Upcoming Events

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 5pm.

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.”

Doors 10:30am // Show 11:30am // All Ages // $5 at the door

***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. 

Felton Music Hall Presents:

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 5pm.

Felton Music Hall Presents:

STEELY DEAD - A Sonic Fusion of The Grateful Dead and Steely Dan

Hailing from the vibrant music scene of Denver, Colorado, Steely Dead is a national touring band that has satisfied the curiosity of music lovers with their unique blend of Grateful Dead and Steely Dan. Comprised of four exceptionally talented musicians – Dave Abear on guitar, Matt Abear on bass, Chris Sheldon on drums, and Dylan Teifer on keys – Steely Dead has gained a dedicated following with their electrifying performances and soulful interpretations of classic tunes. 

Steely Dead’s repertoire is a carefully crafted fusion of Grateful Dead and Steely Dan songs, between the arrangement and precision studio recordings of rock legends Steely Dan, cross-pollinated with the Grateful Dead’s free-flowing, melodic improvisation and masterful song segues. Steely Dead merges these major concepts together infusing the influence into each band, all the while creating an original jam element with the song segues. Steely Dead’s performances are a musical journey that takes audiences on a nostalgic trip through the golden era of rock and roll. 

As a national touring band, Steely Dead has built a loyal fan base that eagerly anticipates their shows and follows them from city to city. Their performances are not just concerts, but communal gatherings where fans come together to celebrate the music they love, dance, and create lasting memories. 

Steely Dead’s performances are a testament to the power of live music, bringing people together and creating an unforgettable experience that resonates long after the last note fades. Steely Dead is not just a band; it’s a musical experience that captures the hearts and souls of music lovers everywhere.

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 5pm.

Felton Music Hall Presents:

PACHYMAN & MNDSGN

with MICHI

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 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 5pm.

Felton Music Hall Presents:

JERRY'S MIDDLE FINGER

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:

JERRY'S MIDDLE FINGER

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 5pm.

Felton Music Hall Presents:

ARIEL PINK

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 5pm.

Felton Music Hall Presents:

LUMASI

with SCHMUX

Lumasi is an emerging bass music artist rising fast in the scene, known for his quality production & unique remixes of nostalgic tunes. You may have seen him going viral on TikTok by showing his girlfriend the remixes he made for her. His live performance will take you on a journey through sound with addictive melodies and heavy bass lines.

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 5pm.

Felton Music Hall Presents:

JAMMY BUFFET

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 5pm.

Felton Music Hall Presents:

LITTLE HURRICANE

with WOLF JETT DUO

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 5pm.

Felton Music Hall Presents:

STEPH STRINGS

Hailing from Melbourne/Naarm, Steph Strings is a dynamic singer-songwriter and guitarist whose music merges fingerstyle brilliance with storytelling steeped in nature, emotion, and adventure. Blending blues, Celtic, folk and percussive flair, her sound reflects influences like John Butler, Kim Churchill and Ziggy Alberts—yet remains entirely her own.

After releasing her breakout EP LION in 2023, Steph hit the road for a string of sold-out headline shows across Australia, the UK, Europe, and Canada, while also opening for The Cat Empire, Vance Joy and Ziggy Alberts on major international tours. Her stage presence—both powerful and intimate—has captivated audiences from Rolling Stone Weekender (Germany) to Woodford Folk Festival (Australia), Hillside and Edmonton Folk Festivals (Canada), and Les Escales (France).

In 2024, she released her latest EP Cradle Mountain, a project shaped by introspection and time spent in nature. The release was followed by another global run of headline shows and festival slots, including Winnipeg Folk Festival and Ottawa Bluesfest. This year, Steph is writing new music while also heading on her first-ever North American tour, supporting Ziggy Alberts.

With a combined social media audience size of 1.1M and sold out shows across the world, Steph’s journey from sharing acoustic videos online to becoming a world-touring artist is a testament to both her talent and tenacity. She’s a true musician’s musician—guided by instinct, grounded in humility, and driven by a deep connection to her craft.

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 5pm.

Felton Music Hall Presents:

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 5pm.

Felton Music Hall Presents:

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 5pm.

Felton Music Hall Presents:

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 5pm.

Felton Music Hall Presents:

JOHN SPLITHOFF

with EVANN MCINTOSH

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 5pm.

Felton Music Hall Presents:

TYLER RICH

Northern California-raised, Nashville-rooted Tyler Rich, found his love for music at an  early age during family gatherings. Growing up, he would spend countless hours,  watching his uncle and friends sing everything from Garth Brooks, John Denver, to  Creedence Clearwater. Fast forward to graduating college with a degree in Economics,  Tyler moved to LA to pursue a different game of numbers – music – exploring various  genres with songwriting and bands before taking the leap as a solo artist.  

Since, Tyler has amassed half a billion global streams to date and notched three No. 1  hits on SiriusXM’s The Highway with his debut album TWO THOUSAND MILES, featuring  PLATINUM-certified “The Difference”, GOLD-certified “Leave Her Wild”, plus the  subsequent viral hit “Better Than You’re Used To.” In 2022, Tyler joined forces with one  of Canada’s most successful bilingual singer-songwriters, Marie-Mai for a duet on  “Thinkin’ We’re In Love,” which reached #5 on Quebec Pop Radio.  

Tyler’s music embodies the feelings all people have in common – the need for  acceptance, devotion and a place to call their own – and that empathetic spirit extends to  animals too. With Rich Rescues, Tyler visits local shelters while out on the road to raise awareness for pet adoption to fans in those cities.

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 5pm.

Felton Music Hall Presents:

LIL FISH

Show 8pm // All Ages

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 5pm.

Felton Music Hall Presents:

JAHNAVI HARRISON

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 5pm.

Felton Music Hall Presents:

THE COFFIS BROTHERS

with THE HENRY WARDE BAND

Show 8pm // All Ages 

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 5pm.

Felton Music Hall Presents:

JAHNAVI HARRISON

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 5pm.

Felton Music Hall & (((folkYEAH!))) Present:

MDOU MOCTAR (SOLO)

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 5pm.

Felton Music Hall Presents:

KR3TURE

with KING KAIROS and LIONCHILD

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:

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 5pm.

Felton Music Hall Presents:

MIKE RENWICK'S HOLIDAY DELUXE

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 5pm.

Felton Music Hall Presents:

STRANGELOVE - THE DEPECHE MODE EXPERIENCE

with ELECTRIC DUKE - TRIBUTE TO BOWIE

Hailing from US/UK, the Grammy-nominated Allstar lineup in Strangelove-The DEPECHE  MODE Experience delivers a career spanning, pitch perfect “best of” concert that  transports listeners through time and touches on several key points in Depeche Mode’s  40+ year career. Songs from throughout the Depeche Mode canon of OVER FIFTY chart topping hits are lovingly recreated, with the look, feel and youthful energy of a classic era DM arena show. No detail of STRANGELOVE’s presentation has been overlooked;  and stage set pieces and in-show costume changes reflect different eras of Depeche  Mode’s story. 

"They do it to such fine detail it's scary" (Martin Gore-Depeche Mode)

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 5pm.

Felton Music Hall Presents:

T SISTERS

The T Sisters are a genuine sister group based in the creative hub of Oakland, California. The group is made up of Rachel and Chloe Tietjen, twins, and their older sister Erika. Distinguished by close harmonies, catchy melodies and potent lyricism, the T Sisters’ sound represents a continuum of music: from roots to pop influences, moments of stunning a cappella to swells of groovy indie folk. The sisters' contemporary yet classic sound invites a range of likenesses, from the Pointer Sisters and the Everly Brothers to modern family bands like the Avett Brothers and First Aid Kit. With their soaring sibling harmonies, sassy stage presence, and inventive songwriting, these three sisters embody a fresh and soulful take on folk/Americana music. 

Music and performance have provided a consistent backdrop for the sisters, having grown up with their musician father and dancer mother. The sisters began singing together as early as they could speak, and not long after they began to experiment with harmonies, gradually developing their ability to blend their voices as only sisters can. 

In 2008, after having been separated for a number of years, the sisters returned to the Bay Area to produce and perform in an original musical. They then co-founded Chthonic Theater, a performing arts collective through which they create and perform in original musical theater productions, lead local parades, and curate and host variety shows featuring local and touring artists. After the initial performance experiment of the musical, the sisters began to write songs together and develop their singing and harmonizing outside of the musical theater context, and have since delved deeply into their own soulful and contemporary interpretation of folk and Americana music. 

Rachel (vox, guitar, banjo), Chloe (vox, percussion) and Erika (vox, guitar) are all songwriters in their own right and switch off on lead vocals. While their voices blend seamlessly, each has a distinct singing and writing style. Erika weaves a story with attitude and will belt it out with the confidence and style of a pop diva. Rachel’s soulful and raw style is highlighted in her vintage blues-inspired tunes. Chloe sings her heartfelt and often poetic lyrics in a subtle country tone. The combination results in an eclectic repertoire unified by a landscape of close harmonies. 

In 2011, the T Sisters co-produced their first EP with renowned mandolin player Mike Marshall. In 2014, local Bay Area legend Laurie Lewis produced their first full-length record, and in 2016 the T Sisters self-produced their second full-length record, followed by live EP Live at Tiny Telephone in 2017. They are currently working on their next record. 

The T Sisters have toured the country in support of their own music as well as in support of Amos Lee, The Wood Brothers, Todd Rundgren, and many more. They have had the honor of performing on ‘A Prairie Home Companion,’ singing the national anthem multiple times at San Francisco Giants games, and collaborating with diverse artists throughout the country in live performance. In spring of 2019, T Sisters participated in American Musicians Abroad, a selective State Department-sponsored program fostering diplomacy through music. The sisters performed and conducted workshops in the Middle East and North Africa emphasizing girls empowerment and the power of music to create social awareness and change.

While primarily known as recording and performing artists, the T Sisters have a background in theater that they have expressed over the years through original musical theater productions, variety shows, and community parades. During the recent Covid lockdown, T Sisters have created an exciting weekly show akin to classics like Hee Haw and the Gong Show called T Sisters Variety Hour. Each show features a specific theme, classic and contemporary songs, delightful props and backdrops, and the occasional phone-in special guest, plus the sisters’ campy banter.

Show 8pm // Ages 21+

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 5pm.

Felton Music Hall Presents:

LOU HAZEL & ALEXA ROSE

Show 8pm // Ages 21+ 

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 5pm.

Felton Music Hall Presents:

A JOHN PRINE CHRISTMAS WITH JENNER FOX

Ever wonder what John Prine has to do with Christmas? Ever wished the beloved songwriter had more to do with sleigh bells, eggnog, and Old Saint Nick. Well, in 1994 Prine released his 11th LP titled, “A John Prine Christmas.” The critics didn’t acclaim it much, but with titles such as “Silent Night All Day Long '' and “I Saw Mommy Kissing Santa Claus,” it’s still Prine at his lovely wry best, bringing Christmas home. 

We are proud to present “A John Prine Christmas” – a night of your favorite songs featuring folk troubadour and Prine scholar, Jenner Fox, with his all-star band. The evening will weave together Prine’s classic hits, his holiday themed songs, stories, and lots of singing along. Come prepared to laugh and cry and ho ho ho your way through celebrating a true American original.

Show 12pm // 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 5pm.

Felton Music Hall Presents:

ROCK & ROLL PLAYHOUSE

Show 8pm // Ages 21+

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 5pm.

Felton Music Hall Presents:

SNAIL

Snail is the brainchild of guitarist, singer, songwriter Bob O’Neill and drummer Ron Fillmore circa 1967. Soon joined by bassist Dave Kibler, Snail was a power-trio along the lines of England’s Cream. In 1968, Ken Kraft, guitarist, singer, songwriter, joined the band and he and Bob became lifetime musical partners.

Over the years, Snail toured the U.S. extensively while undergoing several line-up changes. Signed to CREAM Records in 1977, Snail recorded two well received LPs: Snail and Flow. It was at this time that Snail appeared on American Bandstand performing their signature song “The Joker”.

After landing the opening act for Styx on a nation wide tour in 1980, Snail hit the club circuit in the San Francisco bay area until 1981. In 2009, Renissance Records re-released both Snail and Flow albums together on one CD. 

In the Fall of 2009, Bob and Ken recruited bassist/vocalist extraordinaire, Craig Owens, and renowned drummer/percussionist, Gary “Killer” Andrijasevich, to record a brand new Snail CD. The result is a blend of the old, the new and the unexpected. Together, the band release Snail Now ! in 2020 and Snail Rocks ! in 2022. They continue writing and recording new material, releasing well produced, high energy, soulful music to their fans via the web, online streaming services and USPS mail.

Show 10pm // 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 5pm.

Felton Music Hall Presents:

TOMMY CASTRO & THE PAINKILLERS

Multiple award-winning guitarist, vocalist, and bandleader Tommy Castro is a California-based blues and rock powerhouse. For over four decades, he’s captivated audiences with his soul-drenched vocals, searing guitar work, and high-energy live shows. As frontman of the telepathically tight and wildly raucous Tommy Castro & The Painkillers, he’s released 17 albums that span a wide stylistic range—from horn-driven R&B and hot-blooded soul to gritty, stripped-down rock and electric blues.

With his latest and eighth Alligator Records release, Closer To The Bone, Castro returns to his roots, delivering what he calls “a real blues record, the way they would have made them back in the day.” Produced by guitar master Christoffer “Kid” Andersen at San Jose’s Greaseland Studio, the album is Castro’s rawest and most direct blues effort to date.

The album features standout originals like Ain’t Worth The Heartache, Can’t Catch A Break, and Crazy Woman Blues, alongside deep-cut covers of songs by Castro’s friends and influences—Johnny Nitro, Magic Slim, Ron Thompson, Chris Cain, and more. Guest appearances include Rick Estrin, Billy Branch, Deanna Bogart, Chris Cain, Jim Pugh, and gospel harmonies from The Sons Of The Soul Revivers.

Born in San Jose in 1955, Castro picked up the guitar at age 10 and was inspired by icons like Elvin Bishop, Taj Mahal, and Mike Bloomfield. He absorbed everything from Ike & Tina Turner to John Lee Hooker and Buddy Guy, developing a uniquely uplifting and soulful style rooted in blues, R&B, and funk. After early stints with Bay Area bands including NiteCry and The Dynatones, Castro formed the first Tommy Castro Band in 1992.

Castro’s career took off when his band became the house band on NBC’s Comedy Showcase, airing after Saturday Night Live. He soon built a reputation as a must-see live act, touring relentlessly and releasing acclaimed albums with Blind Pig, Telarc, 33rd Street, and eventually Alligator Records, where his 2009 debut Hard Believer marked a new chapter of critical and commercial success.

Notable releases include The Devil You Know (2014), Stompin’ Ground (2017), Killin’ It – Live (2019), and A Bluesman Came To Town (2021), which AllMusic hailed as “a towering achievement.”

Castro is one of the most decorated artists in contemporary blues, winning 10 Blues Music Awards, including four B.B. King Entertainer of the Year honors—the genre’s highest accolade. His no-frills, 150-shows-a-year approach has earned him a fiercely loyal fanbase and praise from legends like Joe Bonamassa, who says, “Tommy has always been top of the heap among blues guitar players. He always puts on a great show.”

With Closer To The Bone, Tommy Castro strips it all back to deliver an album brimming with grit, fire, and authenticity. “This is the deeper blues side of me,” says Castro. “With these songs, I am at my most authentic.”

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 5pm.

Felton Music Hall Presents:

Show 8pm

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 5pm.

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 restaurant will be open for dinner starting at 4pm.

Felton Music Hall Presents:

ZOSO - THE ULTIMATE LED ZEPPELIN EXPERIENCE

Celebrating their 30th anniversary in 2025, Zoso has become one of the most iconic and respected Led Zeppelin tribute experiences in the world, having played over 4,800 shows across the globe. Known for their unparalleled dedication to faithfully recreating the legendary band's live performances, Zoso has earned accolades from both critics and fans alike.

The band was founded by Matt Jernigan and Adam Sandling, both of whom are renowned for their exceptional musicianship and passion for Led Zeppelin's music. Jernigan, who takes on the colossal role of Robert Plant, has a commanding stage presence that rivals the icon himself. Sandling, who brings John Paul Jones to life, masterfully plays bass, keyboards, and mandolin, replicating the multifaceted talent of the Zeppelin legend.

In 2015, Bevan Davies joined Zoso as John Bonham, completing the lineup. An accomplished drummer with a resume that includes playing with Danzig, Jerry Cantrell (of Alice in Chains), Static X, and Billy Duffy (of The Cult), Davies brings an unmistakable power and precision to Zoso’s live shows, helping the band recreate Bonham’s legendary drum sound.

Zoso’s live performances focus on the raw energy and intricate musicality of Led Zeppelin’s best-known hits and deeper tracks, with a particular emphasis on recreating their live show experience. The band’s commitment to authenticity has earned them praise from major outlets, with the LA Times calling them “head and shoulders above all other Led Zeppelin tributes,” and the St. Petersburg Times describing them as “the most exacting of all the Led Zeppelin tributes.”

With over 30 years of music history behind them, Zoso continues to be regarded as one of the finest Led Zeppelin tributes, with the Chicago Sun-Times calling them “the closest to the original of any Led Zeppelin tribute.” Whether you're a lifelong fan of Led Zeppelin or discovering their music for the first time, Zoso delivers an unforgettable experience that takes you back to the glory days of rock and roll.

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 5pm.

Felton Music Hall Presents:

BRISCOE

West of It All, the debut album from Americana folk-rock band Briscoe, is a coming-of-age soundtrack set against the backdrop of the Texas Hill Country. Written in the Lone Star State and recorded in North Carolina, it's an album that charts its own musical geography, with production from Grammy nominee Brad Cook (Bon Iver, Waxahatchee, Nathaniel Rateliff & The Night Sweats) and adventurous songwriting that bridges the gap between classic American roots music and its modern-day incarnation.

From free backyard performances on the outskirts of UT Austin's campus to sold-out gigs at Stubbs, Briscoe's growth — like the group's music itself — has been organic. Bandmates Truett Heintzelman and Philip Lupton met as teenagers, reunited as students at UT Austin, and built their grassroots following the old-school way: by carving out a sound that nodded to the golden era of folk, rock, and pop music, then getting onstage and building a genuine relationship with their audience. Signed by ATO Records while still pursuing undergraduate degrees, the Texas natives wrote West of It All as graduation loomed in the distance, funneling the stories of their college experience — from heartbreak to hard-won lessons to weekend trips into the rural countryside — into a raw, rugged blend of classic and contemporary influences.

With contributions from drummer Matt McCaughan (Bon Iver) and multi-instrumentalist Phil Cook (Megafaun, Hiss Golden Messenger), West of It All offers a singular version of genre-fluid folk music, from rootsy rave-ups like "The Well" to brainy, literary songs like "Sparrows." It's a self-assured album that follows no directions but its very own, stacked organic performance and sharp songwriting that negotiates the transition from adolescence to adulthood.

Rollout Timeline
Announce: Tues Oct 14 @ 9am PT
Artist Presale: Wed Oct 15 @ 10am PT
General On Sale: Fri Oct 17 @ 10am PT

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 5pm.

Felton Music Hall Presents:

VINCENT NEIL EMERSON 

with Special Guest WILLIAM PRINCE

Vincent Neil Emerson has become a staple among folk and country music fans nationwide,  celebrated for his honest tales of life on the road, heartbreak, and struggles of all sorts. His first  LP, Fried Chicken & Evil Women, from 2019, established him as a refreshing voice in the modern  country music landscape. The songs from that first album were charming and playful songs, but  didn't reveal the entirety of Emerson's story. 

On his brilliant new album, The Golden Crystal Kingdom, Emerson transcends the role of a  honky-tonk country singer and becomes a chronicler of his history. The album is a bold  continuation of the story he tells on Vincent Neil Emerson, with songs like the title track  exploring the feelings he was left with after his days spent playing in Texas honky-tonks and  dancehalls, and the track "The Time of The Rambler," inspired by the early days of living in his  car and busking on the streets. 

He was born and partly raised in East Texas, around his Choctaw-Apache family, and spent  most of his life moving around the state. Raised by a single mother, he lost his father to suicide  when he was nine. Emerson dealt with those feelings of abandonment and loss on his self-titled  album, with the track "Learning to Drown" in particular. 

His grandmother and grandfather brought the family to Texas when Emerson's mother was a  child, leaving their ancestral Choctaw-Apache homelands in Louisiana behind to try and build a  better life for themselves and their children. Emerson always identified with his Native  American roots, but it wasn't until 2021's self-titled album that he examined and tried to shed  light on the devastating history of his tribe with the song "Ballad of the Choctaw Apache." 

Sonically, The Golden Crystal Kingdom finds Emerson expanding his scope into rock and roll  territory, tapping into the storied sounds of folk music gone electric, and following in the  footsteps of artists like Bob Dylan and Neil Young. On the album, Emerson retains his diamond sharp storytelling while imbuing the work with a freewheeling rock and roll aesthetic, creating an  album as fun as his live shows and as cathartic as his previous work. 

With production from Shooter Jennings, Emerson wanted to establish some sounds as  touchstones but emphasized following his own intuition for the aesthetics of his record. "I didn't  really want to model this record after anybody else's music, but I've been heavily influenced by a  lot of old rock and roll music from the sixties and seventies singer-songwriter music," Emerson  explains. 

The album wasn't necessarily created as an opposing force to the country and folk sounds his  fans have come to expect, but he did want to make a record that showcased another side of  himself as a writer. He also leaned on friends and collaborators like Jennings, Steve Earle, and  Rodney Crowell to help him flesh out this album. 

Emerson has been able to call these one-time heroes friends and mentors, and it is these  relationships that have helped the songwriter find his confidence in writing about his personal  history and standing up for the causes he believes in. Emerson wrote "Man From Uvalde" after  the horrific and tragic mass shooting in the city of Uvalde, Texas, and he was initially hesitant to  include the track on The Golden Crystal Kingdom. "It's a daunting thing to try to dive into social  issues in songwriting because I wasn't sure how people would really take it," Emerson says. "I  recorded a rough demo version of the song, and I sent it to Steve [Earle]. I just wanted to get his  thoughts on it and see if it was worth anything. He got back to me, and he said he really liked the 

song and thought it was great. He gave me a few ideas and ways to look at the subject  differently, and it really helped me finish the song. That encouragement gave me the confidence  to include it on the album." 

The Golden Crystal Kingdom also pays tribute to some of the peers Emerson cut his teeth with  in the music scene. He covers the Charley Crockett song, "Time of the Cottonwood Trees," and  is quick to pay tribute to his labelmate and dear friend Colter Wall. "Those two had my back  since day one. They've been some of my biggest supporters, and they've always inspired me to  write better songs and encouraged me to pursue this," Emerson reflects. "Especially at a time  when I was starting out and I didn't really have a lot of encouragement or even self-confidence  to do this, they were always there for me." 

As a kid who grew up in a trailer with a single mother, went through bouts of homelessness as a  young man, and grinded through countless shows to get where he's at, Vincent Neil Emerson is  never quick to praise his own work ethic. He always refers to the friends, family members, and  collaborators who have shown their faith in his vision. 

But humility doesn't mean Emerson isn't one of the hardest working, most talented songwriters  to emerge from the alt-country underground in years. His style is one of a kind, and his ability to  blend tales of the everyman with tributes to his past, present, and future make him a peerless  songwriter. On The Golden Crystal Kingdom, Vincent Neil Emerson carries on the torch of his  singer-songwriter forebears while infusing the legacy with his unique and thrilling point of view.

Show 8pm

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 5pm.

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 5pm.

Felton Music Hall Presents:

MAGIC CITY HIPPIES

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 5pm.

Felton Music Hall Presents:

AMBROSIA

Ambrosia, the band known and loved by a multitude of fans since the 1970’s, is now more alive and compelling than ever. This 5-time Grammy Nominated ensemble is exploring new musical territory and bringing an exceptional musical performance to stages everywhere.

In 1970, four young musicians from the South Bay of Los Angeles, came together to create a new moving and invigorating style of music. Joseph Puerta, Christopher North, David Pack, and Burleigh Drummond produced a sound that was immediately recognized. Today, Ambrosia is three of the original members with the addition of guitarist Doug Jackson, contributing keyboardist Mary Harris, and powerful lead vocals of Kipp Lennon (from the band Venice).

Always exploring the possibilities of progressive, classical, and world influences – with tangled roots of soul, rhythm, and blues – Ambrosia is continuing to entertain their original fans while still engaging newer audiences.

Originally labeled as America’s answer to the progressive invasion of English acts Yes and King Crimson, the group quickly proved itself with a unique blend of aural landscapes. Their musical styles attracted the collaboration with cultural icons Leonard Bernstein, Kurt Vonnegut Jr., Alan Parsons, Bruce Hornsby, Michael McDonald, Edgar Winter, Dave Mason, Gary Wright, Al Stewart, and others. Ambrosia had toured extensively with Fleetwood Mac, Heart, and the Doobie Brothers.

During Ambrosia’s early recording history they garnered 5 Grammy Nominations, received frequent radio airplay, and gained the admiration and respect of the musical community – in addition to their sold out concerts around the world. Ambrosia achieved 5 Top 40 hit singles on Warner Bros. Records, released between 1975 and 1980, including “How Much I Feel” and “Biggest Part of Me”. In 2015 the group released a new single, “Hopes and Dreams”, which was featured on the series called The Sparrows that aired on the Fox television channel. As of 2017, the new Ambrosia material keeps coming.

Bringing a breathtaking performance of their classic hits as well as new moving music, Ambrosia puts on a perfect show for any stage, casino, night club, festival, or special event.

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 5pm.

Felton Music Hall Presents:

LAST DINOSAUR

A decade after their beloved sophomore album Wellness lit up dance floors around the world, Last Dinosaurs are bringing it back to life - performing the record in full across the U.S. this February and March. Expect wall-to-wall energy, nostalgia, and every shimmering groove that made Wellness a fan favorite. From “Apollo” to “Wurl,” this is your chance to celebrate ten years of pure indie euphoria.

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 5pm.

Felton Music Hall Presents:

THE WHITE BUFFALO

“Everyone knows that you can sing…” 

For The White Buffalo – aka singer / songwriter / guitarist Jake Smith, Oregon-born, Southern California-raised – it was time to take the less travelled path; to assemble notions for studio album Number 8, the follow-up to ‘On The Widow’s Walk’ (Snakefarm, 2020), and embark on a voyage of discovery.

Out with the old, the organic, the expected, the tried; in with the new – new producer, new studio, new location, no distractions, no looking back…

Enter ‘Year Of The Dark Horse’…

“You think we’re a country band? A folk band? Americana? Rock? What the fuck are you gonna say now?!” laughs Jake. “With this album, I wanted something outside of what I’ve ever done. I wanted to open up. Do something dangerous. I’m hard to put into a singular genre as it is, but now I really wanted to take away any kind of preconception or pigeon-holing.

“And don’t ask me, cos I don’t know what it is! It’s a genre-bending thing – there’s elements and influences from ELO, Daniel Lanois, Tom Waits, The Boss, circus, pirate music, yacht rock, and I’m driving and pushing some of these numbers in a way I’ve never done before.

“At the top of the pandemic, I put the acoustic guitar on its stand, got a synthesizer and began writing on it, not really knowing how to play keys, just exploring the different sounds and landscapes. In the not knowing, it allowed me to expand my vocal melodies and compositions in ways the guitar had possibly limited.” 

When Jake, flanked by regular touring / recording compadres, bassist / keyboard player / guitarist Christopher Hoffee and drummer Matt Lynott, crossed the threshold of East Nashville’s Neon Cross Studio, a converted Southern Baptist Church, he wasn’t chapter an’ verse prepared, as usual.

The time before recording had been a crazy one, so there were a bunch of loose ends to be tied (“I’m a perpetual procrastinator” – Jake), plus only three of the 12 songs had been completely written. Jake had maps in his head, but most were mere bones of compositions with only a few key lyrics penned. This allowed producer / studio owner Jay Joyce – plus trusted assistant, Jason Hall – the wiggle room to really get involved, to guide and explore new frontiers …

“It was a whirlwind of creativity,” recalls Jake. “We tracked 12 songs in 11 days; no over-thinking, no looking for perfection, no egos, no playing it safe, just feel, and I’ve never had a producer act so much like a producer… twisting, elevating and contorting our talents!”

With an impressive clientele numbering Eric Church, Brothers Osborne, Fidlar, Ashley McBryde, Halestorm, Little Big Town, Cage The Elephant, to name just a few, multi-instrumentalist Joyce has a reputation for working at an intense level.

He’s a Grammy Award-winning Producer of the Year (2018), has 4 CMA and 5 ACM Awards, and when it comes to making music, the Ohio native is never one to take the obvious route – perfect for an album featuring a dozen musical vignettes, individual yet constant in flow; an album loosely based around the shifting of the seasons and the shifting of a relationship; an album showing off the complete scope of Jake’s song-writing craft, from the stripped back to the fully loaded…

“Jake is fierce, he basically wrote a whole movie,” says Jay. “We holed up in an old church, in the midst of the pandemic. It was just the four of us, making the soundtrack to his movie, and I have to say, it was inspirational.”

To keep the storyline as clear as possible, the 12 songs were recorded in sequence, with every square inch of Neon Cross brought into play; a new sonic palette was required, a unique set of sounds, and if it meant pushing the musicians into new, sometimes uncomfortable, areas, well, that was the price to pay…

“Oh, he would break at least one of us on the daily!” exclaims Jake. “At some point, we all questioned if we could even sing or play! We’d start at 11, have lunch at one or two, be done by seven, and we felt like we’d gone to war!! Exhausted, our heads spinning. Like, what did we even do today?!

“A lot of stuff was tracked on the fly, and Jay would help guide arrangements, bridges, links, all sorts of things, then he ended up adding other elements in the mix to bind it all together. He’s an insane musician and he would change things on a dime. We’d spend an hour getting a drum tone, then he’d say, ‘Sounds amazing, but any fool can make a drum kit sound good’. So he’d abandon all of that, and end up using a 50 dollar child’s kit mic’d with a singular microphone and pump it through a tiny Marshall amp. His mind works in a manner I’ve never witnessed in anyone else!”

But what about the vocal recording? Surely Jake’s signature baritone, a much-revered calling card, required nothing more elaborate than a candle-lit corner, some honey, cigarettes and coffee…

“Not reallyl!” laughs Jake, “he kept putting me in strange and awkward positions – on two or three of the songs, he sat me down on a low-profile couch, with the mic a foot off the ground, so I’m hunched over singing with my knees higher than my head. He was taking away my body, my power. He’d say, ‘Everyone knows that you can sing, bro, what else is there…?’ He was looking for a vibe, a cool factor, not vocal acrobatics. 

“And he’s meticulous about trimming the fat, and about syncopation, where the words are landing. He would also sense if something wasn’t quite working, or if it was getting repetitive; on ‘Love Will Never Come’ he forced me to abandon the vocal melody and lyrics I had prepared, nearing a hundred words, saying it sounded like, ‘Hickory Dickory Dock… I’m bored after hearing that melody twice’. He made me take an entirely different approach, on the spot, like, ‘Make up something cool. Now! GO! GO!’ I’ve never been challenged like that before! The first thing that spilled out of me was the map for that performance. 

“He’s a fucking genius with a splash of bullying ex-wife. You know he’s right, you trust him, and he will push you beyond what you think you’re capable of.” 

For ‘Year Of The Dark Horse’ to achieve its full potential, Jake knew the experience had to be immersive, which is why the Nashville location proved crucial. Not only were the three musicians away from the lures of home, but the house they all stayed in was just a block from the studio, and filled with a variety of instruments. Wherever they were, they could hone in on the project, and some of the songs came together while the clock was ticking… 

“I wrote ‘Love Song #3’ eight days into recording,” remembers Jake. “I knew the story and the scope of the album needed a true love song, so I wrote one from a melody I had swimming around in my head. 

“I work strangely well under desperate conditions,” he continues, making sure to give credit to his fellow musicians, his ‘band of brothers’; they hadn’t heard the songs at all prior to entering the studio, “coming in blind”, but they collectively stepped up to the plate, and beyond, sometimes getting a tune out of instruments they’d never even heard of!

As for Jake, he was happy to embrace a project where new boxes were being ticked on a daily, sometimes hourly, basis. This time around, it was all about building on glories past, adding fresh, exciting, more left-field moments to a style and a sound that has seen his music growing in stature worldwide, supported by key placements in the worlds of TV and film (‘Sons Of Anarchy’, ‘Californication’, ‘The Punisher’, ‘The Terminal List’, etc.).

Over the years, Jake has built a second-to-none reputation for the emotional weight of his music, and here this core element dramatically underpins a body of work that allows the imagination of the listener to play an important part throughout, building on a tale of debauchery (of the drunken variety) and blame, of love and loss, a life lived against the odds, the whole thing set in one lunar year, following our anti-hero through the highs and lows of the seasons. 

And who is this mysterious Donna? And what was she doing in the bar? And in the bathroom?!  (‘She Don’t Know That I Lie’). She’s right there at the heart of the action, and the song that bears her name is probably the most propulsive on the album – an open display of Jake’s deep regard for the great Jeff Lynne…

“During the pandemic, I would ride around on my bike with a speaker on the back, tripping balls, and listening to ELO,” he recollects. “I love Jeff Lynne!”

Hard on the stiletto’d heels of ‘Donna’ comes album closer ‘Life Goes On’, which bring things to a conclusion in gentle, reflective tones. Jake felt his way through the song in the studio, then when he stepped up to do it for real, was told by Joyce that his first take was ‘the one’…

“He wouldn’t let me have another crack! ‘You can’t beat that!’ One single imperfect take when I wasn’t even aware we were recording. Pure, honest, true…”

Which effectively sums up ‘YOTDH’ as a whole, The White Buffalo’s most unpredictable and inventive work to date, the most well-rounded, too – surprising, spontaneous and spectacularly genre resistant.

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 5pm.

Felton Music Hall Presents:

WHITNEY

Whitney return to the road in 2026 with a North American tour celebrating their forthcoming fourth studio album Small Talk (out November 7, 2025). Formed in Chicago in 2015 by Julien Ehrlich and Max Kakacek, the band has earned a devoted following for their soulful blend of tender melancholy and radiant warmth.

Their debut Light Upon the Lake introduced Whitney with the beloved single “No Woman,” earning Pitchfork’s coveted Best New Music designation and praise for its “near flawless… low-key perfectionism.” Nearly a decade later, the band continues to evolve while preserving the intimacy and spirit that made them so cherished from the start.

On this run, Whitney will share new songs from Small Talk alongside fan favorites, bringing their signature mix of laid-back charm and intricate musicianship to stages across the US and Canada, with stops in Los Angeles, Brooklyn, Toronto, Montreal, and more.

“If you’ve ever seen Whitney live, you already know what a treasure their performances are. The Chicago-based outfit, led by the effortlessly cool Julien Ehrlich and Max Kakacek, has a gift for crafting songs that feel both timeless and deeply personal - sunny yet melancholic, tender yet bold.” - We Write About Music

Show 8pm

***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 5pm.