Small Markets; Big Impact: 10 Commandments Of Small Market Success
Christine Collins
In an era dominated by global streaming giants and blockbuster tours, it’s easy to overlook the seemingly humble origins of today’s biggest musical successes. Yet, the truth is clear: small markets are the lifeblood of the music industry, the fertile ground where loyal fan bases are cultivated, unique brands are built, and future legends are born.
From indie artists playing to intimate hometown crowds to niche genres thriving on the outskirts of mainstream appeal, small markets offer more than just starting points— they provide a blueprint for sustained growth and profitability. In these close-knit ecosystems, artists can nurture deeper connections with their audience, turning casual listeners into lifelong fans. These loyal supporters aren’t just listeners; they’re ambassadors, spreading music far beyond its initial reach.
And here’s the magic: small markets often yield larger profitability margins. With lower overheads and more targeted outreach, every ticket sold, every album bought, and every piece of merch worn has an amplified impact. When artists prioritize these niche markets, they’re not just generating revenue—they’re laying the foundation for exponential growth. Many of today’s household names started in small, focused circles, using grassroots strategies to springboard into global recognition.
This isn’t just about economics; it’s about building a community. A fanbase forged in the intimacy of a local market will follow artists to the farthest corners of their career, creating a brand loyalty that money alone can’t buy. When scaled, this loyalty becomes the backbone of sold-out arenas, chart-topping records, and enduring cultural impact.
Small markets aren’t just a stepping stone—they’re the foundation of a
Christine Collins is a 23 year veteran music industry professional specializing in venue management, branding, marketing and public relations. She currently resides in northern New York, and hosts the “Who is Christine Anyway?” podcast, and works as an author, publicist, and marketing strategist in music. Her origin story begins in the modest walls of the Saranac Lake Youth Center, and has led her to work amongst the nations top artists, venues, and brands.
thriving music career. To truly understand the future of the music industry, we must first look to its roots in these vibrant, passionate pockets of fandom. Because, as history proves, big dreams always start small.
Northern New York, with its vast landscapes and tight-knit communities, has long been a cradle for musical talent, proving that humble beginnings can lead to extraordinary success. Take Grace Potter, who grew up in Vermont near the Adirondack border. Her initial performances in smalltown venues like Burlington’s Higher Ground showcased her raw talent and cultivated a fiercely loyal local fan base before she exploded onto the national stage with her band, Grace Potter and the Nocturnals. Similarly, Lana Del Rey, raised in Lake Placid, began her journey under the pseudonym May Jailer, recording early works that captured the melancholy beauty of the Adirondacks. These small-market roots provided a fertile testing ground for her unique sound, which later found massive success worldwide.
Musicians in Northern New York harness the intimacy of their local scenes, performing in hometown bars, community festivals, and small theaters, where personal connections with audiences transform casual listen-
ers into devoted fans. This organic growth, fueled by word-of-mouth and genuine support, creates a foundation that’s both sturdy and scalable, proving that even the smallest markets can launch careers of monumental proportions.
Breaking a small-market band or brand into larger markets and fanbases requires strategic planning, relentless effort, and a balance between authenticity and scalability. The transition is a multi-step process that involves expanding reach while maintaining the intimacy that originally captivated fans. Here are the 10 commandments of small markets:
1. Know Thy Audience
Understand the unique needs, preferences, and culture of your small market. Build genuine connections by catering directly to them.
2. Honor Thy Community Engage deeply with the local scene. Support other local artists, businesses, and causes to foster goodwill and collaboration.
3. Perfect Thy Craft
Use the intimacy of the small market to refine your skills. Deliver highquality performances or products that resonate deeply.
4. Stay Authentic
Be yourself and stay true to your val-
ues. Small markets value authenticity and personal connections over mass appeal.
5. Build Loyal Tribes
Turn casual supporters into passionate advocates by creating meaningful, memorable experiences for them to share.
6. Collaborate, Not Compete
Work with other local talent to grow together. Shared audiences and crosspromotions strengthen everyone involved.
7. Leverage Thy Digital Tools
Expand your reach beyond the local area by maximizing social media, streaming platforms, and email marketing, while keeping a local focus.
8. Deliver Consistency
Whether it’s regular shows, timely product releases, or engaging content, consistency builds trust and loyalty.
9. Embrace Thy Roots
Use your small market identity as a strength, incorporating local culture and pride into your brand story.
10. Dream Big, Start Small
Set ambitious goals, but focus on achieving them step by step. Small markets are stepping stones to larger successes.
By following these commandments, thriving in a small market becomes not only achievable but also a powerful foundation for future growth. Embracing the opportunities these small markets provide, musicians tap into a wellspring of loyalty and creativity that can propel them far beyond the borders of Northern New York. In an industry where authenticity and connection often outweigh flash and mass appeal, small markets prove time and again to be indispensable in shaping the future of music.
Christine Collins
Published by Fourth Coast Entertainment
Address: 520 Old Route 11 Canton, NY 13617
Phone: (315) 854-3119
E-Mail: upnorthmonthly@gmail.com
Website: www.upnorthmagazine.com
Publisher/Editor/Advertising/Distribution/Marketing: Michael R. Scriminger
Layout/Graphic Design: Bill Kelley
Contributors: John Berbrich, Bill Baker, Christine Collins
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Poetry
“Sensations”
By James Oliver Ryan
We have sensations in many ways In our body and mind Sensations are feelings with much To say February’s time is where sensations Will play
Nature is with us Making us Sensations In Nature’s Game
May the Sensation of Friendship Be with You in all Your Days !!!
JCC Accepting Black River Review Submissions Through February 14
Jefferson Community College (JCC) is accepting submissions from alumni, Jefferson students (full and part-time), faculty and staff for the 2025 edition of the Black River Review. The Black River Review is a journal of poetry, prose and fine arts. The deadline for Volume XXXV is February 14, 2025. Cash awards for outstanding work will be awarded. Submissions should be original work and categorized as one of the following:
A. Poetry: up to 7 poems, not to exceed 50 lines each;
B. Fiction: up to 2 short stories, not to exceed 1500 words each;
C. Non-fiction: up to 2 essays, not to exceed 1500 words each;
D. Plays: up to 2 one-act plays, not to exceed 1500 words each;
E. Artwork: up to 4 pieces in the original medium (for example- black ink or charcoal drawing, computer graphics, black and white digital photographs with 300 dpi resolution minimum or 4”x5” even if printed from color film);
F. Music: up to two compositions, 16 or more measures in length.
The title of the submission, category of work, author’s name, address, telephone number and a brief biographical note (30 words or fewer) must appear on a separate cover sheet; only the title should appear on the manuscript.
Original written work, musical compositions, and artwork may be submitted by email to: blackriverreview@
sunyjefferson.edu; by mail to Jefferson Community College, Attention: Mike Avery (for written work and compositions) or Erin Kuhn (for artwork), 1220 Coffeen Street, Watertown, NY 13601; or in person by visiting the English Department, Room 6-202.
For more information, visit www.sunyjefferson.edu or call the JCC English Department at (315) 786-2328.
About Jefferson Community College
Established on November 7, 1961, Jefferson Community College was the area’s first institution of higher education. Supervised by the State University of New York (SUNY), Jefferson offers 50+ associate degrees, certificates and microcredentials for career preparation or transfer; local access to bachelor’s and advanced degrees through partner institutions; lifelong learning through workshops and seminars; business and industry training; and provides community-based research and a forum for the productive discussion of ideas and issues of significance to the community through the Center for Community Studies. Jefferson is accredited by the Middle States Association and currently serves approximately 2,500 students, including a significant number of service members and their families. Please visit www.sunyjefferson.edu/about for more information.
SUNY Potsdam’s Crane School Of Music Launches New, Non-Audition Bachelor Of Science Degree In Music Business
POTSDAM,
NY (01/22/2025) SUNY
Potsdam’s Crane School of Music is proud to announce a new Bachelor of Science degree track for its rigorous program in music business. This non-audition program offers flexibility for students demonstrating musicality in a range of instruments and styles, and is designed to provide additional options beyond Crane’s longstanding Bachelor of Music degree in the same field.
“The Bachelor of Science degree in music business is The Crane School of Music’s first non-auditioned undergraduate program. While students still need to show musicality, they will be doing so beyond the restrictions of our traditional audition process, which is limited, most notably, to 20 specific instruments. Along with the recent addition of the laptop as a primary instrument for students in the Bachelor of Arts degree program in music, this is a significant step for us, an opportunity to invite in students who might otherwise not see themselves as Crane students,” said Crane School of Music Interim Dean Dr. David Heuser.
The revised B.S. in music business program provides a flexible, accessible option for students interested in pursuing a career in the music business industry, without the formal audition and studio lesson requirements of the Bachelor of Music degree. This degree is designed to support students who wish to explore the music industry from a broad perspective.
“The B.S. in music business at SUNY Potsdam provides a flexible pathway for students passionate about the music industry. With a focus on music, business and entrepreneurship, the program is designed for those interested in nontraditional instruments and genres. We welcome creative students who want to make an impact in both behind-the-scenes roles, on-stage, and in emerging fields,” said Crane School of Music Assistant Professor Dr. Tim Yip, coordinator of the program.
By removing the need for a formal performance audition, the program invites into Crane a wide range of musicians, including electric guitarists, self-taught singer-songwriters, and laptop beat-makers.
The curriculum also offers flexibility in selecting music history courses, and there are fewer music theory and ensemble requirements compared to the Bachelor of Music degree. By reducing ensemble requirements and eliminating studio lessons for the new track, the B.S. program allows students to focus on areas directly related to their career interests.
Students in both versions of the major are required to obtain practical experience in their chosen field through two internships. The Crane Institute for Music Business and Entrepreneurship helps to connect students with internship opportunities in the music products field, arts administration, the recording industry and at the annual NAMM Show.
The music business B.S. program prepares students for employment in music, music business, and business fields, such as the music products industry, the recording industry, arts administrative positions, and entertainment law, among others. The degree combines instruction in foundational music skills, with flexible options within music study, music business specific courses, along with coursework in business through the Department of Business Administration. The degree provides students with both musical skills and knowledge, along with an up-to-date understanding of, and hands-on experiences in, the music industry.
Applications are now open for the new program. To learn more and apply, visit www.potsdam.edu/apply.
About The Crane School of Music:
Founded in 1886, SUNY Potsdam’s Crane School of Music has a long legacy of excellence in music education and performance. Life at Crane includes an incredible array of more than 300 recitals, lectures and concerts presented by faculty, students
and guests each year. The Crane School of Music is the State University of New York’s only All-Steinway institution and was one of the first Yamaha Institutions of Excellence. For more information, please visit
www.potsdam.edu/crane. View Online : http://potsdam. meritpages.com/news/craneschool-of-music-launches-newbachelor-of-science-degree-trackin-music-business/48376
Jorge Hernandez ‘25, a music business major at The Crane School of Music, works in the Recording Studio at SUNY Potsdam’s Performing Arts Center during the Fall 2024 semester. Crane now offers a Bachelor of Science degree track in the field.
Holland Goddard ‘25 restocks music books at Brick & Mortar Music in downtown Potsdam. The part-time job has dovetailed perfectly with her music business courses at The Crane School of Music. Crane’s new Bachelor of Science degree in the field will open up a flexible, non-audition version of the major.
Vatressa Teamoh ‘25, a music business major, adjusts a microphone for Dr. Tim Yip while working in the Recording Studio at SUNY Potsdam’s Performing Arts Center. Dr. Yip is the coordinator of the program, which now offers two tracks -- the Bachelor of Music (B.M.) and the Bachelor of Science (B.M.).
Tribute To John Sykes
---Bill Baker
Unfortunately, this month is more of a tribute to a music icon rather than a review of a new album. Most of us never attain stardom in our selected fields. We are not famous actors, sports legends or world figures. However, the musicians that we may favor tend to leave a special place in our existence. They don’t have to be household names. We allow them into our private space to entertain us and in turn they give us a listening experience that caters to each individual personal taste.
John Sykes was one of those unsung heroes. Many knew or heard of his many talents as phenomenal guitar player, vocalist and song writer. Others would probably not recognize his name but would recall the voice or songs he wrote. Through his forty plus years in the music business he amassed a catalogue of music releases that fans have enjoyed.
I was fortunate to see John Sykes perform twice. Once with Whitesnake at the Syracuse War Memorial and the other in an intimate setting in a small club in Rochester. Sykes and Thin Lizzy alumni guitarist Scott Gorham and drummer
Brian Downey performed a trib-
ute to Phil Lynott and Thin Lizzy. His talents and stage persona were highlights in every performance. The leads and rhythm cords always flowed effortlessly from within him through his 1978 Gibson Les Paul Custom Guitar. His vocal range and strong harmonic qualities raised the bar for each and every band he was associated with. In 2004 Sykes was acknowledged in two prestigious music publications. He was included on Guitar World’s list of the 100 Greatest Heavy Metal Guitarist of All Time and on Guitar Player’s list of 50
Unsung Heros of the Guitar. He was considered one of the quintessential hard rock guitarists of the 80’s.
John Sykes introduction to mainstream rock n roll was with the Tygers of Pan Tang in the early Eighties. He recorded three albums with them, Spellbound, Crazy Nights and The Cage. Thin Lizzy was the next steppingstone. The twin guitars of Sykes and Gorham gave the band a heavier sound on 1983’s Thunder and Lighting and Life/Live.
The English guitarist was best known as a member of Whitesnake. His guitar work was featured in 1984’s Slide It In and 1987’s self-titled Whitesnake. Along
with vocalist David Coverdale, John Sykes co-wrote nine of the eleven tracks on the project. The album reached Number 2 on Billboard’s Top 200 Chart, selling over eight million copies.
Following Whitesnake John Sykes formed Blue Murder. The seasoned lineup was regarded as a super group, with bassist Tony Franklin and Carmine Appice on drums. Their self-titled debut was released in 1989, reaching Gold status, peaking at number 69 on the Billboard Charts, selling over five hundred thousand units. I personally feel their debut was a ten out of ten. It still stands the test of time.
John Sykes talents are on full display. The album showcases his talented guitar playing with fast alternate picking, use of pinch harmonics and sense of melody that only a few attainted in their field. Two other albums followed,
Nothin But Trouble and Screaming Blue Murder. From 1995 until 2004 Sykes released 5 solo albums, Out Of My Tree / Loveland / 20th Century / Nuclear Cowboy and Bad Boy Live. All great albums. John Sykes passed away after a courageous battle with cancer in January of 2025. He was an extraordinary musician. One that will live on in his music. As his website so eloquently stated “The light of his memory will extinguish the shadow of his absence” As always, if you like what I like, you should take a test drive with the John Sykes entire catalog available on CD, Download or your favorite Streaming Device. Check out several videos available on You Tube.
Check out our concert images and more at www.stagedoorimages.com as well as the Stage Door Image Facebook Page
1959-2025
The Cabin Must Have Been Jumping
Steppenwolf was an unusual band in the late 1960s. They played hard rock, “Heavy Metal Thunder” they called it in their earlier hit, “Born to be Wild,” but that wasn’t unusual. What was different was the politically aware sensibility of lyricist John Kay, & his firm stance against hard drugs. The band was big on FM radio for a few years & scored w/ a string of hard-rock hits. They released their cryptically titled album “Steppenwolf the Second” in late 1968. It’s steel-edged metal w/ smart lyrics by John Kay, lead vocalist & primary lyricist.
John Kay is an interesting character. He’s been legally blind since childhood, which explains why he’s almost always photographed wearing shades. Steppenwolf’s vocalist & primary songwriter, he was born in East Germany during World War Two &, escaping Communist rule, fled to West Germany w/ his mother when the war ended. Ten years later, they moved to Canada, then Buffalo, & settled finally in Santa Monica, California. Kay sings w/ a gruff, authoritative voice that puts up w/ no nonsense. He plays a bit of guitar, but leaves the intricate lead work to Michael Monarch. Monarch was the lead axe-man on the first three Steppenwolf albums. I think he’s one of the great guitar players, innovative & vibrant, able to incorporate violent discord into a musical context. Basically, he plays like a madman swinging a sledgehammer in a junkyard. And it’s perfect. And I think Goldy McJohn is one of the great rock organists. His style is surging & choppy, either setting a mood or leading the charge. Rushton Moreve on bass & Jerry Edmonton on drums round out the band. When these guys play, it’s strong yet unostentatious, & is always right where it need to be. So let’s get down w/ the record.
Mars Bonfire wrote their biker classic, “Born to be Wild,” from the first album, & he wrote the first song on their second, “Faster than the Speed of Life.” It’s about catching the experience of your life before it’s gone, & also persuading a young woman to
break free of her chains of inhibition & come to the singer, arms open.
Next up is “Tighten up Your Wig,” a John Kay tune w/ a tough sound, in which he seems to be trying to raise the consciousness of some girl: “If you fell on a pin, well, you’d be blind in both eyes.”
“None of Your Doing,” was written by John Kay & producer Gabriel Mekler. It’s a bittersweet one: “It was so easy to believe that all is well/ They always catch the thieves.” Gaining valuable experience hurts.
In “Spiritual Fantasy,” also penned by Kay, people search for wisdom & spiritual enlightenment. But alas, many are misled by charlatans. “But the wise men came together with the hope to free mankind/ Of the rubbish that had gathered in God’s name/ To embrace and trust each other in the search for the supreme/ And they found that all their teachings were the same.” And then everyone gets along just fine. Which accounts for the “Fantasy” in the song’s title.
Side One ends w/ another song by Kay, “Don’t Step on the Grass, Sam,” a sly request to Uncle Sam to stop the madness. It’s a pro-marijuana song, which ends w/ a police raid on a house, people screaming, rights being read, followed by a harsh knock on the bathroom door. A woman shrieks & the last thing we here is the toilet flushing. A common occurrence.
Side Two kicks off w/ “28,” written by Gabriel Mekler. It’s the girlfriend’s 28th birthday, & the boyfriend wants to party.
Then comes their monster hit, “Magic Carpet Ride,” a John KayRushton Moreve number. Again the singer is trying to seduce a girl. The song includes a fairly lengthy instrumental section composed of psychedelic guitar, embellished w/ plenty of effects, & wave after wave of McJohn’s oceanic organ.
The album ends w/ five songs that are kind of mashed together. They tell a coherent story. Here are the individual titles: “Disappointment Number (Unknown),” “Lost and Found by Trial and Error,” “Hodge, Podge, Strained through a Leslie,” “Resurrection,” &
“Reflections,” all written by John Kay although Mekler helps out in the final section. In the story, the singer is angry w/ the girlfriend for leaving. He picks up someone else, & he’s surprised when it all seems to work out. The music speeds up & gets wilder & wilder—my impression is that he’s in a nightclub getting sickeningly drunk. The whole shebang ends w/ the pretty little “Reflections,” Kay singing gently w/ achingly beautiful harpsichord accompaniment: “I awoke on the morn-
ing after/ While the sun was rising through her hair/ Then my world, it was filled with golden laughter/ When my heart told me that some love still lives there.”
It’s a kind of sweet ending to a wild weekend. There’s plenty of variety in this album. It’s a good idea to listen to the entire thing, in order, several times, to get the full effect. No one sounds like John Kay.
---John Berbrich
Musicians Invited To “Cabin Fever” Open Mic Event Sponsored By Lyme Performing
Musicians of all ages and skill levels are invited to take part in the Lyme Performing Arts Council’s “Cabin Fever” open mic event on Sunday, Feb. 23 from noon to 5 pm at The Crescent Restaurant & Bar, 12260 State Rt. 12E, Chaumont. The event is presented by LPAC as a fundraiser to support its mission of bringing free live music to the community throughout the year. Admission is free and donations are welcome.
Amateur and professional musicians alike are invited to come and
perform in front of a supportive audience in a relaxed atmosphere. Solo and duo performers and young musicians are especially encouraged to attend.
The event will be hosted by blues musician Tas Cru, an international touring artist and resident of Chaumont. Food and drink will be available for purchase and raffles will be held.
The non-profit Lyme Performing Arts Council (LPAC) is dedicated to providing live performances by
Arts Council
skilled artists for the residents, both permanent and seasonal, of the Town of Lyme and surrounding communities at no cost to the public. LPACsponsored events include the “Monday Music on the Lake” summer concert series; its annual BBQ ‘n’ Blues event; a “Summer Send-Off” concert in October; and an open-mic jam in the spring and fall.
For more information, visit the Lyme Performing Arts Council on Facebook.
Twangtown Paramours In Concert At Pickens Hall
Saturday, February 8 At 7pm 83 State Street Heuvelton New York 315.344.7950
The Twangtown Paramours are an award-winning husband and wife Soulful Folk duo from Nashville. They are three time Kerrville finalists and and winners of Texas’s Wildflower Contest. Lead singer, MaryBeth Zamer used to sing background vocals for Eva Cassidy. Writer, producer, and guitar player, Mike Lewis is the author of a #1 platinum sell -
ing hit in Korea. The last Twangtown Paramours album was #11 on the UK blues charts. The newest Twangtown Paramours album was released to US and UK radio stations and to the public on January 3. Their last Folk album was #2 on the FAI Folk DJ Chart.
Tickets are $15 at the door or online
Your donations help offset the expenses associated with these jams. Thank you!
SUDOKU
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Cascade Diner
News FromThe Tas Cru World
New Studio Projects
As you would guess, I love studio recording projects and I‘m happy to say I have three in the works! First off is “Deja Blu” – a single to be released as digital only this coming March. Of course, it will be sold as a download and distributed to streaming services, but here’s the good news – it will be free to you my loyal subscribers! Details soon to come about how you can get your free download. Also on tap is a new album by my longtime bandmate, Mia (aka Mary Ann Casale). The songs for her all-original album are ready to go and we will be hitting the record button at Subcat Studios in Syracuse,NY in just a couple of weeks. Mia’s yet-to-be-named album will be released later this year. I am thrilled to be producing the project as well as contributing guitar and vocals. All songs are Mia’s, with one written by yours truly! Last but not lost and simmering in the pot is my 2025 album that will be called “Takin’ a Nasty Turn.” The concept for this project comes out of observing my live audience’s enthusiasm and excitement for my most raw-edgd stuff. In the smaller, intimate clubs when things start to wind down, I’ll ask the audience what they want – something soulful and sweet or something just plain nasty. Nasty wins evey time! So . . . that’s what I’ll be doing – takin’ a nasty turn!
Update: Anne Bello Productions
Anne has been doing a fantastic job looking after my music publishing and distribution as well as helping manage key aspects of my website and social media. She has been very helpful with promoting tours and individual shows. Now, she is taking on even more responsibility! I am pleased to formally announce that Anne will be taking a leading role in booking. While I will continue to work directly with buyers with whom I have establish long relationships, Anne will be assisting with finalizing contracts and related details in addition to exploring new performance opportunities.
Thanks Anne! https://annebelloproductions.com/tas-cru/
Tours: Up Next - Europe
The band is currently gearing up for its four-week tour in Northern Europe starting March 4th. What’s exciting about this, my 3rd time across the big pond, is that I am taking the whole band! Lots of new venues have been booked as well as return engagements and we will be visiting some new countries.
2024 Highlights
Tas Cru Band Live Album – Recorded in Fall of ’23, the album officially released almost a year later this past September. Throughout the summer the touring band (Mia CasaLe, Tom Terry, Phil Dorio and Scott Ebner,) who all played on this album, performed these songs as the centerpiece of our festival set. Available on vinyl, cd, download and on line services. Get it direct from my website. Check it out here: https://li.sten.to/tas-cruband-live
Two Florida Tours - Bookending the year were two runs to Florida, one in March and then in December.
Both were with the current touring band – Mia, Tom, and Phil . We were joined for a few gigs by keyboard whiz “Detroit Mike” Hepner. In December Rich Abriss flew in to play with us at Boca Raton’s Funky Biscuit. The band debuted the new LIVE album on the March tour and when we hit those stages in December,we had those tunes super smokin’!
Desert West Tour – October/November found us roaming around the great Southwest. Things kicked off in Omaha at a wonderful new venue, Barnado before we headed across the Rockies to play the inaugural So. Utah Blues Fest at the Tuacahn Ampitheater. This stunning canyon venue, (simiilar to the famed Red Rocks) is a beautiful, top-shelf venue. It was great to rendezvous with longtime friends Dick Earl and Alice Ericksen with whom I did several music collaborations from 1999 to 2019. What followed were gigs at some really great venues from Las Vegas to Tucson and everywhere in between.
Donate to Life – The band was honored to return for the 4th consecutive year to perform in Bolton Lake CT’s annual Donate to Life fundraiser/ Party. Our hosts, Chuck and Laurie DiMauro put on a first-rate event to raise awareness and encourage folks to become organ donors and save lives! We look forward to our return for a 5th year this coming August. Acoustic Duo Residencies - Mia and I thoroughly enjoyed playing our acoustic shows (Eclipse: the Tas Cru & Mia Casale Acoustic Reverie). We did two venue residencies during the summer months – a weekly evening at my favorite hometown venue, The Crescent and a monthly at the acclaimed NYS Finger Lakes venue, Fanatics Pub. It was so much fun to play these gigs, exploring a wider repetoire and way to “woodshed” the new songs for Mia’s new album. In October, Mia and I were guests of the Blues, Jazz & Folk Music Society of the Mid-Ohio Valley for a week-long stint performing school programs for middle school kids in and around Marietta, OH and across the river in West Virginia. We performed “Blues 101” programs in ten different schools. In the WV schools we closed with a rendition of John Denver’s hit “Take Me Home Country Roads” (not blues for sure) after discvovering that the song is like a state-wide anthem that every kid grows up learning. It was so cool to hear and watch four hundred kids gleefully singing along. It felt so good to see these kids so happy!
Media Features It was nice to read so many great reviews of the Tas Cru Band LIVE album in national and international media. I am especially thankful for feature articles in the widely distributed Dutch publication,” Blueskrant” and Mark Thompson’s great write up in USA’s “Blues Blast.”
The Oak Ridge Boys Announce New Dates On Extended Farewell Tour
NASHVILLE, Tenn. - GRAMMY®
Award winners and Country Music Hall of Fame inductees The Oak Ridge Boys are thrilled to announce additional dates for their extended American Made Farewell Tour. The tour, named after one of their most beloved hits, celebrates their decades-long career and supports their latest album, Mama’s Boys, which was released in November of last year via Lightning Rod/Thirty Tigers. Known for their timeless harmonies and captivating performances, the group is taking this opportunity to say thank you to all their fans and friends for their love and support.
Despite the farewell tour, The Oak Ridge Boys aren’t slowing down completely as they plan to head back into the studio later this year to record a new album, continuing their legacy of creating music that resonates with fans old and new.
“We’ve had so much fun touring from city to city and getting to see everyone,” shares William Lee Golden. “The response we received from the new album has been wonderful and we hope you love it as much as we do. Keep checking our website as new dates will be added soon!”
To listen/download/stream: orcd.co/mamasboys.
Mama’s Boys, the Oak Ridge Boys’ fifth collaboration with GRAMMY-
winning producer Dave Cobb, was recorded at the iconic RCA Studio A and Blackbird Studios in Nashville. Leading up to its release, the group built anticipation with standout singles like the heartfelt “I Thought About You, Lord” featuring Willie Nelson, the soulful “Come On Home,” and the nostalgic “That’s The Way Mama Made It.” The album also marks a special milestone as the first to feature Ben James as tenor. Since joining the group over a year ago, Ben has captured the hearts of Oak Ridge Boys’ fans.
The Oak Ridge Boys have received four Academy of Country Music, two American Music, five Billboard, four Country Music Association, five Grammy, and twelve Gospel Music Association Dove awards, to name a few. They are members of the Grand Ole Opry, the Gospel Music Hall of Fame, the Vocal Group Hall of Fame, and the Country Music Hall of Fame. They have achieved seventeen #1 hits, including “Leaving Louisiana In The Broad Daylight,” “Bobbie Sue,” “Trying To Love Two Women,” “(I’m Settin’) Fancy Free,” “American Made,” and the unforgettable “Elvira.” With an astounding thirty-seven Top 20 country hits, with twelve gold, three platinum, and one double-platinum album, The Oak Ridge Boys have long made their mark in every facet of the gos-
pel, pop, and country music industry.
The Oak Ridge Boys American Made Farewell Tour Dates Include:
FEB 28 - Grand Ole Opry / Nashville, Tenn.
MAR 01 - Grand Ole Opry / Nashville, Tenn.
MAR 06 - Florida Strawberry Festival / Plant City, Fla.
MAR 07 - Spartanburg Memorial Auditorium / Spartanburg, S.C.
MAR 21 - The Midland Theatre / Newark, Ohio
MAR 22 - American Music Theatre / Lancaster, Pa.
MAR 23 - American Music Theatre / Lancaster, Pa.
MAY 18 - The Caverns / Pelham, Tenn.
JUN 05 - Bluegate Performing Arts Center / Shipshewana, Ind.
JUN 06 - Bluegate Performing Arts Center / Shipshewana, Ind.
JUN 07 - Renfro Valley - The New Barn Theater / Mount Vernon, Ky.
JUN 13 - Hartville Kitchen / Hartville, Ohio
JUN 14 - Hartville Kitchen / Hartville, Ohio
AUG 05 - Warren County Fair / Pittsfield, Pa.
AUG 15 - Fairbury Fair / Fairbury, Ill.
SEP 13 - Alabama Theatre / North Myrtle Beach, S.C.
SEP 21 - Bloomsburg Fair / Bloomsburg, Pa.
DEC 13 - Crystal Grand Music Theatre / Wisconsin Dells, Wis. About The Oak Ridge Boys: The Oak Ridge Boys have sold over 41 million units worldwide and are synonymous with “America, apple pie, baseball, and country music.” In addition to their awards and accolades in the country music field, the Oaks have garnered five GRAMMY® Awards, nine GMA DOVE Awards, and two American Music Awards. The group—Duane Allen, Joe Bonsall, William Lee Golden, and Richard Sterban— was inducted into the prestigious Country Music Hall of Fame (2015 Inductees) and the Grand Ole Opry (since 2011)—and is known worldwide as one of recording history’s most extraordinary musical successes. They have charted single after single and album after album, celebrating two double-platinum albums and more than 30 Top 10 hits, including No. 1 chart-toppers “Elvira,” “Bobbie Sue,” “Thank God For Kids,” “American Made,” and “Y’All Come Back Saloon,” among dozens more. Ben James replaced Joe Bonsall, who passed away on July 9, 2024. For more information on The Oak Ridge Boys and their 2025 tour, please visit oakridgeboys.com.
