Black Joe Lewis and the Honeybears
Joe Lewis hails from Austin, TX - the collision center where Southern soul meets mid-western blues and vagabond punk. Unable to keep away from the infectious music scene Austin is infamous for, Joe Lewis soaked it all in and soon found himself purchasing his first guitar while working in a pawnshop. The rest is history.
Once compared to the "Godfather of Soul", we hear Black Joe Lewis letting his punk-flag fly on the group's third studio album, Electric Slave. Black Joe Leiws perfected his gritty album shouting and raw guitar riffs, honing his signature sound on the band's upcoming album.
Anderson learned to sing and play guitar at 11 years old. He is the grandson of a southern Baptist preacher while his mother played piano in the church. After spending much of his time touring and engineering records he was discovered by Dave Cobb at the bluebird café His debut album on Low Country Sound / Elektra entitled Delilah was released on July 10th 2015. Before the release East started touring nationally in January 2015 as direct support for Sturgill Simpson. In addition to his own sold out headline shows he has toured with Brandi Carlile, The Lone Bellow, Jason Isbell, and John Butler Trio. "Satisfy Me" was the first single released off the record. It instantly went top 10 viral on spotify and received regular radio airplay. NPR music called Delilah a " …eclectic, fully formed debut album.” Daytrotter wrote "It's one of those 10-song records that's damned near perfect, traveling through the old, smoky bars of older days and down the twisted back roads of love." On July 15th 2015 East made his television debut on Late Night with Seth Meyers and also appeared on CBS This Morning Saturday in support of his album.
Originally from Birmingham, AL, Banditos is a group - more like a gang, actually - of six 20 somethings, nowadays operating out of Nashville, close to, and simultaneously very far away from, the gleaming towers and industry hustle of Lower Broad and Music Row.
With the rugged power of a flashy Super Chief locomotive, the Banditos’s self-titled debut album bodaciously appropriates elements of '60s blues-fused acid rock, ZZ Top's jangly boogie, garage punk scuzz a la Burger Records, the Drive-By Truckers' yawp, the populist choogle of CCR, Slim Harpo's hip shake baby groove, gut bucket Fat Possum hill country mojo and the Georgia Motherf**king Satellites. From backwoods bluegrass, to slinky nods to Muscle Shoals soul and unexpected bits of doo-wop sweetness, the Banditos recall many, but sound like no one but themselves.
The members of the band first met playing in various punk and rock 'n' roll projects around Birmingham at D.I.Y., all-ages venues. In 2010, singer/guitarist Corey Parsons and singer/banjo player Stephen Pierce began busking around town, and were soon asked to perform at their favorite local bar. Without a full band they invited friends Randy Wade (drums), Jeffrey Salter (guitar), and Mary Beth Richardson (vocals) to join them.
Salter and Wade studied together at music school learning classical/jazz techniques, while Richardson’s background was mostly singing in church choirs. After some apprehension from Richardson about taking the stage with an unrehearsed band, a last-minute trip to New Orleans with the group (which resulted in a stolen hotel Bible inscribed with the band’s lyrics) seemed to cure a case of the cold feet. The ensuing performance was raw and electric, and an ecstatic crowd response further cemented the members’ convictions to become a full band. The addition of bassist Danny Vines made the group complete.
The members soon moved into a house together in Birmingham and after repeated tours through Nashville decided to move the band there instead, where the music scene was bigger and more diverse. The sextet has since developed their unique and airtight sound, culminated through several years of enduring friendships and a roaddog touring schedule that has, at their count, numbered over 700 shows in the last three years.
Their selt-titled debut full-length album is layered with as much grime as it is with pinpoint songwriting and feverish technical savvy. Each song wafts new dynamics into a streamlined stylistic roots, punk and rock ‘n’ roll jet stream, the variations heard evidently through the vocal baton passing and wrenching harmonies of Parsons, Richardson, and Pierce. Each vocalist, as with each performer in the band, is given the spotlight during the course of the album's 12 songs. And at its core, Banditos is a unified coalescence of six bright beams of light, a spiritual collaboration between friends with a singular musical vision.
Lost Bayou Ramblers
Lost Bayou Ramblers was formed in 1999 by brothers Andre and Louis Michot, performing the roots Cajun music they learned as members of Les Frères Michot, the family band their father and uncles formed in the 80's. The brothers quickly began playing clubs and festivals around Louisiana, and taking the traditional music they were raised with to new levels of rhythmic energy and spontaneity, producing the punk and psychedelic labels given to the band by reviews over the years.
In 2012, with 5 albums under their belt, including a Grammy Nomination for their 2007 release Live a la Blue Moon, the band released its most progressive and sonically experimental record to date; Mammoth Waltz. With the stylings of producer Korey Richey (LCD Soundsystem, Arcade Fire, Givers) and the help of guest artists Gordon Gano, Scarlett Johansson, and Dr. John, Mammoth Waltz was named #2 in the “Top 21 Louisiana albums of the 21st Century” by Times Picayune, and acted as an invitation for all music lovers to tune in to the hypnotic Cajun rhythms Lost Bayou Ramblers have been known for since their inception in 1999.
Lost Bayou Ramblers’ contribution to the score of Beasts of the Southern Wild in 2012 brought them further international recognition, and continuing performances with Wordless Music Orchestra and score composers Benh Zeiltin and Dan Romer.
2014 brought LBR the support slot on ARCADE FIRE’s REFLEKTOR tour, plus a live feature on World Café, and #1 on “David Dye’s five favorite live music moments in and out of the World Café studio”, as well as the release of Gasa Gasa Live, recorded at New Orleans’ uptown experimental music venue, one of 4 shows that day in the crescent city.
After 17 years of touring, recording, and collaborating and an amazing line-up of musicians including Bryan Webre (electric bass), Johnny Campos (electric guitar) and Kirkland Middleton (drums), the band has continually integrated new sonic elements to its live performances, always experimenting and growing the show to what it's become today, an eclectic mix of modern sounds and rhythms with ancient Cajun melodies and lyrics.
Saint Claude Serenaders
Pat Flory, the elder statesman of the Saint Claude Serenaders, once said it didn’t matter how people labeled his music—as long as they accepted one thing. “I will be country,” he said, “to the bone.” The Serenaders, born after Hurricane Katrina in a bluegrass picking session inside an 8th Ward barroom, are living proof of that today. Led by Flory’s lap-steel sound, and the tight fingerwork of guitarists Geoff Coats and Mike Kerwin, the Serenaders create a unique, toe-tapping sound that’s part country, part Americana and roots—with a distinct Louisiana flavor, born of Flory’s native New Iberia.
That easy southern sound is apparent on the Serenaders’ new EP “Ursulines Nones”—in dancehall numbers like “Milk Cow Blues” and ballads like the wistful “My Louisiana Home.” And it’s that home—Louisiana—more than any one genre, that seems to root the Serenaders, serving as the band’s compass and muse. Their engaging live shows move from country to city, from Honky Tonk to House Party. But whether playing Leadbelly or Longhair or one of their original songs, the Serenaders’ nuanced interpretations and retellings conjure up their home. “Whether we’re playing as a string band on Royal Street or with Telecasters blazing in a local bar,” Flory says, “we want people to feel the soul of Louisiana in the music of the Saint Claude Serenaders.”