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Intimate. Eclectic. Exclusive.  I am thrilled to join this first time fest!

Haute Spot — North Austin’s premier live music venue — is proud to present HAUTE MESS MUSIC FEST, featuring world-class performances by DJ Snoopadelic (Snoop Dogg), Ludacris, Big Gigantic, Cypress Hill, and many more! hautemessfest.com

Enjoy longer musical sets, gourmet fare curated by ATX Food Truck Festival, premium selections of beer, wine, and spirits, and an overall enhancement of the typical fest experience for all ticket holders. This intimate, backyard-style setting is just minutes from downtown Austin, Texas, “The Live Music Capital of the World.” In addition to live music, HAUTE MESS MUSIC FEST will have performances by Captain Burton’s Fun Time Sideshow Circus. Find out more about Haute Spot here: hautespotvenue.com

This ALL AGES Veterans Day weekend celebration benefits OSD (Operation Supply Drop) and Project K-9 Hero. A portion of the proceeds from every ticket sold will support these charities.

Kids 6 years old and under will be admitted for free on the following conditions:

  • 1 child per adult ticket purchased
  • No children in VIP

Military and first responders get 30% off tickets! Redeem at GovX.

Saturday, November 9

  • Big Gigantic
  • Cypress Hill
  • The Floozies
  • Max Frost
  • Darkbird
  • Deanna Wheeler
  • Auxymorons

Sunday, November 10

  • DJ Snoopadelic (Snoop Dogg DJ Set)
  • Ludacris
  • BoomBox
  • Missio
  • The Peterson Brothers
  • Dirty Wormz
  • Wheelz The Rapper


HAUTE MESS MUSIC FEST is brought to you by Haute Spot and the following generous partners: 

  • Michelob ULTRA
  • Deep Eddy Vodka
  • Dulce Vida Tequila
  • Hendrick’s Gin
  • Sailor Jerry Rum
  • Texas Ranger Whiskey


We encourage ride shares (Uber, Lyft, etc) and drop-offs in our designated drop-off/pick-up area. On-site parking near the festival will be available and sold online in advance on Eventbrite or can be purchased on site.


Gates open each day at 11 a.m.

Click Here for Prohibited Items and Bag & Chair Policy


  • Corporate or Group Tents: tents@hautemessfest.com
  • Round-trip Party Buses: buses@hautemessfest.com
  • Any questions? Just ask! info@hautemessfest.com

Please note the lineup and schedule are subject to change. Event is RAIN or SHINE. 

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AUSTIN, Texas – (October 17, 2019) – Grammy Award winning artist David Ball will recreate the sound of Americana pioneers, Uncle Walt’s Band, with a CD/Vinyl Release show at The 04 Center on Friday, November 15th.

An American In Texas returns nearly 40 years after its initial release, this time on LP, CD, and Digital. Originally released in 1980, it was the second album from Americana pioneers Uncle Walt’s Band, of which Ball was a founding member and upright bassist. The original 12-track vinyl is complimented by an expanded 25-track CD containing all 8 tracks from their cassette only Six • Twenty Six • Seventy Nine, and five previously unissued live and studio tracks. 

Called the Bluegrass Beatles by critics, Lyle Lovett wrote, “Those boys from Carolina, they sure enough could sing.” The album will be distributed for streaming and download on all digital platforms, with a physical CD available at independent record stores. Pre-order online here

In early 2017, David Ball revisited the music of Uncle Walt’s Band at an Austin house show with Warren and Marshall Hood (son and nephew of UWB co-founder Champ Hood). The overwhelming response created That Carolina Sound, and a string of sold-out shows have followed.

On a solo acoustic tour a few years prior, Lyle was asked about the unique sound of his music. “It’s that Carolina sound!”

Doors for this CD/Vinyl Release will open at 7:00 with show at 8:00. Tickets: https://www.04center.com/events/2019/11/15/kessler-presents-david-ball-amp-that-carolina-sound“Flash back, for a moment, beyond the just-finished South by Southwest to last year’s SXSW. Its 10-day run had just kicked off when, in a show that wasn’t even part of the festivities, Nashville songwriter David Ball joined cousins Warren and Marshall Hood at the Saxon Pub to revisit the music of beloved 1970s-’80s Austin trio Uncle Walt’s Band. Marveling at the magic brought back to life, listening to the sincere testimonials and lovely guest-vocal turns by Uncle Walt’s Band devotees Kelly Willis, Marcia Ball and Jimmie Dale Gilmore, I wondered how I could see anything for the rest of SXSW that would be as good as this. And I didn’t.” -Peter Blackstock, Austin American-Statesman, 3/26/19″Uncle Walt’s Band predicted Americana by 30 years…but they were more polished and practiced than most down-home sounds now in that field.” Barry Mazor, Wall Street Journal, “Roots Now” ACME Radio Nashville 4/17/19###

About The Boys in The Band 
David Ball grew up in Spartanburg, SC where he learned to play guitar but later honed his skills on the upright bass, which led to a gig playing bass in Uncle Walt’s Band, credited as the first Americana act. The legendary trio was headed by Walter Hyatt and also included Champ Hood. A solo career led Ball to Nashville where he signed a publishing deal and later, a recording contract.  David’s music came full circle when Lyle Lovett reached back into Uncle Walt’s Band repertoire to include one of David’s early songs, “Don’t You Think I Feel It Too” on his 2009 disc, Natural Forces. David won a Grammy Award for the song “Old Folks At Home (Swanee River)” from the album Beautiful Dreamer – The Songs of Stephen Foster. (2005) Fourteen of his singles have entered the Billboard charts, including “Thinkin’ Problem” and “Riding With Private Malone,” which made Ball one of the first artists to take an indie single to the Country Top 5. He has recorded a total of seven studio albums, including his platinum certified Thinkin’ Problem.  The title track was the top selling country song of 1994. In 2013 David Ball became one of the first living members to be inducted into the Historic Spartanburg Music Trail in his hometown of Spartanburg SC, joining other notables such as Hank Garland, Don Reno, Buck Trent and the Marshall Tucker Band. He won the 2016 Operation Troop Aid Chris Kyle Patriot Award, for his extensive work with our active duty servicemen and women. Ball released Come See Me, his 10th studio album, in 2018.

Warren Hood started playing classical violin at age 11 in the school orchestra, later studying privately with Bill Dick. He won classical music competitions, including the Pearl Amster Youth Concerto Competition and the Austin Youth Award, which gave him the opportunity to perform as a soloist on “Lalo Symphonie Espagnole” with the Austin Symphony, conducted by Peter Bay. After high school, Warren earned a rare scholarship to Berklee College of Music where he majored in Violin Performance. At Berklee, Warren earned the coveted String Achievement Award, an award chosen by faculty to honor talent and as a vote of confidence on future success. 
A multi-instrumentalist (violin, guitar, mandolin) and accomplished singer-songwriter, Warren is described in the press a lot of different ways: “virtuoso” ”seven time Austin Music Award winner – BestStrings” ”Texas fiddler” ”Chet Baker crooner” “bluegrass picker” – but for him it all kind of blends together into everything he does (and what he does doesn’t always have fiddle). Warren says slyly that“playing different styles of music is like speaking different languages – the difference between violin and fiddle is how you roll your Rs. The more languages you speak the more people you can talk to.”
Warren spends as much time with his band as he does playing and recording alongside other artists: David Ball, The Bodeans, Hayes Carll, Joe Ely, Alejandro Escovedo, Robert Earl Keen, Ben Kweller, Little Feat, Lyle Lovett, Joan Osborne, Toni Price, Bob Schneider, South Austin Jug Band, Redd Volkaert, Jerry Jeff Walker The Waybacks, Bob Weir, Bruce Robison and Kelly Willis and more.

Hailing from Spartanburg, SC, Marshall Hood is Champ Hood’s nephew, currently residing in Austin, TX.  Like all of the Hoods, Marshall rounds out a family of wildly talented musicians with effortless guitar work and a knack for crafting the most charming of songs – so reminiscent of his Uncle Champ it’s sometimes hard to tell the difference. After a successful run in high school with The DesChamps Band, a band he founded to honor Champ after his passing in 2001, Marshall made the pilgrimage to Austin, TX and began accompanying famed Austin singer, Toni Price, on her long-running residency at the renowned Continental Club. It would be here, of course, where Marshall firmly planted his roots and became a fixture in the eclectic Austin music scene. Marshall took a brief hiatus from Toni Price’s band from 2007-2011, though, touring the country with the young Americana group, The Belleville Outfit – making stops along the way at major festivals like Austin City Limits, Bonnaroo, and Merlefest. As an original member of The Belleville Outfit, Marshall recorded and released two critically acclaimed, independent albums, and picked up a nomination from the Americana Music Association for Best New/Emerging Artist.After The Belleville Outfit disbanded in 2011, Marshall turned his focus to his solo work, thus far releasing an self-titled EP, and forming Marshall Hood and the Bads – a clever turn on his cousin’s band, Warren Hood and the Goods. Much like Uncle Walt’s Band, Marshall’s songs can’t be pigeonholed into any one category – they transcend any one genre. He’s the consummate musician. He plays for hours and hours a day, playing as a member of The Warren Hood Band, Tuesday nights with Toni Price, and a regular at house concerts and a project called Sessions on Mary, a private house concert that is streamed live to viewers around the world.

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This week it is all about the lovely, multi-talented Hector Ward and his triple-band (HWBT, Sly Curtis, and The Honeysuckle Sage Riders pictured above) inclusion at RajiWorld for world-wide booking.

I will begin with his name-sake band Hector Ward & The Bigtime.

With several Austin music scene accolades including Austin Chronicle’s Best New Local Acts list, one Writer’s Top 25 songs, a Best Of Critics Pick in the Austin Music Awards, KUTX 98.9 FM Song Of The Day, three studio albums under their belts, their impressive annually running SXSW “Blackfinger Festival” (https://www.facebook.com/Blackfingerfiestademusica/ ), and a 22 song live record, ‘Evolution – Live From The Saxon Pub’, Hector Ward and the Bigtime are coming at you like a runaway freight train.

Proud and honored to be featured alongside such talent and friends in the documentary film Nothing Stays The Same – The Story Of The Saxon Pub which premiered at SXSW 2019!

The band is proud to have shared the stage with: Eric Burdon & The Animals, The Zombies, Christopher Cross, Gary Clark Jr., Black Joe Lewis and The Honey Bears, Ruthie Foster, Brownout, Del Castillo, Bob Schneider, W.C.Clark, Ian McLagan, Carolyn Wonderland, George Porter Jr., Dennis Quaid, Malford Milligan, Ben Kweller, Red Young, Stanton Moore Trio,Vallejo, Guy Forsyth, Ozomatli, Eric Tessmer, Shiny Ribs, Papa Mali, Nakia, T-Bird & The Breaks, Riders Against The Storm, Tommy Taylor, Van Wilks, Tommy Shannon, Uncle Lucius and Bill Carter.

Members include Hector Ward on guitar and lead vocals, Noa Belillti on vocals, Mike McGurk on Drums, Scott Beardsley on Bass Guitar, Hunter St. Marie on Lead and Rhythm Guitar, and Rodney Corbin on congas and percussion. The horn line, known for enthusiastically leaving the stage and taking the music into the audience, includes Joseph Morrow on trumpet, Chris Beard on Tenor Saxophone and Ben Taylor on Trombone.

Booking Contact – roggie@rajiworld.com
Music Available – iTunes, Amazon, Google Play, CD Baby, Pandor

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Carson Creek Ranch and KUTX Present Blackfinger Fall Fest, a night long festival featuring live performances by:

Brownout Presents: Brown Sabbath
Hector Ward & The Big Time
Sly Curtis
Eric Tessmer
Tomar and The FC’s

With Emcee and DJ: Mixer Rogers

Friday, November 1, 2019 at 6 PM – 1:30 AM
pinCarson Creek Ranch701 Dalton Ln, Austin, Texas 78742 Show Map
Hosted by Carson Creek Ranch

General Admission & VIP Tickets available!


Portion of proceeds go to Health Alliance for Austin Musicians (HAAM)

For more information about Health Alliance for Austin Musicians (HAAM) please visit myhaam.org.

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Austin’s Carson Creek Ranch Announces 2019 “Day Of The Deadhead” Festival In Honor Of Neal Casal

Austin, TX’s Carson Creek Ranch has announced Day of the Deadhead, a festival paying tribute to the Grateful Dead and the life of revered late guitarist, Neal Casal. The one-day event will be held on Saturday, November 2nd.

Carson Creek Ranch Presents has recruited an all-star lineup for the special festival including Casal’s band, Circles Around The Sun, as well as Dark Hallow featuring George Porter Jr.Steve KimockPapa MaliMatt HubbardTerrence Houston & Friends, Nicki Bluhm with Scott Law and Ross JamesRoots of CreationThe New BohemiansDeadeye, and DJ ZAPOT of Golden Dawn Arkestra.

A portion of the proceeds will benefit Health Alliance for Austin Musicians (HAAM). HAAM provides access to affordable healthcare for Austin’s low-income working musicians, with a focus on prevention and wellness. By resolving challenges such as long-neglected teeth to hearing loss, heart problems and depression, HAAM and their partners improve and save musicians’ lives and enhance Austin’s economy and quality of life.

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I am proud to announce my first booking for the brand new Carson Creek Ranch “Presents”! This will sell fast and we are adding more activities and VIP pampering for you daily! I love this team of D.A.M.E.s running the show!

CCR Presents Halloween with Ghostland Observatory. Expect dance party, laser light show, dancers, and the ultimate Halloween party!


About this Event

Date And Time:Thursday, October 31, 2019 Doors at 7:00 PM CDT

Genre:A Robot Making Love To A Tree

Band Members:Thomas Turner: all that is electronic and organic… Aaron Behrens: all that is………

Hometown:Austin, TX 

About:Ghostland Observatory is not a band, but an agreement between two friends to create something that not only heals their beat-driven hearts, but pleases their rock ‘n roll souls.

Biography:Ghostland Observatory’s entire approach to music – sonically, aesthetically, conceptually – is essentially a melding of the two distinctly different personalities of its two members, Thomas Ross Turner and Aaron Behrens. Whereas Turner, the producer/drummer/keyboardist of the duo, finds solace in the minimal, bleak cable-patch squawks of Karlheinz Stockhausen and the analog-disco-thump of Giorgio Moroder, Behrens’ interests lie more along the lines of psychedelia, rock and various country and blues artists.

The result is a shimmering, pulsing pop music that is at once kinetically alive with Behrens’ striking vocals and driving guitar work but also anchored firmly by Turner’s percussive beats and Moog-generated melodies and hooks. Common descriptions include “electro-dance rock,” “synth-funk” and “Freddie Mercury-helms-Daft Punk.”

Deciding to produce a style of music that as yet existed only in their collective consciousnesses; Behrens and Turner formed Ghostland Observatory in Austin in 2003 and haen’t looked back since. They now sell out prominent venues across the country, have played at Lollapalooza, Bonaroo, Coachella and the Austin City Limits music festival, which they headlined, and continue to play at various music festivals and venues around the globe to an ever increasing fan base, thanks to their now-famous live shows.

The duo has released four albums to date, all on Turner’s label, Trashy Moped Recordings: Delete.Delete.I.Eat.Meat…, Paparrazi Lightning, Robotique Majestique and their latest offering, Codename: Rondo, which was recorded in Turner’s Austin studio.

The ten-track Codename: Rondo is equal parts psyechedelia, minimal electronic, rock, funk and soul. It was recorded with what Turner calls a more “linear approach” in mind. Rather than layering sound upon sound to fill out a track, the band sought to use fewer sounds while striving to make each of them count.

Highlights on the new album include the first track, “Glitter,” with its loping, fuzzed-out bassline, tremolo-tweaked vocals and Spaghetti Western guitar break. “That’s Right” is a Cars-meet-ZZ Top ripper with the former’s signature synth breaks skipping across the latter’s overdriven, chugging guitar riffs. Another standout, “Miracles,” finds Behrens haltingly phrasing his lyrics in perfect syncopation with Turner’s raw keyboard melody before exploding into an irresistible, hand-clapping chorus that is soon chased by running swells of disco strings. “Codename: Rondo,” the album’s title track, is a perfect example of the band’s efforts toward minimal maximization: a surreal narrative recalling a series of nebulous incidents in Newark, New Jersey spoken over nothing more than a steady kick and some faint electronic warbling while, during the breakdown, deep space satellite transmissions blip intermittently over a loop of what seems to be a robot with hiccups and poor phone reception attempting to leave a voicemail.

With Codename: Rondo, Ghostland Observatory has taken a step in a new direction, both creatively and technically, while still maintaining the essential elements of their unmistakable sound: “sweaty, raw-boned, and direct from the future; committed to electronics, stuck on big beats, yet unmistakably powered by rock ‘n’ roll.”



I am thrilled to partner with Carson Creek Ranch and DaDaDa Productions for a new live concert series.












Thursday, March 28, 2019 at 8:00PM and
Friday, March 29, 2019 at 8:00PM
Doors: 7:00pm | Show: 8:00pm 
Tickets: $25-$48 

Stateside at the Paramount presents
David Ball & That Carolina Sound
featuring Warren and Marshall Hood

By Peter Blackstock 
Posted Mar 25, 2019 at 12:05 PM

Flash back, for a moment, beyond the just-finished South by Southwest to last year’s SXSW. Its 10-day run had just kicked off when, in a show that wasn’t even part of the festivities, Nashville songwriter David Ball joined cousins Warren and Marshall Hood at the Saxon Pub to revisit the music of beloved 1970s-’80s Austin trio Uncle Walt’s Band.

Marveling at the magic brought back to life, listening to the sincere testimonials and lovely guest-vocal turns by Uncle Walt’s Band devotees Kelly Willis, Marcia Ball and Jimmie Dale Gilmore, I wondered how I could see anything for the rest of SXSW that would be as good as this. And I didn’t.

An encore at a larger venue was well-deserved. It comes this week, when Ball and the Hoods, along with bassist Nigel Frye and drummer Scott Metko, set up shop at Stateside at the Paramount for a two-night stand Thursday and Friday. (The Friday show sold out quickly, prompting the added Thursday show.)
And now there’s more Uncle Walt’s material from the vaults to celebrate. Last year’s show coincided with the release of a 21-song anthology on the renowned archival label Omnivore. This week, Omnivore reissues the band’s self-titled first album and doubles its length by adding 11 previously unreleased tracks, a combination of studio demos and live recordings.

In the 1990s and 2000s, Ball had a handful of top-10 country hits (including “Thinkin’ Problem” and “Riding With Private Malone”), but many Austinites still remember him most fondly as the upright bassist joining guitarist Walter Hyatt and fiddler/guitarist Champ Hood in Uncle Walt’s Band. Relocating here from South Carolina in the 1970s, they quickly became one of the best bands ever to call Austin home.

Mixing folk, country, jazz and swing styles, all three members wrote original tunes that highlighted the perfect blend of their tenor voices. As Gilmore reminisced last year at the Saxon, “The three best singers in Austin were all in the same band.”

They eventually went their separate ways. Both Ball and Hyatt moved to Nashville, pursuing solo careers with major record labels. Hood stayed in Austin and played regularly with Gilmore, Toni Price and many others while touring occasionally with Lyle Lovett.

Any possibility of Uncle Walt’s Band reunions ended when Hyatt was killed in the ValuJet plane crash in Florida’s Everglades in 1996. Hood died of cancer five years later.

But soon to follow in Champ’s footsteps was his son Warren, who’s now in his mid-30s and is one of Austin’s most accomplished musicians. Meanwhile, Champ’s nephew Marshall moved here from South Carolina in 2005, playing guitar for years with local group the Belleville Outfit.

The Hood cousins have long included some Uncle Walt’s Band tunes in their own repertoires, and they’d done a few UWB tribute shows over the years. But this new opportunity to play these songs with the group’s lone surviving member is something special.

“This is the coolest thing I could imagine doing, and I think Marshall feels the same way,” Warren said on a mid-March morning with his cousin at Cosmic Coffee. Warren has been playing there semi-regularly on Tuesday nights in recent weeks, complementing his long-running Wednesday residency at ABGB.

Marshall learned to play much of the Uncle Walt’s Band catalog when he was still in high school. “I spent many, many hours sitting there and watching as many videos as I could find of Champ playing, watching where his hand was and figuring it out,” he said.

All that practice paid off in spades a couple of years ago when Ball was in Austin to play a house concert for Daren Appelt, a music gear manufacturer who recorded dozens of Uncle Walt’s Band shows at venues such as the old Congress Avenue location of Waterloo Ice House. Warren and Marshall were at that house concert, and Ball eventually called them up to join him.

“What was supposed to be an hour show wound up being about two hours as David just started calling Uncle Walt’s Band songs,” Warren recalls. “He didn’t really know that Marshall and I knew ALL of them. And they’re not easy songs to learn.

“Marshall really blows my mind with all the chords and stuff. I play some guitar and I pretend to know about music, but this guy sat down and learned all the songs, and they are hard. So we started singing them and playing them, and David’s eyes grew big and we were having fun.”

Ball has known the Hood cousins for all their lives, but until recently, their interactions were more a matter of “seeing them off and on over the years,” he said by phone from Nashville last week. “We never did really do that much playing, so this is a great opportunity. These guys can swing just right, and it’s a joy.

“It’s funny, because Marshall reminds me a lot of Champ. He acts like him and looks like him; he’s always doing something that reminds me of him. Whereas Warren is kind of like Walter AND Champ. He’s a little more serious.”

Like his father, Ball says, Warren is “a natural” at playing fiddle, but he’s also taken the instrument to another level. Formal training at Boston’s prestigious Berklee College of Music helped Warren better understand and appreciate how the music of his father’s band was well beyond what most Austin pickers were playing in the clubs back then.

“A lot of the music that they wrote and played, you can’t just write a chord chart out for it and be like, ‘Oh, that’s G6, or C, whatever,’” Warren said. “There was a specific voice leading a melody hidden in the chords. So the hand shapes are not conventional hand shapes; they’re really intricate. That’s why the songs are so hard to learn. It’s like learning Bach, and then singing on top of that. Every part is a melody.”

Ball concurs. “It wasn’t really acoustic fiddle music. They had a lot of that kind of stuff, but at the same time, the music went a lot further beyond that. It’s very hard music to pick; it’s not like a back porch, sitting around, plucking on an acoustic guitar thing.”

Perhaps that’s why many of their peers appreciated the trio so much. “The great musicians in Austin responded to what Walter was writing,” Ball said. “They took to us because there were three guys singing together and we had this harmony thing going. It was kind of like the Kingston Trio or Peter, Paul & Mary format, but we really weren’t like that at all (musically).”

Among those drawn in by the Uncle Walt’s Band sound was a young Lyle Lovett, who has sung the group’s praises for decades and frequently plays their music on the house PA system as concertgoers arrive for his show. Both Ball and the Hoods hinted that Lovett might well be around for the Stateside shows.

Might he sit in for a song or two? “Let’s make this an open invitation,” Ball said with a laugh. “We don’t want to apply any pressure.”

Lovett first brought Hyatt’s song “I’ll Come Knockin’” to wide attention when he recorded it for his 1998 album “Step Inside This House,” a tribute to Texas songwriters who influenced him. The original Uncle Walt’s Band version of the song finally surfaced on last year’s “Anthology” collection.

The bonus tracks on the reissue out this week attest to the thorough archival work of Heidi Hyatt, Walter’s widow, and reissue co-producer Mark Michel. “A lot of these songs I didn’t even know about until a couple years ago,” Warren says. “It’s really obscure Uncle Walt’s Band material that even the die-hard fans don’t have live recordings of.”

At the Stateside, the focus will be on Uncle Walt’s Band material, but Ball and the Hoods will also play some of their own songs. Ball’s big hits “Thinkin’ Problem” and “Riding With Private Malone” are likely selections. His new record, “Come See Me,” includes a song called “Little Ranchero” that Hyatt and Hood used to play when Ball would go see them in Spartanburg, S.C., just before Uncle Walt’s Band formed.

Warren says that part of the joy for him in these shows is drawing a line for fans of Ball’s country hits back to the trio’s work.
“There’s a lot of people who are big David Ball fans who have no idea about Uncle Walt’s Band,” he said. “And if you play the two side by side to them, they can’t believe it’s the same person. But for me, because I’ve studied the whole thing and been there for most of it, I can hear the connection.”

In Austin, it’s easier to find the die-hard Uncle Walt’s fans — to a point. “There’s a handful of people who are still here who were there and remember the live shows,” Warren said. “When we sold out the first night (at the Stateside), that was basically the 300 people who remember. So what we’re trying to do with the second show is to reach some of the people who had never heard about it who would get into it, and should know about it.”

A tantalizing question lingers: Have Ball and the Hoods written any new music together? “We have not,” Ball said, “but that would be fantastic. I would welcome doing something like that. We could do a whole new record of new music.”

Perhaps it could lure Ball back to Austin for a spell. “Oh, I would love it,” he said. “I miss Texas all the time. Maybe I could find my old flip-flops that I left down there, and eat some Mexican food. That sounds perfect to me.”

Event Parking Information
Secure covered parking is offered to patrons at the 600 Congress parking garage. For additional parking information, please click here

Personal Items Policy
The Austin Theatre Alliance is taking measures to increase the safety and security of its patrons and staff. We have instituted a No Large Bag Policy at all shows and events at the Paramount and State Theatres. Read more information on banned items, permitted items and our full policies here.


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We are updating our Terms of Use and wanted to give you an overview of what is changing. These changes impact our User Agreement and Privacy Policy and are effective May 25, 2018. Our intention is to make it easy for you to understand your choices and the control you have over your data and content.

These are the key changes we are making to the Privacy Policy section of the User Agreement:

  • Updated information about exactly what personal information is collected, how to update that personal information, and how to request deletion of it
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  • New information regarding data retention, deletion, and disclosure
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You are receiving this email because you created an account on our website. Click hereto view the updated User Agreement and/or log into your account.


APAP 2016

Will you be in Tucson for IFEA this year? If you would like to set a 1:1 you can both, see my schedule and book it here

The International Festivals and Events Association (IFEA) is a not-for-profit association for producers, suppliers and managers of festivals and events, which range from small county and municipal events to large-scale parades that can have attendances in the hundreds of thousands. It has members in about 38 countries on 5 continents.

The IFEA was founded in 1956, and adopted its current name in the 1980s. This conference is the 61st annual! It will be my first.  It will also be a home-coming of sorts, My career actually began in Tucson and with a festival! I am fortunate to have a link to fun interview taken in 2010.

Editor’s Note: SLIT contacted Roggie asking her to explain how she started RajiWorld booking agency. 

I started as a buyer at the University of Arizona in the late 80’s through SUAB where I led booking for Eat To The Beat (Red Hot Chile PeppersJane’s AddictionBilly Idol) and Spring Fling (JellyfishRedd KrossPosiesPaladins booking at UA), some promoting at Counter Club and Club Congress (I brought the first El Vez  show to Tucson, as well as the Ringling Sisters).  I was also KAMP student Radio music director, and made a few trial national bookings for Green On Red and Giant Sand. I then headed the Spring Fling music committee in 1991.

At the time I was a Chemistry major, and going between the chemistry lab and my music office with a lab coat and a Motorola brick cell phone.  My friends thought I was nuts and referred to the whole thing as RajiWorld (even though my name is spelled Roggie)  So it stuck.

My first client was Rosie Flores.  I booked her to play at the U of A, a conference in PHX, and a club show in Tucson.  I worked the door at the club show and part-way through the night the bar owner collected the money so I wouldn’t have to hold it.  I trusted him.  He passed out in the office and never paid us. I withdrew all my savings and gave her what I could.  She later found out about it and asked if I would book her.  I soon added Duane Jarvis and Buddy Miller, who were direct referrals and that was how it started.  I am incredibly grateful.

In 1993 I moved to L.A. and began promoting music in earnest.  I had an opportunity in 1994 to relocate to Austin and work with Joe Ely in the studio, on the road with MCA and his musical called Chippy, which played at Lincoln Center and had a long run in Philly this year, which allowed me to go on the road and meet all the venues and local press which has been invaluable in the 16+ years since.  RajiWorld has been run between L.A. and Austin ever since.

In 1998, Bill Elm (of Friends of Dean Martin) and I married, and he put out many great records which enabled us to work in the field we loved, as we became parents in 1999.  I feel very blessed to have long working relationships with some of the bands I was first a fan of, like Danny & Chuck, Howe, The Fleshtones, Rosie Flores.  I often mention that I was in the right place at the right time with what came out of Tucson.

I started in fashion as a teen, modeling, designing, retail and wholesale.  I have a degree in Fashion Merchandising, and I love that world.  I went back to school to study Chemistry as a frustrated animal rights activist / makeup artist.  Chemistry led to a degree, although I do not use it (except in the kitchen).  I had a desire to mix up my 21 unit school day with a fun student activity (which is how I got to booking for UA and student radio.

I have recently come full circle by creating World Beauty, which reps fashion designers, hair and make-up artists and photographers and videographers for events like music festivals and awards shows.  My first client was SXSW 2010 Music Awards.

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At their June 1 quarterly meeting, TCA Commissioners voted to add 20 Texas artists and groups to the Texas Touring Roster. The Texas Touring Roster is a listing of Texas-based artists and companies that tour the state to provide quality arts experiences. It is open to all artistic disciplines: dance, music, theater, literature, storytelling, visual arts, and film/media arts. Being listed on the Texas Touring Roster attests to an artist’s quality and allows the artist to refer potential clients to the Arts Respond Performance Support grant program for partial funding. For the upcoming roster, artists on the current roster were allowed to renew their place on the roster for an additional two years without substantial changes. In all, 158 artists renewed their current roster listings.

Artists not currently on the roster, and two on the roster but seeking substantial changes to their listings, submitted full applications in January for consideration. Of 105 applications reviewed by a panel of presenting and touring professionals in March, the twenty earning the highest scores were approved by Commissioners to become Texas Touring Roster artists, bringing the total number of artists on the roster to 178. TCA congratulates the artists and companies approved to be on the 2016-2018 Texas Touring Roster. The online Texas Touring Roster is being updated to include the new listings and will be available by July 1.

The twenty artists and companies approved to be added to the roster are:

Aztex, Kyle; Bike Zoo, Austin; Bruce Wood Dance Company, Dallas; Dark Circles Contemporary Dance, Southlake; Ruthie Foster, Austin; Pamela Hart, Cedar Park; Las Tesoros de San Antonio, San Antonio; Laser Spectacles, San Marcos; Montopolis Chamber Ensemble, Austin; Mother Falcon, Austin; Steve Parker, Austin; Puppet Pizzazz, Houston; Woody Russell, Austin; ire’ne lara silva, Austin; Peggy Stern, Austin; Tapestry Dance Company, Austin; Tumbaka, Houston;
Van Cliburn Foundation, Fort Worth (on current roster, sought changes); Matt Wilson, Austin; and WindSync, Houston.

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All Music Guide – Mark Deming

Between his work with the Jayhawks and his solo career, Mark Olson has shown the world that he’s a fine singer and a gifted songwriter who is not afraid to bare his soul and explore both the concrete and spiritual sides of his life. But with his third solo effort, Good-bye Lizelle, Olson reveals a new facet of his musical personality as he experiments with world music. Good-bye Lizelle was recorded while Olson and his primary accompanist and spouse Ingunn Ringvold traveled around the globe, dashing from America to Norway, the Czech Republic, South Africa, Armenia, and many points in between, as Olson and Ringvold laid down tracks with local musicians en route using Olson’s portable recording rig. “Say You Are the River” is Olson’s own version of a raga, and “Lizelle Djan,” “Running Circles,” “Which World Is Ours?,” and “Jesse in an Old World” all reflect the influences of modality and the circular melodic patterns that inform Indian music. Olson also works in more familiar forms on Good-bye Lizelle, and he shines bright on the spare and lovely “Cherry Thieves” and “Poison Oleander,” which most recalls the Jayhawks with its fuzzy lead guitar and the splendid harmonies between Olson and Ringvold. Good-bye Lizelle shows that in the wake of Olson’s short-lived reunion with the Jayhawks, he’s eager to explore new musical horizons while remaining a thoughtful and singular American songwriter.


Folk Alliance

I will be joining many clients and friends this week at the 26th ANNUAL INTERNATIONAL FOLK ALLIANCE CONFERENCE
February 19th-23rd – Westin Hotel, Kansas City, MO .

You can find me at the hotel all weekend and I will be sharing the wonderful Bone Spirits Moonshine and gin! The gin is the only gin made from scratch in Texas, using Texas juniper berries (handpicked by friends of mine)! And Texas citrus zest, hand zested by those same pals.

They recommend gin & tonic, gin & juice, gin & ginger beer, gin martinis, I would like to step it up a notch and invite you to play mixologist with me. Let’s be creative! I am counting on you.

Meet me in the following showcases with your mixer of choice and your own glass/cup/mug/shoe….and let’s celebrate that we work in a field we adore!

Elizabeth McQueen

  • 02/02/14 St. David’s Austin TX
  • 02/09/14 St. David’s Austin TX
  • 02/20-21 Folk Alliance Kansas City MO
  • 02/20/14 8:00pm — Official Showcase in Roanoke Room
  • 02/20/14 12:00am — Room 737
  • 02/21/14 2:00pm — Room 737
  • 02/21/14 10:30pm — Room 742
  • 02/22/14 The Demo St. Louis MO

Julie Christensen

  • Thursday 11:00-11:30 p.m. in Garden Suite Room 738
  • Friday  11:50-12:10  in Room 555
  • Friday at 1:00 a.m. in Garden Suite Room 738
  • Saturday 11-12 pm ITR  in Room 713

Raina Rose

  • Friday 6:00 PM Willie P. Bennet Tribute Washington Park Place 3 Rm
  • Friday 12:00 AM ITR w/ Elizabeth McQueen in Poltz/Pressman #737
  • Friday  2-3:00 PM Rajiworld Presents Raina Rose & Elizabeth McQueen ITR in Poltz/Pressman #737
  • Friday 3-3:30 PM Cover Your Friends in Comboplate #752
  • Friday 10:30-11:30 PM w/ Rebecca Loebe, Smokey & The Mirror Pushing Chain #724
  • Friday  12:00 AM in Duty Free Room #707
  • Friday 14 1:30 AM in Poltz/Pressman #737
  • Saturday 10:30 AM FOLK Doc Brookside Room
  • Saturday 3-4pm w/ Halleyanna in #742
  • Saturday 6:00 PM OFFICIAL SHOWCASE in Pershing South
  • Saturday 10:30 PM in Comboplate #752
  • Saturday 11:30 PM w/ Kris Delmhorst in Poltz/Pressman #737
  • Saturday 12:30 AM in Hearth Music 12X12 room #537


June and July: Featured Artists Taking Flight

I Fly

“You were born with wings, why prefer to crawl through life?” ― Rumi.

We take our wings seriously, they open us up to a higher realm. Love, possibility, expansion and freedom. We have jumped aboard June with abandon. As was our old tradition, we want to invite you in for a drink and this summer our favorite local spot to recharge is JuiceLand; I would love to meet you there soon and tell you the stories of RajiWorld’s two new creative magicians as they prepare for take off.

We have magic on our minds this month and we want you to come along for the ride, literally. We could not be happier to expand the reach of Austin Bike Zoo. This idea and execution showcase everything Austin can be proud of, This interactive art was engineered to bridge gaps and create fun. Write to us here to see how we can find the right fit for your public or private event as your audiences, clients, friends and family are taken to a fantasy world of the only 80 foot long rattlesnake ever created and 17 foot tall butterflies, where anything is possible with only the power of your own two feet.


And in June we all let our hair down, take off our shoes and trappings to experience this feeling but nothing speaks to imagination like, well an actual kid. So without further ado, please meet William Harries Graham, our (about to turn 14) wunderkind. He is exactly who we each wish we had been as a teen so please help me nurture, support and show off his talents. We are looking for the best  local and regional opportunities for his solo, duo and full band projects. Cheers!