Instead of riled up and rootsy, the band's debut LP The Brave and the Blue is chilled out, cosmic and expansive, like Sea Change-era Beck or post-Summerteeth Wilco. - Nashville Scene
The bearded Americana bandwagon got crowded, so Belle Adair invented something so fresh it defies categorization…they released a six-song EP and every track unfolds in glorious colors with stellar vocal harmonies. - Relix Magazine
This is Spartan-but-sophisticated pop music grounding itself with acoustic strings, harmonium, pedal steel guitar, and precise harmonies, yet never indulging the clichés of Americana, country rock, or freak folk. Most of the music suits a lazy Sunday morning, but if called upon this group can rock in the manner of The Band and Tom Petty—something involving swirling organ riffs and, again, envy-inducing harmonies. - Black & White (Birmingham, AL)
At its softest (as in the opening track “STN"), the album is comforting, full of deft harmony, wandering melody and ambient noise. At its most upbeat (in the single-worthy “Paris is Free"), it is accomplished acoustic-pop at its best. You’ll hear many of the familiar tropes of Americana here, but never in an obvious or clichéd manner. - Birmingham Weekly
Belle Adair takes the listener into a sonic bubble where the only thing that matters is the noises coming from their instruments. - The Examiner (Atlanta, GA)
Belle Adair on Facebook
In the last decade or so, it's been invigorating to watch new developments in the American Primitive style of acoustic guitar, as it finds new voices and revives its progenitors. By my estimation, enough time has passed since the first and By the Fruits You Shall Know the Roots compilations to influence a younger crop of guitarists. The long-form pastoral works of , the ghostly Appalachian music of and, here, Daniel Bachman's "Copperhead" all find early-twentysomethings furthering and redefining this music. More than his compatriots, Bachman inherits a hefty but important lineage at 22, but it wouldn't be right to mention it until you've heard "Copperhead."
Daniel Bachman on NPR
"The beginning of Embers End. In the summer of 2013, Emily Pate and Bryant
Lovette formed a band. Their idea was to craft catchy indie tunes with heavy
folk leanings. Their tools were their acoustic guitars, their powerful
voices, and their mutual yearning for truth, beauty, and love in music.
Together, they invited John Reardon, Sean McWeeny, Ledah Finck, Vincent
DeSio, and Matthew Kilby to take part in their adventure.
A duo of natural storytellers, Pate and Lovette weave their voices together
with thrilling vibrancy. Reardon compliments the two with a third voice, the
voice of his amber-toned instrument, the cello. Another duo battles to be
heard as McWeeny and Finck speak together through their fiddles. A jazz-head
thrown into a bluegrass setting, DeSio walks a mean bass. As for Kilby,
Embers End marches to the beat of his drumming.
Embers End seeks to breathe life into the folk genre while creating a sound
which can be described as acoustic indie folk. However, each member¹s sonic
inspirations widely differ from classical to hip hop, metal to Mumford &
Sons, the creative backgrounds of Embers End allow for a unique blend, a
unique folk effort. Despite widely varying backgrounds, ambition drives the
group to create a mutual background. Embers End seeks to be the new folk.
Embers End is a group of dreamers desirous of company. Join us and we¹ll
share a dream together."
Embers End on Facebook
In The Showroom
Doors @ 7:00 PM
Show @ 8:00 PM
Raised in the backwoods country of Monroe County, Indiana, Austin Lucas was born into a folk and bluegrass lineage. His father, Bob Lucas, is an accomplished musician and performer in his own right, having earned songwriting credits on two of Allison Krauss’ albums. Learning to harmonize before learning to read, Lucas honed his vocal control as a member of the nationally-acclaimed Indiana University Children’s Choir. In a narrative as well-worn as it is true, Lucas rebelled against his upbringing, leaving his Americana roots for the catharsis of punk rock. After the better part of a decade spent criss-crossing the globe with a series of bands in broken-down vans, Lucas hit a musical glass-ceiling, eventually finding respite for his ringing ears in the delicacy of traditional songcraft.
Singing with the conviction of a preacher bereft of his faith, Lucas tackles recurrent themes of the soul, sin as personal purgatory, and the possibility of finding redemption in this life. The fallacies of man take center stage as the righteous false prophet is denounced as a “hollow vessel with unsteady hands.” Turning the harsh light of hindsight on himself, Lucas addresses the hard lessons learned in the passing of youth, ruminating on the failures and missed opportunities, pledging, “If there’s a light shining/ Point the way there/ A straight way of walking/ I’ll be like an arrow.”
Following his solo debut, The Common Cold (2006), Lucas has steadily built upon his recorded output, releasing Putting The Hammer Down (2007), the Bristle Ridge (2008) collaboration with Chuck Ragan of Hot Water Music, and Somebody Loves You (2009), which debuted at #7 on the Billboard Bluegrass chart. Culminating with his fourth album, A New Home In The Old World (2011), Lucas has consistently evolved and grown as a musician and songwriter, resting on no laurels and developing the songs’ framework further with each successive album.
Having raised his profile on the road with Willie Nelson’s Country Throwdown tour, the troubadour-packed Revival tour, and in support of Pennsylvania’s Langhorne Slim, Lucas has also bolstered his loyal grassroots following with appearances at the Philadelphia Folk Festival, Canada’s Sled Island Festival, Florida’s Harvest of Hope, and a 2011 European tour. Folk music is for the common folk, and Lucas delivers, often ending his shows playing on the floor amidst the crowd. Lucas will tour extensively through 2013, sweeping through Australia in January before heading to SXSW Music Festival in Austin, TX in March, then to Europe in March/April, followed by a US headlining tour with dates to be announced in the coming weeks.
Campfires and Constellations
Founded by guitarists Corey Bax and Charlie Smith in Dunn, NC, C&C has existed in its current lineup since the Spring of 2012. Ernest T picks the banjo and pedal steel, while Stevie Moon and Dangerous Dan fill in on drums and bass, respectively.
In the Showroom
Doors @ 7:00 PM
Show @ 8:00PM
Summer Solstice Sirens of Song
Sarah Shook & the Devil
Sarah Shook is known for scorching country originals, belting out Hank Williams numbers with ease and drinking Kentucky straight bourbon whiskey by the half gallon. Jon Baughman has become a force to be reckoned with when he slaps that 1964 Kay bass and clicks them strings til you just can't take the heat. Eric Peterson's guitar and Phil Sullivan's lap steel harmonies are so tight they ain't got an inch of daylight betwixt 'em.
Son, if you like smokin’ vocals, savory lap steel, badass bass and come-on-back-y’all geetar you'll be so damn pleased you'd sell your soul just to hear a hair more.
Based in Brooklyn, Diana Potakh and Holly Overton, formerly of American Sun, felt the urgency to create music experimenting with their obsession with early country music like Loretta Lynn and Waylon Jennings. At a sunny Summer beach gathering, they asked bass playing friend Andrew McNey, formerly of The K-Holes, to join in. Kevin Faulkner, of The Men, maximizes the experience with eerie and beautiful lap steel licks. They love to tour because of the wonderful people they meet along the way.
Mary Johnson Rockers
Mary Johnson Rockers is her name, not a band. But with the Spark behind her, she delivers “great, roving Americana with pipes to spare,” ranging from soft twang with impeccable harmonies to driving rock rhythms full of late-night swagger. Their 2011 release Hummingbird Heart gained them traction, dubbed “a triumph,” full of “catchy, well-written and eclectic” songs (Chris Parker, Independent Weekly) together with a score of solid performances throughout their local NC Piedmont. Mary is joined by longtime friend and vocalist Miriam Chicurel-Bayard, contributing songwriter Jim Kremidas on vocals, guitar, pedal steel, and dobro, bassist FJ Ventre (Swang Brothers, Jon Shain, The Stars Explode, Tom Maxwell) and percussionist Robert Cantrell (Hobex, Tim Smith Band, Greg Humphreys, Samba Jovem).
$8 advance / $10 day-of
In the Showroom
Death to False Hope Fest III
Advance tickets are limited and going fast for the badassedest punkfest north of Florida. All the cool kids will be here:
Death to False Hope Fest III on Facebook
In the Showroom & Garage Bar.
Doors @ 1:30 PM
Show @ 2:00 PM
Drop by Motorco to buy advance tickets and save the service charge!