Josh Morningstar & The Pickups, Todd Day Wait's Pigpen, Joe's Truck Stop, Billie Gant, The Harold Kennedy Trio, Chris Acker and the Growing Boys, Pat Hu & The Kentucky River Ramblers, Thorn County, Maria Carrelli, Adam Lee, Straw Boss
Thu · April 6, 2017
Doors: 6:00 pm / Show: 7:00 pm
The Southgate House Revival-Sanctuary
$12.00 - $15.00
This event is 18 and over
This event is being held in the SANCTUARY & LOUNGE.
Times subject to change.
7 Adam Lee
8 Thorn County
9 Billie Gant
10 Maria Carrelli
11 Pat Hu & The Kentucky River Ramblers
12 Chris Acker and the Growing Boys
7:30 The Harold Kennedy Trio
8:30 Joe’s Truck Stop
9:30 Todd Day Wait’s Pigpen
10:30 Josh Morningstar & The Pickups
11:30 Straw Boss
Please, put those away.
You can usually find them ripping apart Old Time Appalachian fiddle tunes, paying tribute to their country heroes, and dishing out original songs to the dancing feet in the crowd.
Their unique sound is characterized by traditional vocal harmonies, Bluegrass drive, wild fiddling, hot guitar picking, doghouse slapping, and the Honky Tonk and Swing sounds of old...
Check out new songs from our upcoming record and download our acoustic, Old Time album "Demo Derby" for free at http://joestruckstop.bandcamp.com/.
More about the band: Members of the band are award winning instrumentalists from Bluegrass and Old Time Contests around the country, and the band itself has placed twice in the largest Old Time band contest at the Galax Old Fiddlers' Convention. In our progression from being solely an Appalachian Old Time stringband to an acoustic and electric Country and Blues band, we have played numerous festivals and venues from the Whispering Beard Folk Festival, to the Kennedy Center, to the many stages we've frequented in Boston/New England becoming regulars in the scene. We've shared bills with: JP Harris & the Tough Choices, the Sweetback Sisters, Rachel Brooke, the Ten Foot Polecats, King (Sasquatch) Sickabilly & the Howlin' Moon Boys, Jake & the Burtones and many other acts. We've also appeared on television and radio, including several Boston stations and Rockabilly Worldwide's 24-hr. Rockin' Therapy Radio.
Joe Macheret, the bandleader, has also lent his instrumental skills to folks like Wayne Hancock, the Tillers, Lucky Tubb and the Modern Day Troubadours, the Goddamn Gallows, and many other well known musicians and bands.
Sometime around 1975, in an attempt to create the illusion that it was escaping it’s own “sameness”, the country music industry coined the term “outlaw” and applied it to a group of artists who stood up against the industry’s propensity for creating musical clones…..
Over time, even the term outlaw became a cliché, as the name began to be applied to more and more artists, because it’s use helped to sell records during the late seventies and eighties….However, when I think of “outlaws”, I think of people whose artistry has truly “broken the mold” like Johnny Cash, Gram Parsons, Mickey Newbury, Billy Joe Shaver, Waylon Jennings, and Kris Kristofferson….
To this list, I’d like to add the name of a man whose artistry has, for decades, been known by a cult following, but is only now beginning to gain the wide spread recognition he deserves….That name is Billie Gant……
Born in Cincinnati in 1947, Billie, a somewhat out of control wild child, showed a strong aptitude for performance, especially singing, at an early age…To aid in his development, and channel his energy in a positive direction, his parents enlisted the aid of former vaudevillian, Harris Rosedale, when Billie was age six…Rosedale coached a group of up and coming performers, and Billie remained a part of that group for several years, during which time he developed his skills as a dancer, singer, and entertainer…..
Throughout his teen years, Billy was constantly seeking out any place he could utilize his singing talent, and joined several groups performing numerous genres of music….In his early twenties he began to hit his stride with a unique blend of R&B and country, and in 1977 he formed his own group “Billie Gant and the Vigilantes, which gained a large local following and remained a force in the Ohio, Kentucky, Indiana area until the end of 1995….
During those years he won top honors in The Marlboro Talent Search (1983) and The Salem Spirit Talent Search (1984)…..He also made three appearances on the Wheeling Jamboree, and performed on The Nashville Network’s “You Can Be A Star”…..
Throughout this time Billie’s talent as a songwriter was emerging, and he subsequently recorded several of his originals on his album “Billie Gant and the Vigilantes”….Another song, “Missing Her Missing Home” written and produced by Billie’s friend, Denzil “Dumpy” Rice, who for many years played piano with Lonnie Mack, and had also written the classic “There’s A Honky Tonk Angel Who’ll Take Me Back In”, became a regional chart record for Billie in 1980….Among Billie’s own best known compositions is “Outlaw Country” which he conceived and co-wrote with Dallas Moore….It was later adopted by Sirius Satellite Radio as the theme for it’s “Outlaw Channel” …..
On New Year’s Day 1996, with Billie’s career at an all-time high, he was involved in a car wreck, which left him with a catastrophic head injury….First diagnosed as a concussion, it wasn’t until six months later that Billie and his doctors realized the full extent of his injury….. His progressive memory loss had become so severe that he was unable to continue performing…..
In 2009 he received a “Lifetime Achievement Award” from Cincinnati’s United Local Artist Network (CULAN), but the story doesn’t end there…..
It would be eighteen long years before the fog cleared, but on Apr 17th, 2013 Billie gathered his thoughts, headed out to a local club, and surprised everyone there by taking the stage and singing a rousing rendition of “The Old Man From The Mountain’s Coming Home”…..And come home, he did…..
He resumed writing and wrote two amazing “gunfighter” ballad like songs….The first, “The Ballad Of Reuben Dixon”, was unveiled before an enthusiastic audience in Louisville in September of 2013, and has since been recorded by rising star Joshua Morningstar….The second “There Is No God In Juarez”, floored everyone at The Outlaw Music Association Festival in Altamont, Tennessee the following month….At that same show, Billie engaged the entire crowd with his now epic anthem about the current state of country music….
Since that time neither his pen nor his performance schedule has slowed down…..He penned “The Preacher”, which has already been recorded by both Whey Jennings and Kara Clark, and has toured throughout the U.S. with various artists including, Whey Jennings, and legendary songwriters Tom Ghent, and Chris Gantry…..
When my phone rings at 2 a.m. and Billie’s voice says “I want you to hear a new song”, I know I’m about to hear something fresh and exciting, and not just some re-hash of yesterday’s news….
More than likely it’s his sense of originality and his undying tenacity which earned Billie featured mention in Dr. Neil Hamilton’s book “Outlaws Still At Large, A Saga Of Roots Country Music Since The 1970’s…..the forward for which was written by Shooter Jennings….
“Badass” Billie Gant, the genuine outlaw, is back…….
In the spring of 2013, at the age of 19, Chris forgot to register for classes for spring quarter of his sophomore year of college in Bellingham, WA. Smitten with this mistake, he took off to Denver and decided not to stop there. He did the run around off but mostly on for a few years, usually by his lonesome, picking his guitar on street corners around the States, and sometimes in a cafe or bar if he was asked to. At the suggestion of a pal he crossed paths with in North Carolina, Chris first visited New Orleans in the winter of 2014. Though he had a relatively terrible time, he found himself back there the next winter, and then the fall after that, each time finding more reasons to stay. In October 2015, Chris found his best reason yet in what would become the Growing Boys.
Lap Steel player Nikolai Shveister and Chris met in the spring of 2015 on Royal Street. Nikolai had only been playing lap steel for 3 months but was honing his skills with long nerdy days at home and on the streets. They met back up after a summer away and met bass player Zach Thomas, who had just come from Santa Cruz, California with some mutual friends. Around sunset on a Saturday afternoon busk in the quarter, Craig Judelman appeared on fiddle, having recently escaped an accomplished ten year career in New York playing country, old time and Klezmer music. And so became the Growing Boys, assembled piece by piece, and always working to develop their take on country music and songwriting in the present day, while respecting the place where those classic sounds come from. Chris writes songs with wit and cynicism, simultaneously laughing and crying at the state he’s in. And the Growing Boys laugh and cry with him.
A departure indeed, but that’s something he’s used to. The son of an Air Force officer, Adam Lee spent much of his youth in transit. Music, however, was a constant, and a childhood spent moving state to state, and sometimes country to country, prepared him for a life traveling on the road. “I grew up saying goodbye,” he says, “and it teaches you to appreciate what’s on the horizon.”
Initially writing folk and alt-country, he fronted Kansas City-based Adam Lee & the Dead Horse Sound Company. Their first album ‘Ghostly Fires’ was released in 2008. The band committed to a more traditional country and western sound for their second album, ‘When the Spirits Move Me’ and logged many miles supporting the 2010 release. Lee’s time in the honky tonks paid off; he was nominated for one of Dale Watson’s Ameripolitan Awards and found homes for his country songs in feature films (writer/director Kevin Smith’s Red State and TUSK).
He’d soon found a new home for himself as well — on the Broadway stage. In 2013 he moved to Chicago after being offered a leading role in the Tony Award-winning musical Million Dollar Quartet, under the musical direction of Chuck Mead.
Lee’s wanderlust informed his writing as well, and he soon began crafting songs not tied to a style, but to a feeling. They make up a large portion of the material on ‘Sincerely, Me,’ his first solo album. “I just tried to put the best songs I’d written on the new record, the songs that moved me most, regardless of genre.” In woodshedding the new material he spent much of the past year on the road. He played shows with Frank Turner and Chuck Ragan. He completed his second European tour. He kept writing and soon, he found himself in the open-ended world of Americana.
His mutability is readily apparent throughout ‘Sincerely, Me,’ and he continually plays with genre, style, and influence. ’Sing With Me,’ is a raucous, punk inflected anthem, working to reconcile youthful and rebellious optimism with sobering adult realities. This song leads directly into ‘Patrick’ a fatalistic and tragic tale of two brothers, laid upon a sparse backdrop of Irish-styled fiddle and banjo.
The most country song of the collection, ‘What I Need,’ comes across more tragedy than two step, a deceptively upbeat confessional, uncluttered from all the smoke and neon. Underscored with upright bass and saloon-style piano Lee sings “I’m patient, and I’m thoughtful, and really, really insecure/ but I’ve found ways to make it worse.”
All told, ‘Sincerely, Me’ is a strong and diverse debut, a record reminiscent of a life spent in no one place in particular. Roots-rock songwriter Justin Wells sums up this sentiment. “Somebody’s gonna file this album under Americana, but that's because Adam Lee isn't a genre… it nods at several American musics without knowing the meaning of derivative.” In that context, the album title could be taken a different way. ‘Sincerely, Me’ is Adam Lee at his most honest, his most vulnerable, and ultimately, his most engaged. A restless mind put at ease not by comfort or consistency, but by forward momentum. Adam Lee is heading somewhere, and even if we’re not quite sure of his next stop, we’re happy to come along.
The Southgate House Revival-Sanctuary
111 East 6th Street
Newport, KY, 41071