Tag: Artists

NEW CLIENT ALERT and some press just out today!

my live music love story

Escaping Gravity: The HawtThorns Elevate Their Sound with ‘Zero Gravity’

n this interview, The HawtThorns opened up about their creative process, the influences behind their distinct sound, and the collaborative spirit that shaped Zero Gravity into a masterpiece of modern music storytelling.

ByTara Low for Guitar Girl Magazine

May 6, 2024

woman standing next to chaise with man sitting on the chaise
Photo by Stacy Huckebae

The HawtThorns have emerged with their latest sonic adventure, Zero Gravityseamlessly blending indie-pop, alt-country, and rockReleased by Red Parlor Records, this album marks a pivotal evolution for the Nashville-based duo, KP and Johnny Hawthorn, whose roots in LA’s vibrant music scene have seasoned them into deft storytellers and musicians. As they dive into their third album, the couple continues to blur the lines between genres, crafting tracks that resonate deeply with personal experiences and abstract storytelling, all while pushing the boundaries of traditional soundscapes.

Zero Gravity is not just a title but a thematic exploration of weightlessness — both in the literal sense and metaphorically through life’s transient and ephemeral moments. This concept, which blossomed post-recording, encapsulates the album’s ethereal and dynamic nature. With the addition of live band recordings directly to 2-inch tape, the album exudes a raw, vibrant energy that is both nostalgic and refreshingly new. The decision to record without a metronome, relying on the organic synchronicity of the band, infuses each track with a palpable spontaneity that is rare in today’s digital world. In this interview, The HawtThorns opened up about their creative process, the influences behind their distinct sound, and the collaborative spirit that shaped Zero Gravity into a masterpiece of modern music storytelling.

man holding guitar and woman leaning against wall
The HawtThorns – Johnny with his Xotic XTC1 and KP – Photo by Alysse Gafkjen

Zero Gravity seems like a metaphorical title with deep resonance. Can you share what inspired this title and how it relates to the themes explored in the album? How has your approach to creating music evolved with this third album compared to your previous works?

The concept for Zero Gravity was adapted after the record was recorded. As much as we loved the song “Zero Gravity,” we didn’t know going in its potential for being such a strong recording. We realized we had something personal, fun, exciting, and a little ethereal and decided to make the title track video a very “spacey” vibe. We had original artwork for the record that had nothing to do with the video, but quickly decided to scratch that and lean into what we had created visually. The screen shots from the video that make up the artwork for the album help to tell the story and create a narrative and a feel for the music. This is the first record we have made with a live band recording to tape with no metronome, and it was invigorating!

You recorded the album in Nashville with some notable musicians. Share with us the details! I understand that the vocals and instruments were recorded live directly to 2-inch tape. How did this affect the overall sound and feel of the album?

Making this record at The Wood Brothers’ studio with Brook Sutton behind the board and Ted Pecchio at the helm was pretty joyful. Ted was able to round up this fantastic band, including Nick Buda on drums, Jano Rix of the Woods on keys, and some additional guitar by Chris Condon. When we originally talked with Ted about what we wanted the record to sound like, he knew who to call.

To be able to get live performances by these players straight to 2-inch tape without a click track gave the record such a lively feel from the beginning. Even many of the vocal performances were captured live, something we rarely do. Everyone showed up each day, ready to play and create. All of the people in that room are producers in their own right (including The HawtThorns!), so the ideas were flowing, and it was about as easy as it could be. And WOW, the sound of the tape definitely made a difference. We realize everyone is listening digitally mostly, but there is something to be said about the performance you get from players when the record is coming out sounding like that warm tape in that room.

man playing guitar
Johnny Hawthorn with Fender Telecaster Custom Shop with Bigsby and TV Jones pick-ups – Photo Alysse Gafkjen

The album features a rich layering of different guitar tones and textures. Could you discuss your process for selecting and blending these sounds? There’s a mention of far-out keyboard tracks and syncopated guitar hooks. How do you balance experimentation with maintaining the distinct sound The HawtThorns are known for?

We love so much different music, and we have many influences. Lots of the new music we listen to has synth sounds, but there is no getting around the great albums of the 1970s that were purely analog. We are always looking at ways of blending what we love. While we were recording, we explained to Jano what we were hearing, and he is such a creative genius he would just pull some crazy sound out of his keyboards. The beauty of his playing is that it isn’t only about the sounds but the rhythms he is playing — extremely percussive and with such a great feel. Johnny Hawthorn played all of his parts at our home studio so he was able to work around what was there on keys and really accentuate the existing tones. He also loves composing melodic solos; we intentionally left lots of room for that. Johnny plays with compression, reverb, rotary, delay, and super fun effects; it is like he has a canvas and he is painting it.

Your music weaves personal experiences with abstract storytelling. Could you share the story behind one of the tracks that is particularly meaningful to you?

The song “Trouble” is one of those — it is a song that we used poetic words that leave room for interpretation. Sometimes, the way a phrase makes you feel can be more important than what the words are plainly saying. This song is a cautionary tale; it is unknown to the listener who the tale-teller is talking about, but it feels like there is an important warning. What we really wrote the song about is the price that is paid when one is chasing fame and fortune, particularly in the music biz.

The track “Zero Gravity” deals with themes of loss and acceptance. What inspired this song, and what do you hope listeners take away from it?

When David Bowie passed away, we were struck that he had known he was sick but didn’t share the info widely. During his illness, he thought to leave his fans with a full-length record and videos. This got us thinking: there is so much left of a person even after they leave Earth. We have had to let so many people go, but we feel them with us and hope to meet them again on another plane. There are several Bowie references in the song, unapologetically. We hope that listeners think of the ones they have lost in this way after hearing this tune. 

woman playing acoustic guitar onstage
KP Hawthorn playing a Martin D-28 – Photo by Kristen Drum

How did collaborating with musicians like Jano Rix and Nick Buda influence the recording of this album?

The musicians on this record helped us get a fresh perspective for sure. We felt like it got the “Nashville treatment.” They absolutely brought their best, and it was contagious energy in the studio.

Alice Wallace contributed harmonies on the cover of “When Will I Be Loved.” What brought about this collaboration, and how did it complement the album’s vibe?

Alice has been a longtime friend of the band; we have shared many gigs, worked in the studio together, and KP produced two of her records in the past. We love her voice and thought a third part on an Everly Brothers tune wouldn’t hurt anyone!

The album spans a range of styles from Americana to indie-pop. How do you navigate these genre shifts when composing and producing your music?

We understand that genres need to be attached to records so that the powers that be know where to put the music. However, we don’t care what genre we are making; we make music that we love, and that’s pretty much all we can do. Every now and then, we will hear a sound or a lyric and say, “That goes in the Country basket” or something like that. We both believe that evolution in music is a good thing and if we were to try to make a specific genre of music, it would likely sound forced 

There are nods to historical music eras, like the Laurel Canyon scene and British invaders of the ‘70s. How do these influences manifest in Zero Gravity?

True! KP is a California girl and grew up with her mother’s musical influences which were heavy in the Laurel Canyon sound. You can take the girl out of the canyon, but you can never take the canyon out of the girl. “Flying,” “Hands On A Clock,” “Long Game,” and even “When Will I Be Loved” have that easy breezy west coast thing that is a little hard to define. Johnny is not a native of the West Coast but has lived there for years and has a deep love for that sound. Being Fleetwood Mac fans, Joni Mitchell, CSN, there is something there that gets in your blood and lives there forever. As far as the Brits go, obviously, you can’t consider yourself a modern-day songwriter without acknowledging the Beatles. We also love Elvis Costello and bands like Bad Finger, the Kinks, and others, so that is going to come out in the music, particularly the production on “Trouble” and “Don’t Wait By The Phone.”

man and woman onstage playing guitar
The HawtThorns – Johnny playing his Xotic XTC1 and KP playing her Martin D-28 – Photo by Kristen Drum

With the release of Zero Gravity, how do you see your musical direction evolving in the future?

We would honestly like to make a drum and bass record with a creamy vocal and some interesting guitar sounds. We would also be into making an acoustic record with nothing but two-part harmonies all the way through. There is always going to be a love for creating here, and there will definitely be another fully produced, full-band record, hopefully utilizing more and more of what we are inspired by at the time.

Are there any tour plans or live performances scheduled to promote the new album?

The HawtThors are heading to the East Coast in May, routing West in June for shows in OK, NM, CA, and CO. In July, there are more shows in the East and the Midwest. Lots more to come this year; please go to our tour page www.thehawtthorns.com/shows

Zero Gravity tracklist


Website | Facebook | Instagram | X | Spotify | YouTube

Categories: NEWS

Tags: , ,

How Music Helps Our Mental Health

Music Helps


Musician and neurologist Dr. Joe Barnby studies how the pandemic affected the mental health of music-makers alike. Here’s what he found…

by Jessica Letkemann from Spotify For Artists

This material has been prepared for informational purposes only, and is not intended to provide, and should not be relied on for health advice. You should consult your own advisors and/or mental health professionals before making any personal decisions.

Making music has always made for an intense career, often full of the kinds of uncertainties — from money to time — that can stress you out. On top of that, the effects of the ongoing pandemic threw a monkeywrench into many artists’ lives that continues to be felt. Dr. Joe Barnby, a musician and neuroscientist in the field of mental health, checked back in with Spotify for Artists to share what he’s observed about how Covid has added to the unique stresses of the profession.

“Data that has come out during the pandemic has highlighted who is more vulnerable to depression and anxiety,” Barnby says. “The one thing that stands out about musicians compared to other professions is that they [often] haven’t got that security of financial stability… and that unfortunately means that when something like Covid happens where there’s a huge change in the way that we need to adapt to live, it can be very difficult to carry on being a musician in those circumstances.”

Almost two-thirds of the respondents to MusiCares 2021 “Wellness in Music” survey felt financial stress every day. Meanwhile, over a quarter reported moderate to severe depression.

“No sort of economic parachute for people with inconsistent incomes makes stress all the more exaggerated and magnified. Musicians feel that they can’t really afford to exist doing what we love doing, like writing music or producing music, combined with trying to afford an apartment, and trying to afford food.”

Isolation is one major risk factor for musicians that multiplied when lockdowns and restrictions interrupted the social and support networks that are vital to good mental health. While that has eased this year, Barnby has seen that, “We were still not able to talk to people and interact with people in the same way. We didn’t have that social spontaneity we were used to.” To combat that, he says, it’s important to, “have people around you that you can rely on to be there for you to talk things over and be there with you emotionally.”

Your need for a like-minded community of fellow musicians is also key, as other stresses have piled up. “Having a forum where you can discuss that among yourselves is so powerful,” Barnby says. “Talking through problems that you’re all facing gives you the benefit of group ideas. It’s not just you thinking about it on your own.”

In addition to having people to rely on, the other “normal things recommended for good mental health — good exercise, nutrition, and sleep” also apply.

“We know the importance of sleep in regulating things like cognition, our emotion, and our ability to deal with stresses during the day,” he says. “If you have a completely uneven sleep schedule, we know that that is predisposing people to have poorer mental health and to find dealing with normal life stresses a lot more difficult.

“There’s emerging evidence about the relationship between the gut and brain, and how the things we eat affect our psychology. Our social environments can encourage poorer or better eating. If you’re constantly on a tight schedule, you haven’t got the time to prepare food that’s really nutritious. We know that eating food that doesn’t encourage healthy gut microbiota will predispose you to having poorer mental health.”

“Art and culture is so important to a healthy, functioning society,” Barnby says. And he feels that points to the need for mental health “alleviation for struggling musicians that otherwise could contribute massively to society.”

Alana Bonilla on 09/16/2022

Categories: NEWS

Tags: , , ,



Hotel Congress Plaza

Saturday, September 24th

$20 adv / $25 DOS 

$35 for both Plaza & Century Room shows


Formed in the heart of the deep American Southwest, XIXA are a guitar-slinging six-piece, uniquely attuned to the desert and their Latin roots. Combining gritty guitars, the bumping grind of chicha, and desert blues into a mesmerizing stew. They’re also a band whose time had come to define what they call “The New Southwest”-intense, sun-bleached music shot through with an inky gothic horror that scans like the long-lost soundtrack to a cult, macabre B-movie Western.

Their debut record, 2016 “Bloodline,” saw them inject heavy fuzz guitars and Latin pulses into sandy rock and roll, a potent mix that took them all over the world for two whole years. For 2019s EP “The Code” they blended psych-rock, cumbia, goth rock, cowboy folk and windswept desert blues into a dark, simmering occult.


@Limusic Studios Can you beehive how fab this will be!?

 Session ONE Saturday, Oct 29 – Saturday, Nov 5 2022!!!

Session TWO Monday, Nov 7 – Sunday, Nov 13 2022!!! (SYNC REPORT) info here

We are so excited to announce that we have made special arrangements with our friends at Limusic Studio in Limoux, France to help us host our next SOUL KITCHEN CREATIVITY WORKSHOP!  Located in the heart of the Languedoc wine country, steeped in the spiritual history of the Cathar region – where Medieval castle spires and the Pyrenees mountains seem to touch the heavens themselves – we can’t imagine a more creative place to delve into your craft and explore your creativity!

This special Creativity Lab that we call Soul Kitchen is designed for musicians, artists and creative folk from all genres: 

– to invigorate your creative spark

– to meet other musicians and creative folks from around the world in an open atmosphere that promotes collaboration and exploration

– to hone your performance skills

The creativity exchange will include ample time for rehearsals, new creations and collaborations and of course performances – The Suga Lip Lounge will be in full swing as well!   This is a great opportunity for professionals to work on their craft and for the novice to learn from top notch international teachers, no matter your language skills!   You will not be alone… all sessions will have translators available… we got you!  

We are living in a very challenging, socially isolating time. One of the most important activities for creative thinking is the sharing of resources and mentorship. Together we can conquer any obstacle or nemesis. Our goal is to enhance and respectfully sustain the craft of songwriting. – Vinx

Each Soul Kitchen retreat is unique because every group of artists are unique and have different challenges individually and collaboratively. We tailor each experience based on the wonderful people that attend each retreat!

Scroll down to get directly to the registration details!!!

SESSION ONE Oct 29-nov 5th 2022

Here are examples of exercises that have been part of past Soul Kitchen retreats:

Meet your genius – introduction to yourself (critical listening) Expose your unique opinion and creativity (authentic self) / vocal stylings / what’s between the notes

Twinkle Twinkle – it’s not a song it’s just a bed or base for you to decorate with your own style

Appreciating Diversity – Learn to respect and listen to the creative process and truth of others (true diversity) gender switching, role playing – true diversity is appreciating the subtle differences in how we view shared experiences

Mic Mechanics – learn from the best how to work that mic … do you know what mic is best for you and your range?

Lyric Lessons – don’t fear the corn!  punch line set-up, just because it rhymes doesn’t make it a song. Word-smithing

See and hear beyond the obvious – inanimate objects can speak, so can photos, nature, history and the world around you  

Master our melody challenge – (Create 5 melodies from 1 groove) Discover harmony as scat – explore your choices 

Finding ways to be inspired – (triggering the artist within) a picture says a thousand words

Etiquette in the Studio – what to do and NOT to do or say to your live or recording sound engineers!!!  Take charge of your sessions or live sound events

SESSION TWO Nov 7- Nov 13th 2022

This second week will restart and focus on exploring with experts from The Sync Report and clinics from music supervisors, film makers, composers, publishers. Work with notable songwriters and continue to connect your unique stories into synchable content for other artist and media request. more information


COMPLETE REGISTRATION DETAILS TO FOLLOW SHORTLY – We have a maximum of 20 slots available per week so check back here often and please go ahead and send Jennifer an email at dreamsiclearts@gmail.com

PRICE – $1500 which includes your food and lodging, the workshop fee and studio time (airfare to Toulouse airport is not included but at this time of year should be about $800 or less)

DEPOSIT – $300 due by the end of the end of April, 2022 (please note that this fee is non-refundable excepting in cases like COVID). We have a few spots left in each week, and it’s filling up fast, so don’t delay!!!

To make your deposit, please follow this link:  DEPOSIT LINK

ACCOMMODATION week #1– check in, Saturday Oct 29 – check out, Saturday Nov 5:   week #2 check in, Monday Nov 7 – check out Sunday nov 13: 

Limusic Studio, Limoux FRANCE, a gorgeous renovated wine domaine in the heart of the Languedoc wine country!  This is NOT a hotel, please note!  This is a beautifully renovated former private home, stables and vineyard … the owners have created a series of bedrooms and bathrooms to accommodate 20 people.  Most bedrooms have 2 twin beds and share a bath on the same hall with one or two other rooms, but everything is top notch.  Our affordable pricing reflects this musician’s reality AND is how we have always run Soul Kitchen … it’s a grown folks slumber party!  If you wish private lodging or more luxurious lodging in the area, please send Jennifer an email (dreamsiclearts@gmail.com) and she can recommend nearby hotels or rentals.  In this situation, you would need a car and we would credit you with part of the registration fee as you would be making any other arrangements privately.   LIMUSIC RESIDENTIAL RECORDING STUDIOS

We strongly encourage you to stay at Limusic Studios … plan a few days before or after to have a little extra vacation nearby or in any European city as all of Europe is so easy to access!

Transportation will be available from Toulouse airport or Carcassonne train station on week #1 Saturday, Oct 29 & week #2 Monday Nov 7. Then returning on Week #1 Saturday, November 5 & week #2 Sunday nov 13 at a minimum extra charge.  Please inquire… 

Want to get started right away????   JOIN US at the weekly Vinx Virtual Workshops … click here for info!

“Thank you for opening my eyes to the possibilities within my story.  I am re-energized” – Libor H., CZ                      

“I am now using my voice in ways I never thought possible.  Thank you, Vinx, for your inspiration!” – Florence J., Luxembourg

“I have studied voice for many years, but you have single handedly blown open a whole new way of thinking about my art” – Patti M., USA

“How do you know when you have mastered your craft?” I don’t think I can answer that for anyone, but I do believe that true Mastery like Excellence, arrives with an empty cup so that it can grow, evolve and continue to improve. I’m here for it and excited for my next session with Vinx!” ~ Hedda Kim, Las Vegas USA

What Is The Soul Kitchen Retreat?

The Songwriter Soul Kitchen is a Creativity Exchange, a meeting place for artists of all levels… singers, musicians, engineers, producers, painters, poets, sculptors, film-makers, story-tellers and just plain creative folk.  For one full week or weekend, you will experience hands on recording studios, workshops, creativity sessions, writing sessions with groups and as an individual, multiple live performance opportunities and much more.  Soul Kitchen is the brainchild of International world class performer, Vinx De’Jon Parrette. He is a former Berklee College of Music educator, songwriter, recording artist, ethnomusicologist, a mutiple award winning documentary film subject and a great coach.

During the week / weekend, each session is crafted to present and develop tools for critical listening to help you better understand the source of your inspiration.  We all have a life filter that houses our library of experiences and memories. This filter allows us to color and embellish all information that is received through it.  Yet we rarely recognize that our true genius walks within our own unique creative process.  “My ART is my opinion and my CREATIVITY is in the telling of it.” – Vinx
 DETAILED INFORMATION: contact Jennifer Parrette at dreamsiclearts@gmail.com


Hailed as a band with “galactic ambitions,” Blato Zlato is a powerhouse Balkan music collective that weaves the magic of traditional Eastern European folk music with contemporary textural majesty. The group captivates listeners with dark and haunting three-part vocal harmonies and thunderous odd-metered rhythms. As a part of the Balkan musical diaspora, Blato Zlato explores the immigrant experience and seeks to build meaningful cultural and musical bridges between continents, with particular focus on Bulgarian folk songs and Bulgarian language-based compositions.

Based in New Orleans, Blato Zlato has gained a loyal international following after touring in both the U.S. and Europe. The group has been featured several times on Bulgarian National Television and Radio and has appeared on Folk Radio UK, NYC Radio Live, and the Village Voice.  In 2019, Blato Zlato released their anticipated sophomore album, In The Wake, which charted at #33 on the Transglobal World Music Chart’s 2019-2020 Top 100 Albums. Other highlights include an array of diverse musical collaborations with such artists as Nels Cline (Wilco), Binky Griptite (Sharon Jones & The Dap-Kings), Leyla McCalla, Carl LeBlanc (Sun Ra Arkestra), Helen Gillet, and Wendell Brunious (Preservation Hall Jazz Band All Stars).


Vote For Your Favorite Albums Released In August 2021

August 2021 Favorite album poll: Vote for three. (Mine were Divine Horsemen, Cruzados and Willie Nile! You have to scroll half way down the page to see poll..

Poll is open until the end of the day September 30.  Top winners will be featured in our playlists.

Albums Of The Week: Divine Horsemen | Hot Rise Of An Ice Cream Phoenix

Chris D. & Julie Christensen saddle up & hit the ground running after 33 years.

By Darryl Sterdan



UPDATE: Here are a few current motivators;)

ALL MUSIC – review, 9/1. Link here

AMERICAN SONGWRITER – song/video premiere (“Handful of Sand”) and news break, 6/17. https://bit.ly/2SA647U

AMERICANA HIGHWAYS – Bill Bentley will review in Bentley’s Bandstand; probably other reviews as well, 6/17; John Apice reviewed, 8/17.  Link here

ANTI-MUSIC – Julie wrote Singled Out column, 6/28; Kevin Weirzbicki to review, 8/23; Singled Out ran 8/26.  Link here

BEATSVILLE – review, 8/25. Link here

BROOKLYN VEGAN – premiered “Stony Path” audio on 7/1 https://bit.ly/3huw5hn ; and posted later that same day in New Songs Out Today roundup, 7/1. Link here

COACHELLA VALLEY WEEKLY (Palm Springs/Joshua Tree, CA) – Eleni P. Austin to review, 6/17; review ran on 9/9

COLORADO SPRINGS INDEPENDENT – Loring Wirbel reviewing, 8/13

DAGGER ZINE – Tim Hinely will review and raved about it on Facebook, 7/19; review ran 8/26. Link here

DESERT STAR WEEKLY (Palm Spring/Desert Hot Springs) – Robert Kinsler reviewed, 8/16. Link here 

EXCLUSIVE MAGAZINE – review, 9/3. Link here

GIMME COUNTRY – Jimi Palacios to interview, 7/29

GILDE – interview feature by Hannah Means-Shannon, 8/24

GOLDMINE – Lee Zimmerman reviewing, 8/14; also Peter Lindblad reviewed, 8/25. Link here

JERSEY BEAT – Jim Testa reviewed, 8/27. Link here

JP’s MUSIC BLOG – review, 8/17. Link here

KCSN 88/5 FM (Los Angeles/SoCal) – Kat Griffin interviewing on Americana show, 8/20


PASADENA WEEKLY – review by Bliss Bowen, 8/25. Link here ; and online version, 8/26. Link here

PUNK GLOBE – review/feature, 9/7. Link here

REVENGE OF THE ‘80s RADIO – Chris Cordiani interviewed Chris D, 9/3. Link here

ROCK ‘N’ ROLL TRUTH – Robert Kinsler reviewed, 8/8. Link here

STAGE 1 PRESS – Bill Samaras to interview Chris 7/30

TAKE EFFECT – Tom Haugen will review, 6/17

THE ALTERNATE ROOT – posted “handful of Sand” video, 6/21. Link here

THE BIG TAKEOVER – Michael Toland reviewing (also pitching feature), 7/29; also Marcel Feldmar reviewimg, art sent, 816; Toland review ran 8/26. Link here ; premiere pitch for video, 8/27

THE SCHMOOZE BUTTON – video podcast, 9/3. https://youtu.be/-C3UFne73Vo

TINNITIST – “Handful of Sand” video posted in Thursday Mixtape, 6/17. Link here ; and “Stony Path” posted in Thursday Mixtape, 7/1. Link here ; Album of the Week, 8/27. Link here ; and doing Zoom interview, 8/27

TWANGVILLE – Q&A feature ran 8/10. Link here

Divine Horsemen, the fiery, eclectic ’80s group that rode the unique vocal chemistry of Chris Desjardins (aka Chris D.) and Julie Christensen, return to the musical stage with Hot Rise Of An Ice Cream Phoenix. Co-produced by Desjardins and Craig Parker Adams (who engineered I Used To Be Pretty, the 2019 release by Chris D.’s groundbreaking ’70s punk band The Flesh Eaters), the new 13-track album comprises the first new music by the Horsemen in 33 years.

Founded after the dissolution of The Flesh Eaters and launched with the 1984 album Time Stands Still, billed as Chris D./Divine Horseman, the band released three albums and an EP on SST Records, all of which featured the searing harmonies of Desjardins and Christensen, who were married at the time. The couple split professionally and personally just prior to the release of their January 1988 EP A Handful of Sand. However, the two musicians remained in touch over the years, and Christensen contributed vocals to five tracks on I Used to Be Pretty, which reunited the 1980 “all-star” edition of The Flesh Eaters heard on the Ruby/Slash classic A Minute to Pray, A Second to Die. By then, the idea of reviving Divine Horsemen was already percolating.

“Julie had asked me about six or seven years ago about doing Divine Horsemen again,” Desjardins says. “I told her I wasn’t quite ready yet, though I did want to do it eventually. Then in 2015 The Flesh Eaters started doing reunion shows. In 2018 we did it some more, and we recorded the album, released it in early 2019, and we went out on tour and supported it. Since the beginning of 2018, Julie and I had been talking about Divine Horsemen again.”

Christensen — who had moved on to work with Leonard Cohen in the 1990s and release seven albums of her own work — adds, “We recorded I Used to Be Pretty in April of 2018. Previous to that we had started plans for a Divine Horsemen tour in the fall, playing older stuff. Chris had song ideas and cover ideas for a studio album — it was just kind of forming in his head. I started looking for covers, too. I did some of The Flesh Eaters ‘live’ gigs the first three months of 2019, and found out that we were getting along really well.”


The singers’ plans called for reuniting with such onetime Divine Horsemen as guitarist Peter Andrus (who had appeared on A Handful of Sand and the 1987 album Snake Handler) and bassist Robyn Jameson, who had worked with Desjardins on the majority of his recordings between 1982 and 2004. However, Jameson tragically died in 2018 following a street assault; Bobby Permanent, Andrus’ longtime musical collaborator, was recruited to take the late musician’s slot on the new recordings. Andrus is also a veteran of bands Crowbar Salvation and Detroit’s The Volebeats. Permanent (under the name Robert Pollard) has also contributed to various movie soundtracks, most notably John Cassavetes’ final film Love Streams.

The 2021 Divine Horsemen lineup is completed by drummer DJ Bonebrakeof the incomparable L.A. band X; he also was a member of the 2018 recording and 2019 touring editions of The Flesh Eaters (which also included X’s John DoeDave Alvin and Bill Bateman of The Blasters, and Steve Berlin of Los Lobos). Keyboardist Doug Lacy, another veteran of the Snake Handlersessions, returns to the fold; he and Christensen both later sang backup for the duo of Gaby Moreno and Van Dyke Parks, and Lacy has appeared on several of Parks’ other projects.

The release of Hot Rise Of An Ice Cream Phoenix was prefaced in late 2020 by the release of the vintage recordings Divine Horsemen ‘Live’ 1985-1987 and two Bandcamp singles: Mystery Writers, a new composition by Desjardins and Andrus, and Mind Fever Soul Fire, a song that originally appeared on Love Cannot Die, a 1995 Chris D. solo album. (A new rendition of that set’s title song is also heard as the concluding track on the new album; a high-intensity re-recording of Handful of Sand, the 1988 EP’s title number, is also featured.)

The new material on the album reflects a diversity of sources. “I wanted to mash up some European folk material,” Desjardins says of No Evil Star, a madrigal-like composition. “There are a whole bunch of sites on the internet that have public domain folk songs from Europe, specifically England, Scotland, and Ireland. These are all from the 1700s and 1800s. The music for the verse is from one folk song I found on a Celtic folk site. The words are all original. But the chorus music is not Celtic, it’s more Latin — they also had a few Spanish folk songs on there. Peter joked when we were working up that tune that it was our Jethro Tull song.”

Like Ghost Cave Lament — the sprawling number that concluded I Used to Be Pretty — both Barefoot in the Streets and Stony Path= reflect Desjardins’ ongoing fascination with Spanish flamenco. “Those songs are linked lyrically,” Desjardins says. “Stony Path is a continuation of Barefoot in the Streets. They’re both murder ballad-styled songs. The lyrics of Barefoot in the Streetsis flamenco-inspired, but the music is not really Spanish — Julie came up with the music.” Christensen says the writing of the latter number came late in the recording of the album: “Chris called and said, ‘You know, I’ve just been remiss. I feel like we should write a song together, and I have this “barefoot in the streets” idea.’ He’d already written the lyrics. He had a little bit of a melody idea, too, but not much of one — there was just the scan of it.” She adds that singing Stony Path presented some unique vocal challenges: “Flamenco singers break their voices in order to do what they do.” The song was left for the end of the album sessions, and she nailed her demanding part in a single take. Christensen is represented as a co-writer on another song, Falling Forward, written with Lathan McKay. “He’s an actor and musician who lives in Austin,” Desjardins says. “He’s also the foremost authority on Evil Knievel!”

Beyond her writing, Christensen served an invaluable function by finding outside compositions for the album. “I found a couple of covers from Tennessee writers,” the former Nashville resident says. “Any Day Now is byTim Lee and Susan Bauer Lee. They used to have a band called Tim Lee 3, he was also in a band called The Windbreakers, and now Bark. They used to get hold of Divine Horsemen LPs and hand them out to people – ‘Here, you’ve gotta hear this.’ We got to be fast friends, and their song Any Day Now just floored me. Strangers is by another Tennessee writer named Johnny Duke — he wrote it with Will Kimbrough. I originally heard it acoustically, just him and a guitar. I spoke to him after I heard him play it, and I said, ‘I don’t know if you’d be into this, but I have this band, and I’d love to try doing it with them as a Neil Young and Crazy Horse kind of thing.’”

Hot Rise Of An Ice Cream Phoenix is rounded out by a typically diverse selection of covers. 25th Floor is a Patti SmithIvan Kral original, heard on the 1978 album EasterIce Cream Phoenix was a vehicle for the vocal harmonies of Grace Slick, Marty Balin and Paul Kantner on Jefferson Airplane’s 1968 LP Crown of Creation. But the album’s greatest curiosity may be the raucous, profane Can’t You See?, an oddball tune that had obsessed Desjardins for years.

He says, “That’s a song written by Charlie Cuva and Robert Downey Sr., for Downey’s movie Pound. I’d heard that song at the Fox Venice Theatre in 1972, in the intermission of a double feature. Robert Downey Sr. had pressed up 100 or so copies of five songs from Pound to send out to independent theaters, as a promotion. It was never commercially released as a record. I had not heard it in years, and the guy who put out my book A Minute to Pray, A Second to Die sent me an MP3 of it. When the prospect came to do this album, I thought, we’ve got to do this. I played it for Julie and Peter, and they went through the roof over it.”

In all, Hot Rise Of An Ice Cream Phoenix stands as a bracing new achievement by a distinctive musical partnership that has always marched to the beat of its own drum. Like The Flesh Eaters’ recent reunion, it’s a welcome return that plays to the group’s historic strengths. “It was really good for both of us,” Desjardins says “and we really enjoyed it. There’s also — unintentionally — context in some of those songs about what happened between us as a couple.” Christensen adds, “One thing Chris has always been adept at is taking a song, and you hear the raw bones of it, and then he casts the band so well, and he runs a rehearsal like a tight ship. We would fashion these gems of songs out of rocks. He’s always been really good at directing a song toward what it’s supposed to do.”

It should be noted, in addition to producing (or co-producing) all of his Flesh Eaters and Divine Horsemen efforts, Desjardins has a modest but important legacy as an A&R man/in-house producer at Slash/Ruby Records from 1980-1984, co-producing with Tito Larriva seminal work by The Gun Club(their debut album Fire of Love), producing The Dream Syndicate (Days of Wine and Roses) and Green on Red (Gravity Talks), and mixing with Glenn Danzig and The Misfits (Walk Among Us). He also shepherded The Lazy Cowgirls on their eponymous debut. Last but not least, Desjardins produced Soulsuckers on Parade, a wildly unhinged, never-available-before-to-the-public 1984 session by Jeffrey Lee Pierce (with a backing group of then-BlastersDave AlvinBill Bateman, and Gene Taylor, and Green on Red’s Jack Waterson) that is only now being released in 2021 — 36 years later!”

Graphical user interface

Description automatically generated
A picture containing text, tree, screenshot

Description automatically generated


Al Staehely is the only person on the planet who has both played Carnegie Hall and provided legal services for Stevie Ray Vaughan.

“I was in a band at the University of Texas with two law students who were older than I,” says Staehely. “We played good-paying gigs every weekend, and when it was time for me to graduate and go to med school at a college in another city, the two law students in the band said, ‘You can’t do that! You’re our lead singer and bass player. So, I started law school to keep a rock band together. I had no intention of becoming a lawyer, so when I graduated, I put the law degree in a drawer and headed to California to pursue my musical dreams.”

It didn’t take long for Staehely to begin making those dreams a reality. He arrived in Los Angeles in 1971, and a few months later he and his brother John were asked to join the critically-acclaimed band, Spirit. With Al as the band’s new lead vocalist, bass player, and chief songwriter – and with brother John taking over lead guitar duties from Randy California – Spirit recorded their fifth album, ‘Feedback,’ in November of 1971.

“John and I brought a little Texas flavor to the band that didn’t exist before,” Al told the Houston Chronicle’s Andrew Dansby. “It wasn’t anything we tried to do. It’s just the way we were. The way we were writing, the way he played, and the way I sang.” Critic Joe Viglione defined the band’s new sound as “a fusion of pop/jazz/rock with a dab of country.” He also called ‘Feedback’ “a phenomenal reinvention of Spirit.”

When Spirit splintered (but not before a successful tour that included the aforementioned performance at Carnegie Hall), Al and John formed a group appropriately named the Staehely Brothers, releasing the album ‘Sta-Hay-Lee’ on Epic Records in 1973.

It was another album that received good reviews, but the act was short-lived. When his brother John got an offer to join Elektra Records act Jo Jo Gunne – a band whose albums had consistently hit the charts – Al decided it was time to go it alone.

Having written the majority of the songs on both ‘Feedback’ and ‘Sta-Hay-Lee,’ Al began focusing on his writing talents, getting cuts by Bobbie Gentry, Marty Balin and Keith Moon, among others.

Not giving up on his dreams of releasing an album under his own name, Staehely recorded many tracks in LA between 1974 and 1978, working with a collection of first-rate musicians that included Steve Cropper, Jim Horn, Snuffy Walden, and Pete Sears.

Between sessions, Staehely headlined clubs in L.A. and NYC, opened concerts for The Moody Blues and Hot Tuna, did sessions for Keith Moon’s solo LP, and toured with Chris Hillman.

In 1980, Staehely returned to Texas and pulled his law degree out of the drawer Lawyer by day- musician by night, Al did shows with Roy Orbison, Jefferson Starship, Emmy Lou Harris –two European tours with John Cipollina and Nick Gravenitis (of Quicksilver Messenger Service and Electric Flag, respectively) documented by the LP, ‘Monkey Medicine,’ recorded in Hamburg which featured three of Al’s songs. Back in Texas, he even played a show with Rodney Dangerfield! Just as he was beginning to build his practice, Polydor Records came calling, and in 1982 ‘Stahaley’s Comet,’ Al’s long-awaited solo record, was released – but only in Europe.

His impressive array of music industry clients and fatherhood kept him busy for a couple of decades, but the urge to make music has never left.

In 2011, SteadyBoy Records oversaw the first US release of the Polydor LP, with the new title, ‘Al Staehely and 10k Hours.’ In 2013, ‘Cadillac Cowboys,’ an EP by Al Staehely and the Explosives, was also released on SteadyBoy. In more recent years, he has returned to the studio, as well as playing live – frequently with his brother John, Freddie Steady Krc, keyboardist Mike Rosenbaum. and sax player Evelyn Rubio. At long last, Al Staehely the lawyer is once again Al Staehely the singer/songwriter/bass player – back to give the world his music from the past, as well as the music he continues to make today, including a new album recorded in Marfa with Fran Christina (drums), Scrappy Jud Newcomb (guitar), and Chris Maresh (bass)

This fall, Al will release solo recordings from his days in Los Angeles descriptively titled ‘Post Spirit 1974-1978 Vol. 1.’ The initial focus track is the recently unearthed gem “Wide Eyed and Innocent”, along with a new version of the song- a sneak preview from the Marfa sessions.

The Song Will Be Featured On Upcoming Release Of Rare Solo Recordings ‘Post Spirit 1974-1978 Vol. 1.

While being known as the primary songwriter and singer of the rock act Spirit and The Staehely Brothers, Staehely had a lengthy career writing songs for acts such as Keith Moon, Bobbie Gentry, Patti Dahlstrom, Nick Gravenites, John Cipollina, Marty Balin, Peter Cox and Hodges, James & Smith and many others. And of course, Staehely is still writing and performing music to this day and looking forward to touring.

Categories: NEWS

Tags: , , , , ,

#SAVEOURSTAGES(again…and until we each do our part)

I am writing to share some important updates as more virulent strains of COVID 19 spread.

While not universal, a growing number of venues are expressing understandable concern about the evolving situation and taking measures to keep artists, crew, and patrons safe.  Some are doing this on their own, while others are mandated by evolving local and state regulations. We care about our clients and their fans as well as the venues full of staff we adore.

An increasing number are now requiring official proof of full vaccination or a negative approved test within 48-72 hours of the performance. Note that in-home tests that do not require sending a sample to a lab do not provide a certificate and often do not qualify as an approved test.

1) Make checking COVID rules a part of every event you attend and recheck them with the venue a few days before the date. Mandates are changing hourly.

2) Get vaccinated.  It is the only real protection for you, your family, and your favorite artists.

3) Every band and crew must have official proof of vaccination with them at all times. We take this very seriously, so please wear an approved N95 mask at all times unless eating or performing. A growing number of venues and localities are requiring masks even if you are vaccinated. 

4) Test if you are worried about exposure, as well as when you get home so you know that you are safe and if not, can plan accordingly.

We will get through this together, but we all need to do our part.


Virtual Black Fret Ball this Saturday, December 12th, at 7pm CT streaming on BlackFret.org! There’ll be performances from all of our 2020 nominees and *$160,000* in grants given to them. Why not get dressed up and have some fun with it from home? ⧓ ?

We can reminisce about shows from the past or we can make the most of what we have now (which is all we really ever have anyway:)

A Virtual Awards Ceremony is a Great Morale Booster

Let’s dress up and toast our peers from the safety and comfort of our home? We’re all prisoners to the couch these days. We all miss each other! If we have to be apart, let’s make an effort to make it fun.

I have so much respect for this year’s nominees. I have heard from many of them and they each have creative ideas on staying present and vibrant in this current space we share. Tune in and learn more.

Our shared vision is to build an endowed institution capable of sustaining over a million dollars a year in grants to the finest musicians in cities around the world. To achieve that we’re looking for a limited group of dedicated local music fans to become members.

Over the next decade we will fund hundreds of exceptional bands to create thousands of new songs while building a new institution capable of supporting the sustained artistic, cultural and economic growth of our cities (currently Austin and Seattle) and the artists who call our cities home. We hope you will join us in building a legacy of beautiful music.


Fans of the one-of-a-kind, pure-voiced DIVA (in the good way), Akina Adderley, wait no longer for the KUTX Song of the Day

October 13 was a big day for the song, it was also the Single Spotlight on Austin 360: 
Austin360 On The Record: Singles Spotlight with Akina Adderley, Folk Uke, Willie Nelson, more…

Austin360 On The Record is a weekly roundup of new, recent and upcoming releases by local and Austin-associated recording artists.

SINGLES SPOTLIGHT- With the Nov. 3 election looming, our monthly singles spotlight not surprisingly includes several sociopolitically oriented songs.

Akina Adderley, “Broke.” Adderley gets lots of work locally as a backing singer — she taped “Austin City Limits” last week as part of Jackie Venson’s band — and has recorded in recent years with the band Nori, but this is the first song she’s released under her own name since 2012. She says it’s “a call to action for people to acknowledge their complicity in systems of oppression and their moral responsibility to actively engage in the process of dismantling injustice.” The single will be released Monday; here’s a live version of the tune from a 2019 Black Fret Concert on the Long Center lawn


Black Fret believes local music deserves our community’s support.

Like the opera, symphony, ballet or theatre, our local music is art. And as art, Black Fret believes our music is worthy of support from those whose lives are touched by it.

Black Fret provides those who love their local music with the opportunity to become a Patron of Local Music.

Together our Members, Advisory Board, volunteers and musicians are creating a vibrant community to support local music, now in both Austin, Texas and Seattle, Washington.


RajiWorld has always stood proudly in the belief that BLACK LIVES MATTER. We have worked with a racially diverse roster since our beginnings and followed the lead of our clients on how to demonstrate this core value. We hope that you feel the same way.

Black Lives Matter began as a call to action in response to state-sanctioned violence and anti-Black racism. Our intention from the very beginning was to connect Black people from all over the world who have a shared desire for justice to act together in their communities. The impetus for that commitment was, and still is, the rampant and deliberate violence inflicted on us by the state.

Enraged by the death of Trayvon Martin and the subsequent acquittal of his killer, George Zimmerman, and inspired by the 31-day takeover of the Florida State Capitol by POWER U and the Dream Defenders, we took to the streets. A year later, we set out together on the Black Lives Matter Freedom Ride to Ferguson, in search of justice for Mike Brown and all of those who have been torn apart by state-sanctioned violence and anti-Black racism. Forever changed, we returned home and began building the infrastructure for the Black Lives Matter Global Network, which, even in its infancy, has become a political home for many.

Ferguson helped to catalyze a movement to which we’ve all helped give life. Organizers who call this network home have ousted anti-Black politicians, won critical legislation to benefit Black lives, and changed the terms of the debate on Blackness around the world. Through movement and relationship building, we have also helped catalyze other movements and shifted culture with an eye toward the dangerous impacts of anti-Blackness.

These are the results of our collective efforts.


On Tuesday 2 June, 2020 RajiWorld LLC is wholeheartedly supporting #TheShowMustBePaused. We will not be conducting any business in observance of Black Out Tuesday. It’s time to pause, reflect, learn and act for long term change. Enough is enough. #BlackLivesMatter

“In a racist society it is not enough to be non-racist, we must be anti-racist.”

(Angela Y. Davis)

Black Lives Matter

Witnessing the tragic murder of George Floyd by a Minneapolis police officer under our very eyes has been paralyzing to say the least. As uncomfortable and numbing as this tragic event is, it is our responsibility to speak out. It’s on all of us.

There is no gender justice until there is racial justice. No one is free until everyone is free. Staying silent is not an option; it is a passive stamp of approval for racist behavior.

We stand in solidarity with the black, brown and indigenous lives that have been lost and voices that have been silenced in the US and beyond. On this particular occasion, we stand with the black community who has been a victim of overt and covert forms of oppression for hundreds of years. We stand in solidarity with #GeorgeFloyd #AhmaudArbery #BreonnaTaylor #BellyMujinga #RegisKorchinskiPaquet #TonyMcDade and the many before them.

We urge all members and allies of the shesaid.so community to take a proactive stand against racism and speak out. If that’s all you can do at the moment, please speak to your friends and relatives, express your outrage and provide resources so they can engage in further. If you can take the extra step, please donate. If you live in the US, call your local authorities to take a stance. Together we can make a difference. Staying silent is not an option.

Below is a list of resources anyone of any gender or ethnicity can use to familiarize themselves further with this urgent issue, including mental health resources and ways to support social and racial justice.

Funds, petitions and collectives for taking action:

George Floyd Memorial Fund

Donate to the Minnesota Freedom Fund

Sign the Color of Change Petition

Sign the Change.org Petition

Sign the NAACP Petition

Donate to Reclaim the Block

Black Visions Collective website

Find your Black Lives Matter chapter [USA + Canada]

Black Lives Matter UK

An extensive list of Anti Racism Resources

Mental health resources:

Talk Space infographic: How To Cope With Traumatic Racial Events

Liberate Meditation– Meditation for Black, Indigenous and People of Colour

Therapy For Black Girls Podcast

Self Care Tops For Black People Struggling From A Painful Week [Vice article]

For white people wondering how to engage in anti-racism:

1. Pass the mic: Join the conversation but be careful not to centre yourself within it.

2. Use your white privilege to ensure Black, Brown and Indigenous voices are heard.

3. Endeavor to be color-conscious, rather than color-blind.

Further resources on being an ally:

Guide to Allyship

Infographic guide on white privilege

Your Guide to Bystander Intervention

For further reading about intersectionality, read; The Intersectionality Wars

Courtney Ahn Design — A guide to white privilege

Books on the subject of racism in the US (recommended by Yasmin Lajoie, shesaid.so Intersectionality Chair)

White Fragility: Why It’s So Hard For White People To Talk About Racism by Robin DiAngelo

The New Jim Crow: Mass Incarceration in the Age of Colorblindnessby Michelle Alexander

How to Be an Antiracist by Ibram X. Kendi

So You Want to Talk About Race by Ijeoma Oluo

How To Be Less Stupid About Race: On Racism, White Supremacy, and the Racial Divide by Crystal M. Fleming

Other recommended authors: Audre Lorde, bell hooksAngela Y. DavisMaya Angelou or Toni Morrison.

From a British perspective:

Natives: Race & Class in the Ruins of Empire by Akala

Why I’m No Longer Talking to White People About Race by Reni Eddo-Lodge

The Metro newspaper runs a series called ‘The State of Racism’ on race in the UK today, examples from which you can read below:

The way you define racism may stop you from seeing it.

Institutional racism is more harmful than individual racism.

Current articles on US racism:

75 Things White People Can Do for Racial Justice

Who Gets to Be Afraid in America?

The Coronavirus Was an Emergency Until Trump Found Out Who Was Dying


The New York Times — 1619 on how slavery transformed America

NPR’s Code Switch



I have been an agent for a long, long time but thankfully for even longer, I have been an agent of change. It could be the EST  of my youth or my fascination with reactions (Chemical and otherwise) or all of the time alone in my work but I embrace, adore and welcome change.

I have streamlined my agency over the past 5 years to include mostly corporate gigs, house concerts, galas and festivals with very little touring so although we did not loose tours we did have 100% of gigs cancel the second week in March. A few paid which will be appreciated for all time as this quarantine, virus and the way those around us react will certainly go down in history and eventually be studied.

the laminate I don now 😉 made by my new festival worker bee friend Conor Rayder.

Over the past 10 weeks I have participated in and listened to many industry forums and roundtables on WHAT NOW?! I am pleased to watch the coalitions made up of forma rivals get strong and unified, pleased to hear the demand for live music from fans and very proud of musicians themselves for learning new technology and performing in a way that shows it all. No one has asked me, but if they did I would say I prefer the mystery and magic of planning, anticipating and being present for a concert. It is a one of kind living breathing experience that nothing will duplicate it. But I just kept three very special and unique clients who are also about quality over quantity.

I want to share a different point of view that I read and respect this week. If this had happened in the days of my full touring roster I would have jumped on ways to make the most of this climate.

How To Work With Agents And Promoters In A Live Streaming World

Musicians and the entire music industry are scrambling to understand the wild wild west of live streaming. As each finds their own path forward, it’s important that they include all of the key players that drive live music.

By Melissa Garcia of Collective Entertainment

From day one of this pandemic, I, like many artist managers out there, have been working almost nonstop to navigate around the changes and uncertainty that lie ahead for our artists. The roller coaster ride that has been the last few months was stressful, to say the least. And while all this uncertainty leads to stress, anxiety, and maybe even depression, our job is to push through to find solutions not only for our artists but also for ourselves.

On the one hand, it can feel almost like doomsday. On the other, I think we can agree that we’re lucky in that our access to technology, and most importantly, to the fans, is unprecedented within our industry. I’m a firm believer that the music industry is resilient. It’ll change and morph and evolve. We’re seeing it happen as we speak. Numerous artists are resorting to live streaming and connecting with fans on platforms they’ve never used before (e.g. Twitch, TikTok, StageIt, NoonChorus, etc.). Some artists, like my client, Fox Stevenson, have seen growth in streaming due to an increase in engagement online.

Even though we’re finding ways for artists to keep moving forward and maintain their careers, the live industry is left behind. We’re seeing reputable venues shutting down (Great Scott in Boston for example). The main revenue stream for our agency partners has all but diminished.

The other day one of my client’s agents emailed me asking my thoughts on how agents can play a role in the live streaming world. It was a great question and something that we all need to really talk about.

“The live industry is getting left behind and it’s important that we work together to come up with solutions.”

An agent’s main role is to work with promoters, venues, and festivals to book gigs. For their work, they receive a commission based on the artist’s pay. So if the only shows that are happening are live streams, what does that mean for them? If an artist can put on their own live stream concert, where can an agent or even a promoter fit into this equation?

Is there money in streaming?

Absolutely. Fox Stevenson streams regularly on Twitch and receives direct contributions from fans. (The highest single donation he received was $3,000 USD from a fan!). Another client, TORRES, streamed live on Instagram and promoted her PayPal, Venmo, and Patreon accounts.

Fans are spending money on their favorite artists. They’re buying merch, subscribing to Patreon, and tuning into these streams.

We’re also seeing artists doing ticketed live streams. NoonChorus, for example, makes contributing to artists seamless. Not only can you buy a ticket, but links to the artist’s PayPal, Venmo, and any additional links are right on the streaming page.

Live streaming is an opportunity to not only create a revenue stream, but to offer: VIP ticket packages to a limited number of fans where they can request songs or ask questions, limited edition merch, listening parties, and more.

The fact of the matter is that live streaming, whether it’s a house show or Q&A with fans, is one of the best ways artists can stay engaged with their fanbase.

Live Music: Helping create new fans one gig at a time

I never considered myself a fan of Twenty One Pilots. Then I saw them at SXSW in 2012 and my mind was blown. I decided to see them again that week, and saw them 3 more times in NYC. Live concerts have always been a great way to gain new fans. Perform at a festival to an audience of thousands of people who have never seen you play. Open for a band that has listeners you want to reach. Join a friend at a local venue to see an artist you’ve never heard of before. Now you’re a fan.

Concerts have this innate way of creating a special fan experience and is easily one of the best ways to convert someone into a fan.

How do we make new fans from streaming?

I’m curious to know what other artist teams are seeing, but it seems that for most streamed shows, artists are reaching audiences that are already following them.

The Internet is oversaturated with almost every single artist doing a live stream. There’s a lot of competition. Some artists are limited as far as sound quality is concerned when it comes to a live stream. Moreover, unless you live together, bands are separated due to social distancing and are unable to perform together.

“there are ways artists can make new fans right now”

Fortunately, there are ways artists can make new fans right now. You can “open” for another artist and then stick around the chatroom to engage with the fans as you watch the “headliner” performer. You can do a live Q&A with each other or with a different member of your band where fans can also take part in the conversation. An artist can also make a surprise appearance on someone else’s stream, which is always a great way to get fans excited and curious.

Beyond these ideas, in order for artists to reach new listeners, we need to come together and collaborate not just within the industry, but also beyond.

That being said, I’ve put together some ideas that agents can start exploring in order to find revenue streams not only for their artists, but for themselves. While it’s easy to cut out the middle person by artists organizing live streams themselves, it should not deter an agent from seeking out other opportunities that will otherwise be missed by artist teams. That is essentially what they bring to the table when helping book live shows.

Idea #1: Curated Virtual Events

Trivecta recently performed for an event called Dreamworld, that reached 5mil+ viewers over 3 days. The fundraising event raised $45k for charity. Trivecta alone reached 7k+ people with his performance.

Although this was an unpaid event, the potential for him to reach an audience beyond his current following is invaluable. Since the pandemic, he’s participated in 3 virtual festivals. These performances plus his efforts to engage with fans have resulted in a steady growth of new fans across his social media platforms.

We’ll continue to see more and more virtual festivals curated by large and small entities as the summer progresses.

Idea #2: Branded Partnerships

This is something I haven’t seen as often as I’d expect, especially considering how festivals are turning to online streaming and seeing success with it.

I could see a brand taking more of a promoter approach in a lot of ways. Whether a brand or a promoter, I’d like to see what else they can bring to the table in terms of ensuring it’s a high quality stream. We’re mostly seeing people in their homes, but I think what we’re lacking is a makeshift stage with good lighting or some other efforts in terms of production. Or even adding visual effects in the background and multiple camera angles.

TORRES recently did a live stream on NoonChorus and with the help of her girlfriend and videographer friend, was able to create some DIY stage designs (mood lighting with candles and black lights) as well as costume changes. The result was a unique streaming experience that the fans enjoyed.

On a different level, we’re seeing charities and organizations hold events by curating a list of artists to perform. We’re also seeing entities such as Amazon Music partnering with artists to curate events and broadcast them on the company’s Twitch.

I’d love to see smaller companies, those with niche markets and a strong online presence, to consider partnering with musicians whether to put on their own version of an online event or to help promote their products by offering affiliate links or discounts that financially incentivizes artists. Not only does the company tap into these artists’ fan bases, but the artists are also exposed to an audience beyond their current fans.

Idea #3: Let promoters and venues do what they do best – PROMOTE!

First, why should an artist give up any of their ticket sales when they can cut the middle person out of the equation and self-promote?

It comes down to what new fans promoters or outside opportunities can bring to the table (whether that’s partnering with a venue or a brand that can expand exposure).

How do we connect this with the agency world in a way that all parties benefit? And how do we connect with promoters to maximize reach & sales in specific markets? (This was one of the questions I received in speaking to a client’s agent.)

When working on a local level, it makes sense to work with a promoter/venue if there’s an upcoming date with the artist on the books or if you know there will be one eventually (suffice it to say, who knows when live shows are making a comeback). That way you can use the live stream to also promote the concert.

If you’re working with multiple promoters to push one ticketed live stream, use affiliate links or promo codes to track sales. That way, an artist can justify giving a split of the profits with the promoter. And the artist can take advantage of the resources the promoter brings to the table.

Possible Solutions for Agents

With all these ideas in mind (and I’m sure there are plenty more this article doesn’t cover), an agent will have to evolve their role more to continue adding value to an artist’s career.

Agents can use these various ideas, mold them how they see will fit into an artist’s overall strategy, and find opportunities beyond what the artist or their team can bring to the table. They can actively seek out brand partnerships. They can help leverage their relationship with promoters to maximize exposure and sales for ticketed events.

Regardless, agencies and the live industry are vital facets to the music world. Let’s find ways to make sure they aren’t left behind.

THANK YOU IN ADVANCE, We are grateful

The coronavirus pandemic has left countless members of the music community facing an uncertain future, as festivals and tours are canceled, studio sessions are called off and business travel is restricted. To help music professionals and their loved ones navigate the crisis, Billboard has compiled a list of resources at both the national and state levels, including more than four dozen relief funds.


Austin Community Foundation’s Stand With Austin Fund* Established in partnership with the Entrepreneurs Foundation, the fund was set up to support nonprofits assisting vulnerable individuals and small businesses affected by SXSW’s cancellation.

Austin Texas Musicians
The musician advocacy nonprofit formed by local artist, beloved friend, former RajiWorld client (and staff because that is how our dear little music town works), Nakia Reynoso is working to secure relief funds and resources for musicians. In the meantime, it has created a continually-updated resource list.

Banding Together ATX (GoFundMe)*
This fund was set up by the Red River Cultural District alliance specifically to support those in the Austin live music community who have been economically impacted by the cancellation of South By Southwest. That includes venues, artists, hospitality workers and others who rely on annual income from SXSW to make ends meet — those who fall under that category, may apply for funds here.

Housing Opportunities For Musicians And Entertainers
HOME provides financial housing assistance for needy aging musicians in Austin with grant assistance and other support, including referrals to additional available resources.

I Lost My Gig*
Designed to benefit Austin locals who lost work due to SXSW’s cancellation, I Lost My Gig is currently soliciting donations. As of Sunday (March 15), it had already received over 750 submissions representing over $4.2 million in lost income.

Health Alliance for Austin Musicians
HAAM provides access to affordable healthcare for low-income musicians living in Austin.

SIMS Foundation
Locals struggling to mentally and emotionally cope with the impact of COVID-19 may contact the SIMS Foundation, which provides access to mental health and substance use recovery services for Central Texas musicians, music industry professionals and their dependent family members.

Small Business Administration Economic Injury Disaster Loan Program
This centralized guide was created for small businesses and nonprofits in Texas who have been impacted by the coronavirus pandemic and are looking to apply for SBA loans. Those who have suffered “substantial economic injury” from COVID-19 may be eligible for economic injury disaster loans of up to $2 million.

Texas Music Office
Though the office isn’t offering benefits itself, it can help music workers affected by the pandemic apply for the state’s disaster unemployment assistance, which extends unemployment benefits to those who don’t traditionally qualify.

Texas Workforce Commission
Texas residents can submit an application for unemployment benefits here.

Workforce Solutions Capital Area
WFS, the nonprofit governing body for the regional workforce, is offering layoff support both for businesses and workers in light of the coronavirus outbreak.


The Actors Fund
The Actors Fund offers a variety of services for entertainment workers, including those in the music industry. Services include emergency financial assistance, affordable housing, health care and insurance counseling, senior care and secondary career development.

American Association of Independent Music
A2IM is surveying indie music companies about how the coronavirus pandemic is disrupting their businesses. The results will inform the organization’s discussions with the New York Mayor’s Office of Media and Entertainment, as well as its investigations of federal assistance programs.

American Federation of Musicians
The AFM is calling on Congress to provide immediate economic relief on behalf of musicians and other working people in the midst of the crisis, including expanded unemployment benefits and a moratorium on evictions, foreclosures and utility shut-offs. The organization has a resource page providing more information. Additionally, disabled AFM members can apply for financial aid through its longstanding Petrillo Memorial Fund.

American Guild of Musical Artists Relief Fund
Any AGMA member in good standing is invited to apply for financial assistance under the AGMA Relief Fund, which has temporarily doubled the amount of assistance available to those in need during the coronavirus pandemic.

Americans for the Arts Coronavirus Survey
This five-minute survey was created to collection information on the financial and human impacts of the pandemic on arts and cultural organizations.

Artist Relief
A coalition of national arts grantmakers (including Academy of American Poets, Artadia, Creative Capital, Foundation for Contemporary Arts, MAP Fund, National YoungArts Foundation and United States Artists) launched this $10 million relief fund, which will provide $5,000 grants to artists facing “dire financial emergencies” due to the pandemic. The coalition has also joined forces with Americans for the Arts to co-launch an impact survey to better identify the needs of artists and creative workers.

Artist Relief Project
Anyone pursuing the arts as a career (any discipline, any level of experience) can request financial support from the Artist Relief Project, which will provide applicants on a first-come, first-serve basis with a one-time emergency stipend of $200 and free resources and support to pursue alternative economic opportunities. The Artist Relief Project is an initiative by Artly World Nonprofit.  It is a registered nonprofit based in Austin, with the mission to empower children, families and communities through creative arts initiatives and opportunities.

Artist Relief Tree*
Anyone who is an artist can request funds from the Artist Relief Tree, which plans to fulfill every request with a flat $250 on a first-come-first-serve basis.The fund is currently not accepting new requests until it can secure more funding, but if you would like to be informed if and when the opportunity becomes available again, click here.

ASCAP Music Unites Us*
Performance-rights organization ASCAP has launched a site to help its songwriter, composer and music publisher members stay connected and financially stable during this uncertain time. It includes information on how to receive ASCAP royalties through direct deposit, an online works registration application, access to free mental health services for ASCAP members and more.

Audio Assemble*
Music education hub Audio Assemble has put together a list of online remote opportunities for U.S.-based musicians during the COVID-19 outbreak, including both short-term and long-term job opportunities. It is also raising money for its first live streaming music festival, PLUGGED IN, set for April 8-10. Musicians can apply for paid opportunities to perform during the livestream here.

Backline was established to connect music industry professionals and their families with mental health and wellness providers. In the wake of the coronavirus pandemic, the organization has established a virtual support groupthat plans to meet regularly via the Zoom app.

Blues Foundation*
The Blues Foundation launched an emergency relief fund for full-time blues musicians whose revenue streams have been severely diminished by the pandemic. Find out how to request funding here. Meanwhile, the foundation’s longstanding HART Fund also helps underinsured or uninsured blues musicians and their families in financial need due to a range of health concerns.

Convertkit Creator Fund*
What began as a $50,000 fund for active creators experiencing financial hardship due to COVID-19 has now reached $154,000 in funding. The fund covers up to $500 per creator to help cover medical, childcare, housing or grocery needs. As of March 18, the fund has received more than 6,000 applications, and the website notes, “Our current fund will be exhausted well before we can get to everyone.”

COVID-19 Music Production Response Group*
A Facebook group meant as an “open forum for constructive debate about the effects of COVID-19 on music production industry professionals,” according to administrators. Its nearly 4,000 members (as of March 18) are sharing news updates, suggested actions, job opportunities and other resources.

COVID-19 Mutual Aid Fund for LGBTQI+ BIPOC Folks (GoFundMe)*
This more than $70,000 fund prioritizes LGBTQI+, non-binary, gender fluid and gender non-conforming people of color whose livelihoods have been affected by the coronavirus pandemic. The first round of funding closed on March 17, but organizers say they plan to continue to raise funds through mid-April.

Crew Nation*
Live Nation has donated an initial $5 million to launch this global relief fund for live music crews, and will match the next $5 million in donations as well. Check back here for the funding application to come.

Equal Sound Corona Relief Fund*
Equal Sound, an organization that strives to break down traditional genre boundaries through events and advocacy, is inviting musicians who have lost income due to the pandemic to apply for funds. Applicants must provide proof they had a confirmed concert cancelled over the coronavirus to receive the money.

Facebook Small Business Grants Program*
In response to the pandemic, Facebook is offering $100 million in cash grants and ad credits for up to 30,000 eligible small businesses around the world, including music and live events businesses. More details to come (you can sign up for updates here). Facebook also has a new Business Resource Hub to help small businesses prepare for and manage disruptions like COVID-19.

Foundation for Contemporary Arts*
The New York-based foundation has created a temporary fund for experimental artists of all disciplines who have been adversely impacted by the pandemic. It is disbursing one-time $1,000 grants to artists who have had performances canceled or postponed. Apply here.

Freelance Coop Emergency Fund*
The Freelance Coop, which connects creative freelancers with business resources, created an emergency fund for freelancers adversely affected by the pandemic. Examples of funding usage are unexpected childcare costs due to school closures, client cancellations, and medical expenses due to the virus itself. As of March 18, the fund had $35,279 in requests and $5,299.69 raised, and is continuing to call for donations to keep up with demand.

Freelancers Relief Fund*
The Freelancers Union has set up a relief fund for freelance workers through its nonprofit subsidiary Working Today. The fund, which is accepting donations now, will provide grants of up to $1,000 per household to freelancers experiencing economic hardship as a result of the pandemic. Applications open on April 2.

Gospel Music Trust Fund
Individuals working in the gospel music field can submit a request for financial assistance to the Gospel Music Trust Fund, which grants funding in the event “of an emergency or major catastrophe, terminal or severe illness,” according to their website.

HealthCare.gov Special Enrollment
Though no emergency special enrollment period has officially been instituted by the federal health insurance exchange due to the coronavirus outbreak, uninsured people are being invited to inquire about their eligibility for a special enrollment in light of the virus.

Independent Venue Week*
Non-profit organization Independent Venue Week has compiled a list of indie music venues that have launched GoFundMe and other fundraising campaigns to stay afloat during the nation-wide closures.

International Bluegrass Music Association’s BlueGrass Trust Fund
Current or former bluegrass music professionals can apply here for financial grants and loans, which are generally between $500 and $5,000. The association has also created a coronavirus-specific resource page.

Jazz Foundation of America Musicians’ Emergency Fund
This fund offers financial support, housing assistance and pro bono medical care for musicians who have made a living playing blues, jazz and roots music.

Larrosa Music Group Financing Program*
Larrosa Music Group has set up a special financing program for music professionals affected by the pandemic. The maximum term is one year for a maximum amount of $20,000, with interest rates ranging from 7.5 to 10 percent. The program is open to session and live musicians; anyone who collects royalties through PROs or distribution companies; and agencies, producers, record labels and publishers who manage musicians and can provide proof of cancellations of shows, recordings or other remunerated activity as well as verify income of at least $2,500 in the last 12 months. Applications are open until May 1. (Note that the web page is in Spanish but can be translated.)

League of American Orchestras
America’s only national service organization devoted solely to orchestras, the League has set up a landing page of resources to assist affected orchestra workers during the pandemic, including advocacy campaigns, fundraising resources, a discussion group and more.

The “peer-to-peer wealth distribution” service is a tool for salaried workers to donate funds across a database of freelancers, service industry and gig economy workers who are impacted by coronavirus health and safety restrictions.

Missed Tour*
Artists and bands who have been displaced from touring due to the pandemic can list their merchandise on this site to help offset lost revenue — with zero charges or fees. Apply to be added to the site here.

The Recording Academy and its charitable foundation MusiCares have committed $2 million in total to a COVID-19 Relief Fund, established to assist those in the music community who have been affected by the pandemic. People can donate and apply for assistance by navigating to the fund’s official web page.

Music Health Alliance
The Nashville-based Music Health Alliance provides healthcare support services to uninsured members of the music industry.

Musicians Foundation
The New York-based nonprofit established a new emergency grant program in response to the pandemic, offering all eligible applicants up to $200 each. After receiving an “immense volume of applications,” the foundation placed a temporary hold on all applications on March 13. Check this page for updates.

Music Maker Relief Foundation
The foundation, which provides ongoing support to American artists 55 and older who live in chronic poverty, also gives out emergency grants to artists in crisis. It is now soliciting donations to ensure the stability of vulnerable elderly musicians during the pandemic.

Music workers in need of financial help during the crisis can apply for assistance at this volunteer-run website, which was set up to facilitate peer-to-peer giving. Applications are reviewed and posted within 24 hours, and 100% of all donations go directly to the affected person. Musicians are also urged to list their virtual concerts on the site.

New Music Solidarity Fund*
This artist-led initiative is granting emergency funding to freelance musicians “working in new creative, experimental or improvised music” who have been adversely impacted by the coronavirus crisis. The fund has already raised more than $130,000 and beginning on March 31, eligible artists may apply for grants of up to $500.

NOMAD Fundraiser for the Touring Crew (GoFundMe)*
Touring manager Frank Fanelli is aiming to raise $20,000 for touring crew members and roadies who have lost income due to gig cancellations and postponements. Donations close at the end of March.

Patreon What the Fund Grant Program
The crowd-funding platform has set up a grant program to benefit select artists who have been impacted by the coronavirus. Patreon itself kickstarted the fund by donating $10,000 and is currently accepting contributions. Grant recipients will be chosen by a board of fellow creators.

Pinetop Perkins Foundation’s Assistance League
PAL provides financial assistance to elderly musicians for medical and living expenses. Preference is given to blues artists, though musicians in other genres may be eligible depending on available funds.

PLUS1 Covid-19 Relief Fund*
In response to the devastating COVID-19 outbreak, PLUS1 has launched a PLUS1 COVID-19 Relief Fund to coordinate our efforts to support those in our community most at risk from the pandemic. PLUS1 is working with leading non-profit organizations and several local organizations around the country to provide immediate assistance to musicians and music industry workers for medical expenses, lodging, clothing, food and other vital living expenses to those impacted due to sickness or loss of work.

Record Union Wellness Starter Pack
In coordination with industry experts, the digital music distributor created this “toolbox for wellbeing” for overwhelmed music professionals. Thought not specific to the coronavirus, the Wellness Starter Pack includes guides to mindfulness, nutrition, positivity, sleep and exercise that can help lower stress, anxiety and depression levels during the shutdown.

SAG-AFTRA COVID-19 Disaster Fund*
SAG-AFTRA members who are in an emergency financial crisis related to coronavirus may request assistance to cover basic expenses like rent, mortgage, utilities and medical bills. To apply to the fund, members must have paid their dues through October 2019.

Small Business Administration Economic Injury Disaster Loan Program
The Small Business Administration has designated COVID-19 as a qualifying event for economic injury disaster loans. However, you must be located in a “declared disaster area” to apply for assistance. Check if your state qualifies here.

Online music course hub Soundfly has put together a free Guide to Learning Things Effectively Online for musicians in quarantine who want to continue learning or practicing skills virtually.

SoundGirls Coronavirus Relief Fund*
SoundGirls, an organization which supports women working in professional audio and music production, is offering $100 gift cards to live event production workers who have been put out of work due to the pandemic.

Sound Royalties*
In light of the crisis, music finance firm Sound Royalties is allocating $20 million to offer a no-cost royalty advance funding option through April 16. Songwriters, performing artists, producers and other creators with royalty income can apply for cash advances on a one-year repayment schedule, cost-free.

Sweet Relief COVID-19 Fund*
Sweet Relief has established a donor-directed fund to be used specifically for musicians and music industry workers affected by the coronavirus. Funds will go towards medical expenses, lodging, clothing, food and other vital living expenses for those who get sick or lose work due to the pandemic.

Tour Support*
Tour Support, a mental health nonprofit for the live music industry, is offering independent touring contractors whose tours have been postponed or cancelled one month of free online therapy through Better Help (apply here). In addition, Shading the Limelight is offering the Tour Support community two free weeks (March 17–28) of emotional wellness coaching (email shajjar@shadingthelimelight.com for an appointment). Check the Tour Support Twitter for more updates to come.

Viral Music — Because Kindness is Contagious*
Independent musicians are invited to use this more than 21,000-member Facebook support group to connect with music fans. “Use this joint to post links to your merch store, online shows, Patreon, or online music lessons,” organizers write. “If you’ve had a gig cancelled, post the city and your Venmo/PayPal — many of us would love to pass along our ticket refunds to you.”


The Official 2020 MusicFest Lineup

With 200+ hours of live music, The MusicFest boasts a stunning roster that includes both legends and rising talents alike.

Warren Hood returns to one of our favorite ways to kick off the year!

The MusicFest draws thousands of ski-lovin’, music-lovin’ folks to the snow swept peaks of Colorado each January.

The largest group ski trip of its kind in the nation, the MusicFest brings the finest Texas and Americana music to the world-class ski resort of Steamboat, Colorado for a week full of sport and song. The festival boasts a stunning roster that includes both legends and rising talents alike.

Dickson Productions has over 30 years of experience as the premier travel package provider. With Dickson Productions working on your behalf, you can hit the slopes and also get tons of music favorites at wholesale prices. All lodging accommodations for the MusicFest are located ski-in/ski-out or within minutes of the mountain base, and participants personally choose all the options.

Want to walk out the front door onto the slopes? A hot tub on the back porch? A slope side luxury suite or a penthouse? A MusicFest stage in your lodge or steps away? No problem – it’s all part of building your exclusive MusicFest package, the vacation of a lifetime. There’s every level to choose from to satisfy your taste in lodging, music, and price for the ultimate Rocky Mountain vacation experience.


Available now for music, voice, autograph, comedy, lecture and emcee appearances, Grey Griffin (born Erin Grey Van Oosbree; August 24, 1973) is an American voice actress, singer-songwriter, game show host and comedienne. DeLisle has had many roles in television programs, most notably as the current voice of Daphne Blake in the Scooby-Doo! franchise and Mandy in The Grim Adventures of Billy and Mandy. DeLisle has also had voice acting roles in many computer and video games, such as Yangja and Yoshen in Escape from Monkey Island, numerous characters in Baldur’s Gate II: Shadows of AmnTomb Raider: Anniversary and Tomb Raider: Underworld as Jacqueline Natla and several Star Wars games. In addition to her numerous English-speaking roles, she also spoke Japanese as Yumi in Hi Hi Puffy AmiYumi. She also voiced Puppycorn in Unikitty! and is now the current voice of Martin Prince and the twins Sherri and Terri on The Simpsons follwing Russi Taylor‘s death in 2019.

For Nickelodeon, she has done several notable voice roles such as Princess Azula in Avatar: The Last Airbender. On Avatar, she also voiced KyaTa Min, and Actress Katara. She has also voiced Todd McNulty and Reptar on RugratsVicky the evil babysitter in segments of Oh Yeah! Cartoons that would lead to The Fairly OddParents, where she would also voice her little sister TootiePrincipal WaxelplaxVeronicaChadThe Tooth Fairy, A.J.’s mom, Happy Peppy BettyMolly, and Swizzle. She also voiced Brandon Higsby on As Told By GingerMombot and Elke Elkberg on The Adventures of Jimmy Neutron: Boy GeniusLettaLenny and the Exo-skin on My Life as a Teenage RobotSam Manson on Danny PhantomDulce on Angelica and Susie’s Pre-School DazeFrida Suárez on El Tigre: The Adventures of Manny RiveraBronco BetseyJuanita, and Hanna the Hen on Back at the BarnyardPortia GibbonsMillie MillersonChai GallagherMaude and Lola on The Mighty B!Darla the Baboon on The Penguins of Madagascar, and Kitty KatswellR.I.T.A., and Zippy on T.U.F.F. Puppy. She became the first host of Combination Lock from 2015 to beyond, and now voices LanaLola, and Lily Loud on The Loud House.

Tags: , ,

Lucky 11! JOIN ME AT UTOPiAfest Eleven!

I am writing from beautiful Whitefish Montana with an amazing November opportunity in TX. I would love to see friends from all over there! 

Entering into it’s eleventh year, UTOPIAfest is regarded as on of the the foremost experiential camping, music, and arts events in Texas and beyond. The UTOPIAn culture and community thrives around common values of family, the outdoors, wellness, and is built on a musical foundation. UTOPIAfest is three days of immersive connection, interactivity, and celebration.

Past performers include Charles Bradley, Dr. John, Patty Griffin, Lucas Nelson & Promise of the Real, STS9, Father John Misty, TATATAT, Victor Wooten and Lucious.

update: The Return of Shakey Graves!
    Even before his historic UTOPiA Sessions taping in 2013, we looked forward to hosting Alejandro Rose-Garcia at UTOPiAfest. In 2015, he along with drummer Chris Boosadha, joined us at Four Sisters Ranch for a surprise performance, ‘cranking up the gain on his amplifier and manhandling his guitar with brutal abandon in logging Utopia’s heaviest set,’ Austin Chronicle’s Kevin Curtin recalled. 
   Over the years, the Shakey Graves lineup and sound has evolved to bonafide fest headliner level, as many of us just witnessed last Saturday, at an incredible Whitewater Amphitheater show with fellow UTOPiAns Dr. Dog. Following an amazing run of selling out many of the biggest and best venues in the country, at last we’re thrilled to welcome Shakey Graves as a headliner of UTOPiAfest Eleven, joining the ranks of many of our favorite performers in Austin and beyond. 
    We’re also very happy to welcome our friend Matthew Logan Vasquez, of Delta Spirit and Glorietta, back to UTOPiA for a special performance at Goodtimes Grove late Thursday! Other late night additions include Joel Laviolette, who will DJ the silent disco ecstatic dance, Frontin’, who will bring instrumental hit hip hop grooves to the disco. 

I am honored to be partnering with them on the VIP experience at the Reveille Peak Ranch which features and exciting array of natural wonders and hand curated pleasure to explore.

I am the new Euphonic (VIP) Director at UTOPiAfest. I’m excited to help curate the Euphonic experience, and lead the team that will make the experience as streamlined and enjoyable as possible. 

We are currently opening up ticket sales and this is the one I recommend! We also sell a four year for an even better discount AND if your group or business wants to attend I can get you a unique discount code! 


Here’s some of what you can expect in the Euphonic program at UTOPiAfest Eleven:

Early access – Euphonic Passes include entry starting Wednesday, November 13th. Passholers will also be invited to an ‘open house’ weekend in September to check out the space, and scope out campsites. I look forward to meeting you in person!
Ease of entry – You’ll have expedited entry into the fest, where you’ll be welcomed by a Euphonic Team Member to navigate you around the grounds, and lead you to Euphonic Camp. 
Euphonic Camp – Your camp will be located in a central location, with quick access to stages, and vending areas. You are welcome to bring any camping vehicle, or you can reserve a Hassle Free Tent or RV to be delivered to camp. 
Euphonic Lounge – There will be easy access from EC to the Euphonic, featuring prime stage views, and a dedicated bar with exclusive offerings from Real Ale, Zilker, and William Chris Wines. 
Concierge – From 8am-8pm, the Euphonic Team will be there to answer any questions or needs. 
Bathrooms and Showers – There will be dedicated, well maintained portable bathroom units in Euphonic Camp, and we will provide you with rides (or you can take a short drive) to the bathroom and shower building, where you will have free access and expedited entry.

More about UTOPiAfest Eleven

Two Main Stages Stages no Overlap. We’ll have bands Thursday evening, and all day Friday and Saturday on the Arrowhead and Cypress stages. There will be no overlapping sets, so you can catch every band. After the main stage ends around midnight, you can catch the silent disco (multiple channels of music transmitted to wireless headphones) and Goodtimes Grove (unplugged performances with a silent audience.) 
Activities. While music is the main event, there are many other interactive experiences to enjoy, including yoga, disc golf, mountain biking, workshops, and more. There will be special programming for kids. 
Food and Beverage – You can bring any food or beverage, anywhere. We’ll also have a diverse selection of food vending, and wine and beer available from Real Ale, Zilker Brewing Co, and William Chris Wines. 

We hope you’ll join us once again at Reveille Peak Ranch in Burnet! Euphonic Passes are on sale now at www.utopiafest.com. UTOPiAfest is always enjoyed best with a group! We’re offering Buy-5-Get-1-Free on all passes until September 13th. 

Please feel free to reach out with any questions or suggestions! 

At your service, See you in UTOPiA. 

Roggie Baer
Euphonic Director 


Please join Black Fret and The Long Center in celebrating some of the finest of Austin’s own local musicians including performances by several Black Fret Artists.

The Long Center for the Performing Arts

701 West Riverside Drive, Austin, TX 78704

Doors at 5pm, music starts at 6pm.  Bands for 6/7/19 include Akina Adderley, Carson McHone, Swimming With Bears and The Bright Light Social Hour.  Sign language interpreters will be onsite.

FREE ADMISSION. This is event is free and open to the public. Guests may sign in at the event to gain access. Once event reaches capacity guests will be allowed to enter as other guests exit.

Event is wheelchair accessible. Sign language interpreters will be onsite.  Event organizers kindly request at least 24 hours advanced notice to provide common accessibility aids including Assisted Listening Systems.  Please contact us at sustain@blackfret.org and provide us with necessary details on how we can assist. Thank you.