, playing together,” Cleary explains.
The result is The Bywater Sessions, a musical tour-de-force that showcases the grit, funk and joy that’s packed concert halls from New Orleans to Tokyo and beyond. Co-produced by Cleary and John Porter (Roxy Music, The Smiths, Taj Mahal), it’s a stunning collection of performances that affirms Cleary’s place in the New Orleans musical vanguard.
“There’s a lot to be said for the ‘lean and mean’ sound of a piano trio, stripped down to basics, simple and direct,” Cleary says. “But recently, I’ve been experimenting with different combinations; adding horns, guitar, percussion and even another keyboard player. This expanded line-up has allowed the arrangements to blossom in new directions.”
As for the musicians, it’s the best of the best. Long time Monster Gentlemen Cornell Williams and A.J. Hall anchor the band on bass and drums, respectively. They are joined by Nigel Hall (Lettuce) on Hammond organ, Pedro Segundo (Ronnie Scott’s All Stars) on percussion, Xavier Lynn (MonoNeon, Ledisi) on guitar, and an all-star horn section of Aaron Narcisse (Delfeayo Marsalis & the Uptown Jazz Orchestra), Charlie Halloran (Squirrel Nut Zippers, Preservation Hall All Stars) and Jason Mingledorff (Galactic).
“Sophisticated, nasty, good-time, low-down funk is the folk music of New Orleans,” Cleary says. “Everyone playing on this recording is a New Orleanian by birth or by choice, having learned their craft at the feet of the masters who in turn were taught by the old lions in their day - it's a tradition stretching back over two hundred years. The roots go deep, but each generation, growing up with street parades and second-lines, absorbs the old and introduces the new, gently coaxing the essential essence into and out of each succeeding decade.”
It’s an apt description of Cleary’s career thus far. Born in London and on a plane to New Orleans before he turned twenty years old, he grew up absorbed by the sounds and rhythms of the Crescent City. His mastery of the city’s music landed him gigs playing as a session musician in the bands of local legends Earl King, Johnny Adams, Walter ‘Wolfman’ Washington, Snooks Eaglin, Ernie K-Doe, Jessie Hill– and as a guitarist for Dr. John. He later toured extensively with icons like Bonnie Raitt and Taj Mahal. His solo career began in earnest in 1989 and includes beloved records like their self-titled band debut and his 2015 Grammy winner, Go-Go Juice.
In fact, his first job in New Orleans was as a painter at beloved local club the Maple Leaf Bar, and it wasn’t long until he was playing piano in that very room. To this day, he and his band continue to pack that room to crowds that gather from around the world, playing their unique and ever-evolving take on New Orleans funk and R&B.
“These grooves are not museum pieces, they are alive, breathing and fresh - and that’s why joints like Tipitina’s, The Maple Leaf Bar and Chickie Wah Wah are always packed when the locals, young and old, come out to hear the Gentlemen do they thang,” Cleary proudly adds.
On The Bywater Sessions, the band that Rolling Stone’s David Fricke called “as broad, deep and rolling as the Mississippi river” is finally captured as intended– live, in the room and as funky as ever. And with that comes an invitation from Cleary himself:
“Close your eyes, imagine you’re in the room with us, me and the band, Mike Dorsey the engineer, John Porter the producer and Reed the manager. Turn it up and enjoy the experience. I hope you have as much fun listening as we did playing.”
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
NORTH MISSISSIPPI ALLSTARS
NMA started by brother Luther and Cody Dickinson in 1996 as a loose collective of musicians from their North Mississippi home inspired by their father Jim Dickinson as well as neighbors and musical elders of their community; RL Burnside, Junior Kimbrough, Otha Turner and Fred McDowell.
Luther’s first national tour was the RL Burnside Ass Pocket of Whiskey tour in 1997, selling out shows in the US and Canada. “Kenny Brown hired me to tour with RL and Cedric and showed me the ropes. That experience blew my mind. Cody and I have been on the road ever since.”
NMA began touring in 1998 and over the years the touring lineup has included, Cedric, Duwayne and Garry Burnside, Chris Chew, Berry Oakley Jr, Oteil Burbruidgem and currently Joey Williams of the Blind Boys of Alabama and Ray Ray Hollowman, guitar player for Eminem and Nee-O.
Since their debut album in 2000 and hitting the never ending road, they have shared the stage with countless legends; Phil Lesh, Mavis Staples, Robert Plant, John Hiatt, the Allman Brothers, The Black Crowes, Buddy Guy, Snoop Dogg, and Jon Spencer to name a few, while earning multiple grammy nominations for their experimental albums of they like to call Modern Mississippi Music.
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
THE LONE BELLOW
With their upcoming sixth studio album, The Lone Bellow embarks on a bold new chapter while honoring the deep bonds that have defined their journey. Written collaboratively for the first time with their full touring band—founding members Zach Williams, Brian Elmquist, and Kanene Pipkin joined by drummer Julian Dorio and multi-instrumentalist Tyler James—the album channels the raw, ecstatic energy of the band’s live show into a dynamic collection of songs that pulse with warmth, honesty, and human connection.
Recorded live in Muscle Shoals, AL, after a writing retreat in a converted Kentucky firehouse, the album is both a celebration and a reckoning: of friendship, loss, love, and resilience. From the gritty, Stones-tinged opener “After The Rain” to the soul-stirring closer “That Table,” the record captures the joy and vulnerability that have long defined The Lone Bellow’s sound—lush harmonies, heartfelt lyrics, and genre-blurring arrangements steeped in folk, rock, and gospel.
The album’s creation was marked by setbacks, including the theft of early recordings, but the outpouring of support from their fanbase reaffirmed what the band has always known: their music is a shared experience. That spirit echoes throughout the album, whether in anthems like “Common Folk” and “I’m Here For You,” or in intimate reflections like “You Were Leaving” and “Night Goes Black.”
Since their acclaimed 2013 debut, The Lone Bellow has appeared on The Tonight Show, Austin City Limits, and The Late Show, topped Americana charts, and headlined storied venues from Carnegie Hall to the Ryman Auditorium. But with their next album, they reaffirm their commitment not just to making music, but to building community—on stage, in song, and around the table.
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
MOON HOOCH
with EVAN HATFIELD
Moon Hooch began busking in the subway platforms of NYC in 2010, quickly getting noticed by the NYPD, who had to ban them from locations that couldn’t handle the crowds. In a few short years they were opening for the likes of Beats Antique, They Might Be Giants, and Lotus, while selling out their own headline shows at marquee venues around the United States and Europe. Their unconventional sound and techniques, utilizing found objects like traffic cones, landed them appearances on NPR’s Tiny Desk in America, “Later…with Jools Holland” in the UK, “Hamish & Andy’s Gap Year” in Australia, and private audiences with the Premier League’s Chelsea F.C. They are currently touring the world.
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
After an impressive 2010s run of albums that earned him a devoted fanbase, accolades from outlets like The New York Times, Fresh Air, and Pitchfork, and a place in the upper echelon of modern Americana singer-songwriters, John Moreland has already taken two unexpected turns this decade, both of which highlight his fierce artistic independence. First, he released a brilliant and sonically layered folk-electronica meditation on modern alienation, 2022’s Birds In The Ceiling, that took some of his fans by surprise. Then, after wrapping up a difficult tour behind that record in November 2022, he stopped working entirely. He took an entire year off from playing shows and didn’t use a smartphone for 6 months. “At the end of that year, I was just like ‘Nobody call me’. I needed to not do anything for a while and just process,” Moreland says. After nearly a decade in the limelight, constantly jostled by the expectations of his audience, the music industry, and anonymous strangers online, he carved out some time to rest, heal, and reflect for the first time.
The result of that unplugged year at home is 2024’s Visitor, a folk-rock record that is intimate, immediate, deeply thoughtful, and catchy as hell. Moreland recorded the album at his home in Bixby, Oklahoma, in only ten days, playing nearly every instrument himself (his wife Pearl Rachinsky sang on one song, and his longtime collaborator John Calvin Abney contributed a guitar solo), as well as engineering and mixing the album. “Simplicity and immediacy felt very important to the process,” he says.
This is a return to the approach Moreland took on his breakthrough albums, 2013’s In The Throes and 2015’s High On Tulsa Heat, both of which were largely self-recorded at home with a small cadre of additional musicians. Echoes of these early albums can be heard on Visitor (Moreland makes a passing reference to In The Throes’ opening track “I Need You To Tell Me Who I Am” in two different songs on Visitor), which finds Moreland shutting out the noisy world outside, and the even noisier digital world in his pocket, to reconnect with a muse that’s had to increasingly compete for his attention in the intervening years. Visitor charts his journey back to this muse. If Birds In The Ceiling’s theme was alienation, Visitor’s theme is un-alienation.
Moreland begins the album where he began his year-long process of healing: doomscrolling past images of political turmoil, war, and environmental destruction, in a trio of surprisingly hooky folk songs that address present-day social realities more directly than any previous John Moreland songs. On opening track “The Future Is Coming Fast”, Moreland describes the perpetually logged-on life in a time of rolling catastrophe over gentle fingerpicking: “The news keeps steady coming in / Our condition shows its teeth again / A nightmare we all thought would end.”
In the bridge of that song, Moreland lands on a key couplet that captures the personal toll of living inside a perpetual cycle of digital bleakness, while also hinting at a way out: “But we don’t grieve, and we don’t rest / We just choose the lie that feels the best.” In order to cope with our digitally mediated lives, where we constantly bear witness to ongoing disasters while feeling powerless to do anything about them, we must walk around in a persistent state of denial. We repress feelings and lie to ourselves continuously. This status quo is, of course, antithetical to the conditions that produce transcendent works of art. For an artist with ambitions like Moreland’s, this is a big problem.
An infinite feed filled with bad news isn’t the only thing that’s been keeping Moreland from processing his emotions. Ironically, a busy career as a touring musician can prevent you from doing the deep self-reflection so necessary to the creative process just as much as a smartphone can. On “No Time”, Moreland sings “Now it’s all a blur / They told you who you were,” followed by the chorus line, “I don’t have the time to cry”. In the bridge of “Will The Heavens Catch Us?”, Moreland describes how painful it can feel to focus exclusively on chasing success - often by following rules set down by others - without taking the time to process one’s emotions, reflect, and heal: “We writhe in agony / For our precious little legacy”. No wonder Moreland needed a break.
So what’s Moreland’s solution to this impasse? The first step is the same one that Henry David Thoreau posed in Walden, another work about an artist intentionally isolating with the purpose of pursuing a deeper truth: “Simplify, simplify, simplify”. No shows for a whole year. No smartphone. No studio time. No additional musicians. Strip things away and let inspiration emerge. On a musical level, the result is a raw, straightforward sound. Moreland leaves a lot of space in these songs. To hammer home the folk immediacy, he includes some new-for-him instrumentation, most prominently on two haunting instrumental interludes that he tracked live with a field recorder during late-night country drives. (Who knew that, on top of everything else, Moreland plays the mandolin and fiddle?) The result is that, when Moreland sings “The more you say, the less it means” on the track of that title, it has the feeling of being a sort of personal mantra.
By doing all of that simplifying, Moreland creates space to invite the muse back in - a process that he narrates in a pair of gorgeous invocations that kick off Side Two of the album, “Blue Dream Carolina” and “Silver Sliver” (the latter of which was also tracked live with a field recorder). He begins the side with what is perhaps the record’s most poignant verse:
Blue dream Carolina, remind me why I do this
Tell me what the truth is, don’t tell me who to be
I don’t have to tell you this life is plenty painful
Here comes my fallen angel, falling down on me
By the end of this verse, his muse, his “fallen angel”, has returned to him, now a little worse for the wear. And by the end of the album, Moreland even seems to have resolved some of the internal struggles that led to his year off the road, as is revealed in a fiery couplet that signals his recommitment to a relentless pursuit of the truth: “I will not be your puppet or your payment / Your easy entertainment, for I’ve made amends to me.” Moreland has grieved and rested and come out on the other side with a new world-weariness and hard-won wisdom.
But there is another path he could have taken. On his Petty-esque ode to despair “One Man Holds The World Hostage”, Moreland cleverly leaves the identity of the “one man” in question open. He could be one of any number of the men currently endangering humanity, whether it’s a world leader with access to nuclear weapons, an oil CEO pursuing ever-greater profits in spite of the threat posed by climate change, or just an average Joe with hate in his heart. But all of these “one men” have something in common. As Moreland sings, “One man holds the world hostage ‘cause he’s afraid of his feelings”. This is the line that unifies the album’s social commentary with the personal journey that Moreland describes. The denial and avoidance that most of us rely on to cope with the relentless speed and noise of modern life are, if allowed to fester, also the source of our greatest dangers. If we don’t work through our shit, Moreland suggests, we all have the potential to turn to the dark side. Moreland’s narration of his journey back to his muse is more than a simple anecdote, then. The steps that he took - simplify your life, then listen to that deep and quiet voice inside of you long and hard - form a road map for all of us toward some sort of healing, not just for ourselves individually, but potentially for society as a whole.
John Moreland is known for writing lines that hit you in the gut, but many of the best moments on Visitor are more subtle. The significance of one of the record’s best lines, from “The More You Say, The Less It Means,” may take multiple listens to fully sink in: “Some folks say and some folks know”. This line sums up John Moreland’s worldview very neatly. It lays out the dichotomy of truth and lies that Moreland has spent his entire career examining, but now more elegantly than ever. On the one hand, there are people who constantly talk (or sing, or write, or post online) without deep thought or reflection - often irresponsibly, even dangerously, and for personal gain. These are the “weary worn-out fools” and “famous false prophets” he lambasted on In The Throes, or the subject of “One Man Holds The World Hostage” on Visitor. And on the other hand, there are folks who know - those who commit themselves to the pursuit of truth and wisdom, and who only say things when they fully know them to be true. In Moreland’s book, the artist’s true calling is to be one of the latter - the “folks who know”. While John Moreland has already earned a spot in the pantheon of the great singer-songwriters of his generation, Visitor confirms his place in that much loftier Hall Of Fame.
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
BROOKS NIELSEN (of The Growlers)
Brooks Nielsen, celebrated frontman of The Growlers and now a critically acclaimed solo artist, has firmly established himself as one of the most distinctive voices in independent music. As the frontman and creative force behind The Growlers, Nielsen helped define and popularize the Beach Goth movement—a genre-blurring, countercultural wave that left an indelible mark on modern rock. Over more than a decade, The Growlers built a fiercely dedicated international following, performed at major festivals, and sold out venues around the world. Their celebrated discography and electrifying live shows cemented them as one of the most influential underground bands of the 21st century.
In addition to their music, The Growlers also founded and curated the Beach Goth Festival, a groundbreaking event that brought together a wildly eclectic mix of artists—from Patti Smith and Bon Iver to Doja Cat and Mac DeMarco—making it a defining moment in the cultural landscape of the 2010s.
Now, as a solo artist, Nielsen continues to push boundaries with the same fearless spirit. Since launching his solo career in 2022, he’s released four records—three of them in 2024 alone. His latest, A Ride I’m Waiting For, features the haunting duet “Without Eyes” with Sierra Ferrell and has been praised for its cinematic scope and emotional depth.
On stage, Nielsen delivers an experience unlike anything else. Backed by a powerhouse band—Growlers drummer Richard Gowen, keyboardist Cole Riddle, and guitarists J.D. Carrera and Elyadeen Anbar—Brooks crafts a set each night that’s entirely its own. Drawing from his extensive solo catalog, deep cuts, Growlers classics, and unreleased material, his shows are long, loose, and alive. With no opening acts and performances stretching two and sometimes three hours, fans are invited into a world that feels as spontaneous as it does deeply curated.
This Fall 2025 run is Brooks’s most ambitious solo tour to date, featuring first-ever solo plays in small towns, Aspen and Fort Collins, CO; Carrboro and Asheville, NC; Madison, WI; Ferndale, MI; New Haven, CT; St. Louis, MO; Boise, ID; Tulsa, OK; and Nashville, TN. There’s also a rare and intimate upstate New York show at the newly revived Bearsville Theatre in Woodstock—a venue rich with music history. In New York City, Nielsen will headline the legendary Webster Hall for the first time, marking his
biggest solo show in the city yet—and in Chicago, he’ll play the iconic Metro, a rite of passage for generations of boundary-pushing artists.
The 28-date tour wraps with the now-iconic Helloween shows at the Hollywood Palladium in Los Angeles on October 30 and 31—two surreal, sweat-soaked nights that have instantly become a rite of passage for Nielsen’s most devoted fans. Every year, Beach Rats from across the country—and around the world—make the journey for this once-a-year celebration of the strange and the sacred. It’s more than just a show: it’s a Mecca for the hardcore fanbase, a chance to mix with fellow travelers, share stories from the past, and revel in a night of music, mystery, and magic. If you know, you go.
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
JEMBAA GROOVE
After garnering massive support from the international media world (KEXP, BBC6 Music, Gilles Peterson, Soulection, KCRW, FIP and many more) of the back of their first two albums, "Susuma" and "Ye Ankasa/We Ourselves", and selling out numerous shows across Europe, with Festival appearances at Supersonic Jazz (NL), JazzOnze+ (CH) London Jazz Festival (UK), and many more, Jembaa Groove embarked on their 2025 tour with a fresh line-up and brand new songs that are set to release in Fall 2025. On their newest undertaking, Jembaa Groove are strengthening ties to Lagos and London's vibrant Afro-Fusion scenes. Joining forces with "premium highlifers" The Cavemen (NIG), the band got together for another contemporary take on Highlife, Jazz and Afrobeats, also featuring legendary Malian singer Fatoumata Diawara and Nigerian vocal sensation Tim Lyre.
The new wave of Afro-Jazz is flourishing around the globe, and Jembaa Groove is on the way to becoming one of the most important ambassadors of this aspiring genre. The newest additions to the line-up include two highly acclaimed members of the European jazz scene who are successful bandleaders themselves. Szabolcs "Àbáse" Bognar (HUN) on keys and Peter Somuah (GHA) on trumpet will join the band on their upcoming world tour, which will take them through Europe, the UK, the US, and South Africa.
Show 8pm
***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.
Martin Sexton puts his signature style on his rendition of this iconic Beatles album combining what Rolling Stone calls his “soul-marinated voice” with his inventive guitar prowess.
We are all invited to Come Together to experience these brilliant songs celebrated in such a compelling reimagined way.
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
THE POLISH AMBASSADOR
Musician. Producer. Beatsmith. Recording artist. Composer. Dance-floor general. Label-head. A mystery man of many hats, The Polish Ambassador rocks more than just a trademark jumpsuit, authoring sublime, intentional artistic works, animated safaris in technicolor sound. At first breath, The Polish Ambassador was an experiment, David Sugalski’s sound-art passion project that came to life. An inventive, imaginary character bor Bold Keyboard shortcut Command+Bn of humble, humorous beginnings, he found his first audiences through the support of primitive digital radio stations. Today, TPA is among the premier EDM/live crossover artists in the country with millions of listeners around the world; he’s consistently in-demand at the live music-focused gatherings and boutique electronic festivals from coast to coast. Founder of independent label Jumpsuit Records, an environmentalist and early progenitor of the permaculture action movement, the world’s funkiest diplomat is here to party with a purpose.
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
NIGHT MOVES
with SAM BLASUCCI
Night Moves -
Bless its battered body, but the Night Moves tour van is a piece of shit. It is your standard-issue blue Ford E-350 now months away from its 25th birthday, the sort of vehicle that occasionally prompts so-called normal folks to give the grimy musicians inside suspect stares. The catalytic converter has been stolen three times, so it’s now permanently straight-piped; the exhaust leaks through the holes and cracks in the sides, slowly gassing anyone inside. The wheel wells are shambles. And while John Pelant was writing Double Life, Night Moves’ fourth LP and first in six years, someone swiped the license plates just after he had paid for new tags. God fucking dammit, he remembers thinking. Who the hell steals a license plate?
But Pelant soon sublimated his frustration, turning his vision of a thief who had “borrowed” the plate in order to commit more crimes elsewhere into one of the most winning tunes in Night Moves’ country-soul-psych-rock catalogue, “Daytona.” As sun-swept synthesizers and pedal steel curl around stuttering drums, Pelant offers an empathetic portrait of someone doing whatever is necessary to reinvent their lives. “Daytona, you only wanted a win,” he opens the final verse. “Daytona, no chance I’ll see you again.” There’s irritation in his voice, sure, but mostly there’s acceptance, an understanding that he cannot comprehend someone else’s difficulties and that he has plenty of his own.
That is the spirit that animates and enlivens Double Life, a cozy and cool LP built largely from a string of very rough breaks that Pelant and Night Moves have navigated in recent years. There was the unexpected death of a father-in-law, then a drummer whose skin sloughed off during recording due to contact dermatitis. There were friends arrested for making mistakes in troubled times and assorted pals struggling with sobriety and sanity. And there was, once again, the ever-vexing question for artists about when they’re supposed to step into the responsibilities of adulthood and maybe away from the lifelong compulsion to create, especially as Pelant started thinking seriously about marriage for the first time in his life. Pelant is the sort of songwriter who starts with the music—inspired of late by Glen Campbell and Bobby Caldwell, Cleaners from Venus and early ’90s country, Panda Bear and (as ever) Gram Parsons—and then writes lyrics only after he’s sat with the tune a spell. But this time, these songs are direct documents of Pelant’s life as he searches for silver linings or at least valuable meanings during a moment when very little seemed golden. Double Life is about moving through, not moving on.
Pelant started writing Double Life in the Minneapolis duplex he shares with his fiancée, Tasha. But those early and sometimes-forlorn drafts rightfully bummed her out, especially since some of it spoke of her own woes. So Pelant started treating Night Moves’ little rehearsal room—stuck in a grim industrial zone of the city, surrounded by garbage dumps and foundry fumes—as an office, showing up with workmanlike diligence to keep crafting demos.
That proved to be a tough hang, too: Separated by paper-thin walls, Pelant soon figured out his drug-addled neighbor not only lived there but would also erupt into near-daily shouting matches with his partner. He’d spill Big Gulp cups of piss in their shared hallway. It was worrying, but Pelant kept at it, anyway. He’d drive around, delivering hard liquor and wine at his new day job, where Def Leppard’s “Photograph” seemed to play always, the hit hammering through his hangovers. He pondered cycles of addiction and thought a lot about death, apt since that gig was next to another warehouse that sold funeral supplies. He listened to works in progress as he jockeyed the booze, working until he and the band felt they had the core of a record ready.
Again, not as easy as it sounds: Night Moves cycled through two producers who had first sounded like dream collaborators but just didn’t fit their vibe. Once again, Night Moves opted to return to their own practice space, recording the bulk of the album there after capturing basic tracks at Minnesota’s legendary Pachyderm. The decision afforded the band, for the first time, the challenge and luxury of producing themselves, of making every decision about tone and arrangement and timing before passing the songs to Woods sonic mastermind Jarvis Taveniere for mixing and co-production.
Those travails were, turns out, worth it. Double Life is at once the most candid and impressionistic Night Moves album yet, built on personal experiences but written so that you can map your own life onto these songs, too. Witness, for instance, “Hold On To Tonight,” a kaleidoscopic soul tune that was inspired by that death in the family; it’s a snapshot from a boozy night alone, when you stumble into the realization that the only thing you’re holding onto is fading memories. “Ring My Bell” is its musical and emotional counterpart, with Pelant extending an invitation to be asked for help whenever times get inevitably tough, all above the spring-loaded rhythm of drummer Mark Hanson and bassist Micky Alfano. “You’ve got a sadness hanging in your eyes,” Pelant sings, slipping into a bridge that Steely Dan would have loved. “Well, I just wish that I could change your mind.” This song, at least, offers a fighting chance to do just that.
Night Moves has a repeated joke when they’re on the road, driving from town to town in their bruised van: “I can’t believe I have to do this again,” they say, a reference to the surrealist repetition of shows, parties, hangovers, and long hauls that define touring. That line shows up during “This Time Tomorrow,” a could-have-been Petty hit updated with the malaise and wanderlust of modern life. “I can’t believe I have to do this again, oh this again, this time tomorrow,” Pelant sings alongside Charles Murlowski’s mocking riff. “Laughing at the joke, but the joke’s my life.” It can feel that way for all of us sometimes, right? But on Double Life, Night Moves does not retreat from the struggles and complexities of life. They, instead, double down with songs that stare them in the face and turn forward on their own terms.
Sam Blasucci -
Sam Blasucci is best known as one half of Mapache, a Southern California roots-rock duo just as instantly recognizable for their elegant, intertwined guitar parts as they are for their devoted, Nudie-Suit wearing fanbase. But when Blasucci was writing the songs that would become his debut solo record, Off My Stars, he found himself less focused on the guitar and more gravitated toward a different instrument: piano.
The mother of Clay Finch, his Mapache bandmate, was getting rid of one, and so Blasucci took the piano, carefully transporting it to his home in Ojai, California, with the help of a few strong friends, including Farmer Dave Scher of Beachwood Sparks (and a Mapache collaborator). “Farmer Dave wasn’t even wearing shoes,” Blasucci remembers, laughing. Once the piano was safely in there, he became deeply attached, playing on it multiple hours a day: “It’s changed the way I think about music, having all the keys laid out in front of me,” he explains. “Having that sort of changed everything.”
Also inspired by his recent time riding out the pandemic in New Orleans, where the clubs may have closed but the music never stopped, Blasucci used that piano to start writing one of the most inspired batches of songs of his career thus far. New gems like “Turn Yourself Around” and “Sha La La” were developing with a Southern swing and classic songbook sparkle, and when assessing the growing stack of music he was working on, Blasucci realized that there was something about these tunes that wasn’t quite suited for a Mapache record.
Infused with an honest, personal perspective about settling into adult life—about developing as a person and a partner and a family member—these songs were straight from the heart, a clear window, recently Windexed, into the life of one of the most talented members of the L.A.-area underground rock scene. Using just as much inspiration from the music of Ronnie Wood and Sade as the films of Ingmar Bergman and the writing of Brian Doyle, Blasucci started to see a vision of songs that are all “fully autobiographical.”
Blasucci reached out to songwriter and producer Johnny Payne, and the two decamped to Dan Horne’s Lone Palm Studio, the home/studio where Mapache has in the past both recorded and abided in. Blasucci’s direction to Payne—acting as producer and as multi-instrumentalist, performing on everything from shaker to “guitar pancake”—was simple: no pretense, no affect, no Mr. Cool. This approach is most evident through covers on the record—like a stripped-down, achingly beautiful version of Dido’s ubiquitous “Thank You,” or a New Orleans-porch-worthy version of the Cranberries’ classic “Linger.” “There was nothing ironic or gimmicky about wanting to do those,” notes Blasucci. “I just really, really love those songs.”
Also covered on Off My Stars is a raw take on Jimmy Fontana’s timeless ballad “Il Mondo,” sung in its original Italian by Blasucci, who belts it in a performance that ends with him giving it all he has, his voice cracking as he reaches the song’s epic finale. “Il Mondo” is a song that Blasucci particularly wanted to do as a means to get more in touch with his Italian roots—and this wouldn’t be the only way he’d tap into family on the album.
On “Proud of You Dad,” Blasucci dug into his archives for a song that’s he had for some time, originally having written and recorded it just for his father, David Blasucci, a musician who was at one time a touring member in the band Toto, and who has performed and acted in Christopher Guest movies like A Mighty Wind. “If I ever told you this while we were in the same room / I know you would cover your ears and run,” Sam sings over a rustic, campfire acoustic progression. As Sam explains, David was a crucial influence on his taste: “A lot of the underlying styles that influenced the rest of the songs on the record definitely come from what he introduced me to,” Sam says.
But Sam is his own man now, writing the new chapters of his own life with an aw-shucks tone that belies his prolific workload. Even through the pandemic—and even with the ongoing backlogs at pressing plants—Blasucci has still managed to put out beloved Mapache records in each of the last three years, and he and the band have no plans to slow down anytime soon. “I’m definitely the type of artist that is constantly creating,” Sam says, matter of fact. “And I can’t seem to really stop.”
Show 8pm // Ages 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
PACHYMAN & MNDSGN
Pachyman-
Over the course of four albums under his Pachyman moniker, Pachy Garcia has proven himself a dedicated craftsman working in the lineage of dub reggae. In a way, the Puerto Rico-born, Los Angeles-based musician had mastered the methodology of genre masters like King Tubby and The Scientist, using vintage gear, constructing glorious walls of sound, and developing an intuitive understanding of the power of repetition.
As the cult around his music grew, Pachy began to seek new motivation.
“I was thinking, How do I feel and how do I evolve with this project? How do I inject excitement and spontaneity in this process? I needed to break out of this formalist dub reggae purist mindset to find a more personal sound, create my own niche.”
If his past work, while indelibly Pachy’s own, was indebted to the masters of dub reggae, Another Place — his fifth album for ATO Records recorded, as ever, in his basement studio 333 House — is the moment when all of those debts are paid off. He leans into the idiosyncratic elements of past projects, synthesizing the myriad scenes that have recontextualized the methods and aesthetics of dub, from pioneering synth-pop weirdos like William Onyeabor and Yellow Magic Orchestra to Basic Channel’s amniotic dub techno.
“I was trying to understand who I am as a musician — not just operating in a distinct lineage but how I’ve metabolized and expanded upon it,” Pachy elaborates. “Who am I behind all of this? It’s a very personal, vulnerable journey. I wanted to build my own world and create these new connections in my brain, incorporating everything: vaporwave, chillwave, soul-jazz, James Brown, Kosmiche musik and krautrock, the driving repetition of drum n bass.”
Throughout Another Place, Pachyman delivers on this far-reaching vision — sonic easter eggs abound. “Berlin” pairs a pastoral, Boards Of Canada-cribbing organ sound with the kind of obscured, textural percussion that might suit a Berghain techno night. “In Love” is a joyful, egg-melting-on-the-sidewalk haze in the vein of Washed Out or Neon Indian. Meanwhile the cowbell-driven “Hard To Part” recalls the skeletal drone-funk of ESG — it’s an early contender for 2025’s best one note guitar riff.
It’s an alchemical mix, one that leans into Pachy’s unconventional musical journey, from playing in reggae and experimental rock bands in Puerto Rico to playing shows in and around the late, great LA noise-pop mecca The Smell as the drummer / vocalist for Prettiest Eyes.
Another element that deepens the album’s distinct personality is Pachy’s growing confidence and capability as a vocalist. Throughout Another Place, he implements a mantra-like repetition of improvised thoughts and snippets, tapping into unconscious anxieties and preoccupations that are bolstered with added harmonies and layers that wax and wane.
On the Slits-inspired “False Moves” (“I’ve always been into post-punk — it shares a working class, anti-establishment DNA with dub reggae”), the dystopian, introspective build is heightened by lyrics improvised in the alienating backdrop of the genocide in Gaza. It’s a fascinating, darker moment that refuses to hold anything back.
Let’s not get it twisted: while the experimental edges of Pachyman’s past work bleed through a little more boldly on Another Place, the anchoring energy is still very much dub reggae. “I journal a lot,” Pachy explains, “so I’m starting to realize that I get into cycles. Every December or January, at the turn of the year, I get back on trying to recreate the Channel One studio sound. Once the cold weather comes in, it’s always Reggae Christmas.”
The album opener “Calor Ahora” is the bountiful fruit of this yearly tradition. “The words were taken from a journal entry I made when I was on the verge of an anxiety attack and felt this oppressive cold,” he shares about the track. (He clarifies: “I know LA isn’t cold, but I’m from the Caribbean.”)
Paradoxically, Pachyman, despite his demonstrated and well-publicized love of repetition, hates repeating himself. With Another Place, he’s avoided that trap entirely: While tethered to his past work, the weird and vulnerable elements of his artistry come through loud and clear. Pachyman has, intentionally or not, made a record thoroughly in tune with the vision of early dub, tapping
into a sense of wonder at the endless possibility of sound and rhythm with an unmistakably personal perspective.
MNDSGN-
Mndsgn, aka Ringgo Ancheta, was born in San Diego, raised in the southern region of New Jersey, and is currently based in Los Angeles. The youngest in a family of Filipino descent, Ringgo grew up in a household where the love and appreciation for music was always synonymous. Ringgo has aimed to explore the human condition in his music. Taken as a whole, his body of work chronicles the evolution of self, asking throughout: how can we live in a way that is true to ourselves? How can we find beauty in the everyday and unfamiliar?
Show 8pm
***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 6pm.
Born and raised in Southern California, Karla Bonoff was a songwriter by the age of fifteen. She and her sister Lisa were writing songs and playing as a duo titled "The Daughters of Chester P" named after their father, Dr. Chester Paul Bonoff. She had already fallen in love with the guitar and studied with Frank Hamilton of the famous folk group, The Weavers. By 16, Karla and her sister Lisa auditioned for Elektra Records. An 11-song demo [recorded by Doors' engineer Bruce Botnick] was recorded but no deal came of this first effort.
Karla's sister became a teacher of history and religion, but Karla's passion was always music. She became friends with other singer-songwriters and musicians [in the '60s] who were creating their own unique sound. She talks about lining up at the legendary Troubadour at noon on Mondays to get a slot in the famous Monday night Troubadour "hoot," which was a breaking ground for many artists who went on to great success. She says, "It was an amazing time. Jackson Browne, James Taylor and Elton John were around the Troubadour in those days." There were some other writer-singers who became friends of Karla's, and eventually, they decided to put a band together. They were Kenny Edwards, (who had started the Stone Poneys with Linda Ronstadt and Bobby Kimmel), Wendy Waldman, and Andrew Gold. Something powerful in their combined sound drew them together. Thus the band Bryndle was born - one of the early songwriter groups, even before the Eagles. The band made an album for A&M, but it was never released. They were, unfortunately, a bit ahead of their time.
Speaking of the A&M project, Karla says, "They didn't release it. I think they didn't really know quite what to make of it. This was right before Crosby, Stills and Nash, and before Fleetwood Mac. We were these two girls and two guys... the closest thing they could compare us to was the Mamas and the Papas. They actually had Lou Adler [producer for the Mamas and Papas] produce a single to try to make us like that. In the next few years, had we stayed together, I think we could have done well." A single, with Karla singing lead, was released from those sessions, but failed to forward the band's career. "It was a hit in Santa Maria [California]," Karla remembers. Bryndle broke up, but it launched four very illustrious careers. Kenny and Andrew joined Linda Ronstadt's band, and through that connection, Ronstadt was to hear a demo of hers. Karla recalled playing a tape of "Lose Again" for her. "Hey, you know that's real good," Bonoff remembers Ronstadt saying, "What else have you got?" On Linda's "Hasten Down the Wind" album [released in 1976], there were three Bonoff songs: "Someone to Lay Down Beside Me," "If He's Ever Near" and "Lose Again."
As Ronstadt was scoring hits with Karla Bonoff songs, Karla herself was signed as a solo artist to Columbia Records in 1977. There, she not only recorded the three songs Linda had done, but also the hit single "I Can't Hold On" and the tune "Home," which later wound up on one of Bonnie Raitt's albums. The producer of this great first album [and the next two] was Karla's old friend and partner, Kenny Edwards. Bonoff then embarked on a solo tour to promote her album, and by the time she reached Seattle, "I Can't Hold On" was Number 1 in the Pacific Northwest. "I was headlining and I barely had enough songs to play," Karla recalls, still amazed at the memory. "So I just kept playing them longer!" She went from there to coveted spots on major tours, opening for James Taylor and Jackson Browne and earning a rave review in Time magazine. Two subsequent albums, "Restless Nights" [released in 1979] and "Wild Heart of the Young" [released in 1982], established Karla as one of LA's major artists and songwriters. Musicians such as Russ Kunkel, Joe Walsh, Waddy Wachtel, Danny Kortchmar, Don Henley, Timothy Schmit, Peter Frampton, Bill Payne, J.D. Souther, and her old partners from Bryndle, Wendy Waldman, Andrew Gold and Kenny Edwards all participated in the making of these wonderful records. Bonoff had a big hit with "Personally," from her album "Wild Heart of the Young" - a song Karla did not write. "I'm sure there're people out there who only know me from this song, but I really enjoyed singing and recording it."
Her fourth album, New World [first released in 1988], was originally released on Gold Castle, and is now available on the Valley Entertainment label. Karla began to tour in Japan, where audiences fell in love with her, and where she became a very successful artist - and continues to be to this day. There's been work in film - she and J.D. Souther wrote songs for the motion picture "About Last Night." She is also the voice on the Tom Snow/ Dean Pitchford song from "Footloose" called "Somebody's Eyes." In 1994, Karla had a top-ten AC hit single with a song from the film "8 Seconds," called "Standing Right Next to Me." This track was produced by the legendary Keith Thomas (a longtime fan of Karla's) and written with her old partner, Wendy Waldman. Throughout the years, Karla has continued to do what she does best. She's toured with Bonnie Raitt, John Prine, J.D. Souther and others, building up a passionate audience, resulting in sold-out houses everywhere. In 1990, strange things began to happen in Karla's life. Her career came full circle. She wrote three songs which wound up on her old friend Linda Ronstadt's album "Cry Like a Rainstorm, Howl Like the Wind." "All My Life," a duet with Ronstadt and Aaron Neville, won the Grammy for Best Vocal Performance by a Duo or Group. People magazine ranked "All My Life" as one of the top 5 most popular wedding songs.
In 1993, Karla's song "Tell Me Why," sung by the legendary Wynonna Judd [with Karla on acoustic guitar, and Bryndle members singing backup vocals], was the title song to Wynonna's second album, and a tremendous hit. The Eight Seconds soundtrack album [released in 1994], featured the aforementioned "Standing Right Next to Me" and a duet with Vince Gill on "When Will I Be Loved," [a '70s hit for Linda Ronstadt] bringing Karla's sound to an even bigger Country music audience.
Karla and her three old partners, Kenny Edwards, Andrew Gold and Wendy Waldman, then decided it was time to put Bryndle back together again. The thought had always been there, but now with each person having experienced many successes alone, there was much more to bring to the Bryndle experience. "When we decided to put this band back together," Bonoff explains, "we realized that one of the things that was wrong with it the first time was that we all wrote separately. We thought it would be great to write together this time. It's been new and really fun to do that, the
four of us." Twelve out of the 14 songs on Bryndle's CD were written as a group. In the fall of '95, after four years of hard work, the first Bryndle CD came out, released in the United States and Japan. The band toured Japan in the summer, then began to tour the United States. Karla had some incredible showstoppers on the record and onstage. "On the Wind," "Under the Rainbow" and "Daddy's Little Girl" brought the house down every
single night no matter where Bryndle played. Bonoff fans flocked to the shows and were thrilled to see her with her old friends, having a great time. In 1996, Andrew Gold left the band but Bryndle continued on, performing into the summer of 1997.
A duet with the Dirt Band, "You Believed in Me," written with Wendy Waldman, was released in January of that year on a prestigious MCA album honoring the 1996 Olympics.
In 1999, Sony/CBS Legacy released "All My Life - The Best of Karla Bonoff," a 16-song fully remastered collection spanning Karla's entire career. An extensive article by Billboard Editor-In-Chief Timothy White and an interview with Karla were included with the CD.
Progress on Bryndle's follow-up CD [with the working title of "Bryndle 2"] stopped and started after 1997 and for a few years, it appeared there might not be another release by the band. At one point, parts of the unfinished "Bryndle 2" digital recordings were lost in a hard drive crash - a nearly fatal omen to the project. Meanwhile, Karla [accompanied by Kenny Edwards] began touring more as a solo act as Bryndle stopped performing live.
In 2001, enthusiasm for the "Bryndle 2" project built up within the band and the recording pace intensified. Regular sessions took place at Kenny's Santa Barbara studio and Wendy's San Fernando Valley "Long House Studio." Former bandmate Andrew Gold contributed to the recording as well. Finally, in the first week of 2002, "House of Silence," the second collection of songs from Bryndle, was independently released. Although there's a different feel to the recording compared with the first album, it still reflected the unique sound that these artists make when their talents merge. Autographed editions of this CD are available from the Karla Bonoff Store and it's been released in Japan through Japan/JVC. Karla often plays the song "(My Heart Is) Like A Compass" from this release when she tours.
In November of 2002, Karla, Kenny Edwards and Wendy Waldman played their first show together under the Bryndle banner in more than 4 years. The setting was an intimate house concert in the Los Angeles area. Rumors of a CD release of "The House Concerts" have begun circulating. Although there are no plans for Bryndle presently, the members remain friends and there's always the possibility of future recordings and performances.
In a 2000 magazine article, Karla described herself as "semi-retired" - content with going out on short tours a few times a month. But she's also talked of recording a new album as well - perhaps at home. "I'd like to make a record completely for myself, one that isn't governed by what other people in the business think it needs to be," she said. "I don't have to go audition. I don't need a record company to pay for it. I can put it out on the Internet and it doesn't really cost anything. If a record company picks it up, great. If they don't, it doesn't really matter."
"I always had somebody mad at me because I wasn't making records, keeping up the pace," revealed Ms. Bonoff, who writes about four songs a year. "I'm really not that prolific - I think I've spent so much time trying to fit a round peg into a square hole that I just sort of worked my way out of wanting to write anymore. And I got a bad taste in my mouth about not being able to just be myself. I think in the time I've taken off, I've watched music change to the point where I really see songwriters - and women in particular - being able to write about what they want to. So it encourages me to just go, 'You know what? I'm just going to write whatever I want, and I'm just going to make the record I want.'" When it comes, a new collection of songs from Karla Bonoff will be exactly her vision of what it should sound like, and well worth the wait.
In 2007, Karla finally released a live double CD, a project she had talked about for years. "I think many of these songs have improved with age and and I have never really documented what we do." Karla recorded all but one song of it at a small club in Santa Barbara with her long time touring band, Kenny Edwards and Nina Gerber, plus Scott Babcock on percussion.
Karla continues to perform all over America. Often after her concerts, Karla talks with fans and signs CDs and well-worn LP covers people bring to her shows. Japan has also been very supportive of Karla's music and she's toured there twice in recent years. An expanded version of her "Best Of" CD collection as well as Bryndle's "House of Silence" were released in Japan in 2002.
Sadly, during the summer of 2010, Kenny Edwards required an emergency med-flight back to his home in Southern California, and was hospitalized with rapidly advancing prostate cancer. He passed away peacefully August 18th in Santa Barbara CA among an outpouring of loving words, thoughts, generosity, and kindness from friends and fans around the world. Karla writes on her web site, “I want to thank Kenny for being my teacher, my musical partner and my best friend for the last forty-three years.”
Karla’s legacy as a writer and perseverance as a performer are spoken best in a Billboard Magazine review of Karla’s "All My Life" recording. "Long before Alanis and Jewel, there was a breed of singer/songwriters whose earthly anthems of soul-searching, heartache and joy touched souls in a way few can muster today."
Show 8pm // 21+
***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 bar will be open at 6pm.
Felton Music Hall Presents:
LITTLE HURRICANE