Music News aka Houston Music News -= March 2024

Friday,

Saturday, March 2

Katey

Friday, March 8

Hellbounds

Saturday, March 9

Ravens

Friday, March 15

The

Saturday, March 16

Wretched Kingdom,

Friday, March 22

Kathodik

Saturday, March 23

Scorn,

Friday, March 29

Grandstand

Saturday, March 30

Hi Folks,

March 2024

Hello Music News readers. I hope you had a great February.

Our cover story for this month is the Black Crowes. The Black Crowes are releasing their new album, Happiness Bastards on March 15th and to celebrate, they will be bringing their Happiness Bastards Tour to the 713 Music Hall on April 5th. This is going to be a fantastic evening to check out songs from their new album as well as songs from their extensive catalogue of hits

Now, on to the new issue. In this issue, as usual, we have some great stories and information to pass on to you. Check out stories in this month’s issue on Jethro Tull’s Martin Barre, Nitty Gritty Dirt Band, Laura Jane Grace, Estevie, Southall, Darkest Hour, and much more, as well as another installment of the original story, THE BIKER! Also in this issue are a ton of great pictures of bands performing around the Houston area. I’m sure you’re going to be familiar with a lot of these bands. Those bands include Alien Shore, Alter Ego, Bamblo, Havoc Wagon, Hugo Jamz Band, Johnny Burgin, Mad Honey, Mother Truckers, No Stairway, Spit, The Repeat Offenders, Thrower, and The William Smith Band!

Also be sure to check out our Spanish section. In this month’s issue we have stories on Jessi Uribe, Christian Nodal, and Hombres G. The stories are in English and Spanish.

I sincerely hope that everybody reading this new publication finds something here that they like and I would like to encourage you to let your friends and colleagues know about us. Just look for us every month at http://www.houstonmusicnews.net. I would also like to encourage you to email us for a free subscription to Rock And Blues International as well. Just email us at musicnew@airmail.net and in the subject line simply put “Sign Me Up” and we’ll email you a copy each month when it is published. Remember, for your convenience, Music News is also now downloadable. You can download the issue into your computer or storage device and save it and read it at your convenience without having to get logged on to the internet every time. Try it now and save every issue. It will make things a lot easier for you.

Kevin Wildman Editor and Publisher

Kevin Wildman Editor and Publisher

http://www.houstonmusicnews.net

Mailing

Page 6

Black Crowes

The Black Crowes Return With A New Album Happiness Bastards And A New Tour The Happiness Bastards Tour - See Them At 713 Music Hall April 5th

Page 18

Martin Barre

Martin Barre Brings The History Of Jethro Tull To Life Again On His New Tour “A Brief History Of Tull” To Dosey Doe Big Barn On April 4th

Page 12

Van Wilks

Page 38

Estevie

Page 34

Laura Jane Grace

Van Wilks Performs At Green Oaks Tavern

Page 14

The Nitty Gritty Dirt Band

Bring Their “All The Good Times Farewell Tour” To The Arena Theatre March 30

Laura Jane Grace Performs At Warehouse Live On March 23rd

Page 36

Santanabraxas

Santanabraxas Performs at Sambuca

Estevie Performs At White Oak Music Hall March 13th

Page 40

Southall

Southall Bring Their The Glory Daze Tour 2024 To Houston April 12th

Page 42

The Glorious Sons

The Glorious Sons Perform At White Oak Music Hall April 4

Nitty Gritty Dirt Band

Page 46

Ministry

Ministry Performs At Houston’s House Of Blues

Page 50

John Oates

John Oates Performs At The Heights Theatre March 16

Page 52

Darkest Hour

Darkest Hour Performs At Warehouse Live Midtown March 10th

Page 54 Conversations

With The Professionals

Meet Dale Penner the much sought after behind the scenes pro

Page 58

Jessi Uribe

Jessi Uribe Performs At The Arena Theatre March 23

Page 59

Christian Nodal

Christian Nodal Performs At The Arena Theatre March 8

Page 62

Hombres G

Hombres G Perform at Smart Financial Centre March 23

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The Biker

The Continuing Saga Of A Lone Biker On The Road To Explore The Freedoms Of America.

Page 68

Hombres G Page 70

Jessi Uribe Page 71

Christian Nodal

Page 56

On Random Shots

The Black Crowes Return With A New Album Happiness Bastards And A New Tour The Happiness Bastards Tour See Them At 713 Music Hall April 5th

Listen to the new single “Wanting and Waiting”Her

by Greg Fontaine

The Black Crowes are back and ready to rock the stage with their 2024 headline tour, The Happiness Bastards Tour, hitting 35 cities across North America and Europe this Spring. This tour comes in support of their highly anticipated upcoming studio album, Happiness Bastards, slated for worldwide release on March 15 through the band’s own Silver Arrow Records.

Happiness Bastards marks a milestone for The Black Crowes as their tenth studio album and their first original music release in 15 years. Produced by

the acclaimed GRAMMY AwardWinning producer Jay Joyce, the album features ten fresh tracks, including a special appearance by GRAMMYnominated superstar Lainey Wilson. As a nod to their legacy and an embrace of the present and future, the album promises the signature style and attitude that fans have come to love from one of the most essential rock bands of our time.

Accompanying the album announcement is the unveiling of the lead single “Wanting and Waiting,” a riffpacked anthem offering a taste of what’s in store. Frontman Chris Robinson

expressed his excitement for the Happiness Bastards Tour, saying, “Hope everybody is ready to rock & roll with us this spring! We’re thrilled to share songs from our new album, alongside some deep cuts, juicy covers, and all the classics you love!”

2024 marks 40 years since The Black Crowes’ inception, and the Robinson Brothers are seizing this monumental year as their own. After years marked by the tumult of life - from the highs of success to the lows of continued on next page

The Black Crowes

personal struggles - they are putting the past behind them and uniting to celebrate their enduring passion for rock n’ roll.

With their tenth studio album, Happiness Bastards, The Black Crowes are shedding the baggage of the past. Fifteen years since their last original music release, the Robinson Brothers are presenting a collection that feels both timely and timeless. Some might say this project has been years in the making, but to many, it arrives precisely when it’s needed most. Whether it’s fate or simply a shared love for music, this highly anticipated record marks the triumphant return of a legendary band and might just be the rallying cry that rock & roll needs.

In an era where the raw essence of rock music is often overshadowed by glossy productions, The Black Crowes are reclaiming their place with unfiltered emotion and stripped-down authenticity. No frills, no pretense—just the raw power of rhythm and blues at its finest: gritty, loud, and unapologetically bold.

Since reuniting in 2019, The Black Crowes have reclaimed their throne with over 150 shows across 20 countries, commemorating the 30th anniversary of Shake Your Money Maker, the album that launched them into stardom. Returning from their global tour, they knew it was time to create something new, to forge ahead with the next chapter of their storied career. In early 2023, the Robinson Brothers, joined by longtime bassist Sven Pipien, ventured into the studio with producer Jay Joyce. Drawing from the highs and lows of their journey, the band rediscovered their musical roots, resulting in the creation of Happiness Bastards.

Now, after much anticipation, Happiness Bastards is set to rock the airwaves on March 15, 2024, marking a triumphant return for The Black Crowes and a testament to the enduring power of authentic rock music.

The Black Crowes pay homage to classic rock without simply mimicking their influences. Rather than copying the undeniable swagger of the Rolling Stones, the boozy groove of the Faces, or the rhythmic pulse of the Grateful Dead, they infuse these elements with their own distinctive flavors. The dynamic between the Robinson brothers—vocalist Chris and guitarist Rich—adds a layer of tension, while the band’s tight, fiery performances surpass the often looser styles of their musical forebears.

They burst onto the scene with their initial two albums: 1990’s “Shake Your Money Maker,” featuring a highoctane rendition of Otis Redding’s “Hard to Handle,” and 1992’s “The Southern Harmony and Musical Companion,” both of which soared up the charts. Over time, they ventured into the more expansive, jam-oriented realm of classic rock, before parting ways (for the first time) in 2002. Despite subsequent breakups and reunions, marked by albums like the politically charged “Warpaint” in 2008, the band continued to evolve.

After a five-year period of estrangement, they reconciled in 2020, marking the occasion with the release of the covers EP “1972,” subsequent tours, and the curation of reissued versions of their early records. Now, in 2024, they make their triumphant return with “Happiness Bastards,” their first studio album in 15 years.

The Robinson brothers originally

founded the band, then known as Mr. Crowe’s Garden, in Georgia back in 1984. They kicked things off with a strong inclination towards psychedelic rock and jangle pop, but gradually transitioned towards a sound deeply rooted in gritty, feel-good rock & roll. By the time their debut album, “Shake Your Money Maker,” hit the shelves in 1990, the lineup featured vocalist Chris Robinson, guitarist Rich Robinson, bassist Johnny Colt, guitarist Jeff Cease, and drummer Steve Gorman. The swaggering anthem “Jealous Again,” their first single off the album, showcased the band’s blend of infectious hooks and rebellious attitude. However, it was their electrifying rendition of Otis Redding’s “Hard to Handle” that catapulted the Black Crowes into multiplatinum success. The track soared into the Top 40, carrying the album along to the Top Ten in its wake. Their poignant acoustic ballad “She Talks to Angels” became their second Top 40 hit in the spring of 1991. Along their journey, the band’s reputation and popularity surged in tandem, marked by being kicked off a ZZ Top tour (for candidly criticizing the corporate sponsor) and landing a coveted spot on the Monsters of Rock tour.

Guitarist Cease departed the band before the recording sessions for their second album began, prompting the arrival of Marc Ford as his replacement. Teaming up once more with producer George Drakoulias, a key figure in

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The Black Crowes

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shaping their sound, the Black Crowes released their sophomore effort, “The Southern Harmony and Musical Companion,” in early 1992, storming the charts at number one. Introducing the vintage keyboard stylings of another newcomer, Eddie Harsch, the album delved deeper into the soulful grooves of their debut, featuring a more robust guitar presence alongside Chris Robinson’s increasingly confident vocals.

Although the album’s tracks didn’t achieve the same chart success as before, the band solidified their status as a mustsee live act, selling out theaters across the country. Upon returning to the studio, they initially began work on their third album, “Tall,” but ultimately set it aside in favor of the more laid-back, jaminfluenced “Amorica,” released in late 1994 and making a Top Ten debut. This marked the band’s first collaboration with producer Jack Joseph Puig.

Puig returned to produce their 1996 release, “Three Snakes and One Charm,” recorded in Atlanta at a house the band had rented and inhabited during the recording sessions. The album embraced a looser vibe, enhanced by the addition of horns courtesy of the Dirty Dozen Brass Band. During this period, tensions between the Robinson brothers, now residing on opposite coasts, began

to influence their creative process. Rather than working together in person, they exchanged song ideas remotely.

Despite these challenges, the resulting album was met with acclaim, hailed by many as a return to the Black Crowes’ early brilliance.

The Black Crowes faced lineup changes in late 1997 with Ford’s departure and Colt’s exit to form the Brand New Immortals. Moving forward, Rich Robinson assumed all guitar duties for the band’s next release, “By Your Side,” a gritty, hard-rocking album that stripped their sound to its core elements. Following this was a notable collaboration with one of their idols, Led Zeppelin’s Jimmy Page, documented in the live album “Live at the Greek,” featuring a mix of Zeppelin covers and timeless blues classics.

Taking a breather in 2000, the band released “Greatest Hits 1990-1999: A Tribute to a Work in Progress,” a comprehensive 16-track compilation reflecting on their evolving career. Returning to the studio, they enlisted Don Was to produce “Lions” in 2001, a record embodying their diverse take on rock’s history, lyrically influenced by Chris Robinson’s relationship with actress Kate Hudson. In June of the same year, they embarked on a month-long

summer tour with Oasis, dubbed “the Tour of Brotherly Love” due to the sibling dynamics within both bands.

However, cracks began to show within the group, culminating in the decision to go on hiatus in January 2002, which also saw drummer Steve Gorman’s departure. Chris Robinson began planning his solo career, but it was Rich Robinson who took the first step with his solo project, releasing “Paper” in 2004. In 2005, the Black Crowes, including Ford on guitar, reunited for a legendary show at San Francisco’s Fillmore, captured and released as “Freak ‘N’ Roll...Into the Fog” in 2006.

During this time, “The Lost Crowes” was also unveiled in 2006, featuring two previously unreleased albums: 1993’s “Tall” (with segments later heard on “Amorica”) and the previously unheard 1997 album “Band.” Amidst lineup changes involving Harsch and Ford’s departure, the revamped band embarked on an extensive tour before focusing on their first studio album in seven years.

Welcoming newcomer Luther Dickinson, co-founder of the North Mississippi Allstars, the Black Crowes merged the rootsy essence of their early work with newfound political themes on 2008’s “Warpaint.” A live rendition of the album, “Warpaint Live,” followed in 2009. The same year, “Before the Frost...Until the Freeze” debuted, recorded live at Levon Helm’s studio and showcasing the band’s exploration into disco and cosmic folk. This marked their eighth studio album, earning accolades for its bold experimentation.

In 2010, The Black Crowes added to their impressive catalog with “Croweology,” a double-disc album featuring new acoustic renditions of their classic tracks. However, the album’s release was tinged with a sense of farewell, coinciding with a final tour before yet another indefinite hiatus. Rich Robinson ventured into his second solo album, “Through a Crooked Sun,” released in 2011, while Chris embarked on two albums with his new band, the Chris Robinson Brotherhood, in 2012.

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The Black Crowes

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The Crowes reemerged in 2013, hitting the road for a tour and treating fans to the live album “Wiser for the Time,” released on vinyl. However, in January 2015, Rich Robinson delivered the news of the band’s breakup once again, marking another chapter in their tumultuous journey.

After spending fi

ve years apart pursuing solo endeavors, the Robinson brothers reunited in 2020 with a fresh Black Crowes lineup consisting of guitarist Isaiah Mitchell, bassist Tim Lefebvre, keyboardist Joel Robinow, and drummer Raj Ojha. The occasion marked a celebration of the 30th anniversary of their debut album “Shake Your Money Maker,” with plans for a commemorative tour. However, due to the outbreak of the COVID-19 pandemic, the tour was postponed until 2021, along with a deluxe reissue of “Shake Your Money Maker.”

The following year, in 2022, the band delighted fans with the release of the EP “1972,” featuring six newly recorded covers from that iconic year, infused with the signature Crowes style. As the band continued to perform live and evolve with changing members, bassist Sven Pipien returned to the lineup.

In 2023, The Black Crowes treated fans to a live album titled “Shake Your Money Maker Live,” alongside a deluxe edition of “The Southern Harmony and Musical Companion,” which included previously unreleased live-in-the-studio tracks.

Their journey took them back to the studio in 2024, collaborating with producer Jay Joyce to craft their first album of original material in 15 years, “Happiness Bastards.” The album marked a triumphant return to their roots, showcasing the timeless essence of the Black Crowes’ music.

HAPPINESS BASTARDS 2024 TOUR DATES:

April 2, 2024Nashville,TNGrand Ole Opry House

April 3, 2024Atlanta, GAFox Theatre

April 5, 2024Houston,TX713 Music Hall

April 6, 2024Irving,TXThe Pavilion at Toyota Music Factory

April 8, 2024Denver , COFillmore Auditorium

April 10, 2024Phoenix,AZArizona Financial Theatre

April 12, 2024LosAngeles, CAGreek Theatre

April 13, 2024Oakland, CAFox Theater

April 15, 2024Seattle,WAMcCaw Hall

April 16, 2024Vancouver, BCQueenTheatreElizabeth

April 19, 2024Chicago, ILByline Bank Aragon Ballroom

April 20, 2024Detroit, MIThe Fillmore Detroit

April 23, 2024Montreal, QCMTELUS

April 24, 2024Toronto, ONMassey Hall

April 27, 2024NewYork, NYRadio City Music Hall

April 28, 2024Boston, MAMGM Music Hall at Fenway

April 30, 2024Washington, DCThe Anthem

May 1, 2024Charlotte, NCOvens Auditorium

May 3, 2024Bethlehem, P AThe Wind Creek Event Center

May 4, 2024Atlantic City , NJOvation Hall at Ocean Casino Resort

May 7, 2024Philadelphia, P AThe Met Philadelphia

May 14, 2024Manchester , UKO2 Apollo

May 15, 2024London, UKEventim Apollo

May 17, 2024Newcastle, UKO2 City Hall

May 18, 2024Wolverhampton, UKThe CivicTheat Halls

May 21, 2024Brussels, BEAncienne Belgique

May 22, 2024Amsterdam, NLAF AS Live

May 24, 2024Paris, FRL ’Olympia

May 27, 2024Milan, ITT eatro Arcimboldi Milano

May 29, 2024Frankfurt, DEAlte Oper

May 30, 2024Stuttgart, DELiederhalle

June 1, 2024Berlin, DEV erti Music Hall

June 4, 2024Copenhagen, DKFalkonersalen

June 5-8, 2024Sôlvesborg, SESweden Rock Festival**

June 9, 2024Mérida, ESST ONE & MUSIC Festival

**Festival Date

Van Wilks Performs At Green Oaks Tavern

By Troy Wilson

Austin guitarist and sonwriter Van Wilks will be returning to the Houston area this month when he appears in Humble at Green Oaks Tavern on March 23rd

When Texas blues-rock comes to mind, there’s one name that stands tall: Van Wilks. In the ever-changing landscape of Texas music, Wilks has remained a constant force, proving his staying power once again with his latest release, “21st Century Blues.”

The album cover, featuring a steam engine, is a fitting metaphor for the music within. “21st Century Blues” marks Wilks’ return to the studio after a decade, and it roars to life like a locomotive, relentless from start to finish. Recorded across studios in Austin and France, this album is the genuine article—a diverse mix of songs that showcases Wilks’ masterful guitar skills and

poignant lyricism, crafting a modern blues-rock masterpiece.

In Wilks’ own words, “This isn’t your typical ‘blues’ record. This is ‘MY BLUES,’ and while the songs traverse different moods, my guitar is the constant thread. It’s all about that ‘Low Down, Wound Up, Rockin’ Texas Blues.’”

The opening track, “Strange Girl,” sets the tone for what’s to come on “21st Century Blues.” With its blazing guitar riffs and cutting lyrics, the song bridges the gap between classic bluesrock and contemporary soundscapes, leaving listeners hungry for more. And Wilks doesn’t keep us waiting, following up with “Drive By Lover,” a collaboration with longtime friend and ZZ Top legend, Billy F. Gibbons. The result is a Texas-fueled performance dripping with bluesy goodness.

Wilks shares the backstory of “Drive By Lover,” a track years in the making. “We toyed with the idea during late-night jam sessions at my South Austin home on Elizabeth St. It was forgotten until Billy asked if I could revive it, or even remember it! I sent him some snippets from a barely functioning cassette, and a few hours later, he played me the track from an LA studio. ‘Whip up some words, Dusty’s ready to give it a go,’ he said. So I put pen to paper, and our long-evolving tune found its place on ZZ’s ‘La Futura.’”

Just when you think you’ve pinned down “21st Century Blues,” tracks like “Just Walk Away” and “There’s A Sin In There Somewhere” emerge, reshaping your image of Van Wilks once again. “Just Walk Away” is a soulful ballad that draws listeners in, creating an intimate connection with Wilks beyond the music. After hearing it, one might draw comparisons to artists like Dan Auerbach, a testament to Wilks’ timeless

sound.

A standout favorite of Wilks himself, “There’s A Sin In There Somewhere” is a sixminute epic that feels like two songs in one. Starting with the crackle of a vinyl record, paying homage to blues greats, it transitions into a slick Dobro lick, Wilks’ stomping foot, his powerful voice, and the lingering crackle of vinyl. Just as you settle into the groove, an electric guitar roars to life, catapulting the song into the 21st century. Wilks showcases his guitar prowess with jaw-dropping solos, reminding us why his music endures.

Hailing from Galveston, TX, Van Wilks found solace in the guitar at a young age as his family traversed Texas. Influenced by the British Invasion, Wilks developed his signature sound early on. He made his way to Austin in the 1970s, a time when guitars were all about volume and power. Combining his influences with his own style, Wilks brought his guitar prowess to the people of Austin through his band, Fools. His talent caught the attention of industry heavyweights, including ZZ Top’s manager, Bill Ham. In 1979, he signed with Mercury Records, releasing his debut album, “Bombay Tears,” in 1980.

Since then, Van Wilks has crafted an illustrious career, including six solo albums, a live record, and tours spanning the globe with acts like ZZ Top, Heart, Van Halen, Journey, and Aerosmith, among others. His journey has taken him from Texas to Moscow, the Virgin Islands to India, leaving an indelible mark wherever he plays. Notably, Wilks was featured on ZZ Top’s “Live at Montreux Jazz Festival” DVD.

Over the years, Wilks has amassed an impressive collection of accolades, winning numerous Austin Music Awards, earning titles like Best Electric and Acoustic Guitarist in the Austin Chronicle Readers Poll, and being inducted into the Texas Music Hall of Fame. His guitar wizardry has graced albums such as the Geezinslaw Brothers’ “The Eclectic Horseman” (with Willie Nelson), “The Texas Christmas Collection” (a duet with Eric Johnson), “Texas Guitarslingers Volume I,” Double Trouble’s “Been A Long Time,” and KLBJ-FM’s “Local Licks.”

Van Wilks’ credentials speak volumes about his storied past, but “21st Century Blues” reminds us that he’s not dwelling on history. Instead, he continues to set trends and carve out his place in the pantheon of bluesrock legends, proving that Van Wilks is here to stay..

Green Oaks Tavern

Saturday, March 2

Sunday, March 3

Igor & The Red Elvises

Friday, March 15 Murali Coryell & Ernie Durawa

Saturday, March 23 Van Wilks Band

Saturday, March 23

Saturday, March 16 Diunna Greenleaf

Friday, March 8

Sunday, March 17 The Blues Survivors

MARCH

Friday, March 29 Whitt-Ness

Saturday, March 9 The Octanes

Friday, March 22 Mathias Lattin

Saturday, March 30 Jonn Del Toro

The Nitty Gritty Dirt Band Bring Their “All The Good Times Farewell Tour” To The Arena Theatre March 30

By Greg Fontaine

The legendary Nitty Gritty Dirt Band is gearing up to bid adieu to their multi-city touring days with their farewell tour, aptly named “All the Good Times.” Known for their iconic Americana and folk-rock sound that has resonated through the decades, the band has announced their final tour dates, including a stop at Houston’s renowned.

With a career spanning nearly six decades, the Nitty Gritty Dirt Band has left an indelible mark on the music industry with hits like “Mr. Bojangles,” “Fishin’ In The Dark,” and “An American Dream.” Their farewell tour marks the end of an era for a band that has been a pillar of American country and roots music.

“All The Good Times” tour will kick off on March 21, 2024, promising fans a

nostalgic journey through the band’s illustrious career. While it may be the end of extensive touring for the Dirt Band, fans can take solace in knowing that it’s not a permanent goodbye. However, it will mark the conclusion of the group’s extensive travels and multi-city runs that have defined their legacy.

Reflecting on their journey, the band expressed gratitude to their loyal fanbase, acknowledging the profound connection they’ve shared over the years. From their humble beginnings as a jug band in Southern California to their breakthrough with “Uncle Charlie & His Dog Teddy” and the timeless hit “Mr. Bojangles,” the Nitty Gritty Dirt Band has remained true to their roots while carving out a place in music history.

One of the defining moments of their

career was the acclaimed album “Will the Circle Be Unbroken,” where the band collaborated with legends like Earl Scruggs, Roy Acuff, and Doc Watson, solidifying their status as icons in American music. Both “Mr. Bojangles” and “Will the Circle Be Unbroken” have been honored with induction into the Grammy Hall of Fame, cementing their legacy for generations to come.

As the Nitty Gritty Dirt Band embarks on their farewell tour, they invite fans to join them in celebrating “All the Good Times” and the remarkable journey they’ve shared. While the road ahead may lead to new adventures, their music will continue to serve as a testament to the enduring spirit of Americana and folk-rock.

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In the late 1960s, amidst a shifting musical landscape, emerged a genre that blended country twang with rock flair, appealing to a younger audience. Among the bands embodying this fusion was the Nitty Gritty Dirt Band, whose career spanned decades with a firm commitment to their roots.

Originating in Southern California in the early 1960s, Jeff Hanna and Bruce Kunkel, high school friends turned musical collaborators, formed the nucleus of what would become the Nitty Gritty Dirt Band. Their journey began modestly, playing local gigs as the New Coast Two until they expanded their lineup, drawing in likeminded musicians from McCabe’s Guitar Shop.

Clad in retro-style attire, the band quickly gained traction in California’s folk and rock circles. Despite lineup changes and creative differences, they secured a record deal and released their debut album in 1967, followed by “Ricochet” later that year. Though the albums received critical praise, commercial success remained elusive.

The departure of Bruce Kunkel marked a turning point, with Chris Darrow stepping in to fill the void. The band’s sound continued to evolve, culminating in their breakthrough hit “Mr. Bojangles” in 1970 and the acclaimed “Will the Circle Be Unbroken” in 1972, which celebrated the pioneers of country music.

Throughout the 1980s, the Nitty Gritty Dirt Band enjoyed success on the country charts with hits like “Dance Little Jean.” Despite fluctuations in mainstream popularity, they remained true to their musical roots, transitioning back to a more traditional style in the 1990s and 2000s.

With Chris Darrow now part of the lineup, the Nitty Gritty Dirt Band ventured into new musical territories, infusing their sound with drums and electric instruments for their subsequent albums, “Rare Junk” (1968) and “Alive!” (1969), the latter being a live recording capturing their vibrant stage presence. Additionally, the band dipped their toes into acting, securing small roles in the 1970 western musical “Paint Your Wagon.” Notably, they accompanied lead actor Lee Marvin on the song “Hand Me Down That Can o’ Beans,” featured on the film’s soundtrack.

Following their stint in film, the band made a geographical shift, relocating to Aspen, Colorado, where they embraced a

more organic sound inspired by bluegrass and classic string band music. This transition was evident in their 1970 album “Uncle Charlie & His Dog Teddy,” which included a rendition of Jerry Jeff Walker’s “Mr. Bojangles.” Surprisingly, the song became a hit, reaching number nine on the singles chart, marking a significant milestone for the band.

By 1971, changes within the lineup saw Ralph Barr and Chris Darrow departing, leading the band to move forward as a quintet with the addition of Jimmy Ibbotson. Around this time, Liberty Records merged with United Artists Records, providing a new platform for the release of their album “All The Good Times” in 1971.

In a bold move, the Nitty Gritty Dirt Band ventured to Nashville in 1972 to embark on a unique project—an album dedicated to classic country and bluegrass tunes. “Will The Circle Be Unbroken” featured collaborations with legendary artists such as Mother Maybelle Carter, Roy Acuff, and Earl Scruggs, earning widespread acclaim and solidifying their status in the realm of roots music.

Their exploration of country influences continued with 1974’s “Stars & Stripes Forever,” which showcased a four-piece lineup after Les Thompson’s departure. The band’s versatility was evident as they headlined a bluegrass festival and opened for rock icons Aerosmith in the same week.

In subsequent years, lineup changes continued, with John Cable and Jackie Clark joining the fold. In 1976, the band made history as the first American group to tour the Soviet Union, garnering international attention and performing for millions of viewers in a televised show. The release of the “Best Of” album “Dirt, Silver & Gold” in the same year served as a retrospective of their illustrious career up to that point.

In 1978, the group underwent a transformation, infusing their sound with a touch of soft rock and simplifying their name to the Dirt Band. Their self-titled album, “The Dirt Band,” released that year, showcased a revamped lineup featuring Jeff Hanna, Jimmie Fadden, and John McEuen, alongside multi-instrumentalist Al Garth, bassist Richard Hathaway, and drummer Merel Bregante.

During this period, the band had a surprise hit single, contributing to Steve Martin’s novelty track “King Tut” under the pseudonym the Toot Uncommons. This collaboration was facilitated by their longtime manager and producer, William E. McEuen, who also played a pivotal role in guiding Martin’s comedy career to success.

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Continuing under the moniker the Dirt Band, their 1979 album “An American Dream” yielded a pop hit with the title track, featuring a guest appearance by Linda Ronstadt, reaching number 13 on the Hot 100 chart. Their follow-up album, “Make a Little Magic” in 1980, produced another pop hit with “Make a Little Magic,” featuring vocals from Nicolette Larson. This period also marked the introduction of Bob Carpenter on keyboards and accordion.

With EMI’s acquisition of United Artists Records, the Dirt Band found themselves back under the Liberty Records banner for their 1981 release “Jealousy.” However, they returned to their roots and reverted to their original name, the Nitty Gritty Dirt Band, welcoming back Jimmy Ibbotson in time for the recording of 1982’s “Let’s Go.”

The album’s lead single, “Shot Full of Love,” made waves in the country music scene, peaking at number 19 on the country charts. Their subsequent single, “Dance Little Jean,” proved even more successful, reaching number nine on the country charts, solidifying the band’s enduring presence in the country music landscape.

In 1978, under the banner of the Dirt Band, the group released their final album with Liberty Records, marking the end of an era. Soon after, they secured a recording deal with Warner Bros. Records, setting the stage for a new chapter in their musical journey.

Their inaugural release with Warner Bros., “Plain Dirt Fashion” in 1984, seamlessly merged their rootsy sensibilities with mainstream country production. This winning formula yielded two country hits: “Long Hard Road (The Sharecropper’s Dream)” and “I Love Only You,” propelling the album into the country Top Ten and signaling the start of a successful streak for the band in the country music scene.

Over the next few years, the Nitty Gritty Dirt Band continued to dominate the country charts with albums like “Partners, Brothers and Friends” (1985), “Hold On” (1987), and “Workin’ Band” (1988), collectively producing nine Top Ten country hits. Despite the departure of John McEuen in 1988, the band remained resilient, with Bernie Leadon stepping in for the “Workin’ Band” sessions.

Transitioning to Universal Records for

their 1990 release “Will the Circle Be Unbroken, Vol. 2,” the band reaffirmed their reverence for traditional country music, collaborating with iconic artists such as the Carter Family and Johnny Cash. Subsequent albums like “The Rest of the Dream” (1991) and “Not Fade Away” (1992) showcased their versatility and continued dedication to their craft.

In 1998, the band released “Bang Bang Bang” before embarking on a new millennium filled with notable milestones. John McEuen rejoined the group for the recording of “Will the Circle Be Unbroken, Vol. 3” in 2002, followed by the release of “Welcome to Woody Creek” in 2004, which earned them a Grammy Award for their performance of “Earl’s Breakdown.”

Their 50th anniversary in 2015 was celebrated with a special concert at Nashville’s Ryman Auditorium, featuring appearances from former members and esteemed guests. This milestone was immortalized with the release of “Circlin’ Back: Celebrating 50 Years” in 2016.

As the years progressed, the band continued to evolve, weathering lineup changes and exploring new musical avenues. Their latest endeavor, “Dirt Does Dylan,” released in March 2022, pays homage to one of their earliest influences, Bob Dylan, showcasing their enduring passion for music and their remarkable journey spanning over five decades.

Nitty Gritty Dirt Band Farewell Tour Dates:

March 21 – Bowling Green, Ky. – SKyPAC – Main Hall

March 22 – Bloomington, Ill. – Bloomington Center For The Performing Arts

March 23 – Mount Vernon, Ky. – Renfro Valley Entertainment Center

March 24 – Marietta, Ohio – Peoples Bank Theatre

March 28 – Odessa, Texas – The Ector Theatre

March 29 – Abilene, Texas – Outlaws and Legends Music Festival

March 30 – Houston, Texas – Arena Theatre

April 25 – Shreveport, La. – The Strand Theatre

April 28 – Oxford, Ala. – Oxford Performing Arts Center

May 9 – Indianapolis, Ind. – Murat Theatre

May 10 – Harris, Mich. – Island Resort & Casino

May 11 – Harris, Mich. – Island Resort & Casino

May 12 – Joliet, Ill. – Rialto Square Theatre

May 17 – Raleigh, N.C. – Coastal Credit Union Music Park at Walnut Creek*

May 18 – Bristow, Va. – Jiffy Lube Live*

May 19 – Knoxville, Tenn. – Tennessee Theatre

June 21 – Mankato, Minn. – Vetter Stone Amphitheater

June 22 – Cedar Rapids, Iowa – McGrath Amphitheatre

June 23 – Bayfield, Wisc. – Lake Superior Big Top Chautauqua

June 27 – Sioux Falls, S.D. – Alliance Center

June 28 – Mahnomen, Minn. – Shooting Star Casino Hotel & Event Center

June 29 – Bismarck, N.D. – Belle Mehus Auditorium

June 30 – Dauphin, MB, Canada – Dauphin’s Countryfest

July 11 – Mayetta, Kan. – Prairie Band Casino & Resort – Great Lakes Ballroom

July 12 – Jefferson City, Mo. – Capital Region MU Health Care Amphitheater

July 13 – Newkirk, OK – 7 Clans First Council Casino

July 25 – Lubbock, TX – The Buddy Holly Hall of Performing Arts and Sciences – Helen

DeVitt Jones Theater

July 26 – New Braunfels, TX – Whitewater Amphitheater#

July 27 – Fort Worth, TX – Bass Performance Hall

July 28 – Amarillo, TX – Globe-News Center For The Performing Arts

September 14 – Kansas City, MO – T-Mobile Center *

* with Hank Williams, Jr.

# with Jason Isbell & The 400 Unit

Martin Barre

Renowned guitarist Martin Barre, celebrated for his illustrious career with English progressive rock band Jethro Tull, is set to embark on a captivating U.S. tour starting in June 2023. This highly anticipated tour, titled “A Brief History of Tull,” promises to be a twohour extravaganza, exclusively featuring songs from Jethro Tull’s iconic catalog.

Barre, known for his dynamic, expressive, and explosive guitar playing, played a pivotal role in shaping Jethro Tull’s distinctive sound. From his debut on the band’s classic second album, “Stand Up,” to his departure in 2011, Barre’s unique style and unparalleled talent contributed immensely to the band’s success. With several charttopping albums, eleven gold, and five platinum records under their belt, Jethro Tull’s music continues to resonate worldwide, firmly establishing them as an integral part of classic rock history.

Recognized as one of the top rock guitarists to grace the planet, Barre’s playing has earned him widespread acclaim and respect. Notably, he was voted the 25th best soloist in the USA and the 20th best soloist in the UK for his exceptional performance on tracks like “Aqualung.” His remarkable contributions to the album “Crest of a Knave” even earned him a Grammy Award in 1989, solidifying his status as a guitar virtuoso.

Beyond his tenure with Jethro Tull, Barre’s musical prowess has led him to collaborate with a plethora of renowned artists, including Paul McCartney, Phil Collins, and Pink Floyd, among others. Now, with his band, Barre is dedicated to bringing the classic music from the Tull catalogue back to life on stage. Comprising top musicians from a similar background, his band is committed to giving fans and a broader audience the opportunity to hear tracks that have not been performed in many years.

Jethro Tull, an English progressive rock phenomenon, defied easy categorization with their eclectic mix of heavy rock, flute-led folk melodies, and surreal lyrics. Led by enigmatic frontman Ian Anderson, the band enjoyed massive commercial success during their 1970s heyday, with acclaimed albums like “Aqualung,” “Thick as a Brick,” and “A Passion Play.”

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Martin Barre Brings The History Of Jethro Tull To Life Again On His New Tour “A Brief History Of Tull” To Dosey Doe Big Barn On April 4th

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Despite changes in musical trends and critical reception, Jethro Tull remained a staple in the classic rock canon, venturing into folk-rock, electronic experimentation, and eventually returning to hard rock with their Grammy Award-winning album “Crest of a Knave” in 1987. Martin Barre, alongside Anderson, was a constant presence in the band’s lineup, shaping their sound across decades of musical

evolution.

As Barre and his talented solo band prepare to take the stage for their 2023 U.S. tour, fans can expect an unforgettable journey through the rich tapestry of Jethro Tull’s music. With a commitment to honoring the band’s legacy and delivering an unparalleled live experience, “A Brief History of Tull” promises to captivate audiences and reignite the timeless magic of Jethro

Tull’s music for generations to come.

Music News: Hello.

Martin Barre: Is that Kevin?

Music News: Yes, Martin

Martin Barre: Yeah. Hi. Sorry, I’m a bit late.

Music News: Oh, no problem at all. How are you doing?

Martin Barre: Oh, very good. Yeah, very good. Thanks very much. Yeah, we had to do a little trip, but we’re back home and everything’s great. Thank you ever so much.

Music News: Good. I think the last time we talked was in November of 2020.

Martin Barre: Okay, not much changed. Yeah. (laughs a bit)

Music News: You laugh a little there. Tell me what’s happened since then?

Martin Barre: You know, the difficulty is that there the COVID wiped out a couple of years and I always get so confused about the timeframe. I mean, not normally. Every year has a sort of flow to it, you know, as touring, you’re at home, make a record, you do this, you do that, you go on holiday. You do a trip every year. There seems to be a sort of a flow to the calendar. But then everything fell apart and I don’t know that I’m very hazy as to exactly what time got lost. And sort of like a void. And it’s, it’s sort of got forgotten, so that sort of void of time, we’re just at home, hiding. Never seem to get that back and then we spent a year catching up with everything or two years, catching up with every concert that we couldn’t play. I mean, finally, by the end of last year, we’d caught up. That’s how long it took to catch up with everything.

Music News: Oh, I certainly understand that. It was pretty much the same situation for me here. It was. Well, let’s see. To put it mildly, it was a

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disaster.

Martin Barre: Yeah, I mean, it really was, I think, yeah. All in all, there’s nothing good. And, yeah, when I say we all caught up, we didn’t, we never really do because you lose time and you never regain it at all. It was. Yeah, it’s a shame that that’s what your dealt with and you either push forward and carry on regardless, or you just end up thinking where you would have been and what would have happened, and that doesn’t do you any good. It was a bit of a shitshow. We, like everybody else, our business suffered, and we’re on a roll really, in 2021, and we lost that momentum. And that was the worst thing. We really had a strong sense of pushing forward with the career of the band and it just suddenly stalled and never regained that momentum.

Music News: Yes, I understand. I personally was addicted to live music. I’ve spent every weekend of my life in a club or a concert, or somewhere since I would say ’68. And to suddenly find that I had to sit in the house was just nerve racking.

Martin Barre: Yeah, it’s the nice thing. I think maybe people realized how important live entertainment is in their lives. So not just music, but theater, movies, everything that we take for granted, and maybe took a little bit too much for granted. When that’s taken away from you, the ground just disappears beneath your feet and it’s an important part of most people’s lives and I was like you, I really missed it. Not from an entertainers point of view, but from somebody like you who loves to go and see live music, and sort of go out and be entertained as well.

Music News: Well, hopefully we’ve seen the last of anything like this ever happening. I’m just praying so.

Martin Barre: It’s a different world. So, you know, I hate to bring the subject up, but I mean, I’ve just had COVID last week, again.

Music News: Oh, no!

Martin Barre: It’s just part of life and you just kind of integrate. It’s one of those sort of things that happens and as much as there’s a flu season, then everybody gets stomach bugs. There’s all colds going round, and this, that and the other. It’s just another thing on that list, that sort of knocks you down for, hopefully no more than a weekend, and you just bounce back and get on with things. It’s such a strong thing that happened. So, I mean, I haven’t been ill, I didn’t feel great. But just the fact that that’s what it was really annoyed me, because it just, it isn’t gonna go away. We have to live with it. And I mean, that the only the only good thing is that we can live around it. Because, essentially, you know, very unlikely to, to kill you, or people around you. And you know, in the early days, it was just horrendous, the damage it could do. And as we all know, it’s part of modern life. We’ve invented a lot of things that are good and a lot of things that are really bad. You have to live with them.

Music News: Yeah, well, this ranks up there with the top of the bad.

Martin Barre: It’s certainly number one.

Music News: Yeah.

Martin Barre: However, I’m good, you know, we’re getting ready to get to come over to the States at the end of the month. And, you know, it’s even having played, the last concert was in, end of November. Think about it, but it seems a long time, and two months, not being on the road. It’s difficult. I’m not really, really crazy about being away that long. So I’m looking forward to being back on the road again, it’ll be really fresh. And we’re all really excited about doing it.

Music News: Well, I have the feeling that you would be termed more of a performing musician, as opposed to a recording musician, although you do both. I think your heart probably lies in the touring, the being on stage in front of people.

Martin Barre: Yeah, I think that that never diminishes. I’ve grown to really love recording a lot more. And I think in the early days of Tull, it was a real chore. It wasn’t a hands on experience, it was a sort of mystery of don’t go in the control room, because you’re not going to know what’s going on in there. And you’re sort of cut apart by this sort of glass screen, triple glazing or something that you’re out there playing and what happened in the control room and in the studio, you weren’t in control of and I hated that. I always felt it’s a very alien atmosphere. And the way Tull

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recorded wasn’t good either. I mean, sometimes it was a lot of fun, but very often it became a real chore. So it wasn’t till I started doing my own albums that I really began to love and understand the process of recording, so I was completely in control of it and then really, really started enjoying what it can give you creatively. So I love being in the studio in a different way but as much. I think they now go hand in hand and a bit of both is good for you.

Music News: Well, right now you’re the master of your own destiny here. You do your own solo albums. You’re the boss, the buck stops here, so to speak. And before when you were a member of Jethro Tull there were other factors involved... I’m sure you’re a lot happier doing your own projects.

Martin Barre: I think that there’s more positives than negatives. The fact that you say, “The Buck Ends Right Here” on my fat ass. It sort of brings pressures that aren’t entirely pleasant. But then it brings responsibilities that I feel quite qualified to handle. And I think I know what I’m doing most of the time. And I’ve been touring and recording and playing live for so many, many, many years that I think about trial and error. I’m pretty qualified, knowing how to do it in the best way. So it’s a mixture that

always... If something goes wrong, then it’s not, it’s not good and I get it all. So you know, you don’t sort of share the bad.

Music News: Right.

Martin Barre: You get the whole caboodle. And going back to COVID when we’re over in the states in 2022, I’m trying to remember, and the whole band got it. Whoa, that was not fun. And, essentially, I had to fix it and it was a lot of work. But yeah, but then the plus side is I really enjoy running a band. I love arranging and recording music, and planning tours. It’s a very broad spectrum of work, but I’m part travel agent, taxi driver, roadie, sound engineer, I’m a bit of everything and I get the best of all those worlds.

Music News: You’re a man of many hats, so to speak.

Martin Barre: I need to be, but I guess that’s also the way that probably most bands are in that they know, a lot of everything.

Rock And Blues International: Well, I think with this tour, you’re gonna face one of your big obstacles, which is songs. You’ve been on at least 20 Jethro Tull albums. Now, it’s going to be rough to pick one song from every album, and

please the public. I mean, is this going to be a two hour or a three hour or a four hour show? Because you just got so many hits, so many great songs that I would imagine no matter what you play, there’s going to be disappointed people.

Martin Barre: Ha, ha, ha, ha. Initially, but at the end, no. Yeah, you know, there’s a few curveballs in there but that’s what I’ve always liked doing. I don’t want to serve up the fast food option, you what you’re gonna get, there it is. You might not like every second of it, but I think by the end, you’ll think ‘Well, yeah, it was pretty cool. That’s stuff that I wouldn’t normally expect and you know what, it sounds great’. It has its place in the history and the qualifications to be played on stage and it’s gonna sound great. If it doesn’t sound great then we ain’t gonna do it. I mean, and it sounds obvious, but I’m not going to do something for the sake of being a smartass or trying to be different. It just has to work at every level. Last month, because I presume that anybody can see the setlist that we did on the first leg of this tour on the setlist.fm website. They give everybody’s set list out so it’s very hard to presume that there’s any surprises anymore, but I thought I was going to change it. Just change it to the fact that the band liked to move around a bit musically from day to day from week to week and from tour to tour, so I had a secondary list of replacements for the last set that we did, and I probably will slip them in here and there but then I listened to a live tape of what we did. And I just thought you know, that did work. It did work. It really is left of center, but to take one little section of it I think because I’m in it go, no that won’t, that can’t happen. That isn’t going to work with a big audience, but then you take it in context with everything else and it had all these dynamics and ups and downs and a lot of contrast. And I think by the end, you’ve had just everything thrown at you. But it all settles into what I hope, and I’m confident is a really great show.

Music News: Well, I’m sure it’ll be a great show. I’ve seen Tull, I don’t know, well, countless times over the years. I think the first time I saw Tull

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was in ’71. But my first influence with Tull was “Stand Up” in ’69. However, I’ve got to say that, for me, when it comes to the early albums “Benefit” is probably my favorite album. And I know that’s a little, a little odd, when most people are going to say “Aqualung” or “Thick As A Brick”, but I found “Benefit” to be a real rocker.

Martin Barre: Yeah, well, it’s one of my favorites by sheer coincidence. And you know, we played the whole of “Aqualung” a year or so ago, I remember. And that was another project. And it worked. You could play pretty well in order as on the album, and every track’s a winner. They’re all strong, strong songs. But I think the same could be said of “Benefit”. It’s a very live album, that nearly all those tracks have very few overdubs on them, so every song being live in the studio. It really translates to being played live on stage. There’s a lot of good material in there. I mean, it’s always very well represented. I do believe off the top of my head that there’s at least two tracks from “Benefit”, if not three, that are in this history of Tull setlist that we do.

Music News: Oh, wonderful, I’m happy to hear that. But I would say that “Benefit” was quite a departure from “Stand Up”. And it was quite different from “Aqualung”. “Stand Up”, “Benefit” and “Aqualung”, even “Thick As A Brick”, I mean, the album’s are just unbelievable transformations of the band from one state into another.

Martin Barre: I think it’s something we always strived to do. And we didn’t want to overwork it. It it wouldn’t sound natural, but I think that’s the way we thought about music. And we just wanted to move forward, never go back, just sort of finding our feet in different areas musically. And so every album did change that, maybe not changed. There’s

probably a word for it and I’m not gonna think what it is. Metamorphosis. Is that the word, I don’t know. It morphed into something else. It grew. It was like a tree and it sort of branched out in all directions, but hopefully always going upwards. And it was exciting. And I think the way we all worked together, we didn’t want to look back at what worked the year before or on the album before. We just wanted to start from zero and bring everything fresh to the table. And that’s why every album is different.

Music News: Well, I think about Jethro Tull’s sound, the overall sound, although it varies from album to album. I think one of the most consistent things from album to album is your guitar. It’s always been up front there. It’s always been fantastic. Your style’s changed over the years, but for me it’s still kept that rock attitude.

Martin Barre: Thank you for saying that. Yeah, I am who I am. In I’ve never luckily been in a position where I’ve had to toe the line musically. And I think that was the thing about Tull. We never had anybody influencing us, telling us what to do. And we weren’t compatible to other bands either. We had our own little niche. So it gave us

complete freedom. I’ve never really over thought what I do and what I need to do. I just do it, I just do it and that’s what I’ve done for nearly 60 years on, I can’t even work it out and nearly 60 years. I love exciting music and whether you label it as being rock, blues, bluegrass, folk, Irish, fusion, anything that is exciting, that has balls. Excuse the crude expression. To me, even classical music has it. I just have that excitement and done music.

Music News: Well in the evolution of your music there, for instance, when you reached “Crest Of A Knave”, that came out with one of the heaviest albums that Tull ever did. Can you tell me what was the big influence to go back to that harder rock?

Martin Barre: I don’t know, you know, because we never thought in those terms, we would write songs we would sit in a room, acoustic guitars maybe or little amp, practice amp and the songs mostly were very basic. There was no dynamics. It was... very often we didn’t hear the lyrics. We might hear a sort of an odd melody line, but we would give them with a real basic framework. And

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we just sat and worked on it. And there was no guidelines. There was no... nothing structuring this as to where we had to go with it. It just went, it just found its own little direction and off it went so there’s no preconception of what we had to do.

Music News: Well, it was quite an album there. I mean, you won a Grammy for it, for heavy metal album. That had surprised the hell out of y’all.

Martin Barre: It’s not heavy metal. It I think it’s a little bit of a misnomer as a category, which is a shame because we

haven’t really been labeled with that, that event ever since. But if it had been a slightly, you know, maybe the most deserving rock touring band on the planet, that maybe would have been easier. But I think a lot of people poopooed the idea that we’re anything like a heavy metal band, and of course we weren’t. But I just think of the whole event is being a roomful of people voting, the band that might deserve attention, and deserve a little pat on the back for whatever they’ve done and then we’ll stick a label on it. And I’m a great believer that music just lives side by side in all styles, and all genres of music. They all live together, and you could have a radio station that plays anything and everything probably do really well, because they all live side by side in my world.

Music News: Well, when you go on stage to perform, how many songs do you think you have picked out for this show?

Martin Barre: Ah, that would entail me counting them.

Rock And Blues International: We’ll just just take a guess.

Martin Barre: I can take a guess. My formula is a song average’s five minutes and it’s nearly a two and a half hour show. So that’s 24.... I do believe that is 30 songs.

Music News: Well, that’s wonderful. Yeah.

Martin Barre: And that, but there’s different things like one song, will last 10 minutes, and then we’ll do a little instrumental that will last a minute. So it’s hard. It’s one continuous show, but there’s a lot of stuff in there, in pieces.

Music News: I would guess that you’re not going to be playing “Thick As A Brick” in its entirety.

Martin Barre: It’s possible, but not this year. And it’s a danger, you know, because when we play a different section than we’ve played before. But then, you know, you go back and listen to the

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section we used to do five years ago, and I want to do it again, because it really worked well, I want to play it. It’s such a difficult decision. And it could be a five hour set, really easy. It’s really hard to leave stuff out.

Music News: Oh, it could easily be a five hour set there. I mean, “Thick As A Brick” and “A Passion Play”, how long are just those two songs?

Martin Barre: Well, as you’re saying, I could do all of “Benefit”, I could do all of “Stand Up”. There’s a lot of albums that you could play a lot of live. But yeah, that’s great. You know, I’m never spoilt for choice, so it’s quite it’s a pleasant task to sit down with a pencil and paper, and map out next month’s show, and I’m still doing it. I’m still thinking of other things, so that if somebody saw the show in November, it’ll be different come March and April.

Music News: Over all these years are there any Tull songs in particular that you just you just love to perform? I’m sure you love all the songs. I’m sure you love performing all of them. But there are are there 1, 2, or 3 songs in particular that just really, really grab you?

Martin Barre: Yeah, there’s a lot a lot. There’s more than that, that grab me. And if they didn’t grab me 10 years ago, they grabbed me next. I’ll change them to make them fun. I just say, well, you know what, why is that one that working? It’s because it’s not enough fun. So you inject it with something, you turn it round, you just put something in there that enhances it and makes it great fun. So everything’s got to be fun to play, that nothing can be a chore. Because you can’t, you can’t fake it. You can’t fudge it. You have to be on that stage loving it. And people know, the audience know straightaway. And there are songs. I won’t quote them because I don’t think it... it doesn’t mean that the other songs I enjoy any less. But there’s a lot of

material that when we start playing it live, it’ll bring a big smile to my face.

Music News: Well, as soon as you get to the “Benefit” songs, you’ll put a big smile on my face.

Martin Barre: They might be part of that smile. Yeah, yeah.

Music News: Tell me about the band you have coming with you. Is this your normal solo band that’s gonna be performing on this tour.

Martin Barre: Yeah, yeah. Dan Crisp, vocals, guitar. Alan Thompson on bass. And Alan and Dan and me as well play a little bit of keyboards, more so Dan and Alan. Because we have like a keyboard station. One or more of us will go and swap instruments. It just adds another texture. The drummer is a different drummer this time. He’s called Terrell Bryant and he’s played with Peter Gabriel, he’s played with John Paul Jones. He’s cool, a really very strong steady drummer. He’s a drummer’s drummer and just sort of solid as a rock. May I quote as being that’s the way he is. So he’s great. He’s fitted in really well, and we all get on musically, and personally, really well. There’s four of us. I’m playing flute, so you got acoustic guitars, keyboards, flute, electric guitars, drum samples. percussion. It’s a lot but four people can do all of that. You just have to sort of switch carefully, you have to make sure you

remember what you’re going to do in the next song.

Music News: Well, that’s going to be quite a chore, switching from guitar to flute and back to guitar again.

Martin Barre: Yeah, it’s a complex setup. So yeah. And I have to think ahead. So you know, swapping around, because I don’t like awkward gaps. It’s pretty well, two continuous hubs. Yeah, I like it to be really smooth and and hopefully that’s the way comes across but yeah, it’s not easy to do. So switching from... I’ve got the acoustic guitar in a sort of cradle guitar stand, so that I don’t actually wear the thing. And so I can pretty well stop playing the acoustic and play electric within a few seconds. But I like it. I like the challenge of playing a lot of different things.

Music News: Well, getting the right songs in order is probably even a harder thing to do with a live concert than it is with an album. With an album you’re looking at, Oh, 10 12, or 14 songs, that you get to flow seamlessly together. But when you’re doing a concert show, that’s even got to be more of a hair raiser.

Martin Barre: Well, the difficulty is keeping it sequential and that’s the hardest part. You got to keep remembering that it’s a history and it starts in 1968 and works its way through everything.

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Sometimes you can get glued down in one little area, like you said, “Benefit” and we need to move on. We’re still in 1971 or 1970. We got a long way to go. It was a lot of work to plan out.

Music News: I’ll bet it was. You’re doing songs off of “This Was” also?

Martin Barre: Yeah, yeah. Yeah. Part of the history.

Music News: Right. Okay. So you’re covering the entire history? Are we going to hear a song from every album? Or is there an album or two there won’t be anything from?

Martin Barre: I think beyond “Crest Of A Knave” gets a little patchy.

Music News: “Rock Island”, “Catfish Rising”, “Roots To Branches”.

Martin Barre: I have to draw a line. And let’s say that line is the Grammy.

Music News: Okay, so we’re definitely not going to be hearing any Christmas songs.

Martin Barre: Funnily enough, one of the songs is that most people don’t realize it. There’s a conundrum. That one of the songs we play is a Christmas song. But it isn’t apparent. Most people wouldn’t realize that is.

Music News: What song is that?

Martin Barre: I don’t know if I’m going to tell you. I’ll tell you, Jack Frost.

Music News: Jack Frost, oh, okay.

Martin Barre: Of course it’s a Christmas song. But it wasn’t till somebody mentioned it, that I realized that it was. It’s 80 degrees outside. Yeah, that’s okay. That’s all right. But I know what you mean. No, there’s no Christmas music.

Music News: I thought that was a strange album for you all to do then, “The Jethro Tull Christmas Album”.

Martin Barre: Yes, isn’t it?

Music News: What caused that to happen? What was that what was the catalyst that made the band look at each other and go ‘let’s do a Christmas album’.

Martin Barre: Ever heard of the show where the contestant asked for a pass and asked for the next question?

Music News: Okay

Martin Barre: Have you seen that show.

Music News: No.

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Martin Barre: If they can’t answer the question, they pass and ask for another. May I have another. So that’s what I’m going to say, “May I have another”.

Music News: Okay. Okay, we’ll move on from that. No, I can’t wait to see you out on the road. I’ve always enjoyed your shows. I’ve been a big Tull fan for.... Well, we’re both about the same age. So I’ve been a big Tull fan since ’69. When I was in high school here, I stumbled across Jethro Tull, because I did a little thing for people where I had a cassette recorder and people would bring me their albums, because they wanted a cassette tape of their album, and they couldn’t get them. So I would record their album onto a cassette tape and charge them a couple of bucks for that. And in return, I’d have a copy for myself.

Martin Barre: Yeah, yeah. Oh, we all did that. That’s funnily enough. I remember how much it annoyed me that somebody would have a bootleg cassette of the show. Um, you know, and then looking back on everything. Yeah, that’s right. And now it’s taken for granted. But everything’s out there. Just pluck it out of the air.

Music News: Maybe I shouldn’t have mentioned that.

Martin Barre: Oh, I find it funny. I did it as much as anybody else. I had some great bootleg tapes. I’ve got some, I’ve got a couple of amazing ones. There’s a band called SFX. Ever hear of them?

Music News: No, I haven’t.

Martin Barre: Okay, it was the Cottle brothers and Alan Murphy was the guitar player. Peter Pitesti played with them as well. It was a sort of a pop band. They’re backing band. But they were Jazzy, Jazz fusion. And Alan

Murphy was an amazing guitar player, sadly died. But a bit like Allan Holdsworth. And they had this band that played in London. For fun. That was their sort of when they had a night off they’d go play in a pub. And I’ve got a boot tape of one of their sets. It’s amazing. Amazing, but they’ve never released an album.

Music News: I don’t know if I’ll ever be able to find one of those.

Martin Barre: Well, yeah, it’d be interesting to Google it. I never have, but SFX was the name of them. But there wouldn’t be much out there. You never know that there must be other ones. But I know every musician I’ve talked to and told them I have a tape of their show. They’re like, wow! They want a copy.

Music News: Well, here’s a question you probably been asked a million times. But who would you cite is one or two of your favorite guitar influences that got you on this path that you’ve been on for so long?

Martin Barre: Yeah, it’s a tricky... it sort of changes and I think people that have influenced me, the guitar players wasn’t so much because of the way they played. I was a big fan of Leslie West. And just because here’s a nice guy. And that wasn’t taken for granted. In the early days of rock music, there was a lot of... everybody was trying to grab attention. It was quite competitive. So everybody wasn’t nice to everybody. And he was

just one of the good guys and he just taught me a lesson in stage craft and also the way the man played, the dynamics and the connection on stage. I still watch them every night and that taught me a lot, but I never really wanted to play like anybody else. I mean, I’m sure everybody influenced me subliminally, but I never wanted that in that playing. You know, I’d rather listen to Brahms or Vivaldi or something or Beethoven or Mozart and listen to the melodies and the harmonies and let that take me somewhere musically, where I needed to go. There’s a lot of great guitar players, Scott Henderson, Robben Ford, Stevie Ray, Gary Moore. I mean the list is huge and they’re great players. Jeff Beck, Hendrix. I mean, really! Where do you begin? And I love to listen to them play. But I left them alone, you know that they did what they did better than anybody else. So they deserve to be left alone.

Music News: Well, you’ve played with a number of great musicians over the years and I don’t think we should need to get into that with this interview. Paul McCartney, Phil Collins, Gary Moore, the list goes on and on. You’ve been on stage sharing the stage with quite a lot of people over the years. Perhaps just one question about that. Was there one musician in particular that you just love standing up next to you on stage and jammin’ with.

Martin Barre: A lot of them I didn’t actually play with, we did concerts with

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them, so we sort of shared dressing rooms and shared the occasion. I think that those were the nicest things. I mean, Joe Bonamassa came up and played with Tull. It must be 11 or 12 years ago, at the festival in London, and it was brilliant. I mean, we had a lot of fun. And in the end he came on and stopped us because I think you know, he didn’t like to be left out. But yeah, I’m not that sort of jamming musician. That was one of the rare occasions when it was really good fun. I just have a lot of respect for great music, and great players and to watch Terry Bozzio play. Just amazing. Just a great player.

Music News: Well, great. Well, I’ve taken up a lot of your time here. What have I not asked about the tour that I should have touched on that I missed? And what would you like to add about the tour?

Martin Barre: You know, it’s a show that, to me is the ultimate of all

things I’ve strived for particularly where Tull’s music comes into play. So probably after this tour I’m going to step back from Tull music and concentrate a lot more on on what I’m doing just because I’ve become so immersed, but I just wanted to bring something to an audience that was my history. I probably should have called it “My History of Tull”, because it’s my roots through all those years and the things that I love to do and enjoyed playing. So it’s a little selfish, but the reaction has been really strong. People have said if I had to do that, that they’d be the same choices. So I’m happy about that.

Music News: All right. Well, I’m looking forward to hearing new music from you in the future too. Yeah,

Martin Barre: Yeah, well, I need to, Yeah.

Music News: Well, you probably got 20 or 30 songs where you go right

Martin Barre; I probably have but I know I won’t use any of them.

Music News: You won’t use any of them. What Why?

Martin Barre: I just don’t do it. I just start from scratch. You know, I don’t want to. It’s what we always did. It’s what Tull did and that’s why we did. We did “A Passion Play” album. That didn’t work out. So we we started again. We didn’t want to go back on the old stuff. Just tear the old pages out the notebook and sharpen your pencil and start from zero. I know that’s what I do. That’s what I want to do. And that whole process of starting from nothing is part of the fun. It’s a big part of it. And then it has a focus. It has some sort of flow and composition. And hopefully it all sticks together like a puzzle.

Music News: So there’s Tull albums that have been recorded that have just never been released.

Martin Barre: They did eventually. But the original “Passion Play”, we ditched it. We did. We did a whole album in France and had such a problem recording it with the studio that we came back to England and just said, You know what? We’re gonna re-record all these tracks. It’d be a real chore to just try and get that atmosphere back again, musically. We just started fresh.

Music News: Was that the studio that.... I think you all had a special name for? Chateau D’Isaster?

Martin Barre: Yeah, that was it? Yeah. Yeah. It was good. The trucks were good. They were great. And I’m glad that they got released later on down the line. But at the time, you’d never want to look back. I think the minute you look back, it takes something away from the moment. Like July the first, I’m going to go in the studio and start work. I want to start everything on July the first. I don’t want to spend a week looking back through notes and little jotting downs and little musical notes on my recorder. I don’t want to, I just want to get going. So it’s

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really fresh. So instantaneous.

Music News: All right. Well, I want to thank you for the time you spent with me talking about the tour. I’m looking very much forward to it. Anything else we need to add to this?

Martin Barre: Better not’

Music News: Better not?

Martin Barre: I better not, but I shall see you in Texas.

Music News: That would be wonderful.

Martin Barre: That can only be a good thing.

Music News: Yeah.

Martin Barre: We’re really looking forward to being there.

Music News: Yeah, in Texas, you’re playing... Well, one of the venues is Dosey Doe. It’s a smaller hall there and you’ve been there before. It’s got great acoustics and it’s very intimate, so the crowd almost becomes part of the band.

Martin Barre: Yeah, that’s good. It suits me.

Music News: All right, well, thank. Well, thanks again for your time. I’m looking forward to seeing you when you come to Texas, and I hope you don’t get sick from COVID anymore or any of that.

Martin Barre: No, I’ve had it. I’ll be I’ll be good for another six months.

Music News: Six months. Well, let’s hope it’s longer than that.

Martin Barre: Immunity. I’ve got immunity. All right. Thanks, Kevin.

Music News: Thank you. We’ll talk later bye bye.

Martin Barre: Take care. Bye bye.

Without a doubt, this tour will be one of Martin Barre’s finest as his dedication to keep Jethro Tull’s legacy intact and the presentation of each song beyond reproach. As Martin explained, this is going to be a very long show of about two and a half hours and he is

picking out the best songs and the songs that made Jethro Tull what it is today, a legend. So, if you get a chance, please don’t miss this tour. It will be a lot of fun and a great delight for Jethro Tull fans everywhere. We’d like to thank Martin for calling us from his house in England to give us all this great insight into the tour and what he has been up to for the last few years. Thank you Martin, we wish you a great tour and a wonderful time when you visit America this time around.

Friday,

1 - Silvertonguedevil, ZERO

Saturday, March 2 - The Empire Cats, The JuJu Beans, Uppercut

Sunday, March 3 - Muddy Rukus, Planet Moon, Family Of Fools

Friday, March 8 - Dave Collier, Sardis, Twin Sunns, Somemagicalshit

Saturday, March 9 - Winston Cook, Mad Honey, The Monochrome Suns

Sunday, March 10 - Sweet N’ Juicy, 7 Days To Die, Justin Guy

Thursday, March 14 - Grave Next Door, Tommy Stewart’s Dyrewulf, Cleen, Scrollkeeper

Friday, March 15 - tba

Saturday, March 16 - Punk Rock Prom

Sunday, March 17 - Psycho Pact, In Between Tides

Friday, March 22 - Joshua Frausto Birthday Show

Saturday, March 23 - LOVES ME NOT CO

Sunday, March 24 - Brass Inferno

Thursday, March 28 - The Happys, Indre

Friday, March 29- Insufferable Sorcery, Apex Fallen, Kranc, Walking Ghost Phase

Saturday, March 30 - Honeycutt Southern, Hitch, Drifters & Grifters, 9 Left Dead

Sunday, March 31 - tba

Laura Jane Grace Performs At Warehouse Live On March 23rd

By Nathan Pugh

Laura Jane Grace stands as a pioneering force in rock & roll history, recognized as one of the earliest transgender rock stars. Leading the politically charged neo-punk band Against Me! from Florida, Grace publicly shared her transgender identity, a pivotal moment that reverberated beyond the punk scene. The band’s 2014 album “Transgender Dysphoria Blues” served as a poignant

chronicle of her journey, elevating her cultural impact far beyond her punk roots.

Embracing the opportunities afforded by her heightened visibility, Grace penned the memoir “Tranny: Confessions of Punk Rock’s Most Infamous Anarchist Sellout” in 2016. Not content to rest on her laurels, she ventured into new musical territory with the formation of her second band, the Devouring Mothers, in 2018. Her solo debut album, “Stay

Alive,” arrived in 2020, marking the beginning of an era marked by creative fervor.

This period of activity included the release of the EP “At War with the Silverfish” in 2021, followed by “Hole in My Head” in 2024, a raw and edgy folk-punk record.

Born an army brat in Fort Benning, Georgia, Laura Jane Grace experienced a nomadic

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childhood due to her parents’ divorce when she was 12. Alongside her younger brother Mark, she moved to Naples, Florida, where she nurtured her love for music from a young age. Grace acquired her first guitar at eight, teaching herself to play and eventually delving into the world of punk rock during her formative years.

At the tender age of 13, she joined her first band, laying the foundation for a lifelong passion for music and activism. An encounter with the police at 14 spurred her political awakening, mirrored by her immersion in the anarchist punk ethos of bands like Crass. During this period, she honed her musical skills, playing bass in various groups including the Adversaries.

By 1996, Grace had founded Against Me! and relocated to Gainesville, Florida, making the band her singular focus. Starting with humble beginnings as a solo act, busking with an acoustic guitar, Against Me! evolved into a full-fledged band. They released their debut album, “Against Me! Is Reinventing Axl Rose,” on the indie label No Idea in 2002, marking the beginning of a trajectory toward wider recognition.

The band’s breakthrough came with “Searching for a Former Clarity” in 2005, which cracked the Billboard Top 200, leading to a major-label deal with

Sire later that year. Their majorlabel debut, “New Wave,” arrived in 2007, propelling them further into the spotlight. During this time, Grace also ventured into solo work, releasing the politically charged EP “Heart Burns” in 2008.

“White Crosses” followed in 2010, but it was in 2012 that Grace made a profound personal revelation, coming out as a transgender woman. This pivotal moment deeply influenced the band’s subsequent work, notably showcased in the critically acclaimed album “Transgender Dysphoria Blues” released in 2014 under Xtra Mile Recordings. Following the album’s success, Against Me! continued to evolve with “Shape Shift with Me” in 2016, while Grace ven-

tured into literary territory with her memoir.

In 2018, she expanded her musical horizons once again with the formation of the Devouring Mothers, releasing their debut album “Bought to Rot” later that year. Transitioning into a solo career, Grace collaborated with renowned producer Steve Albini on “Stay Alive,” recorded during the COVID-19 quarantine and released in October 2020 to critical acclaim.

Grace’s creative journey continued with the EP “At War with the Silverfish” in 2021, followed by “Hole in My Head” in 2024, a testament to her enduring spirit and unwavering commitment to pushing boundaries in music and self-expression.wareh-

Santanabraxas Performs at Sambuca

By Troy Wilson

Sambuca Houston is gearing up to host an electrifying tribute to the legendary Santana on Saturday, March 9, 2024, as Santanabraxas, the premier Santana Tribute Band, takes center stage. Nestled at 909 Texas Ave. Houston, TX 77002, this highly anticipated event promises an evening brimming with music and magic that you won’t want to miss.

Under the guidance of the masterful guitarist Mark Towns, Santanabraxas embarks on a musical journey that pays homage to Santana’s iconic sound with unparalleled precision and passion. From Santana’s early classics to chart-topping hits from the monumental album Supernatural, Santanabraxas promises to deliver a tribute that not only honors Santana’s legacy but also ignites the stage with authenticity and flair.

Whether you’re a devoted Santana fan or simply a lover of great music, Sambuca

Houston invites you to join them for a night of soul-stirring performances and unforgettable memories. To secure your spot for this extraordinary event, call (713) 224-5299 and reserve your tickets today.

Santanabraxas isn’t just any tribute band; they’re a powerhouse ensemble that brings the timeless music of Santana to life in a way that is both authentic and exhilarating. With their unparalleled musicianship, infectious energy, and unwavering passion, Santanabraxas has quickly risen to become one of the most thrilling tribute bands in the industry, captivating audiences with their unforgettable performances.

At the helm of Santanabraxas is the legendary Latin guitarist Mark Towns, whose mastery of Santana’s iconic guitar style has earned him widespread acclaim. Mark’s musical journey began at the tender age of ten, and since then, he has immersed himself in the vibrant world of Latin music, exploring its intricate rhythms and melodies with

unparalleled dedication. Over the years, Mark has collaborated with some of the biggest names in Latin music and jazz, including Hubert Laws, Kirk Whalum, Stanley Clarke, and many others.

In addition to his collaborations, Mark is renowned for his critically acclaimed Flamenco Jazz Band, which has enthralled audiences worldwide with his exceptional guitar skills and passionate performances. Now, Mark has channeled his expertise and reverence for Santana’s music into Santanabraxas, assembling a stellar lineup of musicians from esteemed bands such as Stevie Wonder, Chaka Khan, and Sting to faithfully recreate Santana’s greatest hits.

So, if you’re craving an unforgettable live music experience that will transport you to the heart of Latin rock, look no further than Santanabraxas. Join them at Sambuca Houston for an evening of pure musical magic that promises to leave you breathless and longing for more.

Estevie

Estevie Performs At White Oak Music Hall March 13th

By Sheena Johnson

Estevie, a first-generation MexicanAmerican, is a proud ambassador of her family’s cultural heritage. Her journey into the world of music began at a young age, growing up in the small town of Beaumont, California. At just eight years old, she was eager to learn the songs she heard at family gatherings, sparking a passion for music that would shape her future.

Her musical talents led her to audition for the Mexican singing competition “La Academia Kids” at the age of 11, where she showcased her skills and won second place among a talented group of young singers from Mexico, Guatemala, and the U.S. This early success only fueled her determination to pursue a career in music.

By the time she was 15, Estevie had already built a substantial following on YouTube, amassing over 1.3 million followers across various platforms. Her talent caught the attention of music enthusiasts, and she was recruited to tour Latin America with a teen influencer group, performing to crowds of 5,000 to 10,000 people.

In August of 2021, Estevie made waves with the independent release of her breakout single, “Canela,” accompanied by a visually stunning, self-directed music video. The video quickly gained traction, amassing over 400,000 views and drawing the interest of major figures in the regional Mexican genre.

This newfound recognition led to a significant collaboration, as Estevie was featured on Eslabon Armado’s 2022 album “NOSTALGIA,” which debuted in the top 10 of the Billboard 200. Following this success, she signed with Ricky Reed’s Nice Life Recording Company, marking a significant milestone in her burgeoning career.

Teaming up with award-winning producer and songwriter Ricky Reed, along with her longtime producer Alan Vega, Estevie is set to release upcoming singles such as “Chiki Bombon” and “La Cumbia Del Cucuy.” Her music reflects a blend of traditional Latin styles and modern pop, with influences ranging from cumbia sonidera to norteno and reggaeton.

Estevie’s rise to prominence has not gone unnoticed, with accolades such as being named a Spotify 2024 Viva Latino Artist to Watch, an Amazon 2024 Breakthrough Artist, and a Pandora Artist to Watch in 2024. Rolling Stone included her among the “19 Latin Artists We’re Rooting for,” while Remezcla, Paper Mag, and Pitchfork have all recognized her work in their respective lists of Best Songs and Artists of recent years.

As she prepares to take the stage at White Oak Music Hall on March 13th, Estevie stands as a shining example of the new wave of pop artists revitalizing old Latin

sounds. Her unique blend of traditional rhythms and modern sensibilities is captivating audiences worldwide, cementing her place as a leading voice in the resurgence of Cumbia and Mexican Regional Music.

While reflecting on her journey, Estevie acknowledges the influences of her dual upbringing in California and Mexico, where she was immersed in the diverse musical landscape that shaped her artistry. From the iconic sounds of banda legends like Jenni Rivera to the pop stylings of Gwen Stefani, Estevie’s music pays homage to her roots while pushing boundaries and capturing the hearts of listeners everywhere.

In a genre historically dominated by men, Estevie stands as a beacon of representation for young Mexicanas looking to see themselves reflected in the music industry. Alongside fellow Gen Z artists like Yahritza Martinez and Conexión Divina, she is carving out a space where voices like hers can thrive and inspire future generations.

Estevie’s upcoming performance at White Oak Music Hall promises to be a celebration of her artistry and cultural heritage, as she continues to pave the way for young Latinx artists in the music industry. With her infectious energy and undeniable talent, Estevie is poised to make a lasting impact on the world of music for years to come.

Estevie’s unique blend of traditional Latin styles and modern pop is love at first listen. She artfully blends pop elements with the more cartoonish rhythmic layers and lyrical style of Cumbia while incorporating notes of Norteno and Reggaeton with stunning ease. In 2023, Estevie released the Cumbialicious EP and singles featuring Cuco and DannyLux, earning multiple placements on Best of 2023 and 2024 Artists to Watch lists.

The 19-year-old’s squeaky-Spanglish voice immediately conjures visions of a baby Selena, but with a fresh, Gen-Z perspective that pulls from early aughts bubblegum pop stars like Gwen Stefani and Fergie. And with the recent explosion of Regional Mexican music, Estevie stands out as one of the leading women in the genre’s primarily maledominated revival.

Look no further than her debut EP, Cumbialicious, a glistening sonic statement that brings the sounds of cumbia, norteño, and neo-pop to a whole new crowd of young listeners. But it’s nothing new for Estevie. Having competed in the Mexican reality singing competition Academia Kids when she was just 11-years-old, then releasing a full-on banda album the next year, followed by a steady stream of charming YouTube covers, she clearly understands the value of hard work—just like all first-generation MexicanAmerican kids.

Estevie hails from Beaumont, CA, but mentions that she often traveled back and forth between Cali and Mexico throughout her childhood. Both environments had a formative influence on her artistry at a young age as she became more and more immersed in the worlds of regional Mexican and pop, taking an interest in the music of everyone from banda icon Jenni Rivera and former Grupo Límite frontwoman Alicia Villareal to Gwen Stefani. Estevie began singing around the age of nine, first practicing with a repertoire that leaned heavily on cumbia, norteño, ranchera, and banda songs that her father taught her.

At 11 years old, she moved out to Mexico City and participated as a contestant on TV Azteca’s wildly popular singing competition series “La Academia Kids,” where she won second place among a group of young and aspiring singers from Mexico, Guatemala, and the U.S. With this placement under her belt, she continued to sing as a teenager, honing in on her technique by studying musical theater, classical music, and opera. At the time, she also released music under her birth name, Sarah Silva, before officially adopting the moniker Estevie just last year at the age of 19.

Estevie is a first-generation MexicanAmerican and proud ambassador of her family’s cultural heritage. Her debut EP, “Cumbialicious,” is a glistening sonic statement that brings the sounds of cumbia, norteño, and neo-pop to a whole new crowd of young listeners.

In 2023, Estevie released the Cumbialicious EP and singles featuring Cuco and DannyLux, earning multiple placements on Best of 2023 and 2024 Artists to Watch lists. With a recent string of headline shows under her belt, Estevie is ready for primetime. Last month, we hopped on a call to discuss being a “no sabo” kid, digital artifacts, and the future of Musica Mexicana.

While acts such as Texas’s Grupo Frontera and Jalisco superstar Peso Pluma have taken música Mexicana to the worldwide stage in recent months by topping global streaming charts with their respective megahits, women continue to be underrepresented within this male-dominated new wave and have not experienced the same meteoric successes. Estevie’s music comes at a crucial point where fellow Gen Z artists like Yahritza Martinez from Yahritza y Su Esencia and Conexión Divina are carving out a space where young mexicanas can see themselves represented within the greater movement in real-time.

Estevie’s music reflects a blend of traditional Latin styles and modern pop, with influences ranging from cumbia sonidera to norteno and reggaeton. Her recent collaborations with Cuco and DannyLux have further showcased her ability to seamlessly merge different genres, earning her recognition on Best of 2023 and 2024 Artists to Watch lists.

Southall Bring Their “The Glory Daze Tour 2024” To Houston April 12th

KEEP UP WITH SOUTHALL WEBSITE @ https://officialsouthall.com/ INSTAGRAM @ https://www.instagram.com/southallofficial/ FACEBOOK @ https://www.facebook.com/OfficialSouthall TWITTER @ https://twitter.com/READSOUTHALL YOUTUBE @ https://www.youtube.com/channel/UCh4sdiD5GLhbu3V6-v1cm9g

Country-Rock sensations Southall are teaming up with Canadian rockers The Glorious Sons for an electrifying coheadline tour, THE GLORY DAZE TOUR 2024.

Kicking off on March 21 in Athens, Georgia, this power-packed tour will blaze through nine cities across the U.S., from Ohio and the heartland to the Lone Star State and beyond, culminating in a grand finale on April 12 in Houston, Texas at White Oak Music Hall.

“We’re beyond excited to unite with The Glorious Sons! Having history in these cities, we can’t wait to see the magic when we join forces. Who knows, maybe they’ll give us a tour of Canada next time!” shares Southall.

Joining the tour as the supporting act is the dynamic Them Dirty Roses, promising an unforgettable lineup of performances.

This announcement comes on the heels of a whirlwind year for Southall,

marked by undeniable growth and success. Recently, the band, consisting of founding member Read Southall alongside Reid Barber, Jeremee Knipp, Braxton Curliss, John Tyler Perry, and Ryan Wellman, achieved a career milestone with a sensational debut at Los Angeles’ iconic Troubadour on December 4. This landmark show was part of their headlining tour, setting the stage for what promises to be an epic tour experience.

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The journey of Southall, formerly known as Read Southall Band, is a testament to the power of hard work and determination. Originally hailing from Oklahoma, the band’s roots run deep in the rich musical traditions of the heartland. Lead singer Read Southall, whose soulful vocals and heartfelt lyrics have captivated audiences, reflects on the band’s evolution.

“I grew up at a really cool time when country music was good in the Nineties, and I spent a lot of radio time on the tractor. So whatever was happening in country music then was in my ears,” he says. “But then country started to change and became more about partying. That’s when I thought, ‘I could represent my people better than this.’”

The band’s latest album, “Southall,” released in September under Smoklahoma Records, is a sonic journey that expertly combines elements of country, rock & roll, and the raw essence of their native Red Dirt scene. Produced by Eddie Spear (known for Zach Bryan’s “American Heartbreak”) and recorded at Leon Russell’s iconic Church Studio in Tulsa, the album is a reflection of the band’s collaborative spirit.

Guitarists John Tyler Perry and Ryan Wellman, drummer Reid Barber, and bassist Jeremee Knipp each bring their distinct styles to the forefront, anchored by Southall’s impassioned vocals. The result is a powerhouse of sound, with tracks like the lead single “Scared Money” showcasing a fusion of rolling country-rock rhythms and searing guitar solos.

Thematically, “Southall” delves into the complexities of life in the heartland, from the struggles of hard work to the joys of camaraderie and love. Tracks like “When You’re Around” speak to the longing of being on the road, while “By Surprise” offers a soulsearching exploration of life’s mysteries.

“We started playing some basic straightforward rock to make the soul of

the song stick out,” says Barber, who brought five songs to the recording sessions, including “By Surprise.” “That’s the song I’m most stoked about. Lyrically, it’s so big, in the whole scope of what is being talked about — this life and how we get through it.”

For Southall, the album “Southall” represents a departure from their earlier works, signaling a maturation of their sound and songwriting process. Lead singer Read Southall reflects on this evolution.

“This record is the gasoline for the love machine,” he says. “It’s the colors of different people with different influences making music. I’ve always been confident in the talents and abilities of the guys onstage with me, and I want our fans to see and hear that too. That’s why we changed our name to Southall.”

With a history of successful tours and festival appearances, Southall has steadily built a devoted following across the country. Their music, which speaks to the heartland experience with authenticity and raw emotion, has resonated with fans from all walks of life.

As Southall gears up for THE GLORY DAZE TOUR 2024, fans can expect a celebration of rock and country unlike any other. The tour will not only showcase the band’s latest album but also serve as a testament to their journey from humble beginnings to stardom.

Join Southall and The Glorious Sons on THE GLORY DAZE TOUR

2024 for an unforgettable musical experience. From the heartland of America to the stages across the U.S., this tour promises to be a celebration of resilience, grit, and the unbreakable spirit of rock and country music.

As Southall continues to carve their path in the world of Country-Rock, their music stands not just as a reflection of the band, but of a region and a way of life. Rooted in the traditions of hard work and determination, Southall’s music speaks to the soul of the heartland, delivering anthems of resilience and grit.

For Southall, the journey began long ago, and as they gear up for THE GLORY DAZE TOUR 2024, it’s clear that their hard work is about to pay off in a big way.

Southall, formerly known as Read Southall Band, is a Country-Rock sensation hailing from Oklahoma. With a blend of hard-charging ’70s Rock, gritty Southern Soul, and back-alley Blues, Southall’s music speaks to the heart of the heartland. Led by lead singer Read Southall, the band comprises Reid Barber, Jeremee Knipp, Braxton Curliss, John Tyler Perry, and Ryan Wellman, each bringing their unique talents to create a powerhouse sound. Their latest album, “Southall,” released under Smoklahoma Records, has garnered acclaim for its raw energy and infectious melodies, earning the band a devoted following across the country.

The Glorious Sons Perform At White Oak Music Hall April 4

By Troy Wilson

Get ready for an electrifying night of music as The Glorious Sons gear up to open for Southall at White Oak Music Hall on April 12, part of the highly anticipated Dirty Roses Tour. This powerhouse Canadian rock band is set to kick off the evening with their infectious energy and soulful melodies, promising a performance that will leave you craving more.

The Glorious Sons have epitomized the core ethos of rock ‘n’ roll since their inception - embracing creativity and adventure, truth and passion, expression and energy, all while championing individuality and the spirit of community. Following a tumultuous four-year journey filled with twists and turns, the Kingston, ON-based band makes a triumphant return with “Glory,” an album co-produced by Brett Emmons and Frederik Thaae, encapsulating the expansive scope of their artistic vision.

Fueled by a remarkably vivid sonic palette and raw, heartfelt lyricism, the new tracks on “Glory” shine with incandescent emotional truths, simultaneously deeply personal and universally resonant. Lead singer-songwriter Brett Emmons reflects, “I think all this time has allowed us to slowly refine something that feels larger— a bit more anthemic and celebratory.”

Established in 2011 by Jay Emmons and Adam Paquette, soon joined by vocalist Brett Emmons, The Glorious Sons immediately made waves with their boundless ambition and impassioned songwriting. Their first three studio albums yielded two #1 Rock airplay hits in the US and an impressive streak of thirteen top 10 Rock radio singles in Canada.

Their debut album in 2014, “The Union,” solidified their breakthrough with a prestigious JUNO Award nomination for “Rock Album of the Year,” driven by hits

like “Heavy,” “Lightning,” and “The Contender,” the latter marking their first #1 on Canadian Rock radio.

The 2017 release “Young Beauties and Fools” further cemented The Glorious Sons’ standing, earning them another JUNO Award for “Rock Album of the Year” and featuring #1 singles “Everything Is Alright” and “S.O.S. (Sawed Off Shotgun),” the latter topping Billboard’s “Mainstream Rock” chart in the US.

Their third studio album in 2019, “A War On Everything,” added a contemporary sheen to their naturalistic sound, securing yet another JUNO Award for “Rock Album of the Year” and a second consecutive US #1 “Mainstream Rock” hit with “Panic Attack.”

Like any venerable rock ‘n’ roll band, The Glorious Sons have spent significant time on the road, from headlin-

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The Glorious Sons

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ing tours to festival sets, including three unforgettable stadium shows supporting The Rolling Stones, and a recent top billing alongside Pearl Jam in London’s Hyde Park. The global pandemic altered their plans, providing a moment to reflect on their journey.

During this pause, The Glorious Sons penned nearly 40 new songs, fueled by the intense emotions of the shutdown. However, Brett Emmons felt these tracks didn’t fully embody the band’s essence. “It was all quite negative, nihilistic, and a bit too political for me. I was spending too much time on my phone,” he reflects. “It wasn’t the mark I wanted to leave.”

In spring 2022, The Glorious Sons ventured to Nashville, intending to record live with a renowned rock producer. Yet, as Emmons recounts, “one thing led to another,” resulting in what he describes as a slow-motion car crash.

“It was incredibly demoralizing,” he admits. “It took me a month to even look at an instrument again.” However, undeterred, The Glorious Sons used this setback as a learning opportunity, refining their goals and vision.

“It made me strive to be a better producer,” says Brett Emmons. “To focus on what I wanted to write about, and accept my sensitivity and sentimentality in my music.”

In July 2022, The Glorious Sons regrouped at Emmons’ cottage near Kingston with Danish producer Frederik Thaae, who collaborated on their previous albums. Emmons immediately felt they had returned home.

“It felt like reconnecting with a sparring partner,” he recalls. “A blast of humility. We needed help, and I needed someone to get excited with, to trust.”

“Glory” radiates with grand melodies and heartfelt songwriting, a testament to Thaae and Emmons’ co-production and the band’s unwavering performance. Combining organic songcraft with intricate electronic elements, the album is introspective yet epic, brimming with uncommon emotional depth.

“I wanted it to be monumental,” Emmons expresses. “To feel expansive, like an open field in your chest. Unapologetically ambitious.”

Reflecting on the band’s journey, Emmons muses, “From the start, we aimed to be both familiar and revolutionary, redefining rock ‘n’ roll for today. With ‘Glory,’ we pushed ourselves to create something genuine, meaningful, and uniquely ours.”

“We spent years on the grind,” Emmons continues. “Now, I want to take things as they come. I care less about how it’s received, knowing in my heart we did everything we could.”

The Glorious Sons are composed of talented musicians, each bringing their unique flair to the band’s dynamic sound. Lead vocals, guitar, harmonica, and keys are masterfully handled by Brett Emmons, while Jay Emmons lends his skills on guitar and vocals. Adam Paquette keeps the beat alive with his prowess on drums and vocals, while Chris Koster adds depth with his guitar and vocal contributions. Josh Hewson enriches the music with his piano and guitar talents, and Peter van Helvoort anchors the ensemble with his bass guitar and vocal support. Together, they form a powerhouse of musical prowess, crafting the signature sound that is The Glorious Sons.

Ministry Performs At Houston’s House Of Blues

By Albert Schwartz

Ministry’s highly anticipated 16th album, “HOPIUMFORTHEMASSES,” is set to release this March, accompanied by an exhilarating tour featuring their long-time friends Gary Numan and Front Line Assembly. The tour kicks off in February in San Francisco, traversing through March and culminating in Tucson, AZ in early April. Houston fans can catch them live on March 29th at Houston’s House Of Blues for what promises to be a thrilling evening of entertainment.

Mastermind and creator Al Jourgensen is enthusiastic about the upcoming tour: “So looking forward to doing another tour with Gary and the gang. We had such a blast the last time. The shows were amazing. Each band complements the other perfectly. Plus, both of our new releases are kick ass! Get your tickets, and come join us.” Ministry has also unveiled details for “Hopiumforthemasses,” which will be released through Nuclear Blast Records, along with a captivating video for their debut single, “Goddamn White Trash,” featuring Pepper Keenan.

In August, Ministry treated fans to a preview of their new material with the official release of “Goddamn White Trash,” featuring CORROSION OF CONFORMITY’s Pepper Keenan, a track that debuted on Ministry’s headline tour earlier in the year. The album, spanning nine tracks, showcases Jourgensen’s unapologetic commentary on the chaotic world around us, delivered with his signature fiery spirit.

Before the release of “Hopiumforthemasses” on March 1, 2024, Ministry will embark on a North American tour in spring 2024, once again teaming up with touring comrades Gary Numan and Front Line Assembly. Jourgensen reflects on the album’s themes, stating, “Just like you or anybody else, I’m simply a passenger in this lifetime, watching social changes, political changes, and economic changes, and I comment on them because I do have a First Amendment right.”

Accompanied by Ministry’s current lineup of talented musicians — John Bechdel (keyboards), Monte Pittman and Cesar Soto (guitars), Roy Mayorga (drums), and Paul D’Amour (bass) — “Hopiumforthemasses” boasts a range of special guest contributors, including GOGOL BORDELLO’s Eugene Hutz, Jello Biafra, and Keenan.

The album will be available in three vinyl variants, a CD jewel case, and digital/ streaming platforms, offering fans various ways to experience Ministry’s latest sonic offerings. Looking towards the future, Jourgensen hints at the possibility of a “remake” of Ministry’s first album, “With Sympathy,” as a final bow to their storied career. From “The Last Sucker” to “From Beer To Eternity,” Ministry has continuously defied expectations, pushing boundaries with their music. As Jourgensen prepares for the next chapter, fans eagerly await the transformative journey that lies ahead.

Ministry, known for their influential role in the industrial metal scene, has been a force in the music industry since their

formation in 1981. Founded by Al Jourgensen in Chicago, the band quickly gained notoriety for their aggressive sound and provocative lyrics. Over the years, Ministry has released a string of critically acclaimed albums, including “The Land of Rape and Honey,” “Psalm 69: The Way to Succeed and the Way to Suck Eggs,” and “Filth Pig,” solidifying their status as pioneers of industrial metal.

Their live performances are legendary, characterized by intense energy, pulsating rhythms, and Jourgensen’s electrifying stage presence. Ministry concerts are more than just shows; they are visceral experiences that leave audiences exhilarated and craving more. With their upcoming tour in support of “HOPIUMFORTHEMASSES,” fans can expect nothing less than a mind-blowing spectacle of music and performance art.

Gary Numan, the iconic synth-pop pioneer, will once again join Ministry on tour, bringing his unique blend of electronic sounds and haunting vocals to the stage. Front Line Assembly, the influential electroindustrial band, completes the lineup, promising a diverse and electrifying concert experience.

“Hopiumforthemasses” is poised to be a standout addition to Ministry’s impressive discography, with early reviews praising its raw energy and uncompromising vision. The album’s first single, “Goddamn White Trash,” is already generating buzz among fans and critics alike, showcasing Ministry at the height of their creative powers.

In a recent interview, Jourgensen discussed the album’s themes and inspirations, citing current events and societal issues as primary influences. “I’m just a messenger,” he explained, “commenting on the madness and chaos of the world we live in. Music is my outlet, my way of making sense of it all.”

As Ministry gears up for their tour, anticipation is building among fans and critics alike. With their reputation for delivering electrifying live performances, the band is sure to leave a lasting impression on audiences across North America. Don’t miss your chance to experience Ministry live on stage, as they bring their uncompromising vision and raw energy to a city near you. Get your tickets now and join the revolution!

With “HOPIUMFORTHEMASSES” on the horizon and a tour that promises to be nothing short of epic, Ministry is poised to reclaim their rightful place at the forefront of the industrial metal scene. Stay tuned for more updates, exclusive content, and behindthe-scenes glimpses into the making of the album. The revolution is coming, and Ministry is leading the charge. Get ready to rock!

Wednesday’s @ 7:00 pm - 10:00 pm

Friday, March 1 - Keeshea Pratt

Saturday, March 2 - Meaux Cotton

Sunday, March 3 - Katie’s Sunday Blues Jam with guest host Paul Ramirez

Wednesday, March 6 - Wednesday Night Jam with Chris Castaneda

Thursday, March 7 - James Wilhite

Friday, March 8 - Pot Roast

Saturday, March 9 - Static Blues

Sunday, March 10 - Katie’s Sunday Blues Jam with guest host Pierce

Wednesday, March 13 - Wednesday Night Jam with Bob Emmons

Thursday, March 14 - Chad Ware

Friday, March 15 - Longhorn Cadillacs

Saturday, March 16 - Mark May

Sunday, March 17 - Katie’s Sunday Blues Jam with guest host Mark May

Wednesday, March 20 - Wednesday Night Jam with James Wilhite

Thursday, March 21 - Hugo Jamz Trio

Friday, March 22 - Pierce & The Purple Moon

Saturday, March 23 - Jonn Del Toro Richardson

Sunday, March 24 - Katie’s Sunday Blues Jam with guest host Bayou Gipsies

Wednesday, March 27 - Wednesday Night Jam with Bob Emmons

Thursday, March 28 - Hipwaders

Friday, March 29 - Sonny Wolf

Saturday, March 30 - Lucky Loosers

Sunday, March 31 - Happy Easter / Closed

Saturday, March 2, 3:30 pm - 6:30 pm

Haak Winery 6310 Ave T, Santa Fe, TX 77510

Friday, March 8, 7:00 pm - 10:00 pm

No Label Brewing 5351 1st St, Katy, TX 77493

Saturday. March 9, 8:00 pm - 12:00 pm

Backwoods Saloon 230 Lexington Ct, Conroe, TX 77385

Friday, March 15, 8:00 - 11:00 pm

Mo’s Irish Pub College Station

1025 University Dr Unit 101, College Station, TX 77840

Saturday, March 16, 9:00 pm - 1:00 am

Sunnyside Saloon

1214 SH-71

1214 S Mechanics St , El Campo, TX 77437

Sunday, March 17, 11:00 am - 2 pm

*Happy St Patrick’s Day*

Mo’s Irish Pub Cypress 14102 Mueschke Rd, Cypress, TX 77433

Saturday, March 23, 8:00 pm - 12:00 pm

Sharky’s Tavern

504 25th St

Galveston, TX 77550>

Sunday, March 24, 12:30 pm - 4:00 pm

Drifter’s Icehouse 29293 FM 149, Richards, TX 77356

Saturday, April 6, 9:00 pm - 1:00 am

Aspens Bar & Grill 817 Clear Lake Rd, Kemah, TX 77565

Saturday, April 13, 8:00 pm - 12:00 pm

3 Doors Down Bar 102 20th St, Galveston, TX 77550

Friday, April19, 8:30 pm - 12:30 am

Scotty’s Saloon 114 Agnes Rd, Richmond, TX 77469

John Oates

John Oates Performs At The Heights Theatre March 16

By Greg Fontaine

Renowned musician John Oates, celebrated as the cofounder of the iconic music duo Hall & Oates and an accomplished solo artist, is set to grace the stage at The Heights Theater in Houston on March 16, promising an unforgettable evening of music and memories for fans old and new alike. With a career spanning decades, Oates has left an indelible mark on the music industry, earning accolades including membership in both the Rock and Roll Hall of Fame and The American Songwriters Hall of Fame, the prestigious BMI Icon Award, multiple Grammy nominations, and various American Music and MTV awards.

Since forming his creative partnership with Daryl Hall in the early 1970s, Oates and Hall have etched their names in music history, recording an impressive 21 albums that have collectively sold over 80 million units. Their unparalleled success as a duo, with 10 number one records and over 20 Top 40 hits, solidifies their position as the most successful duo in rock history. Notably, their participation in events like the original “Live Aid” concert and the groundbreaking “We Are The World” charity recording further cemented their status as legendary artists who transcend generations.

In 1999, Oates embarked on a solo career, releasing seven solo albums to critical acclaim. His autobiography, “Change of Season,” released in 2017, became an Amazon best seller, offering fans a glimpse into his remarkable journey in the music industry. In 2023, Oates released a series of original digital singles in eclectic styles and contributed songs for the feature film “Gringa,” showcasing his versatility as a songwriter and performer. His latest recording project, titled “Folk-esque,” is scheduled for release in early 2024.

Beyond his musical endeavors, Oates remains committed to philanthropy and social causes. In 2021, he and his wife Aimee partnered with streaming broadcast service NugsTV to create “OATES SONG FEST 7908,” a virtual celebration of stories and songs aimed at supporting families in need through donations to

FEEDINGAMERICA.ORG. The event featured an all-star lineup of artists who volunteered their performances to help provide over 450,000 meals for American families.

Furthermore, Oates serves as the international ambassador for “MOVEMBER,” a men’s health initiative, using his platform to raise awareness and support for important causes. Despite his busy schedule, Oates remains dedicated to his passion for automobiles and motorsport, actively participating in concours events and the Porsche Club of America.

Born on April 7, 1949, in New York City, Oates attended Temple University in Philadelphia during the ’60s, where he met his musical counterpart Daryl Hall. Their collaboration resulted in a string of chart-topping hits, solidifying their status as one of the most successful duos in rock history. Oates’ solo ventures, including his debut album “Phunk Shui” in 2002 and subsequent releases, showcase his artistic evolution and unwavering dedication to his craft.

With a career spanning generations, John Oates continues to captivate audiences worldwide with his timeless music and enduring legacy. Alongside his wife Aimee, he resides in Nashville, Tennessee, and Aspen, Colorado, where he finds inspiration for his ongoing musical endeavors. As he continues to push artistic boundaries and contribute to meaningful causes, Oates remains a shining example of passion, talent, and philanthropy in the music industry.

But behind the scenes of his illustrious career lies a story of dedication, perseverance, and a lifelong love affair with music. Born and raised in New York City, John Oates discovered his passion for music at an early age, inspired by the vibrant sounds of the city and the rich tapestry of musical styles that surrounded him. It was during his time at Temple University in Philadelphia that Oates would meet his musical soulmate, Daryl Hall, igniting a partnership that would shape the course of modern music history.

Their journey together began in the early 1970s, as they embarked on a

mission to carve out their own unique sound amidst the musical landscape of the time. Drawing inspiration from a diverse range of influences, including rock, soul, R&B, and pop, Hall & Oates soon emerged as trailblazers in the industry, capturing the hearts of millions with their infectious melodies and soulful harmonies.

With each album release, Hall & Oates pushed the boundaries of creativity, exploring new sonic territories and reinventing themselves with each musical venture. From the chart-topping hits of the ’70s and ’80s to their continued success as touring artists in the present day, the duo’s impact on the world of music is nothing short of legendary.

But while Hall & Oates may be best known for their collective achievements, John Oates has also made a name for himself as a solo artist, showcasing his distinctive voice and songwriting prowess on a series of acclaimed albums. From the introspective reflections of “Phu Phunk Shui” to the soulful blues of “Mississippi Mile” and the roots-inspired melodies of “Arkansas,” Oates’ solo work stands as a testament to his versatility and artistic integrity.

Away from the spotlight, Oates has also been a champion for charitable causes, using his platform to raise awareness and support for organizations like Feeding America and Movember. Through his music and philanthropy, he continues to make a positive impact on the world, inspiring others to lend a helping hand and make a difference in their communities.

As he prepares to take the stage at The Heights Theater in Houston, John Oates remains as passionate and dedicated to his craft as ever, eager to share his music and stories with fans around the world. With each note he plays and each lyric he sings, he reminds us of the power of music to unite, inspire, and uplift, leaving an enduring legacy that will continue to resonate for generations to come.

Darkest Hour Performs At Warehouse Live Midtown March 10th

By Greg Fontaine

Modern metalcore trailblazers Darkest Hour are set to ignite the stage at Warehouse Live Midtown on March 10th as part of their tour in support of their latest album, “Perpetual / Terminal.”

With a sonic assault that blends melodic speed, thrash metal intensity, and the unyielding fury of punk and hardcore, Darkest Hour stands as a pillar of the New Wave of American Metal movement from the mid-’90s. From their underground acclaim to their ascent to commercial success with charttopping albums like “Deliver Us” (2007), “Eternal Return” (2009), and “Godless Prophets & the Migrant Flora” (2017), the band has left an indelible mark on the metal landscape.

Formed in the heart of Washington, D.C. by Mike Schleibaum (guitar), Billups Allen (bass), John Henry (vocals), Fred Ziomek (guitar), and Ryan Parrish (drums), Darkest Hour first caught the attention of the underground metal scene when they signed with MIA Records in 1999. Their debut release, “The Mark of the Judas,” arrived the following year, only to face a setback when their label abruptly closed its doors.

Undeterred, the band quickly found a new home with Victory Records, unleashing their sophomore effort, “So Sedated, So Secure,” in July 2001. This was followed by the acclaimed “Hidden Hands of a Sadist

Nation” in 2003, hailed by Revolver as a “metalcore classic.” Darkest Hour’s rise continued with a slot on Ozzfest’s second stage in the summer of 2004 and the release of a video set titled “Prison Scars and Party Bars: A Thrashography” in February 2005, chronicling their first decade of musicmaking.

Their momentum surged with the release of “Undoing Ruin” in June 2005, followed by the rarities collection “Archives” later that year. By the time “Deliver Us” arrived in the summer of 2007, Darkest Hour was a force to be reckoned with, a fact solidified by the album’s debut at number one on the Billboard Heatseekers chart. This success continued with “Eternal Return” in 2009, as the band embarked on the Summer Slaughter tour alongside Trivium.

In a significant move in April, the band parted ways with Victory after a decade-long partnership, opting to sign with eOne. Their first release under this new label, “The Human Romance,” produced by Peter Wichers of Soilwork, debuted at number three on Billboard’s Heatseekers chart in February 2011. A period of change followed with the departure of drummer Ryan Parrish in December, later replaced by Travis Orbin, and bassist Paul Burnette, substituted by Aaron Deal.

Transitioning to Sumerian Records in 2013, Darkest Hour enlisted producer Taylor Larson to refine their sound, resulting in the

self-titled album “Darkest Hour” in August 2014. Following a successful crowd-funding campaign, the band collaborated with Converge’s Kurt Ballou at GodCity studio for 2017’s “Godless Prophets & the Migrant Flora,” distributed by Southern Lord.

Their latest offering, “Perpetual / Terminal,” released in 2024, sees Darkest Hour delivering a resilient collection of aughts-era melodic metalcore. Rooted in themes of survival and rebirth, the album showcases the band’s enduring spirit and unwavering dedication to their craft. Don’t miss the opportunity to witness Darkest Hour’s explosive performance as they blaze through Warehouse Live Midtown on March 10th, bringing their fierce brand of metalcore to the forefront once again.

Conversations With The Professionals

by John in Houston

Meet Dale Penner the much sought after behind the scenes pro

For the vast majority of artists and bands their original music is a cultural presentation delivering its own signature if you will, a combination of lyrical poetry set with appropriate rhythms that compliment the human senses. One could easily point to such memorable releases as The Doors for example. In “Riders On The Storm” it was Jim Morrison’s lyrics combined with Ray Manzarek’s marvelous keyboard interpretation along with Robby Krieger’s lead guitar work and John Densmore with his incredible percussion work. Hard to imagine the results if that song had been recorded by a non-interpretive engineer.

That intro leads me into this month’s conversations with the professionals article and this month I met with Mr. Dale Penner for a second time. The first time I was the guest of Synapse Publishing and Entertainment’s recording session at Richard Cagle’s New Mexico studio Montrose Records. I had not met Dale previously but knew of him because of his panel work on the national artist’s educational forum Barry Coffing’s Spring Board. Professionals within the industry, studios, artists and music supervisors had told me of this man but this would be my first get to know you opportunity. Like so many others I learned of this Canadian producer’s results by listening to Nickelback and Loverboy. Brilliant end results both of them. So here we were together in this mountain top studio with highly qualified session musicians for two days of recording work. I watched this man meld with the Montrose team right from the beginning, it was like watching a maestro raising his or her baton and the orchestra openly, willfully, paying attention. In this particular situation not because Dale was the boss and the famous producer, but because he had taken the time to get to know them individually prior to the sessions. In fact he was so open with them that while in the sessions no idea, suggestion, was continued on next page

Dale Penner (producer) and Richard Cagle (engineer) @ Montrose Recording Studio

Dale Penner panel member (second from right) Barry Coffing’s Spring Board

Conversations With The Professionals

by John in Houston

Meet Dale Penner the much sought after behind the scenes guy

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shunned no matter who brought it up and when some were added or for that matter rejected no feelings were hurt. Dale had assembled a unified room with one singular goal in mind - give these two artists (Julia Cozby and Delaney Ann Baysinger) the best result they could and boy did they ever. This unified presence is a noted trade mark of Dale Penner’s. Professionals within the music industry comment on that presence over and over again. Take for example the remarks from Management Company executive Peggy Lafrate of the Strega Group, (right) “Dale is the best of the best, his patience and open mind are the perfect partner to his outstanding music and production knowledge. I am thrilled to partner with Dale whenever I can.” Add to that the words from Barry Coffing the famous television and movie music placement professional, “Dale Penner is an amazing producer and mixer. He is so versatile he can excel at almost any style. We mixed three tracks in three days for an indie film. Irene Cara sang a new version of “Flashdance”, Barbara Streisand’s sister Roslyn Kind on a beautiful ballad and Michael McDonald sang the end title song with a rock band.” Finally, Darice G, CEO of Synapse Publishing & Entertainment LLC, shares this highly complimentary remark that speaks to the point at hand, “Dale Penner is more than an excellent producer and engineer. As part of the team responsible for the quality of the music his engagement and understanding of the purpose of the project, the timeline, and the budget all play into him being the integral member that brings an extra touch. He understands artists and labels intimately and is a true fan of the music. His ability to take in suggestions with patience and finesse makes him one of the top producers we have worked with and someone we definitely will work with again.” When I asked Dale directly what he felt personally were the keys to his success the normally rather humble Dale Penner shared, “The future holds some of the elements of the past, production experience is a premium in today’s music industry. Along with that the technology that is available today is simply stated, remarkable. One of the key elements that experience teaches the producer, mixer and engineer is to listen intently to the vision of the artist/band. Get to know who you will be working with in the upcoming sessions. The music production business is more than knobs and dials. It includes the human equation, the artist and the session players delivering one’s soul through creative influences. Session players for example are tops at what they do, respect and understanding go a long way to supporting the overall outcome. Finally, I would say that professional products such as Session Wire deliver cost reduction possibilities including costs related to travel and lodging. This benefit allows the producer to be there without being there. So to me the zenith arrives with the blending of real world experience, with finding the human equation and remaining up to date through new advancements in technologies.” A prime example of what Dale is talking about are the recent Nashville recordings at Hutton Hotel Studios. The client was Synapse and the artist was the chart topping Americana Country artist Andrew Salgado. Dale listened to what both the publisher and record label wanted and he also listened to the ideas of the artist himself. Once he had captured the complete picture his years of being in the music business allowed him to place direct calls to top rated performance and session players who would agree to join them in the session. Musicians continued on next page

Conversations With The Professionals

by John in Houston

Meet Dale Penner the much sought after behind the scenes guy

Page 2

such as Rich Redman the drummer for Jason Aldean and Jason Mowry the fiddle man for Keith Urban. Beyond inside the studio Dale’s career long industry relationships with decision makers at such famous organizations as the Grand Ole Opry opens even more doors. In fact, during the recording project with Andrew Salgado in Nashville Dale made arrangements for Andrew to tour the Opry’s backstage area and to step out and get a feel for the main stage as well. (left) Andrew Salgado writes, “The recording process was truly incredible, not only because of Dale’s talent and amazing ear but his care and love for the songs he chooses to produce. It’s an incredible honor for someone of his caliber to be a part of my journey and EP.” Additionally, Dale’s presence within the movie music industry has allowed him to augment the inclusion of such noted artists as Loverboy in the Top Gun Soundtrack along with music being well placed inside the famous Iron Eagle 2 movie and another as well, Blair Witch 2. Among his multiple milestones one can hardly write a piece about Dale Penner and not include the fact that he recorded the world famous Winnipeg Symphony in Canada. Currently Dale is putting the stepping stones in place with the aspiring songwriter/artist Angie Goeke (above right) at Across The Road studio in Katy Texas. Then he moves on to Phoenix Arizona where he will be in the studio with pop recording artist Hanna De La Vega. (right) To reach Dale: Paradise Alley Productions @ Contact — Paradise Alley Productions (paradise-alley.com)

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Jessi Uribe Performs At The Arena Theatre March 23

By Jose Martinez

Born on March 22, 1987, in Bucaramanga, Colombia, Jessi Uribe has emerged as a notable figure in the country’s popular and ranchera music genres. His musical journey began early in life, heavily influenced by his father, Fernando Uribe, a respected mariachi singer.

Growing up surrounded by melodies, Jessi found his voice on stages alongside his father, performing in Bucaramanga’s renowned music venues. This early exposure laid the foundation for his musical career, leading him to pursue opportunities beyond his hometown.

In 2008, Jessi’s talent caught the attention of Latin American Idol judges, earning him a spot among Colombia’s top 20 artists selected to compete in Argentina. This marked a significant milestone in his career, showcasing his vocal prowess on an international platform.

Beyond his singing abilities, Jessi’s passion for songwriting has been evident. He crafts lyrics inspired by personal experiences and stories of those around him, connecting deeply with his audience. Notable works include “Déjalo libre” and “Ahora si me buscas,” which have been embraced by fans and fellow artists alike.

Jessi’s career continued to ascend as he participated in the 2017 edition of “A otro nivel,” a Colombian contest highlighting the best in popular music. His performances not only demonstrated his talent but also the camaraderie among fellow artists within the genre.

Under the guidance of his current label, Mano De Obra, Jessi released “Dulce Pecado,” a track that garnered widespread acclaim nationally and internationally. With over 360 million views on YouTube, the song solidified Jessi’s position as a rising star in the music scene.

Subsequent releases such as “Matemos las ganas,” “Ok,” and “El último no” showcased Jessi’s versatility and growing influence. Collaborations with renowned artists like Paola Jara, Andy Rivera, and Espinoza Paz further expanded his reach within the industry.

In 2019, Jessi took on a new role as a judge on “Yo me llamo,” a program celebrating musical talent. His insights and experience added depth to the show, earning him praise from fans and colleagues alike.

The year 2020 brought a series of successful releases and collaborations for Jessi, including “La Culpa” and “Desde que te fuiste” with Chilean artist Américo. These tracks highlighted his ability to navigate

various musical styles while maintaining his signature sound.

Closing out the year with “Una oportunidad,” featured as the soundtrack for the telenovela “Quererlo Todo,” Jessi continued to captivate audiences with his emotive performances.

In June 2021, a collaboration with Carin León resulted in the release of “Resultó muy perra (me dejó solito),” followed by “Si me ven llorando” in September of the same year.

February 18, 2022, saw the launch of “Dímelo en la cara,” a song marked by its honest lyrics and heartfelt delivery.

Most recently, on May 16, 2024, Jessi partnered with Paola Jara for “La boda,” a track celebrating love and happiness.

His latest venture in April 2023, “Tu maniquí,” in collaboration with Alejandro Fernández, demonstrated Jessi’s ability to craft poignant melodies that resonate with audiences.

Through a combination of raw talent, dedication, and a deep-rooted love for music, Jessi Uribe continues to rise as one of Colombia’s most promising musical talents. His journey from the streets of Bucaramanga to the international stage serves as an inspiration to aspiring artists across the country.

Christian Nodal Performs At The Arena Theatre March 8

By Jose Martinez

Christian

Nodal, a

talented singer, songwriter, and multi-instrumentalist from Mexico, has been making waves in the music industry with his unique blend of mariachi and norteño styles, often infused with catchy pop hooks. Known for his rich and emotionally expressive romantic tenor, Nodal made his mark with his debut single, “Adiós Amor,” released in 2016.

“Adiós Amor” quickly climbed to the top of the Mexican Regional charts, where it remained for over six months, solidifying Nodal’s position as a promising artist. Following this success, his debut album, “Me Dejé Llevar,” released in 2017, reached number two on the U.S. charts, with all four of its singles achieving multi-platinum status.

The year 2019 brought further acclaim for Nodal with the release of his album “Ahora,” which enjoyed similar success on tour across the Americas. In May 2020, he initially released “Ayayay!” as an EP, later expanding it to a full-length album in September 2021, reaching the Top Ten charts.

In 2022, Nodal continued his streak with the release of the first of his “Forajido” EPs, landing another hit with “Ya No Somos Ni Seremos.” This was followed by “Forajido EP 2” in 2023 and a successful collaboration with Peso Pluma on the 2024 hit “La Intención.”

Born in 1999 into a family deeply rooted in music, Nodal’s upbringing was surrounded by melodies. His mother, Silvia Cristina Nodal, a professional mariachi singer, now manages his career. His father, Jaime González, owns an independent record label and previously produced for Ariel Camacho, further fueling Nodal’s passion for music.

From a young age, Nodal showed a natural talent for music, learning to sing at four years old and gravitating towards various instruments by the age of eight. He mastered the piano, guitar, trumpet, and later, the accordion, showcasing his versatility as a musician.

At the age of 13, Nodal began writing songs, sharing his performances through social media platforms. His talent caught the attention of Fonovisa’s

A&R department, leading to his signing in 2016.

Throughout his career, Nodal has seen significant success, with his debut single “Adiós Amor” becoming a charttopping anthem and receiving over 688 million views for its video. Subsequent singles, including “Probablemente” featuring David Bisbal, also achieved multi-platinum status, further solidifying Nodal’s position as a rising star.

Awards and accolades have followed Nodal’s success, including winning Regional Mexican Male Artist of the Year at the Lo Nuestro Awards in 2019. His albums have garnered Latin Grammy recognition, with “Ahora” earning him two awards for Best Mariachi Album and Best Mariachi Song.

Continuing to evolve as an artist, Nodal’s musical journey has been marked by consistent hits, collaborations, and a dedication to his craft. With each release, he cements his status as a standout talent in the vibrant world of Mexican music.

Friday, March 1 - Dennis Elmer & America’s Most Wanted Band

Saturday, March 2 - Lightnin’ Brothers - Red Hot Texas Blues

Wednesday, March 6 - Randy Soffar Hosts

Leon’s Open Mic @ 8:00 pm

Thursday, March 7 - “Neon Boots Mark Moses” by Request

Friday, March 8 - Javier Nunez

Saturday, March 9 - Jypsy Rose & Mark Francis

Wednesday, March 13 - Randy Soffar Hosts

Leon’s Open Mic @ 8:00 pm

Thursday, March 14 - Mike Fageros Organ Trio

Friday, March 15 - Barcrawlerz St. Patrick’s Day Bar Crawl

Saturday, March 16 - Barcrawlerz St. Patrick’s Day Bar Crawl

Music by Tides & Foreign Ghost

Sunday, March 17 - Barcrawlerz St. Patrick’s Day Bar Crawl

Wednesday, March 20 - Randy Soffar Hosts

Leon’s Open Mic @ 8:00 pm

Thursday, March 21 - “Neon Boots Mark Moses” by Request

Friday, March 22 - Kerosene Stars

Saturday, March 23 - Dennis Elmer & America’s Most Wanted Band

Wednesday, March 27 - Randy Soffar Hosts

Leon’s Open Mic @ 8:00 pm

Thursday, March 28 - “Neon Boots Mark Moses” by Request

Friday, March 29 - No Stairway - Led Zeppelin Tribute Band

Saturday, March 30 - Private Party from 5-8pm

Entertainment by the White Oak Bayou Band

8:00 - 12 AM

Hombres G Perform at Smart Financial Centre March 23

By Jose Martinez

Hombres G: A Journey Through Three Decades of Pop Music

Since 1983, the Spanish pop band Hombres G, led by David Summers (1964), son of the renowned humorist and filmmaker Manuel Summers, has been a constant presence in the music scene. Formed initially by David Summers on vocals and bass, Rafael Gutiérrez on guitar, Daniel Mezquita on guitar and keyboards, and Javier Molina on drums, their carefree and unapologetic pop style took the younger generations of the late ’80s by storm, shattering

sales records of Spanish groups of the time.

As early idols of Madrid’s postmodernity scene, they transitioned from being considered rebellious to being admired when hits like “Venezia” or “Devuélveme a mi chica” (better known as “Sufre, mamón,” another line from the chorus) became chart-toppers in the summer of 1985. Before signing with the newly created Twins label, Hombres G had already amassed a dedicated following, with fans packing their concerts at trendy venues like Madrid’s Rock-Ola, singing along to every word of songs like “Marta tiene un

marcapasos” or “Milagro en el Congo,” recorded between April and May of 1983.

After their meteoric rise to mass popularity, the group emulated the traits of Spain’s ’60s pop icons, even filming a couple of movies (“Sufre Mamón” in 1987 and “Suéltate el pelo” in 1988, both directed by David’s father). Soon, they became the inspiration for bands like Modestia Aparte or Terapia Nacional. However, as time matured both their audience and the band members themselves, Hombres G began to lose

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momentum, while bands like the aforementioned took up the torch of their youthful and carefree style.

Following the success of albums like “La cagaste, Burt Lancaster” (1986), “Estamos locos, ¿o qué?” (1987), or “Voy a pasármelo bien” (1989), the group attempted a stylistic change that was not fully embraced by their fans with the album “Ésta es su vida” (1990). Eventually, after “Historia del bikini” (1992) and the compilation of their hits (1993), the band dissolved. In 1994, David Summers released a solo album, taking a more introspective path far from Hombres G’s characteristic frivolity.

In 2002, a decade after leaving the stage, Hombres G reunited and embarked on a successful tour of America. By the end of the same year, the seven albums released by the band between 1985 and 1992 were compiled, preserving the original vinyl covers and designs. In 2003, a tribute album titled “Voy a pasármelo bien” was released, featuring prominent Spanish groups and artists (Los Secretos, Seguridad Social, Antonio Vega, Mikel Erentxun, La Cabra Mecánica, Álex Ubago, and El Canto del Loco) presenting versions of the band’s most famous songs.

In December 2004, after the band embarked on a nationwide tour to promote their new album

“Peligrosamente juntos,” the book “Hombres G. Seguimos locos, ¿y qué?” was published, a biographical work by Pepe Colubi recounting the band’s anecdotes throughout their career. The new phase brought forth two more albums, “Todo esto es muy extraño” (2004) and “10” (2007), the latter named as the tenth in their discography. From the latter, featuring eleven new tracks, the single “Me siento bien” was released.

Their tenth studio album “10” was launched on September 18, 2007, featuring the track “Me siento bien” as the lead single, marking the start of a world tour. In 2008, they released their second single “Nunca más,” followed by

“Hombre Real,” earning them a nomination at the Latin Grammys in the Best Pop Vocal Album/Duo or Group category. In June 2009, after considering the renewal of their contract with Warner Music, they globally released the music video for their single “Separados,” a ballad written by David Summers and produced by Carlos Jean.

On November 16, 2010, their 11th studio album titled “Desayuno continental” was released. Throughout 2011, the group performed concerts in Spain and the United States, featuring singles like “El secreto de vivir” and “Vete de mi.”

On November 29, they released a new album in Spain, an acoustic set from Zahara de los Atunes (Cádiz), featuring collaborations with Miguel Bosé, Ha*Ash, Ana Torroja, Dani Martín, Pereza, among others. The album, titled “En la playa,” offered reimagined versions of some of the band’s classics, along with a new track called “Si seguimos así,” all accompanied by a DVD and a book.

2011-2018: 30-Year Anniversary

In 2014, they released the singles “Por una vez” and “Esperando un milagro.” Towards the end of November, David announced on social media the titles of two new songs, “Depende de ti” and “Un millón de años más.” In 2015, marking the 30th anniversary of their first album, Hombres G released a vinyl reissue and a box set with the original recordings’ CD, accompanied by a DVD documentary about the band’s early work. On June 2, the compilation album “30 años y un día” was released, featuring tracks from the band’s first and second eras, including the four new singles.

For its promotion, they started their “30 Años y un día” tour in Spain. On November 20, “En la Arena” was released, a double CD album with a DVD of the band’s concert as part of their final anniversary tour on June 26 at Las Ventas (Madrid). Between September and December 2017, they joined the Madrid-based group Taburete for a sixconcert tour under the name #DevuélvemeMiJoda.

In 2018, they embarked on a tour

with Enanitos Verdes, covering a significant part of South America, Mexico, and the United States towards the end of the year. They also released a CD and DVD titled “Huevos revueltos,” with the single “Devuélveme a mi chica.” On February 18, 2019, they received the Gold Medal for Fine Arts Merit for their contribution to Spanish culture both domestically and abroad, in a ceremony presided over by King Felipe VI and Queen Letizia, held in Córdoba (Spain).

2019-Present: “Resurrección” and “La Esquina de Rowland” After more than three years of recording and nine years since their last studio album, on March 15, 2019, they released “Resurrección,” their twelfth studio album. Filled with strength, experience, and life stories filtered through their rock style, blending intensity with strings and metal arrangements in true G fashion, the album featured 11 new tracks, with the initial singles “Con los brazos en cruz” and “Confía en mi” released almost simultaneously. They began the “Resurrección” tour in Spain in 2019, intending to continue through America in 2020, but the tour was suspended due to the COVID-19 pandemic.

In 2021, they released “La esquina de Rowland,” their thirteenth studio album featuring 14 new songs. The first single, “Se me sale el corazón,” a reggae featuring Mexican artist Carlos Rivera, was followed by “Antes de ti.” The album’s title track, “La Esquina de Rowland,” coincided with the album’s release. This album, recorded “at home” during confinement at David’s house, was later finalized in the studio with added vocals and metal elements.

With a career spanning more than three decades, Hombres G remains an icon of Spanish pop, introducing their music to new generations while preserving the spirit of their youthful and carefree style.

The Biker, The Blues & Down Time

(Moments Of Reflection)

Down time: Otis Redding sang about it on his famous “Sittin’ On The Dock Of The Bay”. Sittin’ in the morning sun I’ll be sittin’ when the evening comes watching the ships roll in then I watch ‘em roll away again…. There’s just something about down time when you finally shut it all down and kick back. For me this time around I was thinking about a recent memory. A friend of mine was in a rural area close to his town and had gone to an estate sale. Of all things to find there was this old Hammond B3 and Leslie. He asked if anything was wrong with it and they said they didn’t know for sure but it didn’t turn on. He bought both pieces for $200. I think he was going to add it to the furniture in his recording studio. However that didn’t happen. A session musician that was new to working with him saw the B3 and said he knew how to fix them. Upon just a quick inspection he found the problem immediately, a switch was faulty. Soon they had this collector’s item humming right along. If you are not familiar the Hamond B3 and Leslie family of equipment a guy named Lee Michaels came along in the early 70’s and blew everybody away being the first rocker to kick ass on this setup. To this day keyboard players love to record using this magnificent system. By the way Lee Michaels is the man that penned the iconic tune “Do You Know What I Mean”. Personally I really like his rendition of “Stormy Monday” although the tune was made famous by T Bone Walker and then later reprised by the Allman Brothers. The Michaels version takes you to church when he turns the B3 loose. Today I think he owns a restaurant/bar in Marina Del Rey. The name of it is Killer Shrimp Restaurant and Bar, quite the place and as you might expect excellent live entertainment. My down time wasn’t because my scooter needed work. It just felt like it was time to chill and reflect. I had lunch with Robbie Parrish the well known sonic drum expert to the stars. He was sharing some music history with me and his recollections sparked a desire for all things shall we say 60’s and 70’s. The man has either tuned drums for or played drums for quite a number of major stars. He told me about drumming for Grace Jones at Studio 54 in New York City and how he met David Bowie while performing who by the way immediately hired him to perform with his band. He shared how into sonic tuning the English and Europeans were in that era and still are to this day. Robbie still gets calls from groups like The Rolling Stones for example and other highly visible acts. Anyway Robbie’s trip down memory lane sparked my own memories. My memories are not as illustrious as his but to me personally sacred in their own right. Memories about gravitating toward the blues because of the vinyl releases back then. Artists like Janis Joplin whose raspy voice was killer. Her songs would come on the radio and everybody would stop and listen. Kozmic Blues alone would become a smash hit and it would reside on the only solo album she recorded in her short lifetime. Your ear picks up on the remarkable raspy strains of her bending notes and deep in your heart you just know that nobody could deliver a song like that without having lived it. It was marvelous to say the least. I learned about these places called juke joints and when a blues number would come on FM Joplin’s music right fit in and you knew she was the real thing. A real blues artist

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The Biker, The Blues & Down Time

doesn’t just play the blues they deliver the raw feeling. Ray Charles had entered onto the scene and his music was charting big time. Songs about common bad boy habits as can be heard in “Hit The Road Jack”. The blues had exploded onto the scene and by the early seventies rockers were recording and releasing numbers which became major hits. An example was the introduction of Led Zeppelin whose blues rock tracks were way over the top. Their “Whole Lotta Love” was so revolutionary that many AM stations wouldn’t even spin it. This lack of AM support furthered the expansion of FM which was introducing even more “daring” numbers within this era. I remember sitting in living rooms but not on furniture, on the floor in circles. We would drink this new wine named MD-2020 (Mad Dog) and get lost in these new sounds. Love was the theme of the late sixties and early to mid 70’s. Zeppelin’s albums hit the mark dead on. I was riding my first bike back then, a chopped 650 BSA. Older people would look at it and scoff, younger people would smile and nod yes, it was quite the era. BSA was cool but Harley Davidson was where it was at. My second chopped scooter was Harley’s Sportster the first year of their 1,000cc engine with left side shifting. So as the music of the era progressed so too did my interest in custom bikes and the fresh new sounds of the blues and blues rock. My favorite late afternoon ride was to this place named Sabino Canyon. Once the sun would begin to set you could hear the reoccurring sounds of motorcycle engines purring, riders shifting through the gears on this long black curly snake of a highway. Nothing could beat it. Bikers were coming to southern Arizona from all over the United States. Long hairs and girls not wearing bras were invading this up until then conservative city. Quite the addition, peaceful people with only smiles and love on their minds. Interestingly enough the cops left everyone alone if you were not hassling somebody. I learned about this man named Ghandi and his idea of peaceful revolution. Quite the opposite attitude of the older “me Tarzan you Jane” of the 50’s. Peaceful demonstrations against the Vietnam war formed and that is about the time when Kent State happened. It was shocking, unarmed students were mowed down for doing nothing more than protesting. But even Kent State could not stop the peace movement, it expanded and change came with it. The Doobie Brothers started coming on strong in the early 70’s and by the mid-seventies songs like “Taking It To The Streets” were right on time. A good wholesome sound that laid it all out. This is when I met a guy named Speed Freak Ray who I had heard made the best ribs and sauce around. A biker who loved trikes and man this guy could turn out some righteous ribs. His little kitchen was inside a strip joint and so I went there for the ribs and stayed for a few additional cold beers. Yep, the ribs and good looking women dancing. Ray introduced me to a young perky gal, a dancer in her early twenties. We hit it off and soon she was riding with me and we were enjoying each other’s company.

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Life was good, real good. Her favorite song to dance to was the Timmy Thomas tune “Why Can’t We Live Together”. The place was full just about everyday of the week and Ray’s ribs were a big seller so the mix of dancers and good ribs worked for the bar. One day on her day off no less the bar was raided by the city. I remember the newspaper was there and afterward they ran an article about the raid. I don’t know what the effect of the raid and the article was supposed to be but afterward the crowds were larger than before. Too funny. About this time a singer/songwriter named Harry Chapin was going to perform nearby and for two cans of food you could go to his concert at the local college free. This was a novel idea, no one had ever heard of such a thing but the cause was good and so the auditorium was packed. When he performed his “Circles” he received a standing ovation. He told us about world hunger and how it was in our community too. He made a difference, a good difference, not a political stand. He represented decent humane beliefs that became the fuel that continues to exist to this day. It was a good era: most draft beers were twenty five cents, regular gas was twenty eight cents. However nickel candy bars did increase to a dime. A Canadian group named Ocean covered a song titled “Put Your Hand In The Hand” and the release zoomed to number two on Billboard being second only to Three Dog Night’s “Joy To The World” another great song of that era. Ocean’s cover remained in the top ten for weeks. Today I cashed in on some down time wondering if the world has gone completely nuts but then again having lived through, witnessing, people doing good for others I know that hope is alive as well. Change is an interesting part of life. It’s a constant in our lives, we keep witnessing change and hopefully we are all learning. I meet so many solid interesting people on this adventure of mine. When I meet them it does my heart good. I wonder if they are a product of the seeds that were planted so many decades ago. I like to think so. If you have the time to get away let yourself enjoy the good people on this planet. Who knows maybe one day you’ll get the bug to jump on two wheels and not be bound to ride inside a metal cage traveling from point a to point b. Nothing like it and you are bound to meet a mix of really interesting people while stopping at places you probably wouldn’t have stopped at in your car. The sun is about to go down where I am. Yesterday it rained so hard I could not travel by bike. I could have today but I chose to cash in on some down time. Maybe I just needed to write this piece and share a bit of history served up with a dash of hope? Stay cool, don’t let the crazies get you down Lighten up, set yourself free. Me, I’m going to find some fried fish and tarter sauce or maybe I will find a joint that has some really good ribs and go there. Probably hard to beat Ray’s even after all these years. I remember that experience well. Oh and about that stripper, well if you’ve been reading my articles you know I run into her every now and then. If you are not aware of her you can read the past issues of Rock And Blues International and learn about her in those editions. Until next monthbe cool...later….

En Español En Español En Español En Español En Español

Jessi Uribe

Hombres G

Christian Nodal

Hombres G se presenta el 23 de marzo en el Smart Financial Centre

By Jose Martinez

Hombres G: La Trayectoria de una Banda Icono del Pop Español

Desde 1983, Hombres G ha sido una fuerza en la escena musical española, liderada por David Summers (1964), hijo del reconocido humorista y cineasta Manuel Summers. La banda, inicialmente compuesta por David Summers en voz y bajo, Rafael Gutiérrez en guitarra, Daniel Mezquita en guitarra y teclados, y Javier Molina en batería, rápidamente se convirtió en un fenómeno de la música pop sin complejos.

Con un estilo desenfadado, Hombres G conquistó a las generaciones más jóvenes de la segunda mitad de los 80 y batió récords de ventas en España. Desde sus inicios como ídolos de la postmodernidad madrileña, la banda pasó de ser considerada “maldita” a ser admirada con éxitos como “Venezia” o “Devuélveme a mi chica” (más conocido como “Sufre, mamón”), que se convirtieron en superventas en el verano de 1985.

Antes de firmar con el sello Twins, Hombres G ya había ganado una sólida base de seguidores que llenaban sus conciertos en lugares de moda como el

Rock-Ola de Madrid. Canciones como “Marta tiene un marcapasos” o “Milagro en el Congo”, grabadas entre abril y mayo de 1983, eran coreadas por sus fans.

El grupo se convirtió en un fenómeno de masas y siguió los pasos de los ídolos del pop español de los sesenta. Incluso rodaron un par de películas, “Sufre Mamón” en 1987 y “Suéltate el pelo” en 1988, ambas dirigidas por el padre de David Summers. Pronto, grupos como Modestia Aparte o Terapia Nacional se inspiraron en su estilo juvenil y desenfadado.

Tras éxitos como “La cagaste, Burt Lancaster” (1986), “Estamos locos, ¿o qué?” (1987) y “Voy a pasármelo bien” (1989), la banda intentó un cambio de estilo con su disco “Ésta es su vida” en 1990, que no fue comprendido del todo por sus seguidores. Finalmente, después de “Historia del bikini” (1992) y el recopilatorio “Éxitos” (1993), la banda se disolvió.

En 1994, David Summers lanzó un álbum en solitario, mostrando un lado más íntimo y alejado de la frivolidad característica de Hombres G. Sin embargo, en 2002, diez años después de su separación, la banda se reunió para una

exitosa gira por América. Ese mismo año, se publicaron los siete discos editados por la banda entre 1985 y 1992 en un recopilatorio que mantuvo las portadas y el diseño original de los vinilos.

En 2003, se lanzó un disco homenaje titulado “Voy a pasármelo bien”, donde destacados grupos y artistas españoles presentaron versiones de los éxitos de Hombres G. En diciembre de 2004, tras una exitosa gira por España para promocionar su nuevo disco “Peligrosamente juntos”, se publicó el libro “Hombres G. Seguimos locos, ¿y qué?”, una obra biográfica escrita por Pepe Colubi.

La nueva etapa de la banda trajo consigo álbumes como “Todo esto es muy extraño” (2004) y “10” (2007), que marcó su décimo álbum de estudio. En este último, incluyeron el exitoso sencillo “Me siento bien”.

El 18 de septiembre de 2007, Hombres G lanzó su décimo álbum de estudio, “10”, con el tema “Me siento bien” como primer sencillo, dando inicio a una gira mundial. En 2008, publicaron su segundo sencillo “Nunca más”, seguido de “Hombre Real”, lo que les valió una nominación a los Grammys Latinos en la categoría Mejor Álbum Vocal Pop/Dúo o Grupo.

En 2010, lanzaron su undécimo álbum de estudio “Desayuno continental”. A lo largo de 2011, la banda realizó conciertos en España y Estados Unidos, presentando sencillos como “El secreto de vivir” y “Vete de mi”.

En 2011, para conmemorar los 30 años de la publicación de su primer disco, Hombres G lanzó una reedición en vinilo y una caja con el CD de las grabaciones originales, junto con un DVD documental. Además, publicaron el álbum recopilatorio “30 años y un día”, que incluyó nuevas canciones lanzadas como sencillos.

En los años siguientes, la banda continuó su trayectoria con álbumes como “Resurrección” en 2019 y “La esquina de Rowland” en 2021. Este último, grabado de manera “casera” durante el confinamiento, mostró un lado más íntimo y experimental de la banda.

Con más de tres décadas de historia, Hombres G sigue siendo un ícono del pop español, llevando su música a nuevas generaciones y manteniendo viva la llama de su característico estilo desenfadado y juvenil.

Jessi Uribe se presenta el 23 de marzo en el Arena Theater

By Jose Martinez

Jessi Uribe, nacido el 22 de marzo de 1987 en Bucaramanga, Colombia, es un destacado cantante de música popular y ranchera. Se hizo conocido por primera vez por su participación en “La Voz Colombia”. Desde temprana edad, creció inmerso en el ambiente musical gracias a su padre, Fernando Uribe, un cantante de mariachi que le transmitió su talento y lo llevaba a sus presentaciones en una famosa discoteca de Bucaramanga.

En 2008, Jessi se destacó al participar en el concurso Latin American Idol, donde fue elegido entre 30,000 concursantes y uno de los 20 artistas colombianos seleccionados para representar al país en Argentina, logrando así estar entre los 50 mejores de Latinoamérica.

Además de su habilidad como intérprete, Jessi es un talentoso compositor. Sus letras, inspiradas en sus propias vivencias y las de sus amigos, logran conectar con sus seguidores. Sus composiciones han sido grabadas por reconocidos artistas de diversos géneros.

En el género popular, por ejemplo, Francy popularizó sus temas “Déjalo libre” y “Ahora sí me buscas” en su nuevo álbum.

En 2017, participó en el concurso “A Otro Nivel” del canal Caracol, donde dejó en alto el género popular y recibió el apoyo de sus colegas.

Con el respaldo de su actual sello discográfico, Mano De Obra, Jessi lanzó el éxito “Dulce Pecado” en 2017, alcanzando más de 360 millones de reproducciones en YouTube y ganando reconocimiento a nivel nacional e internacional.

Desde entonces, ha seguido sorprendiendo a sus seguidores con éxitos como “Matemos las ganas”, “Ok”, “El último no”, entre otros, así como colaboraciones con artistas como Paola Jara, Andy Rivera, Espinoza Paz y Jhonny Rivera, por mencionar algunos.

En 2019, fue seleccionado como jurado en el programa “Yo me llamo”, junto a Amparo Grisales y César Escola, un paso significativo en su carrera.

El 2020 fue otro año de éxitos para Jessi, con una serie de lanzamientos y colaboraciones musicales destacadas, como “La Culpa”, “Desde que te fuiste” junto al chileno Américo, “Dicho y hecho” con Alkilados, y “Se te nota” con Pipe Bueno. Cerró el año con broche de oro al presentar “Una oportunidad”, la canción principal de la telenovela mexicana “Quererlo Todo” de Televisa y Univisión.

En junio de 2021, sorprendió a todos con “Resultó muy perra (me dejó solito)”, una colaboración con Carin León.

En septiembre de 2021, estrenó el sencillo “Si me ven llorando”.

El 18 de febrero de 2022, lanzó el sencillo “Dímelo en la cara”.

Y el 16 de mayo, presentó “La boda” junto a Paola Jara.

En abril de 2023, Jessi Uribe junto a Alejandro Fernández editaron “Tu maniquí”, una composición de Eladio Florez.

Christian Nodal se presenta el 8 de marzo en el Arena Theater

By Jose Martinez

En los escenarios de México, un joven talento ha estado tejiendo melodías que fusionan el mariachi con el norteño, a veces con ganchos pop. Christian Nodal, cantante, compositor y multiinstrumentista, ha conquistado los corazones del público con su voz tenor romántica, rica y expresiva.

Acompañado por una orquesta de mariachi, Nodal lanzó su sencillo debut “Adiós Amor” en 2016, una canción que alcanzó la cima de las listas regionales mexicanas y se mantuvo allí durante más de seis meses. El álbum de debut tan esperado, “Me Dejé Llevar”, en 2017, llegó al número dos en Estados Unidos, y cada uno de sus cuatro sencillos fue certificado multiplatino.

El éxito continuó en 2019 con su álbum “Ahora”, consolidando la reputación de Nodal en toda América durante sus giras. “Ayayay!” fue lanzado inicialmente como un EP en mayo de 2020, pero se expandió a un álbum completo dentro del Top Ten en septiembre de 2021. En 2022, llegó el primero de sus EPs “Forajido”, con otro éxito, “Ya No Somos Ni Seremos”. Le siguió “Forajido EP 2” en 2023, y se unió con Peso Pluma para el éxito de 2024, “La Intención”.

Nodal nació en 1999 en una familia musical en la que la música fluía por sus venas. Su madre, Silvia Cristina Nodal, era una cantante profesional de mariachi y ahora también es la manager de su hijo. Su padre, Jaime González, es dueño de un sello discográfico independiente y fue productor de Ariel Camacho. Además, muchos de sus tíos,

tías y primos son músicos.

Desde temprana edad, Nodal mostró un talento natural para la música. Comenzó a cantar a los cuatro años y a los ocho se inclinó hacia los instrumentos musicales. Se enseñó a tocar el piano, la guitarra, la trompeta y, más tarde, el acordeón. A los 13 años comenzó a escribir canciones y a compartir videos de sus actuaciones en las redes sociales. Llamó la atención del departamento de A&R de Fonovisa, que lo firmó en 2016.

Después de firmar su contrato discográfico, Nodal apareció como vocalista destacado en el video del éxito “No Pasa de Moda” de Los Plebes del Rancho en 2019, que obtuvo más de 22 millones de visitas. Ese mismo año ganó el premio de Artista Masculino del Año en el género Regional Mexicano en los Premios Lo Nuestro.

Su primer sencillo, “Adiós Amor”, escrito por Salvador Garza, alcanzó el primer lugar en las listas de canciones regionales mexicanas y llegó al número dos en la lista de Top Latin Songs, donde pasó más de 33 semanas. También se convirtió en un himno para la Selección Nacional de México durante la Copa Mundial de Rusia 2018, mientras que su video obtuvo más de 688 millones de visitas. Finalmente, el sencillo fue certificado platino 21 veces.

Nodal continuó con tres sencillos más, incluyendo “Probablemente” con David Bisbal, que se ubicó en el Top 20 en las listas de canciones regionales mexicanas y dentro del Top 40 en la lista de Top Latin Songs. Todos fueron

certificados multiplatino. Su álbum debut, “Me Dejé Llevar”, fue lanzado en agosto de 2017. Encabezó las listas de álbumes regionales mexicanos, llegó al número dos en la lista de Top Latin Albums, y le valió un Grammy Latino además de una certificación doble platino. Nodal fue nominado como Mejor Nuevo Artista en los Premios Juventud y en los Premios de la Música Latina.

Después de una serie de tres sencillos número uno y certificados platino, el segundo álbum de Nodal, “Ahora”, llegó en 2019. Alcanzando el estatus de platino en su camino al número siete en las listas de US Mexican Regional Charts y ubicándose dentro del Top 20 pop en su país, Nodal ganó dos premios Latin Grammy por mejor álbum de mariachi y mejor canción de mariachi en “No Te Contaron Mal”, así como el premio de Artista del Año en los Premios Lo Nuestro. Ese año Nodal también fue invitado al estudio de Juanes, apareciendo en el exitoso sencillo “Tequila”.

En marzo de 2020, después de giras transcontinentales, Nodal lanzó el EP de siete pistas “Ayayay!”. Aterrizó dentro del Top Ten en la lista regional mexicana antes de que una edición deluxe y expandida de 13 pistas se lanzara en septiembre. Fue certificado oro y entró en los escalones superiores de las listas. En febrero de 2021, lo lanzó por tercera vez como una edición “super deluxe” de 15 canciones. En mayo, a pedido de su padre y de la banda, se desempeñó como vocalista principal invitado para Los Plebes del Rancho — la banda sobreviviente de Ariel Camacho — para el álbum “Recordando la a una Leyenda”.

Nodal dejó Fonovisia por Sony y regresó a grabar bajo su propio nombre con el sencillo “Ya No Somos ni Seremos” en febrero de 2022. Más tarde ese mes fue vocalista destacado en el sencillo de Mana “Te Llore un Rio”. Lanzó el exitoso “Vivo en el 6”, seguido por el alegre mariachi “Forajido EP 1”. En junio, sorprendió a los fanáticos con el lanzamiento del sencillo de rock duro y rap “Girasol”, que sirvió como una canción de disolución hacia J Balvin después de una disputa en las redes sociales (que desde entonces se ha resuelto). Nodal fue presentado como el compañero de dueto de VF7 en el remix de “Pensar a Ti”. El prolífico artista mantuvo su ritmo a través de la primera mitad de 2023, haciendo duetos con Tini en el éxito “Por el Resto de Tu Vida”, que luego apareció en su “Forajido EP 2” en mayo de ese año. “La Intención”, la primera colabor

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