Fruition (with special guest MAITA)
Fruition’s newest album, Broken at the Break of Day, may be hard to categorize, yet it feels complete because of their dedication to honesty as well as harmony. Influenced equally by acoustic music and rock ‘n’ roll, the Portland, Oregon-based band is composed of Jay Cobb Anderson (electric guitar, vocals), Kellen Asebroek (piano, acoustic guitar vocals), Jeff Leonard (bass), Mimi Naja (mandolin, electric guitar, vocals) and Tyler Thompson (drums). Their unmistakable vocal blend first revealed itself in 2008 when Anderson tagged along with Asebroek and Naja for an afternoon of busking in Portland. Since that time, they have opened shows for the Wood Brothers, Greensky Bluegrass, and Jack Johnson, and at appeared at festivals like Telluride Bluegrass, Bonnaroo, and DelFest. Broken at the Break of Day follows the band’s exceptional 2019 album, Wild as the Night.
Ryan Adams – Postponed to 2024
Huser Brother Band
Emo Night
DJ ArtxDamage brings back some Emo Hits to get the summer going! Also he’s gonna have emo night shirts for sale that 25% of the proceeds will go to ACLU Montana. Plus a pride themed Photo Booth! Emo and Love for everyone.
Sera Cahoone
Americana singer-songwriter Sera Cahoone is the daughter of a dynamite salesman who grew up in the Colorado Foothills. She played her first gig on drums in a Denver dive bar’s open blues jam at age 12. A young adult, she moved to Seattle where she played drums with the adored indie rock group, Carissa’s Weird, and later Band of Horses. She then went on to release four solo acoustic records, two with Sub Pop. In 2019, Cahoone received a Gold Record for her work with Band of Horses. Cahoone has toured with many artists such as Indigo Girls, Tift Merritt, Gregory Alan Isakov, Kathleen Edwards, Son Volt, Matt Costa, Mason Jennings, Fruit Bats and Band Of Horses. Most recently, Cahoone partnered with SMASH Seattle and Dave Matthews for the Songs of Hope Benefit. In April 2021, she was featured in the book “Bring Music Home”. This book celebrates venues like Stubby’s, Baby’s All Right, and The Fillmore with artists Alice Cooper, Dehd, Native Sun, The Black Angels and many more. In addition to her work on drums and as a singer-songwriter, Cahoone has produced her own records as well as Margo Cilker’s new record, Pohorylle, which was released in November 2021. Cahoone and Cilker are currently in studio working on record number two. Cahoone has earned great praise from KEXP, NPR series Tiny Desk Concert, First Listen and Songs We Love. Her work has been featured in numerous publications including the Seattle Times, UPROXX, ELLE and KEXP, and The Stranger.
Reverend Peyton’s Big Damn Band
NASHVILLE, Tenn. — The latest album from Reverend Peyton’s Big Damn Band was written by candlelight and then recorded using the best technology available . . . in the 1950s. But listeners won’t find another album as relevant, electrifying and timely as Dance Songs for Hard Times. Dance Songs for Hard Times conveys the hopes and fears of pandemic living. Rev. Peyton, the Big Damn Band’s vocalist and world-class fingerstyle guitarist, details bleak financial challenges on the songs “Ways and Means” and “Dirty Hustlin’.” He pines for in-person reunions with loved ones on “No Tellin’ When,” and he pleads for celestial relief on the album-closing “Come Down Angels.” Far from a depressing listen, Dance Songs lives up to its name by delivering action-packed riffs and rhythms across 11 songs. The country blues trio that won over crowds on more than one Warped Tour knows how to make an audience move. Peyton, the cover subject of Vintage Guitar magazine’s January 2020 issue, showcases his remarkable picking techniques on “Too Cool to Dance.” It’s rare to hear a fingerstyle player attack Chuck Berry-inspired licks with index, middle and ring fingers while devoting his or her thumb to a bass line. Yet the multi-tasking Peyton has made an art of giving the illusion he’s being accompanied by a bass player, despite the Big Damn Band’s roster featuring no one beyond himself, Breezy on washboard and Max Senteney on drums. “Too Cool to Dance” heats up thanks to Peyton’s 1954 Supro Dual Tone electric guitar. Once known exclusively for playing acoustic guitar in the country-blues tradition of Mississippi icons Charley Patton and Bukka White, Peyton has seemingly migrated north and plugged in with Chicago giants Howlin’ Wolf and Muddy Waters. “It’s crazy,” Peyton says of “Too Cool to Dance.” “It almost feels like a song from the 1950s that’s been lost. At the end of the day, it still somehow feels like us.” To document the livewire immediacy of Dance Songs for Hard Times, the Big Damn Band — including a healthy Breezy — made a pandemic road trip to Nashville to record with producer Vance Powell (four-time Grammy Award winner whose resume includes work with Chris Stapleton and Jack White). Peyton embraced Powell’s suggestion to turn back the clock and record no more than eight tracks of audio to analog tape. Minimal overdubs are heard on Dance Songs for Hard Times, and Peyton sang while playing guitar live in the studio.
FANCY: Queens of Country Party – 18+
Grab your dancin’ dress and join us for FANCY: Queens of Country Party!This is for the 9 to 5 workin’ girls with a calling from another era who just want something a little classic.Let your spirit fly free in Rainbowland as we celebrate the music of Reba, Dolly, Shania, The Chicks, Faith, Trisha, Martina, Tanya, Loretta, Miranda, Carrie, Kacey, The Chicks, Sheryl, Wynonna, and more!Fancy won’t let you down, so wrangle your country-diva dancing queens and come party!TSN Parties LLC, “FANCY” and/or “The Queens of Country Party” is not affiliated with, endorsed by, authorized by, sponsored by, or in any way officially connected with the artists in which we are paying tribute to or any of their respective business entities, affiliates or subsidiaries. Their names as well as related names, marks, emblems and images are registered trademarks of their respective owners. Furthermore, TSN Parties LLC is not affiliated with, sponsored by, or in any way officially connected with other third party entities that provide similar services and events to TSN Parties, LLC; the similarity of any services and events are purely coincidental and does not imply any association with such third party entities.
Counterparts
Both as individuals and a collective, COUNTERPARTS are no longer a band in turmoil. This time two years ago, when the Canadian melodic hardcore quintet — vocalist Brendan Murphy, guitarists Adrian Lee and Blake Hardman, drummer Kyle Brownlee and bassist Tyler Williams — released their fifth studio album, the acclaimed You’re Not You Anymore, they were reeling from the departure of key members, including a principal songwriter. Such personnel changes are enough to break even well-established acts like Counterparts, who’d crossed not only the northern border but the world’s oceans with their blend of urgent tempos, bludgeoning breakdowns and razor-sharp lyricism since forming in Hamilton, Ontario, in 2007. With resolve as battle-tested as their music, You’re Not You Anymore (hailed by Alternative Press as “capturing beauty in even the roughest of sounds”) ultimately marked a triumph for the band, and they celebrated the album’s success with a prime spot on that summer’s Vans Warped Tour. But even though they’d successfully navigated a potential identity crisis, their vocalist was beginning one of his own. By the time Counterparts embarked on a headlining tour in support of 2018’s Private Room EP, things came to a head, and Murphy found himself self-sabotaging what should have been a triumphant moment — choosing instead to soak in sorrow as the seasons of life took a toll on his personal relationships back home. You’ll hear it immediately on songs like first single “Wings Of Nightmares,” which finds Murphy scolding the targets of his on-again-off-again relationships with cutting lines like, “Keep your distance from the flowers that will decorate my corpse/Undeserving of a chance to watch them thrive.” But this time around, the singer is writing not just about the end result but also the because, willing to shoulder some of the blame more than he ever has in the past. Not only does Murphy himself come full circle on Nothing Left To Love — produced by Will Putney (Every Time I Die, The Acacia Strain) — but the album found Counterparts welcoming former guitarists Jesse Doreen and Alex Re back into the fray to aid with the writing process. The pair, especially Doreen, a founding member, were instrumental in helping the band move their uniquely captivating sound forward without losing the musical DNA that broke them back in the early 2010s. For all parties, the homecoming was cathartic and meaningful. The result is a record that, all at once, respects where Counterparts have been but reflects where they currently are. It’s a musical tour through the band’s history, as more melodic elements sharply swerve into caustic breakdowns reminiscent of their debut album, 2010’s Prophets. Above all, Nothing Left To Love encapsulates the lessons the band have learned since You’re Not You Anymore: nothing is forever, for better or worse. Just because someone is here now doesn’t mean they won’t leave — and, perhaps more importantly, just because they’re gone doesn’t mean they won’t return.
Eddie 9V – NOW AT THIRSTY STREET
NOW AT THIRSTY STREET BREWINGMagic City Blues and The Pub Station Present Eddie 9VA fan favorite from last year’s festival is coming back to Billings!As far back as he can remember, Capricorn Studios was calling Eddie 9V. As a kid scanning the sleeves of his favorite vinyl records, this fabled facility in Macon, Georgia, was always the secret ingredient, adding a little grit and honey to every song born on its floor. Capricorn and the bands who blew through it urged the Atlanta guitarist to ditch school at 15, play his fingers bloody throughout the south, and turn apathy into acclaim for early albums Left My Soul in Memphis (2019) and Little Black Flies (2021).Eddie spent his first quarter-century admiring Capricorn from afar. But in December 2021, the 26-year-old finally put his thumbprint on the studio’s mythology, corralling an eleven-strong group of the American South’s best roots musicians to track his third album. “There was overwhelming excitement at being in such a legendary studio,” he says. “But we hugged and got right to work. Everyone was joyous, loving, and flat-out playing their asses off.”You don’t come to Capricorn Studios for polish. Frozen in time since its opening day in 1969, the mojo from sessions by giants like the Allman Brothers and Bonnie Bramlett still hangs in the air, while the recording philosophy remains gloriously raw. That suited Eddie, whose output has been celebrated for its warts-and-all snapshot of what went down. “In a world where everyone is trying to sound the best, I’m trying to sound like me,” he reasons. “I always want the listener to feel like they’re in the room with us. So I’d leave it in if a drum pedal squeaked or someone laughed during a take on the Capricorn album. It’s our way of putting a stamp on the song.” Eddie’s old-school ethos goes way back. Born Brooks Mason in June 1996, he acquired his first guitar aged six, “One of those with the speaker in it – the most bang for your buck, y’know?”, ignored the prevailing pop scene at Oak Grove High School in favor of local heroes like Sean Costello and studied “older cats” like Muddy Waters, Howlin’ Wolf, Freddie King, and Rory Gallagher “to see what made them groove and tick.” His shoot-from-the-lip lyrics adds Eddie came from family fish fries, where his Uncle Brian “taught me to make people laugh, how to hold an audience’s attention.”Likewise, Capricorn is an album of thrilling musical contrasts. Bob Dylan’s “Down Along the Cove” is a pugnacious blues-rocker, followed by Khristie French’s gossamer lead vocal on the spiritual Mary Don’t You Weep. Mellow Missouri is dusty as a great lost soul session, while brass punches through the glassy chords of “I’m Lonely”. Finally, the album ends with Eddie’s laughter as he realizes he has no more to give: “I gotta come out of this room…!”Never meet your heroes, they say, and many young artists have been overwhelmed by walking the holy ground of their dream studios. At Capricorn, Eddie 9V breathed in the history – but the album he spat out is worthy of sharing the name, standing shoulder-to-shoulder with the studio’s greatest hits and taking music back to the golden age. “We made this record,” he considers, “the way they would have done in 1969…”