Midge Ure returns to North Americas intimate venue circuit with his open and honest, Songs,
Questions and Answers Tour 2020.
Direct from the hugely successful UK leg of the tour Midge will be playing alongside multi
instrumental musician Tony Solis, performing acoustic versions of his catalogue and taking
questions, and maybe the odd song request, from the audience.
There is plenty to talk about too while covering a 40 year professional career, Ultravox, Solo work,
Band Aid, Live Aid, his Orchestrated album from 2017….and anything YOU the audience can think
of to ask him!
This is as close as you can possibly get to the man, his life and his music. An event as real, honest,
uplifting and poignant as his songs.
Doors at 7, Show at 8
$25 ADV, $30 DOS
Limited number of reserved seated seats available for $40
Grateful for innumerable achievements, awards and honors such as a GRAMMY win and nomination for Best Reggae Album, Gramps, Peetah and Mr Mojo are the holy trinity comprising the Iconic culturally driven family band Morgan Heritage that has bridged continents and styles of Reggae with their latest offering. Their brand new album ‘LOYALTY’ was created across several continents and completed in an unorthodox fashion with the three brothers all in different locations - Mojo in Kenya focusing on the group’s philanthropic efforts, Gramps traveling the world healing people with the Masya CBD products created by his wife Dr Annabelle Manalo and Peetah in Miami anchoring the production. This meant utilising technology to bring them together in one studio to orchestrate the finishing touches to their new masterpiece. ‘LOYALTY’ is the trio’s twelvth studio album and is set for release August 2019 on their CTBC Music Group (Cool To Be Conscious Music Group) label.
Morgan Heritage are known worldwide for their riveting stage presence and exciting showmanship, so it is no surprise that the Royal Family of Reggae will trek globally from Africa to Europe, North to South America and beyond during 2019 and 2020. The itinerary not only embodies the group’s global citizenship but is a testament to the siblings embrace of unifying cultures that is prominent in their music, with the brothers stating: “The new album showcases the universal state of Reggae and Jamaican music today. Our music is not one dimensional and we’re not loyal to one dimension of the music, rather we’re loyal to our genre.”
Too Many Zooz come to the Off Broadway on Feb 7th, 2020. Advance tickets are $18, $20 day of show. All ages show with a $3 minor surcharge at the door. Under 18 must be with an adult (21+). Venue doors open at 7pm. Music starts at 8 with BIROCRATIC.
Music at 8pm
Bout at 9pm
$10 at the door. Bring CA$H for Bribes and Belle of the Brawl. All money raised to support St. Louis Queer+ Support Helpline and their mission to provide free, confidential, and identity-affirming emotional support, resources, and referrals. For the St. Louis LGBTQIA+ community, by the community.
Wheelchair access is available at the entrance of the bar - please let us know if you need any assistance!
SLLAW requests that attendees try to go fragrance-free if possible, so spectators with allergies and sensitives to chemical/fragrances can experience the show without exposure to potentially harmful substances. SLLAW throwdowns do get loud and the show itself can be a lil wild and overwhelming for some – feel free to step away and be a part of the show at a distance or in a way that makes you feel safe and comfortable. Our hosts are on mic and provide play by play of the wrestlers’ performance and antics so that those with visual-impairments (or simply those who don’t wish to be all up in the action) can still experience the show.
In 2018, Clark released his EP “Year One”, which debuted at #6 on iTunes Alternative and #22 on Billboard’s R&B Sales chart. “Year One” includes “Must Be Hard Being You”, which was a collaboration with The Shadowboxers, and “I Need”, which was produced by Steve Jordan and features John Mayer's all-star band: Steve Jordan on drums, Pino Palladino on bass, and Isaiah Sharkey on guitar, with horn arrangements by Jerry Hey and Keyon Harrold
Most recently, Clark premiered “I Hurt Too Much” – the first single off his upcoming album that will be released in January 2020. We will continue to see refreshing new music from Clark that will be highly regarded and binge-worthy, making his music one for the passionate connoisseurs of music. Catch Clark’s captivating performances and upcoming 2020 tour at www.clarkbeckham.com.
Canada and Plato–bandmates since the inception and through the dissolution of former rock band Cross Canadian Ragweed–join forces with drummer Hansen to round out The Departed. The result is poignant, thoughtfully crafted songs delivered with bold guitars, boomy bass lines and plenty of muscle. The new iteration of The Departed offers concert-goers a well-rounded sonic experience: the Red Dirt ghosts from Canada’s upbringing; the re-emergence of favored Cross Canadian Ragweed tunes; plus a revival of classic country gold from Plato-led vocals.
Little Rachel and the Rockin' Fools
A Wayne “The Train” Hancock album is as refreshing as a beer pulled from a tub of ice on a summer’s day. You stick your hand deep into that tub, you know it’s gonna be cold, and you know it’s gonna be beer, but, dang, if it ain’t always a kick how surprisingly JUST RIGHT it is. Slingin’ Rhythm is just right, a finely honed, day-in-the-life brand of juke joint rhythm sitting in the sweet spot of American music invention between country, hillbilly, jazz and western swing.
And while “The Train” is indeed a throwback, the funny thing is, the more retro he gets, the fresher he sounds. His songs about the everyday and the everyman, with their driving pulse and live-in-the-moment vibe, have a character and passion that go beyond a particular time.
Even though it’s been over three years since his last album, Ride, no grass has grown under Wayne’s boots—he’s on the road 200 days a year. Slingin’ Rhythm, with its emphasis on off-the-cuff instrumental interplay and extended soloing, Wayne and his band drive down the centerline between tight and loose. Like a latter day Bob Wills, spontaneously calling out encouragement, or Hank Sr and Ernest Tubb effortlessly knocking out smile-through-the-pain honky-tonk, Wayne “The Train” Hancock delivers an unvarnished, BS-free restorative.
When it comes to classic trope of the murder ballad, the subject is often spoken through metaphor or deeply formalized imagery. Not so with Wayne. He gets to the point in “I Killed Them Both” with a chilling bluntness that’d make Johnny Paycheck nod with approval. The thing is, though, you might miss the tragedy at first because that bouncy back beat will have you on the dance floor. On the languid lament “Dog Day Blues” you can feel the sweat rolling down the back of your neck. The attention to detail in “Small Bouquet of Roses” paints a distinct picture of heartbreak.
Wayne teamed up once again with his producer-for-life Lloyd Maines (Terry Allen, Uncle Tupelo, Dixie Chicks, Ray Wylie Hubbard) and recorded on the fly, never doing a song the same way twice. That’s what gives Slingin’ Rhythm its relentless energy—and with a band this killer, you’ve got to let them off the leash. “2 String Boogie” and Merle Travis’s “Divorce Me C. O. D.” bounce along on crisp, jazzy guitar licks, referencing masters like Chet Atkins and Hark Garland right up through the neo-retro scenesters like Deke Dickerson. And the loungy Texas swing in “Wear Out Your Welcome” and the instrumental “Over Easy” freshens up the template laid out by the great Texas Playboy steel player Leon McAuliffe.
As always, Wayne writes what he knows with the clarity and honesty of a door slam. Like the title track, both a tenacious statement of purpose and a straight-up, no-chaser bio, says:
“I love the road and my plans are never to retire, and anyone who says that I will is nothin’ but a liar…cuz that’s how I make my livin’, slingin’ rhythm”
Christopher Paul Stelling is a songwriter based in Asheville, North Carolina.
Known for incendiary performances and his own blend of fingerpicked guitar, howled laments, and southern gothic lyrics, Stelling has toured the United States and Europe extensively.
After self-releasing the albums ‘Songs of Praise and Scorn’ (2012), and ‘False Cities’ (2013), Stelling released ‘Labor Against Waste’ (2015), and ‘Itinerant Arias’ (2017) on the Anti-Records label.
He has been featured on NPR's Tiny Desk series, performed on CBS This Morning, and is a frequent performer at the Newport Folk Festival.
His next album is slated for release in February of 2020.
When not playing guitar he can be found walking his fierce hound, Ida Mae.
"The richly layered storytelling of John Prine, the croon-to-howl hybrid vocal of Tom Waits and Glen Hansard, and an intricately finger-picked guitar style that lands somewhere between Lead Belly and Lindsey Buckingham"
- Rolling Stone
"He's a singer with the spirit of Woody Guthrie both deep within and showing on his sleeve." - Bob Boilen // NPR Music
Ever-evolving artist Bob Mould—whose face belongs on the Mount Rushmore of alternative music—decided to “write to the sunshine,” as he describes it, not because he likes the current administration. It comes from a more personal place—a place found in Berlin, Germany, where he’s spent the majority of the last three years. Here Mould would draw inspiration from the new environments.
The theme, the cathartic vocals, and the strings all amount to Mould’s catchiest, grabbiest album since Copper Blue, the acclaimed 1992 debut of his trio Sugar. Back then, Mould’s work in Hüsker Dü, as a solo artist, and in Sugar helped define the sound of guitar rock in the alternative age. Sunshine Rock finds him doing it again for an era that has ostensibly eschewed rock.
Sunshine Rock follows the 2016 release of Patch the Sky, which was hailed by Rolling Stone as “conjuring the ecstatic rage of his earlier bands for a grim new era” and as “tight, sharp musings on aging, fizzled relationships and death that are melodic enough to sound like songs of victory” by the New York Times. Patch the Sky completed a trilogy including its 2014 predecessor Beauty & Ruin and 2012’s Silver Age.
Best known for his work with the pioneering German group Can, Damo Suzuki is a vocalist and improvisational musician whose creative wanderlust has taken him around the world, performing with a dizzying variety of collaborators. Suzuki had little experience as a musical performer before joining Can in 1970, but his bold, theatrical
style and abstract lyrical sensibility put its stamp on three of the group's most memorable albums Tago Mago, 1972's Ege Bamyasi, and 1973's Future Days) before he left the group in 1973. After a decade away from music, Suzuki returned in 1983, shunning the recording studio in favor of improvised live performances, a number of which
have been recorded and released, among them 2000's Seattle, 2002's P.R.O.M.I.S.E., and 2007's The Fire of Heaven at the End of the Universe. Working with established groups as well as sound carriers; he often has never met before walking on-stage, Suzuki's music in the 21st century has found him relentlessly exploring the boundaries of spontaneous creativity.
Electric Six has often used The Devil as subject matter for its songs because of that last bit, the part about corruption and adulteration. That’s what Electric Six has been trying to do with its music now for quite some time!!!! We want to corrupt young women….just like The Devil!!! There’s nothing more rewarding than the seduction of a young innocent maiden, forcing her to wear demonic dresses, levitating her towards the great fiery skull and watching her eyes turn black as she gives into evil and becomes the bride of The Devil!!!! That….is why we started this band….to help women realize their potential as sexy evil maidens with eyes reflecting the utter darkness of a corrupted soul.
With its fourteenth studio album Bride of the Devil, Electric Six examines the concepts of evil and corruption, humanity’s various falls from grace, the nine circles of purgatory and of course, the internet itself. Bride of the Devil opens with the thunderous opener “The Opener”, a bombastic celebration of the arena rock Electric Six never got to play. The next two numbers are textbook ear worm guitar pop numbers that deal with debilitating income inequality and nepotism (“Daddy’s Boy”) and the horrors of being forced into a pool of toxic waste by an a rabid Doberman trained to kill (“(It Gets) (A Little) Jumpy”).
And then we get to the title track, a radio anthem, where it all becomes clear that The Devil is a metaphor for Russia and the United States is the young girl who is seduced, corrupted and wedded into a Satanic covenant with the beast. It’s all there in black and white. The Carrie Underwood-esque lyrics alongside a backdrop of vodka and caviar and backchannels and Seychllian bank accounts. That’s how they did it. They went after our country performers and got the rubes to feel good about being Russian assets. And still, it is the feel-good anthem of the summer.
Finally, the haunting album closer “Worm In the Wood” is Electric Six at its most serious, most tender and emotional. Haunting. Effervescent. Corrupt. Jaundiced. Tired.
So there you have it. Electric Six is back with its fourteenth record and it’s poppy and feel-good, as well as heavy, both sonically and lyrically. Our sound will corrupt you and enslave you as the beautiful demonic bride you know you truly are. Fraulein, take this severed hand with it’s creepy long nails from the beginning of time. To do so is truly thine destiny.
Come see Electric Six on the “Russia, If You’re Listening” tour this fall and into 2019. Bride of the Devil will be released on Metropolis Records on October 5, 2018 world-wide.
Missouri brothers form a band saluting the music traditional to their homeland: The
Ozarks... where Old-Time Fiddle music received a quick flash fry of foot stompin’
Country Blues as it made its way across the Mississippi River. The songs are a
collection of stories, often ancient in verse but timeless in meaning, and delivered
with sunny reverence for this forgotten music bred to uplift from the tangle of
struggles in a bygone era. It’s music that prefers to draw you out, rather than draw
In 2018, the band released their Self-Titled Debut Album and a companion video for
their song, “Find Your Love,” recorded in an abandoned auto garage somewhere in
Callaway County. Joined by sisters Emma and Olivia Burney, the band boasts sibling
harmonies, upright bass, guitar, tenor banjo, fiddle, cello, ukelele, harmonica,
washboard, congas, shakers, and an array of foot percussion. The mission: to preserve
the rural music of our forefathers and mothers that used to fill the wooden barns that
once dotted countryside on Saturday night and the small family churches on Sunday
morning. That party is still going on.... it’s in your blood.
“Like a baseball player who quietly hits 30 home runs every year or a golfer who regularly finishes in the Top Ten, Josh Rouse's continued streak of excellence is easy to ignore and maybe even downplay a little” -- Tim Sendra, Allmusic.com
You don’t have to work hard to enjoy Rouse’s music. His songs present themselves to you with an open heart, an innate intelligence and an absolute lack of pretension. They are clear-eyed, empathetic and penetrating. Without pandering, they seek to satisfy both your ear and your understanding. The verses draw you in with telling detail, both musical and thematic, and the choruses lift and deliver. They resolve without seeming overly tidy or pat.
Josh Rouse was born in Nebraska, and following an itinerant upbringing he eventually landed in Nashville where he recorded his debut Dressed Like Nebraska (1998). The album’s acclaim led to tours with Aimee Mann, Mark Etzel and the late Vic Chestnut. The followup- Home (2000)—yielded the song “Directions” which Cameron Crowe used in his film Vanilla Sky.
“Every time I’ve made a record, I’ve tried to make it different from the last one,” says Rouse. “I always became fascinated by a different style of music. But at the end of the day, no matter how eclectic I try to make it, it’s my voice and melodic sensibility that tie things together.”
For his breakthrough album, 1972 (2003), which happens to be the year he was born, Rouse decided to cheer up a bit. Noting that he’d earned a reputation for melancholy, he says, with a laugh, “I figured this is my career, I might as well try to enjoy it.” While the Seventies are often identified with singer-songwriters, Rouse was primarily attracted to the warmer sound of albums back then, as well as the more communal feel of the soul music of that time. The follow up, Nashville (2005) continued the hot streak and expanded his audience further.
After relocating to Valencia, Spain with his wife Paz, Rouse has released a steady stream of high quality songs and albums. Subtitulo (2006) contained the international indie folk hit "Quiet Town". On El Turista (2010) he even experimented with writing and singing some songs in Spanish. In 2014, he won a Goya Award (the Spanish equivalent of an Oscar) for best song for "Do You Really Want To Be In Love," from the film 'La Gran Familia Española.'
His most recent release, The Embers of Time, was one of his strongest—self-described as “my surreal, ex-pat, therapy record.” Charles Pitter astutely noted in Pop Matters. “The critics may long for drama and scandal, but The Embers of Time often demonstrates that a simple life could be for the best.”
$15, All Ages, $3 Minor Surcharge
A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a “silver tongue.” It’s apt, then, that Mackenzie Scott—who has spent the 2010s making boundary-pushing pop music under her TORRES moniker—has chosen to call her fourth album, and first release on Merge, just that.
Recorded at O’Deer in Brooklyn, New York, Silver Tongue is a full-scale realization of the world Scott has created over TORRES’ last few albums. Even when singing in more subdued tones, Scott’s voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday.
It’s also the first TORRES record produced solely by Scott. After having shared production duties on her first three albums, the latter two alongside PJ Harvey collaborator Rob Ellis, she found the process liberating: “I made exactly the record I want, and it feels very ‘me.’”
Silver Tongue fastidiously chronicles the impulses that make up desire—from the dreamy first blushes of infatuation through the slightly terrifying wonder that accompanies connection with another. In between, Scott wrestles with the highs and lows of what “being in love” might mean over heady guitars and swirling synths. This is immediate in album opener “Good Scare,” which details the courage one finds when chasing the person of one’s dreams: “When you said you couldn’t swing it, you gave me a good scare for a minute there / I had never seen that look from you before / You were eyeing all the exits.”
While potent vocal hooks punctuate songs like the sparkling “Dressing America,” which combines New Wave glitter with hovering frustration, and the brooding “Good Grief,” which gently pokes at the idea of fetishized sadness, the knottiness lurking underneath reflects Scott’s real-time processing of her emotions while making the record.
“I was trying to make sense of things as they were happening to me,” she says. “It’s more difficult for me to examine something clearly enough to write about it when I’m in the middle of it, and yet that’s what it demands. You’ve got to see things for what they are if you want to make truthful observations about them. When you’re writing about the past, you can manipulate it a little bit to fit a narrative, clean it up some—there’s less room for bending the present.” This desire to stick to the truth manifests in her lyrics, from the exposed longing of “Records of Your Tenderness” (“I can’t get one word in front of the other / You know my mind’s an overgrown orchard / Oh, I do not want this to be over”) to “Two of Everything,” the blistering letter to her lover’s lover (“To the one sharing my lover’s bed / Do you hold her when she sleeps / Does she also call you Baby / You should know she calls me Baby”).
Celebrate the legendary sounds of Nirvana & Kurt Cobain with national traveling Nirvana tribute 'Smells Like Nirvana’ as they perform songs from Nevermind, In Utero, Bleach, and more (b sides/rare songs).
Make song requests/get tix at smellslikenirvanatribute.com
Smells Like Nirvana is based out of Chicago and is composed of seasoned pros and die-hard- fans of Nirvana fronted by Paul Wandtke (ex Trivium, Dead Original), Nick Shabatura on drums and Mike Petrasek (Bedlem). Their live tribute to Nirvana is a haunting episode of grunge filled angst playing songs from Nirvana's albums Bleach, Nevermind, In Utero and MTV Unplugged as well as rare b-sides and more; played without click tracks or backing tracks, a trait that is rare in today’s contemporary musical landscape, a trait and philosophy that Nirvana lived by.