November

Waltz Night

Tickets available at the door.

Iron and Wine

SOLD OUT

Iron and Wine’s last release (not including the collaborative In the Reins EP which featured songs by Iron and Wine’s Sam Beam and performances by both Iron and Wine and Calexico together) was 2005’s Woman King, a 6-song EP which distinguished itself from its predecessors with a deepening integration of spiraling, dense opuses with intimate confessionals. On The Shepherd’s Dog this integration is complete. Sam Beam has confessed to finding spiritual inspiration in Tom Waits’ pièce de résistance, Swordfishtrombones, an album with which Waits upended his previous strategies and forged a new musical language for himself. Recorded by Sam with the assistance of longtime producer Brian Deck and engineer Colin Studebaker, The Shepherd’s Dog succeeds in accomplishing a similar cathartic recasting of the artist’s intentions. The arrangements here are kaleidoscopic and rich. “White Tooth Man” rocks with a desperate, menacing intensity while “Boy with a Coin,” the album’s first single, is darkly playful with a handclap hook tumbling under its cascading melody. The whole album breathes. Its seductive rhythms percolate and undulate, from the Psych-Bhangra-redux of “Pagan Angel and a Borrowed Car” to the album’s last dance—a waltz—”Flightless Bird, American Mouth.” Compositionally, it is Iron and Wine’s most ambitious and accomplished recording to date. It’s also the most satisfying.

Music video for "Boy With A Coin"

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Amy Ray (of Indigo Girls)
with her Rock Band featuring Kaia Wilson and Melissa York of the Butchies

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“I love how everything works in the underground community and I wanted to participate in it,” says Amy Ray, founder of the indie label Daemon Records, one half of the Indigo Girls, and solo artist in her own right. When she founded Daemon in 1990, her mission was to support local musicians, both in putting out their music and teaching them how to sustain their careers. But that grassroots, independent way of life extended to Ray’s own career, too; after almost a decade of putting out other people’s music, she decided to put out some of her own solo records, too. So she traveled around the southeast writing, rehearsing, and recording for much of 2000. “I loved the simplicity of it,” she says. “Driving myself around, loading my own gear. You roll down windows of the van, listen to music with your band. It’s the way music should be.”

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Method Man & Redman

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In the dark, womb-like sanctuary of Jimi Hendrix's Electric Lady studios in downtown Manhattan, a place that has birthed historical musical moments sits the artist known as Iron Lung, Tical, Wu Brother #1, Johnny Blaze, and of course Method Man. With a trusty, half-lit blunt by his side, he is lounging in front of white grand piano, his hands sweeping the keyboards, trying to remember a tune he memorized years ago. Maybe the idea of one of hip hops finest and grimiest emcees tickling the ivories sounds odd, or out of place, but Mr. Mef has never been the type to fit in. His husky, guttural voice is perhaps the most distinct in the game, his flow dark and complex like the graphic novels from which he took his moniker from can bury itself in cinematic tracks from RZA, complement the voices of R & B divas and or attack party tracks from Rocwilder. Whether he is trading verses with partner in rhyme, Redman, crowd surfing at a Wu Tang show, or stealing a scene in various television shows and films, Method Man is a true individual spirit. With his latest album, 4:21, The Day After, he is also focused on being a true artist.

New Jersey rapper Redman made his initial impact with Whut? Thee Album in 1992. He blended reggae and funk influences with topical commentary and displayed a terse, though fluid rap style that was sometimes satirical, sometimes tough, and sometimes silly. Redman returned in 1994 with his second album, Dare Iz a Darkside, which was a harder album than his debut. Muddy Waters, Redman's third album, followed in 1996; he returned two years later with Doc's Da Name.

Music video for "How High"

Method Man WebsiteRedman Website

Yo Mama's Big Fat Booty Band

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“You talkin’ ‘bout my Mama??” Indeed they are. When the Booty Band hits the stage, everybody dances. A new funk phenomenon from Asheville, NC is perking up eyebrows and ear holes as they spread their festive, exciting and unpredictable stage show throughout the US and even as far south as Negril, Jamaica. The Booty Band keeps things jumping with a constant reshuffling of instruments and singers while engaging the crowd with rousing banter, onstage antics galore, and a compelling, festive spirit. The band is comprised of musicians from all over the country. Gregbob “Rescue in the Night” Hollowell, from Connecticut and Michigan, bends and twists the saxophones at will. Grady "The White Baby" Gilbert handles the fluid frequencies of the electric guitar. Busting out an infantry of bending guitar solos, John-Paul “The Stall” Miller, a Florida beach freak, forms the other half of the two-headed hydra guitar beast while occasionally blowing speakers on the bass and tearing holes in the timbales. Al Al “The Only” Ingram originally from North Carolina, holds down the heavy bass tones and the twisted trombone while sending melody lines soaring through the air. Dave Partin, also from North Carolina, holds down the pocket and thumps away on the rhythm scene. Derrick “Juices and Berries” Johnson adds thick and furious trombone licks to the Booty Band’s special recipe. At any moment you may catch any of the band members rapping, singing or simply talkin’ about yo mama on the mic.

Live footage of The Booty Band at The Orange Peel

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Official Widespread Panic Afterparty
featuring Outformation

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With the national release of the Tennessee Before Daylight album under their belt and years of consistent national touring and collective song writing, Outformation entered the recording studio in early 2007 to record their second album, Traveler's Rest. For Outformation, recording Traveler's Rest was a collective song writing process among band members and other musical influences.  The title track, "Traveler's Rest" was a large collaboration between Widespread Panic and Outformation.  In addition, Mickey Raphael, from Willie Nelson's Family Band, plays harmonica on the track "Winds".  "We're really excited to have him on the album, his tone is unbelievable" said Sam Holt. The album is composed of an array of songs old and new.  For instance, the song "Anymore" had never been played live at the time of the album recording, "Carnac" had only been played once, and "Toy's Song" had been around since the start of the band. Outformation has appeared at Bonnaroo, SXSW, Hi Sierra Music Festival, Magnoliafest, and Wakarusa.  In , 2007  following the release of Traveler's Rest, Outformation opened for Widespread Panic, Shooter Jennings, and Umphrey's McGee.  These days Outformation finds themselves more mature and focused on their music. With a growing national fan base and consistent touring schedule, Outformation is ready to explore a new and exciting musical territory, which they find in Traveler's Rest.

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Toubab Krewe
Live at The Orange Peel CD Release

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Blending American and West African influences into a sound all its own, Toubab Krewe has set "a new standard for fusions of rock 'n' roll and West African music" (Afropop Worldwide). Since forming in 2005, the magnetic instrumental quintet has won a diverse and devoted following at performances everywhere from Bonnaroo to the legendary Festival of the Desert in Essakane, Mali, the most remote festival in the world. The band developed their unique sound over the course of numerous extended trips to Mali, Guinea, and Ivory Coast, where they immersed themselves in the local culture and studied and performed with luminaries. But the group has its roots in Asheville, NC, where many of its members were childhood friends and long-term musical collaborators. It was at home in the Appalachians, where the band recorded their sophomore album, Live at the Orange Peel.  Produced by Grammy winning producer Steven Heller (who also produced the band's debut), the new album captures their outstanding 2008 New Year's run.  All of the songs are previously unreleased and continue to mix American rock with the West African musical traditions the band fell in love with on their travels. Along the way, they explore the worlds of surf and zydeco, fusing it all together into what the Village Voice describes as "a futuristic, psychedelic, neo-griot frenzy" and Honest Tune hails as "one of the most innovative voices in music today." The new release features collaborations with legendary spoken word artist Umar Bin Hassan of The Last Poets and fiddler Rayna Gellert of Uncle Earl.

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