Archive for the ‘Concerts’ Category

Florida Georgia Line – The Wharf – May 13

Posted on: April 24th, 2016 by brent

TEXT to Confess! Listen for the Cue… Then text for your chance to “confess” for tickets to the show! Plus, everyone who “confesses” by Wednesday May 11 is qualified to be the Cat Country “Dig Your Roots” VIP!

 

Rules: Click Here

 

FLORIDA GEORGIA LINE

WITH SPECIAL GUESTS

COLE SWINDELL

THE CADILLAC THREE & KANE BROWN

ORANGE BEACH, ALABAMA

FRIDAY – MAY 13TH

GENERAL ADMISSION: $60.75

RESERVED SEATS: $60.75 & $43.75 **PLUS APPLICABLE FEES & SERVICE CHARGES**

TICKETS ON SALE FRIDAY, JANUARY 15TH – 10AM!

ONLINE AT TICKETMASTER.COM, THE WHARF BOX OFFICE
OR CHARGE BY PHONE 800.745.3000.

ALL DATES, ACTS & TICKET PRICES SUBJECT TO CHANGE. A SERVICE CHARGE IS ADDED TO EACH TICKET.

Chris Stapleton – The Wharf – May 14th

Posted on: April 17th, 2016 by brent

CHRIS STAPLETON

With Aubrie sellers

The Wharf

ORANGE BEACH, ALABAMA

SATURDAY, MAY 14TH – 7:30PM

ALL SEATS RESERVED

$49.50 – $45.00 – $25.00 **PLUS APPLICABLE FEES & SERVICE CHARGES**

TICKETS ON SALE FRIDAY, MARCH 18TH – 10AM!

ONLINE AT TICKETMASTER.COM, THE WHARF BOX OFFICE
OR CHARGE BY PHONE 800.745.3000.

ALL DATES, ACTS & TICKET PRICES SUBJECT TO CHANGE. A SERVICE CHARGE IS ADDED TO EACH TICKET.

Dierks Bentley at the Wharf – July 17

Posted on: March 28th, 2016 by brent

DIERKS BENTLEY

WITH SPECIAL GUESTS

RANDY HOUSER

CAM
& TUCKER BEATHARD

ORANGE BEACH, ALABAMA

JULY 17TH – 7PM

GENERAL ADMISSION PIT: $67.00

RESERVED SEATS: $67.00 – $57.00 – $27.00 **PLUS APPLICABLE FEES & SERVICE CHARGES**

TICKETS ON SALE FRIDAY, APRIL 1ST – 10AM!

ONLINE AT TICKETMASTER.COM, THE WHARF BOX OFFICE
OR CHARGE BY PHONE 800.745.3000.

ALL DATES, ACTS & TICKET PRICES SUBJECT TO CHANGE. A SERVICE CHARGE IS ADDED TO EACH TICKET.

Keith Urban – The Wharf – June 16th

Posted on: March 4th, 2016 by brent

RipCORD WORLD TOUR 2016

KEITH URBAN

WITH SPECIAL GUESTS

BRETT ELDREDGE & MAREN MORRIS

ORANGE BEACH, ALABAMA

JUNE 16TH – 7:30PM

GA PIT: $87.00

RESERVED SEATS: $87.00 – $67.00 – $57.00 – $27.00 **PLUS APPLICABLE FEES & SERVICE CHARGES**

TICKETS ON SALE FRIDAY, MARCH 11TH – 10AM!

ONLINE AT TICKETMASTER.COM, THE WHARF BOX OFFICE
OR CHARGE BY PHONE 800.745.3000.

ALL DATES, ACTS & TICKET PRICES SUBJECT TO CHANGE. A SERVICE CHARGE IS ADDED TO EACH TICKET.

Bands on the Beach 2016

Posted on: March 1st, 2016 by brent

Bands on the Beach

Pensacola Beach’s popular outdoor summer concert series, Bands on the Beach, features a lineup of performers sure to please every musical taste.

Located in the beautiful Gulfside Pavilion overlooking the Gulf of Mexico, the series features regional artists performing a wide variety of music. Bring your lawn chair and join us every summer for hot music, smooth grooves and a whole lot of good times. Bands on the Beach is at 7 p.m. and begins the first Tuesday in April and ends the last Tuesday in October.

2016 Bands on the Beach Schedule

April 5 - Déjà vu Band
April 12 - Emerald Coast Blues Brothers
April 19 - After Midnight
April 26 - 13th HourglassMay 3 - Touch of Gray

May 10 - True Blue Band

May 17 - Mr. Big & The Rhythm Sisters
May 24 - Southern Breeze
May 31 - Not Quite Fab
June 7 - Buck Nasty & The Cadillac
June 14 - Modern Eldorados
June 21 - The Astronauts
June 28 - The Reunion Band
July 5 - Johnny Earthquake and The Moondogs
July 12 - The Rowdies
July 19 - Swamp Dog Honey

July 26 - Kyle Parker Band
August 2 - Hot Sauce Band
August 9 - Chloe Channell
August 16 - CrossTown
August 23 - Deception
August 30 - The Hushpuppies
September 6 - The Blenders
September 13 - Mass Kunfuzion
September 20 - Category 4
September 27 - Ben Loftin Band
October 4 - Dr. Breeze
October 11 - Continuum
October 18 - Holly Shelton Band
October 25 - The Groovinators

Toadlick Music Festival – June 2-4

Posted on: February 22nd, 2016 by brent

TOADLICK

2016 Toadlick Lineup

Kid Rock broke all the rules when he last set out on tour, and now he’s back to break them all again. The “$20 Best Night Ever” tour set all sorts of attendance records, proving that the combination of top notch entertainment and affordable tickets are a win/win for everyone. Now with the acclaimed new album “First Kiss,” (his first on Top Dog/Warner Bros. Records) Kid Rock, along with his trusted Twisted Brown Trucker Band, are back on the road with very special guests Foreigner for the “First Kiss: Cheap Date tour.


It’s been 40 years since a trio of young cousins left Fort Payne, Alabama, to spend the summer playing in a Myrtle Beach, South Carolina bar called The Bowery. It took Randy Owen, Teddy Gentry and Jeff Cook six long years of tip jars and word of mouth to earn the major label deal they’d been dreaming of, but then seemingly no time at all to change the face of country music.

ALABAMA is the band that changed everything. They have had 43 #1 singles including 21 #1 singles in a row, a record that will probably never be equaled in any genre. They brought youthful energy, sex appeal and a rocking edge that broadened country’s audience and opened the door to self-contained bands from then on, and they undertook a journey that led, 73 million albums later, to the Country Music Hall of Fame and the Hollywood Walk of Fame.

Of the early days and their humble beginnings, Jeff says, “I don’t think we thought too far ahead. We were more concerned with paying our bills at the end of the week playing music.”

The Bowery was a chance to get established outside their home turf, where they’d played a nearby theme park, opening for national acts like Bobby Bare.

“We believed we had something pretty special from a vocal standpoint,” says Teddy, “and we were looking for the opportunity to prove it. There were a lot of times when we wondered whether we might be better off going back home and getting jobs, but we just kept rehearsing and writing songs, trying to get better and believing we could do it.”

“I went to see them at The Bowery,” legendary producer, Harold Shedd says, “and the sound that these three guys could create together was just really something. I saw the crowd reacting to music they’d never heard before as though they had. They were doing some covers, but a lot of the ALABAMA show at the time was original material, including stuff that wound up on the first three albums we did together.”

The band was revolutionary in more than one sense.

“We were renegades in sneakers and T-shirts,” says Teddy. “We had long hair and played loud and some of the country folks resisted us for a while. But then of course they did accept us and then after that, our success made it lots easier for other bands to try it in country music.”

The fact that some of the heirs of that legacy–Eli Young Band, Rascal Flatts and Florida Georgia Line–were among the stars paying tribute on Alabama & Friends, their most recent release, is part of their legacy as surely as the awards and plaudits they’ve earned through the years. And those, of course, have been legion. They include more than 150 major industry nods, including two Grammys, the Minnie Pearl Humanitarian award, Entertainer of the Year awards three times from the CMA and five times from the ACM, as well as the latter’s Artist of the Decade award. They earned 21 Gold ®, Platinum ® and Multi-Platinum ® albums and were named the RIAA’s Country Group of the Century.

But awards are only a part of a legacy that finds its most important home in the hearts of listeners everywhere. Some of those are superstars in other genres, as Randy found out not long ago.

“I was part of a benefit concert at the Ryman,” he says, “and I look over there’s Jon Bon Jovi. He walked over and said hello and it turns out he likes our music.”

Many more, of course, are everyday country fans.

“A lot of fans will start a conversation with, ‘I don’t want to bother you,’” says Jeff, “but what they don’t understand is that everything that’s happened to us, every one of those awards, happened because we’ve been accepted and supported by our fans.”

Not long ago, Teddy was witness to a scene that shows that their legacy of song remains as fresh as it was when that streak in the ’80s kicked it all off.

“I was in Nashville,” he says, “walking by this club full of young people–I’m talking 18 or 20. The band started playing ‘Dixieland Delight’ and everybody in the place started singing and sang all the way through. I had to smile at the longevity of the songs. Maybe some of those kids didn’t even know who ALABAMA was, but they knew the music, and so I think that’s a tribute to the fact that we spent a career putting out good songs that stand the test of time.”

But the boys from Fort Payne are not content to rest on past glories. As 2014 neared an end, they were concluding a strong tour and celebrating the release of their gospel album, “Angels Among Us: Hymns & Gospel Favorites.” The band is looking forward to 2015 and the release of their first studio album of new material in 14 years and continued touring. ALABAMA continues to “Roll On.”


Justin Moore’s always had a thing about doing it his way. Call it stubborn redneck mettle, a well-developed case of “who I am” or just the fierce commitment to blaze a trail inherent to people from his home of Poyen, Arkansas. It doesn’t matter why, just that the blazing sense of off the beaten path drives his album of the same name.

Again teaming with fellow writer/producer Jeremy Stover, the pair turn up the guitars, lean into the swagger and refine the powerful good ole boy perspective that allows for all the bravado. There’s a strong vein of tenderness and decency holding Moore’s kind of country together. Look no further than Rhett Atkins/Ben Hayslip/Ross Copperman-written “Point At You,” the lead single, that acknowledges every wild hair Moore has, but hits the bottom line of his goodness via the woman who became his bride.

Those dualities are the truest thing about most red-blooded American males. Get loud, get rowdy, but get home and emerge solid family men dedicated to some basic ideals that have defined this country. One need look no further than The Warren Brothers/Lance Miller/Austin Cunningham-penned opener “Old Back In The New School” to understand Moore is all about the things that last, the wild times and the enduring values making for a way of life worth living.

When he hits that chorus “Just ’cause something’s hip don’t make it cool/ Let’s put a little old back in the new school…” with his hard twang tenor, Moore’s authority is as real as the bite in his voice. It is that willingness to be “country” that gives Moore’s kind of country its edge.

It’s that kind of edge that draws a singer like Miranda Lambert to duet on the somber heartbreaker “Old Habits.” Being too proud to figure it out and too set in one’s ways to let go, it mines the classic country motifs with a wide-open throb that is every bit of regret honkytonk jukeboxes are made of.

Moore has always had an interesting way of negotiating the good ole boy/redneck reality that’s defined today’s hardcore country fan. A little bit rowdy, a little bit sentimental, a whole lotta roughneck, Moore has dented the country radio charts with three #1s in the anything but big city “Small Town USA,” the sentimental family embracing “If Heaven Weren’t So Far Away” and the fidelity pledge “Til My Last Day,” in addition to the Top 10 mission declaration “Backwoods.”

But the hits don’t really tell the whole story. This is the man whose first single – a digital only release – was “I Could Kick Your Ass,” who flexed his sense of humor with the new guy mocking “Bait A Hook” and unapologetically throw down “How I Got To Be This Way.”And long before booty country became a touchstone, Moore dropped the swaggering “Back That Thing Up.”

Indeed, Booty Country is full force on OFF THE BEATEN PATH. He has the Kim Kardashian and J-Lo invoking “I’d Want It To Be Yours” – co-written with Stover and Brandon Kinney – and the slip into the night guitar grinder “Off The Beaten Path” that slithers through the Patron and the moonlight.Good ole boys doing what they’re good at. Moore has built a career eschewing the path most taken, building a fanbase of people just like him. Cars, trucks, creeks, cut-offs, dirt roads, water towers, a slower pace and harder way to hit it: those are the ties that bind the proud, the rebel yelling, the good timing kids who don’t give a damn about the media, the above the line, the hardcore hipsters or the white collar noose of office work.

Take a certain amount of swagger, add some hard-rocking guitars and add “Country Radio,” a howler that celebrates the ultimate lube for escaping the boredom and expectations. There’s the same kind of bulked up, bearing down picture of pride of “Lettin’ the Night Roll,” pure freedom and the will to be alive.

That will be live life to its fullest, no fear, no looking back, marks Moore’s intensity. Two strong hands, a back that can shoulder anything, this is working man’s post-modern American – and that respect is what binds him to his woman in “That’s How I Know You Love Me.” Ultimately, she refuses to make him change, and takes what’s there for what it is, loving him for all its busted glory.

To believe in values that last, to embrace what is enough and know it’s more than plenty, that is the greatest truth for a man like Moore, who sees no reason to leave the place he grew up. Beyond the hits, the gold-certified albums and the momentum of a career hitting its stride, OFF THE BEATEN PATH is a collection of classic postcards that make up the ascending “This Kind of Town” and the driving chugger

“One Dirt Road.”

You don’t have to take it from Moore, though. No less than the great Charlie Daniels, a man who’s hung tough for hardcore old school values is featured on “For Some Ol’ Redneck Reason,” a pledge of allegiance to living true to principles and never giving into convention. This is one of the truest event moments as Moore dials it back, unfurling the map of his heart and soul. Like Daniels, “A Country Boy Can Survive” vintage Hank Williams Sr. and the most mainstream-era of David Allen Coe, Justin Moore knows who he is, what matters and he’s not going to bend or compromise those things in the name of chasing what everyone else is already doing.


When the time arrived to make his fourth full-length studio album, Baptized, Chris Daughtry followed his instincts.

Motivated by intensely creative writing sessions with the likes of Martin Johnson [Boys Like Girls], Sam Hollander [Gym Class Heroes, Coheed and Cambria] and Claude Kelly [Bruno Mars, Whitney Houston], the singer, songwriter and musician quickly discovered the direction of his latest body of work.

“I needed a change,” he admits. “I started hearing these new sounds over my voice, and it was so inspiring. There wasn’t just one style either. It was a completely different vibe all around. I really wanted to pursue that to the fullest. This is probably one of the most inspiring records I’ve ever done.”

In early 2013, Chris began working on what would eventually become Baptized. Early on, he made a conscious decision to approach the album from a different angle. It would’ve been too easy for him to simply repeat himself considering he and the band have been on quite a hot streak since their 2006 self-titled became the fastest-selling rock debut in Soundscan history. 2009′s Leave This Town gave them their second consecutive No. 1 on the Billboard Top 200, while Break The Spell reached gold status in merely four weeks of release in 2011. Throughout, they achieved four No. 1 smashes at radio as well as four Grammy Award nominations and four American Music Awards wins. Meanwhile, sales exceeded 8 million albums and 18 million singles. Nevertheless, as an artist, band, they chose to evolve for both themselves and their fans.

In between a hectic touring schedule, Chris would fly to Los Angeles for in-studio sessions with Johnson and Hollander or Kelly.

“As fans of the band, they would do things that I normally wouldn’t do, and that’s why it was so exciting. I was much more open to explore a new style of writing with this album. Whether it was on keyboard, piano, or even banjo in some cases, the soundscape really felt alive. We’d write a song together and cut the vocals right then and there to capture that energy. It happened so quickly. We didn’t need to overthink anything. The magic was there.”

It’s easy to hear, feel, and even see that magic on the first single “Waiting for Superman.” Electronics glimmer along with a soft acoustic guitar strum and resounding piano as a cinematic tale unfolds in orchestral pop fashion. It instantly takes flight with one of the vocalist’s most powerful hooks yet and an inspiring story.

“It was never about a superhero per se,” he reveals. “It’s about waiting for that someone in your life to step up and be what you need in that moment as a ‘rock’ or ‘strength.’ I’ve heard it so many times. I chose one of the biggest pop culture archetypes out there because it can mean many different things. I love the image of a girl waiting for someone to save her. Personally, it stems from my own experiences with my teenage daughter and wife. They were my muses.”

New and second single “Battleships,” sails into new territory. An immersive beat bounces along with the warm production as he delivers an irresistible anthem meant for arenas. In order to test this fresh flavor, he ran it by his toughest critics.

He smiles, “My parents love our music, but they’re mainly into country. After I played them ‘Battleships,’ I expected my dad to say, ‘Well, that’s different!’ Instead, he looked at me and said, ‘Man, that’s a hit!’

The lyrics find him veering down an uncharted lane as well. “It’s not a breakup song—which we’ve been the ambassadors for over the past six years,” Daughtry chuckles. “It’s about butting heads with the one you love. You don’t want to fight, but it happens. You’re both going to stand your ground, but you’re really fighting for each other.”

Perhaps the most shining example of Chris’ evolution is the rollicking and raucous “Long Live Rock & Roll”. Acoustic guitar and banjo charge forward at full steam as he name checks everyone from Elton John and Billy Joel to Mötley Crüe and Guns ‘N Roses, even lamenting “Van Hagar” in the process.

 ”It was so far out of my normal comfort zone,” he says. “Everything has always been so serious in the past, but rock ‘n’ roll is meant to be fun. I wanted to cut loose and have a good time. We went places I’d never been musically.”

At the same time, the kinetic “I’ll Fight” brandishes a youthful vibrancy, while the title track, “Baptized,” builds from a Western-style dobro hum into a bombastic refrain. In many ways, the title encapsulates Chris’ ethos completely.

“I always wanted to call the album Baptized, because it felt like a new chapter,” he declares. “It’s a bold statement.”

He’s ready to proclaim that statement in front of packed venues around the world alongside longtime bandmates Josh Paul [bass], Brian Craddock [guitar], Josh Steely [guitar] and new additions Elvio Fernandes [keyboards] and Jamal moore [drums]. Outside of music, he continues to give back to various charities. He even holds an ambassadorship with DC Comics We Can Be Heroes campaign, fighting hunger in underdeveloped countries.

At the end of the day, Baptized certainly signals a rebirth for Chris and the band. “I want fans to keep an open mind about it,” he concludes. “The songs are very much what I do lyrically and melodically. I’ve always been a sucker for a great melody. That’s what songwriting is all about. Can people relate to this? Is it real? Is it honest? That’s what everyone should take away. It’s real and authentic. This is where I am right now.”

 

About Daughtry
Daughtry has scored four No. 1 hits, garnered four Grammy nominations, won four American Music Awards, sold over 8 million albums, 18 million singles worldwide and sold out concerts around the world. Daughtry’s self-titled debut was the fastest selling rock debut in Soundscan history and its follow up Leave This Town marked the quintet’s second consecutive No. 1 album and Daughtry’s third album Break The Spell was certified gold in 4 weeks of its release.

Daughtry’s single “Waiting For Superman” broke into the top 15 and new single “Battleships’ is racing up the charts. Its new album Baptized was released in November 2013 and are currently on a co-headline U,S tour with the Goo Goo Dolls.


“Life is circular. Country just came back to me. It’s like the acoustic thing. I did that before the band [Staind]. This is full circle because this was the first music I was ever exposed to as a child.” –AARON LEWIS

If you want to get to know AARON LEWIS, just listen to The Road. On his first full-length album, the Grammy Award-nominated, multi-platinum singer, songwriter, and guitarist tells one story after another. Echoing traditional country, some of those tales are hilarious and heartwarming, while others are pensive and personal. Nevertheless, they’re all equally powerful, vibrant, and unforgettable.  For Lewis, The Road continues to wind and surprise like it always has.

In 2011, the Staind frontman formally arrived in the country world with the release of his debut EP, Town Line. Highlighted by the success of gold-selling single “Country Boy” featuring the legendary George Jones and Charlie Daniels, the seven-song EP reached #1 on the Billboard Country Albums Chart and #7 on the Billboard Top 200 upon release. Critical praise followed: PEOPLE’s Chuck Arnold said, “He proves to be a natural on nostalgic ballads like ‘The Story Never Ends,’ (3/14/11),” while the ASSOCIATED PRESS’ Michael McCall wrote, “He injects a flavor of his own into a polished, commercial country sound in a way that could win over country fans who’ve never heard of Staind (2/28/11).”

Lewis also received two Academy of Country Music nominations for “Vocal Event of the Year” for “Country Boy” (for his work as artist and as co-producer) as well as two CMT nominations–one for “USA Weekend Breakthrough Video of the Year” and another for “Collaborative Video of the Year.”  Simultaneously, the music video for the single stirred similar fan fervor, surpassing 12 million views on YouTube and 3 million on CMT.com. After a whirlwind year, Lewis began working on what would become The Road in the fall of 2011.

While balancing both a solo run and a tour supporting Staind’s self-titled seventh studio album, he carved out intermittent pockets of time to record in Nashville with legendary Grammy-winning producer James Stroud.

“I didn’t stop to think about it very much,” Lewis smiles. “James lets me run with it. We respect each other and he allows me to really be who I am.  I recorded this whole record by bouncing in and out of Nashville on days off. I’d come into town, work for the day, bail out, and play some more shows. Four days later, I’d do the same thing. That’s how the album was made, and it’s why I called it The Road.”

It’s a natural progression from Town Line. The album’s ten songs unfold with a classic grit and an invigorating energy all directly from Lewis’s heart and soul. The first single, “Endless Summer,” recalls an idyllic day in the sun with his daughters. A bluesy guitar twang bends into a shimmering refrain about “another day in paradise” that’s both infectious and inimitable.

Lewis laughs, “It proves I can write a happy tune. It’s a story about me and the family going to our beach cottage on the weekends. It’s all true. We drive down there, cook striper on the grill, and dig our own clams.”

Then there’s “Forever,” a true product of The Road itself. It captures the longing and loneliness of life on the tour bus, while reflecting the immortality of true love. It’s touching and thought-provoking all at once. “Doubt can set in on the road,” he reveals. “Conversations from home aren’t always warm and fuzzy. However, things change when you get back. The song goes from questioning to being reassured that everything is all good.”

On the other end of the spectrum, his sense of humor shines through on the propulsive highway anthem “State Lines” and swaggering old school good-time of “Party in Hell.”  Lewis goes on, “Adding humor opens the avenues of exploration a little bit more, and it appeals to more of the senses. Plus, it’s just fun to imagine what a party in hell might be like with Rick James.”

Lewis personally penned all of the songs on The Road but one. For “Grandaddy’s Gun,” he teamed up with Rhett Akins, Dallas Davidson, and Bobby Pinson, marking the first songwriting collaboration of his career. Annually, Lewis hosts a benefit show for his charity, It Takes a Community, which benefits his daughter’s elementary school through community donations. Akins performed “Grandaddy’s Gun” at the 2011 show. As soon as Lewis heard the tune, it stayed stuck in his head.

“I was completely blown away by the song,” he elaborates. “When the opportunity came up, I decided to record it for The Road. They’re three of Nashville’s best and I have so much respect for them. It all fit with my life too. I have grandaddy’s gun, and he did buy it out of a Sears and Roebuck catalog.”

Once again, he collaborated with some heavy hitters in the studio. His musical partner-in-crime Ben Kitterman expanded the overall sound with acoustic guitar, dobro, piano and other instruments. Meanwhile, iconic pedal steel player Paul Franklin makes a return as well as guitarist Brett Mason and Eddie Bayers on drums. Joining the fold in Nashville were Craig Frost [Bob Seger] on keyboards and Keith Horne [Waylon Jennings] on bass.

Lewis enthuses, “It’s definitely a star-studded cast. Many of the songs were cut in one take. At the most, they’re two. There’s definitely genuine chemistry amongst the amazing musicians on this album. I’m so lucky to have them in the studio with me.”

In many ways, The Road brings things full circle for Lewis. In Staind, he has made an indelible mark on hard rock. The group has sold 13 million albums worldwide, yielding four consecutive top 3 debuts on the Billboard Top 200 as well as numerous radio hits. Their single “It’s Been Awhile” also remains the most-played rock song of the decade. Still, this new chapter proves cyclical for Lewis, actually bringing him back to the first style of music he’d heard: country music.

Now, he’s carrying on a tradition of storytelling and songwriting himself. “I’m really hoping the songs speak for themselves,” he concludes. “I hope people hear the record and realize that this is all me. There’s nothing more to say. I’m just writing songs like I have been for my whole career.”

That’s all he really has to do. For Aaron Lewis, The Road looks brighter than ever.


Born on a farm in Southeast Colorado near the Oklahoma panhandle, Clare Dunn’s roots run deep in the heart of Dust Bowl country. Working cattle, hauling water, driving combines, tractors and eighteen-wheelers were all part of Clare’s everyday life from a young age. When your closest neighbor is six miles away, and many hours are spent behind the wheel of a John Deere tractor on the family farm, a strong work ethic becomes ingrained in your soul. While burning up miles hauling water to cattle, Clare dreamed of creating her own music.

Clare would drive 45 miles to school each day, and listening to Country music became a part of her daily routine. She achieved All-State basketball and volleyball recognition in high school, and after graduating in a class of eight; Clare’s chance to fully pursue her dream of a music career came with college. After a brief stint at a small college in Texas, and with the help of a very supportive family, Clare relocated to Nashville to attend Belmont University. She paid her way through college by driving a silage truck for harvest through Oklahoma, Kansas and Nebraska during every academic break. During the long hauls across the mid-West, she picked up a guitar for the first time, determined to master both acoustic and electric guitars.

After graduating from Belmont University with honors, Dunn signed her first publishing deal as a songwriter and hasn’t looked back. Involved with every aspect that goes into the creative process, from writing her debut single, “Get Out,” with co-writer and producer Ben West, to playing guitars on the track, to singing background vocals for some of Nashville’s finest, including Luke Bryan’s smash hit “Country Girl (Shake It For Me),” Clare’s music is a true representation of all the things that make her who she is – a farm girl with a vision and sound forged from life experiences with a deep passion for her dreams.

Clare’s innate songwriting abilities have allowed her to earn a name for herself in the songwriting community. She has written with some of the most highly regarded songwriters in both Nashville and LA, including Hillary Lindsey, Blair Daly, David Hodges, Troy Verges, busbee, Luz Rose, Angelo, Terry McBride, Brice Long, Will Hoge, Chris Lindsey, Tommy Lee James, Dylan Altman, Marshall Altman and more. A song she co-wrote, titled “Farm Life,” was recorded by Colt Ford and featured Justin Moore. The track was included on Ford’s latest album, Thanks For Listening. Dunn is currently signed to a world wide publishing agreement with BMG/Chrysalis.

In addition to making a name for herself in the songwriting community, Clare has become a seasoned touring performer. She has opened for some of the format’s biggest stars, including Keith Urban, Florida Georgia Line, Colt Ford, Hank Jr., Jamey Johnson, Bob Seger and others, including award-winning Country music star, Miranda Lambert, this coming fall. She has also played at a variety of major fairs and festivals across the country.

2014 proved to be a successful year for Clare as her debut single “Get Out” made her the highest charting independent female artist on the Music Row Country Breakout chart in 10 years. Shortly after, she was featured on the cover of USA Today. The article, “Country Lassos ‘Fresh Voices,’” discussed her inclusion as one of SiriusXM’s Fresh Female Voices and announced her new single, “Cowboy Side Of You,” which is currently airing exclusively on SiriusXM The Highway.

Last year, Clare signed with renowned record label Universal Music Group Nashville. She was also named by USA Today, Boston Globe, Billboard and leading Country music website, Roughstock, as “One To Watch” in 2015 and Music Row Magazine also named Dunn as one of the publications, “Next Big Thing” for 2015.

Her debut single on MCA Nashville, “Move On,” is currently at Country radio. She is currently touring extensively and visiting radio in support of the new release. Clare’s debut EP was released Sept. 18 and is available through digital retailers.

Dunn has traveled an unconventional path, but with her undeniable talent and the attention she’s already receiving, it’s clear that Clare is here to stay and that the best is yet to come.

 

 


From his Dove Award winning gospel albums to his genre-defining Southern rock anthems and his CMA Award-winning country hits, few artists have left a more indelible mark on America’s musical landscape than Charlie Daniels. An outspoken patriot, beloved mentor to young artists and still a road warrior at age 78, Charlie has parlayed his passion for music into a multi-platinum career and a platform to support the military, underprivileged children and others in need.

Raised among the longleaf pines of North Carolina, Charlie began his career playing bluegrass music with the Misty Mountain Boys. After moving to Nashville in 1967, he began making a name for himself as a songwriter, session musician and producer. Elvis Presley recorded a tune Charlie co-wrote titled “It Hurts Me,” which was released on the flip side of “Kissin’ Cousins.” He played on such landmark albums as Bob Dylan’s Nashville Skyline and tried his hand at producing on the Youngbloods’ Elephant Mountain and Ride the Wind.

His own unique voice as an artist emerged as Charlie recorded his self-titled solo album in 1970 for Capitol Records. Two years later he formed the Charlie Daniels Band and the group scored its first hit with the top ten “Uneasy Rider.” Since then the CDB has populated radio with such memorable hits as “Long Haired Country Boy,” “The South’s Gonna Do It Again,” “In America,” “The Legend of Wooley Swamp” and of course, his signature song, “The Devil Went Down to Georgia,” which won a Grammy for Best Country Vocal Performance by a Duo or Group in 1979 as well as single of the year at the Country Music Association Awards.

The CDB will perform 100 concert dates this year including performances on the Grand Ole Opry. The band’s latest release, “Off the Grid – Doin’ It Dylan,” features 10 Bob Dylan songs by the CDB, and is their first CDB studio release since 2007.

“I love what I do,” says Charlie of his 50-plus years in the music business. “I look forward to entertaining people. When show time gets here, I’m ready to go, ready to go play for them. It’s a labor of love. I just thank God I make a living at what I enjoy doing.”

Whether performing in the hit 80s movie Urban Cowboy, singing on Easter Sunday at his local church or leading an all-star cast at one of his famed Volunteer Jams, Charlie just exudes joy whenever he steps on stage and he’s always been quick to provide a platform for other artists to shine. In 1974 he invited some friends to join him at Nashville’s War Memorial Auditorium for an all-star concert he dubbed The Volunteer Jam. The event continued for years and was broadcast in the U.S. and internationally. Over the years, the Jam featured a diverse line up that included Willie Nelson, Ted Nugent, Roy Acuff, Stevie Ray Vaughn, Crystal Gayle, James Brown, Emmylou Harris, Amy Grant, George Thorogood, Kris Kristofferson, Little Richard, Tammy Wynette, Alabama, Oak Ridge Boys, B. B. King and the Allman Brothers.

As diverse as his live shows have always been, his discography has also reflected Charlie’s love of multiple genres. In 1994 he released his first Christian album, The Door, on Sparrow Records. The album won the Gospel Music Association’s Dove Award for Best Country Album and “Two Out of Three” was named video of the year by the Christian Country Music Association. In 1997, Sony Wonder released Charlie’s first children’s album, “By The Light of The Moon: Campfire Songs and Cowboy Tunes’.

An astute businessman as well as talented musician, Charlie launched Blue Hat Records in 1997 with his longtime personal manager David Corlew. Over the past 15 years, the label has released such memorable albums as Blues Hat, Tailgate Party, Road Dogs, Fiddle Fire: 25 Years of the Charlie Daniels Band and his first bluegrass album 2005’s Songs From the Longleaf Pines and 2007’s album Deuces, featuring duets with Brad Paisley, Gretchen Wilson, Bonnie Bramlett, Travis Tritt, Dolly Parton, Vince Gill, Brenda Lee and Darius Rucker.

Over the course of his career, Charlie has received numerous accolades, including induction into the Grand Ole Opry and Musicians Hall of Fame. He’s been presented the Pioneer Award by the Academy of Country Music and was honored as a BMI Icon in recognition of his songwriting. He’s received a star on the Music City Walk of Fame.

Any conversation with the legendary artist, however, rarely includes any of his accomplishments. He’d rather shine the spotlight on the many causes that are close to his heart. He’s always been a staunch supporter of the military, and for the past several years has headlined a special concert at David Lipscomb University benefiting the Yellow Ribbon Program which provides scholarships for veterans. Each year there are surprise guests in addition to the announced line up. Among those who have supported Charlie Daniels for an evening of great music include Luke Bryan, Kellie Pickler, Clint Black, Jason Aldean, Chris Young, Rascal Flatts, Lee Greenwood, Darryl Worley, the Grascals, and actor Gary Sinise. Charlie also lends his time and talent to numerous other charitable organizations, including the Jason Foundation Golf Classic, an organization that targets teen suicide prevention, and the Galilean Children’s Home in Liberty, KY, which provides a home for abused and neglected children. “I’ve been affiliated with them for a long, long time and it’s just a great place,” Charlie says of the home founded by Jerry and Sandy Tucker. “They take in babies whose mothers are going to prison. They give kids a good stable Christian home and love them. It’s just a wonderful place.” -3-

Charlie has been the host for The Charlie Daniels Celebrity Golf Classic & Angelus Concert in Hudson, FL, a benefit for The Angelus, a full-time residential facility and day school program for the severely handicapped. He has been a member of the St. Jude Children’s Research Hospital Professional Advisory Board and has been a longtime supporter of the T. J. Martell Foundation and its numerous events aiding cancer research. He has also been the headliner many years for the Christmas 4 Kids concert at the Ryman Auditorium, a fundraiser to provide a happy holiday for needy children.

In 2014, Charlie Daniels with David Corlew and Joe & Mercedez Longever founded The Journey Home Project, a not-for-profit organization, that assists in securing funds to help causes that benefit veterans of the United States Armed Forces. Conscious of the need to assist our nation’s veterans, they have set out to partner with organizations that do the most good, with the least overhead. The Journey Home Project is making a difference in the lives of American patriots.

Charlie says of using his celebrity status to aid worthy causes, “I have a very unique opportunity because of being in the music community, you try to give back to some extent. I do feel like people should. We should all do as much as we can.”

 


When it comes to country music, Ashley Monroe has a deep-seated fear — that she won’t feel a damn thing. For the Tennessee-born singer, whose passion for traditional country is matched only by her gift for crisp, clever songwriting, music has to elicit a palpable response. Or else?

“It’s just noise,” she says. “Country music is so special to me, it scares me if I hear a song and I don’t feel anything. It really throws me for a loop.”

Monroe is convinced that country fans have a similar reaction and also seek something meaningful in their music. So when she sat down to write her new album The Blade, released on Warner Music Nashville, she committed herself to finding songs that would make both her and her audience cry, laugh, think and, metaphorically, bleed. “Every track will cut you in a different way,” Monroe says, nodding to the album’s title.

Due July 24th, The Blade is the follow-up to 2013′s critically acclaimed Like a Rose, which included the sublime — and alternatingly bawdy and poignant — singles “Weed Instead of Roses,” “You Got Me” and the title track. The album was named the top country record of that year by Billboard, Rolling Stone and The New York Times, and helped recognize Monroe as one of the genre’s most respected talents. She’s performed with artists ranging from the Raconteurs and Train to Wanda Jackson and Blake Shelton, and is an indispensable component of the acclaimed trad-country trio Pistol Annies.

With The Blade, Monroe views the album as Like a Rose’s Chapter 2, but says she’s a much more direct person than she was when writing that project.

“The first record is me. That’s the roots, the base of me. And I had a good vision for that,” she says, “but I’ve grown since that first record and I have an even more clear vision. I know what I want and it’s ok to say what I want.”

Produced by Vince Gill and Justin Niebank, who also oversaw Like a Rose, the new album features soulful lead single “On to Something Good,” written with Barry Dean and Luke Laird. Driven by a Muscle Shoals backbeat, the song is Monroe at her most upbeat. Which surprises even her.

“It’s hard for me to write up-tempo songs. I want to write a waltz all the time,” she says. But “On to Something Good” provides her with a chance to groove and leave behind some of the angst of her formative years — her father died from cancer when she was 13 — that informed Like a Rose. “For many reasons in my life, I could have sat in sadness and let that overcome me. But you can’t stay at the bottom forever, especially if you keep moving. I’m a better dancer when I don’t look down.”

Still, Monroe has not completely lightened up — and thank God, for that. Encompassing 13 tracks, The Blade explores all manners of lost love, failed dreams and harsh revelations. “There are some stone-cold country songs on here that are about as sad as you can get, and a little bit of darkness too,” Monroe admits. The deceptively gorgeous ballad “Bombshell,” for instance, is about ripping off life’s proverbial Band-Aids.
“There’s never a good time to tell somebody you don’t love them anymore, or that you’ve been cheating, or for a kid to tell their parents that they’re gay. There are a million different bombshells,” she says of the song, “and it’s never easy. Of course, then you have to deal with the outcome too. But first, you just have to make your mouth say the words.”

The lyricist takes the opposite approach to airing things out in the open with the ominous “Buried Your Love Alive,” a spooky shuffle that throws dirt on an old flame. Written with Matraca Berg and thumping along with a heartbeat-like groove, it digs at the idea of “a memory you can’t kill” and how difficult it can be to suppress bad experiences. Especially in matters of the heart. “I love the concept of burying love, but having it still live inside you,” Monroe says. “This song can really rattle you.”

“The Weight of the Load,” however, is all about reassurance — reassurance that you don’t have to go through hard times by yourself. It’s an uplifting message, elevated by Monroe’s lilting vocal delivery and fine-tuned by Gill, who fleshed out the song almost five years ago. “I always have titles written down in my phone, and I showed that one to Vince. We started writing it and he helped me turn it into what it is,” she says. “It’s a comforting thing to hear, to know you’re not alone.”

But it’s the title song, a remarkably fresh and clever look at a relationship gone bad, that stands as the centerpiece of the album. Written by Marc Beeson, Allen Shamblin and Jamie Floyd, it’s the sole track that Monroe didn’t have a hand in. Nonetheless, she makes “The Blade” her own with an aching, career-defining performance, lingering over the payoff line: “You caught it by the handle, and I caught it by the blade.”

“I never heard heartbreak put like that before, but we’ve all been on the receiving end of it,” she says of the song, which features friend and frequent touring partner Miranda Lambert on harmonies. Lambert also co-wrote the old-school “Good at Leavin’,” just one of many ace songwriters Monroe collaborated with for the project. Chris Stapleton, Striking Matches’ Justin Davis and Sarah Zimmermann, and power-pop singer-songwriter Brendon Benson also contributed tracks.

In the end, however, this is Monroe’s show and her 13 songs make for one razor-sharp album. Whether she’s lamenting her sinner status in “The Devil Don’t Want Me,” laughing off bad luck in “Winning Streak” or accepting the fact that, yes, it’s ok to be happy in “On to Something Good,” the worldly singer-songwriter isn’t afraid to explore all facets of life.

As Monroe likes to say, “There are a lot of edges to The Blade.”


Some might say the four-piece JB and the Moonshine Band was born the day JB Patterson looked up to see that only three musicians had shown up at his open- call audition in his Tyler, Texas, hometown. Fortunately, Gabe Guevara (drums), Hayden McMullen (lead guitar) and Chris Flores (bass guitar) turned out to be the right three and, after a brief musical and personal get-to-know-you session, everyone realized the stars had aligned to bring them together.

But if you ask JB when the band reallystarted, he’ll reflect back to a time rooted less in music and more in his unfulfilled dreams.

“My six-year-old son, Parker, is the reason this band exists,” he explains. “Because when I learned I was going to be a father, I knew I wanted to be able to tell him he can be whatever he wants to be as long as he sets his mind to it and works hard. But I realized there was something I had wanted to do that I never had the guts to try—being a singer/songwriter. And I thought to myself, if I’m ever gonna tell my kid that he can be whatever he wants to be, then I’d better at least give this a shot. Thankfully, it has worked out. But, succeed or fail, you’ve gotta try.”

Since taking the plunge into the music business, JB and the guys have seen enough success for JB to realize he’s already accomplished his first set of goals. In just over three years, JB has written a couple of tunes that wound up atop the Billboard Texas music charts and he and the band have recorded and released two acclaimed albums—Ain’t Goin’ Back to Jail and the current Beer for Breakfast on the Average Joes Entertainment label. They’ve also been pounding the road playing shows all over the country.

So, what’s the secret to the band’s success thus far in its young career? JB thinks it comes down to two simple things: band chemistry and his commitment to staying true to himself as a writer and artist.

“When I was a teenager and saw Willie Nelson, I was awestruck,” he recalls. “And I especially liked how his band is basically like his family. My band and I are friends, first and foremost, and secondarily, we play music together. I’ve been very fortunate to have such a good group of guys.”

And the combination of the band’s great chemistry and JB’s excellent songwriting gives these East Texas boys instant credibility wherever they play. Whether cranking out no-holds-barred honky-tonk drinking tunes or throttling back to sing about matters of the heart, JB and the Moonshine Band tunes have the ring of truth. Need proof? Check out JB’s lyrical take on the perfect hangover cure from the title cut of Beer for Breakfast:

I’ve seen ‘em all hunched over prayin’ to that toilet seat Not knowin’ all they had to do was pop a top and drink

But on the other end of the spectrum, “The Only Drug,” also from Breakfast, has plenty of romance, with just a touch of that trademark JB grit:

If you’re thinkin’ I’m addicted, I guess it’s kinda true, but they can keep their drink, their smoke, their pills and their cocaine, too . . . ‘cause your love’s the only drug I do.

While the band has achieved great success in Texas and is beginning to see it blossom in other parts of the country, JB knows he has to be careful not to forsake what’s made them popular in their home state in order to gain fans elsewhere.

“I have the responsibility to myself and to my fans to be myself on my records. That’s first and foremost to me. And that’s what’s brought us this far. I just have to always remain true to myself.”

The good news is fans are loving the music on Beer for Breakfast and the response to the CD’s summer single “No Better Than This” has been beyond great.

“We did a show recently and a bunch of people were all up at the stage and singing our songs—even songs that have never even thought about being singles. There’s no better feeling on stage than to look out at a sea of people singing a song that you wrote. That’s just the ultimate to me. And I’m fortunate and blessed to be able to experience that.”

So, what about those new goals?

“I want to write a song that goes Top 10 in the Billboard charts,” declares JB with a smile. “And if I got a No. 1, that’s it. I can retire. All my wildest dreams would have come true.”

That would be great for JB, but as far as his fans are concerned, they’d probably be happy with a long string of No. 2 hits . . . to keep him out there playing more great music for years to come.


Eli Young Band

Somewhere in the midst of 10,000 towns, along a lonely highway between packing clubs in their native Texas years ago and more recently performing stadiums on one of country music’s hottest tours, the Eli Young Band became more than a band. They became a brotherhood. Camaraderie and creativity fused into an intoxicating cocktail that has propelled the talented foursome to the vanguard of contemporary country music.

With three No. 1 hits under their belt as well as a Grammy nomination and an Academy of Country Music Award for Song of the Year for their hit “Crazy Girl,” the Eli Young Band approached their second Republic Nashville album, 10,000 Towns, with a sense of confidence and purpose. “We were genuinely excited about making this new record,” says bassist Jon Jones. “People talk about the sophomore record being really tough to make and in a lot of ways this felt like our sophomore record even though it’s technically our fifth record as a band.”

 “We learned over the progression of those records our strong points in the studio, and we were confident,” adds drummer Chris Thompson, “We knew what we wanted and how to get what we wanted.”

It’s been a long, steady rise for Jones, Thompson, lead vocalist Mike Eli and guitarist James Young, but the same four musicians have been together from the start and are now reaping the rewards. They began performing together in 2000 while attending North Texas State University, and honed their skills on the Lone Star state’s competitive music circuit by building a rabid fan base who appreciated their potent live shows and the edgy, passionate indie albums that preceded their major label ascension.

With the 2011 release of their Republic Nashville debut, Life at Best, the Eli Young Band scored their first No. 1 hit with “Crazy Girl.” The double platinum single became the # 1 most played country song of the year on Billboard’s 2011 year end chart and earned them the ACM Award for Song of the Year. The band’s next single, “Even If It Breaks Your Heart,” became their second No. 1 and was certified platinum. It earned the band Grammy nods for Best Duo/Group Performance and for Best Country Song as well as Single of the Year and Song of the Year nominations from both the CMA and ACM.

After years of paying dues and gaining experience, the Eli Young Band is at the top of their game. While they started playing in tiny clubs, they’ve graduated to packing out theatres and mid-size venues as a headliner. Their road dog reputation helped them to earn an opening slot playing stadiums on the Kenny Chesney tour. All those miles on the road and visits to 10,000 towns coalesce to make their new album the band’s strongest effort yet. “At this point in our personal lives and in our career, we’re all in really good places,” Thompson says. “We’re all happy in our personal lives, so it shows on this record; it’s fun.”

“This record was a lot more upbeat than our previous records,” agrees Young. “We really wanted to record songs that are going to be fun to play live and fun for our fans watching the show. We were thinking about our live show and how these songs are going to translate on the set list. That was a priority in our minds too when we chose songs for this record. We’ve also learned to really follow our gut when it comes to songs and song choices. We’ve always had a good sense of what songs are going to work on the record and which ones aren’t.”

Their meticulous approach to writing and finding the very best songs for the new album paid off quickly as the lead single, “Drunk Last Night,” became the band’s third No. 1 hit. “We loved that song from the first 30 seconds of hearing it,” Eli says of the Josh Osborne/Laura Veltz penned song. “With that title, you read it and you think it’s going to be a certain type of song and then you hear the song and it’s not what you thought it would be at all. The songwriters, Josh and Laura, did a really good job of messing with our brains. People were drawn to the idea that it’s not the same ole same ole drinking song. That was intriguing. They did well, hitting you with two hooky choruses, that’s a tricky thing to write. That’s what drew me as a singer to the song.”

In recording 10,000 Towns, the Eli Young Band gathered songs from Music Row’s top writers, including Craig Wiseman, David Lee Murphy, Jon Randall and Will Hoge, and the band also penned half the songs on the album themselves.

“It gets challenging when you’re touring so much to sit down and actually try to write, but we spent a lot of time in 2013 just trying to write however we could,” says Young. “It was fun for us because the four of us all sat down and wrote for this record which was a great experience,” says Eli. “All four of us are on ‘Prayer For The Road,’ ‘Traces’ and ‘Revelations.’ John and James were co-writers on ‘Dust’ while I was co-writer on ‘Angel Like You.’ ‘What Does’ was John, James and I and ‘Last Broken Heart’ was the same. We’ve never had a song on a record where all four of us were songwriters until this album.”

The second single, “Dust,” was the #1 most added song on the chart the first week with a massive 62 stations on board. The song is a rock-tinged number about a girl leaving small town life behind and taking charge of her future. “I feel like I’ve read so much recently about the girls being seen as weak in country music in the way that they are portrayed,” says Jones. “I really love this song because I call it ‘a big girl power song.’ All four of us are married to very strong women who allow us to go out and do what we do and we couldn’t do it without them.”

On 10,000 Towns, the Eli Young Band delivers a diverse collection of songs that explores the complexities of relationships such as the bluesy cheating song “Revelations” and the heartbreaking “What Does,” a poignant examination of a failed relationship. Yet there are several tunes that just revel in the simple pleasures that bring joy to the journey, among them “Just Add Moonlight” and “Let’s Do Something Tonight.” “A Prayer for the Road” is a tender tribute to the love of their families and the prayerful support that goes with them every mile.

There have been many miles over the years for the Eli Young Band and that’s why 10,000 Towns felt like the right title for their new effort. “There’s a general theme between small town America where every town is different, but in some ways, they are the same,” says Young. “We felt like the title encapsulated the best years of us driving all over the country playing music.”

Eli agrees.

“We’ve traveled all over the country and to other countries, but at the end of the day we all party the same way no matter what the culture or the town,” he says. “To us, ‘10,000 Towns’ is a great way to sum up this record in that way as well as who we are. We love traveling around the country and seeing all that and being a band of road dogs.”

The Eli Young Band has worked hard to get to this point and is enjoying their current success the same way they earned it—TOGETHER.

“We’ve surpassed the friend mark now and it’s more like brothers. It’s really kind of a blood bond between the four of us,” Jones says. “We set out to do this as a career and made the commitment to each other a long time ago and here we are 14 years later. None of us can imagine doing anything else.”


Luke Combs

Luke Combs is a 25-year-old musician with his sights set on making good music. With the mid-summer release of Hurricane, Luke got his first look at the iTunes Top 10 Country Charts. Luke is currently playing shows across the nation and preparing for the release of his EP This One’s For You in the Fall of 2015

Growing up in Asheville, Luke played football for famed A.C. Reynolds High School while also performing with multiple vocal groups. Luke has been performing as a vocalist since his childhood and was even afforded the opportunity to sing a solo in the world-renowned Carnegie Hall.  While a student at Appalachian State University, Luke began writing songs and playing shows. It wasn’t long until the crowds got too big to ignore and Luke made the move to Nashville.

Called “one of the most promising young talents in country music” by Country Music North, Luke’s unapologetic style and fearless vocal abilities is beginning to cause quite a stir in Nashville.


Riley Green

A Southern Gentleman with a love and passion for making people feel at home while entertained is what motivates Riley Green to write songs and perform every time he gets an opportunity.

Born in Jacksonville, Alabama on October 18th, 1988, Riley is the youngest of three children and has always been the entertainer of the family.  Riley started playing guitar at age 10 and started writing music at age 14. He wrote his first song in 2007. “Escalade”, “Dream Girl” and “Sandy Beaches”, like many of his early songs, these were inspired by a young man’s quest to get girls.

One of Riley’s most inspiring songs, “God was in Bama This Year”, was written about his experiences and observations following the April 27th, 2011 tornadoes that devastated Alabama. Many people identified with the lyrics and requested that Riley perform it at home dedications and memorial services during the following Years.  The opportunity to help his “neighbors” in their time of need is an honor that Riley took and takes Great Pride in.

Riley spent many days and nights playing guitar and singing with his grandfather, Bufford Green.  Mr. Green opened a music hall in 2003, where the music goes from “The Bar Room to The Pulpit and back” each Friday Night. Granddaddy-Buford taught Riley a love for the sound of Old Traditional Country, Bluegrass and Southern Gospel Music.

Riley performed at the Golden Saw Music Hall, singing songs like “Wreck on the Highway” & “Precious Jewel” – by Roy Acuff, with his grandfather and other men of his generation. “My Best Friend” was written as a tribute to his Granddaddy-Buford and the influence he had on Riley’s life & music. Riley wrote “Line in the Water”, about fishing with his other grandfather, Granddaddy-Lendon, who also influenced him with his ability to

Truly Relax and Enjoy the “Southern Lifestyle”.

Many of Riley’s next generation of songs reflect on the experiences of a young southern man trying to find his place in the world. With a mixture of outlaw-rebellion and respect for tradition, Riley combined these values to create his own style. “A Little Hank” and “Almost” reflect the battle of values in the “Southern Society” and what his Grandfather referred to as “The fine line between Saturday night and Sunday Morning”. Riley has played a variety of venues since hitting the road that include locations from “Sea to Tennessee” as his line in “Bury Me in Dixie” says.

Outside of music, Riley always found time for athletics.  Riley, a three sport athlete in high school and a walk-on quarterback at Jacksonville State University understands the importance that comes from playing sports and being part of a team.  He continues to take great pride in both Alma Maters, and is always willing to help them when needed.

Riley’s Southern Roots show with his True Love of the Outdoors.  Besides being onstage, Riley’s favorite place is being out in nature.  Riley, enjoys all types of hunting and fishing but has a passion for duck & turkey hunting.  One could say that Riley “Goes from One Wildlife to another”.   He and his dog Sadie enjoy spending time at his primitive hunting cabins in Jacksonville, AL and Arkansas.


Anthony Orio

Anthony Orio has come a long way since bursting onto the Nashville scene as an up and coming singer/songwriter featured by ASCAP’s “Hot On The Row Series.” His unique blend of country mixes the traditional qualities of the genre with progressive contemporary vocals and production, creating a fresh new sound. Known for his electrifying live performances and strong ability to connect with the crowds, his talent has led him to perform at The Grand Ole Opry, Ryman Auditorium, The Bluebird Café, and become a top draw at Tootsie’s Orchid Lounge in both Nashville and Panama City Beach, Florida, where he has headlined Spring Break and 4th Of July shows for the past 5 years.  He’s had the privilege to perform alongside some of the industry greats including Kris Kristofferson, Randy Houser, Lee Brice, Justin Moore, Jamey Johnson and many more. With influences that range from George Strait to The Rolling Stones, Orio’s music is what keeps fans coming back again and again.

Born and raised in Philadelphia, PA, music was instilled in him at a young age by his family. Orio would borrow his great grandmother’s cane to belt out his rendition of Michael Jackson’s “Billie Jean” while dancing around the living room. At age 8, his father bought him his first George Strait record, “Beyond The Blue Neon,” and he became hooked. Orio received his first guitar for Christmas and he never looked back.

With his parents blessing, Orio made the big move to Nashville at the age of 18. Once he arrived, he knew he needed to focus his time on developing his songwriting craft. He made it a priority to attend writer’s nights all over town to observe and learn from some of the best writers.  During this time, he witnessed the talents of Keith Anderson, Chris Wallin and Anthony Smith before they had any hits. Orio fell in love with their energy and it inspired him as he worked himself up from ‘open mic’ nights to organizing his own writer rounds. After several years of honing his craft and connecting with publishers, Orio began to be recognized for the quality and uniqueness of the music he was creating.

In addition to releasing two independent projects since 2010, Orio has enjoyed success as a songwriter with cuts by Grammy award-winning country comedy legend Ray Stevens as well as former RCA recording artist Andy Griggs, and Curb Records newcomer Tim Dugger.  In addition to these tracks that have attracted national radio airplay, Orio’s songs have been published by Sony Music, Universal Music, RPM Music and Major Bob Music, among others.

Orio spends most of his time on the stage, averaging over 200 shows per year. These concerts have taken this road warrior to stages throughout North America, from Georgia to Canada and beyond, playing venues that range from crowd-packed clubs to country music festivals to casino show rooms.   “For me, there is no place I would rather be than on stage, sharing music with an audience,” says Orio. “The energy that comes from a live show is the ultimate high.”  Orio’s willingness to hit the road and earn fans “one kick ass show at a time” landed him an official sponsorship with Jagermeister.

Orio’s social media fan base has steadily grown over the past several years and his website garnered over 2 Million hits in 2014. Orio and his band, The Goodfellers, were named Best Band in Nashville by The Tennessean’s 2012, 2013, 2014 and 2015 Toast Of Music City Awards, giving Orio this award in four consecutive years.  This annual event, now in its 7th year, celebrates the best of the best in Nashville and calls upon readers from across Middle Tennessee and the nation to vote and honor who they believe is top notch in town. The Tennessean declared: “Orio may not wear a cowboy hat, but he’s still country. His voice is strong, clear and controlled.”

Since 2013 Orio has been a part of two of the Southeast’s biggest Country Music Festivals.  He performed at the first ever Pepsi Gulf Coast Jam in 2013, sharing the bill with industry superstar Toby Keith, as well as with Eli Young Band, Brantley Gilbert, and Darryl Worley.  Orio also performed during the 2014 and 2015 Toadlick Music Festival in Dothan, Alabama. The annual festival, now in its 4th year, hosted upward of 40,000 country music fans, and has featured artists such as Luke Bryan, Dierks Bentley, Jake Owen, Chris Young, and many more.  The past two years Orio shared the bill with country music legends Merle Haggard and Alabama, and with country superstars The Band Perry, Sam Hunt, Randy Houser, Gary Allan, Joe Nichols, and Billy Currington.

Most recently, Orio has teamed up with producer Matt Rovey (Craig Campbell, Dean Brody) and released his debut radio single “Those Nights, These Days” in December of 2014.  The song was in rotation on SiriusXM’s The Highway for 14 weeks.  Orio’s second single, “Walkin’ On Whiskey,” is currently in rotation on The Highway.    Orio’s self-released sophomore album, “Between Home & The Bright Lights,” has been met with rave reviews by press and fans alike. The album was selected by editors of Roughstock as one of the Top 40 Albums of 2012 in addition to landing in the #2 slot of their fan voted Best Albums of 2012 list.

Roughstock declares “There’s just something about Between Home & The Bright Lights that just hits me…this is a record made to be an extension of Orio’s successful live shows. It also showcases that an artist can be successful without having big ole radio hits (or any radio hits for that matter).  Between Home & The Bright Lights showcases an artist with all the talent and moxie of the big labels and the production on this record is equally as strong. Orio’s voice recalls Keith Urban at times and could probably be a good comparison for overall artistic presentation but don’t think of Orio as a copycat as he’s clearly his own artist with downright strong midtempo tracks.”  Duane Hobson, Sony A&R, has said, “Anthony Orio’s music vision is unbelievable! His song writing and stage performance is exactly what the music industry needs and wants from a talented singer/songwriter!”  Stay connected with Anthony Orio: www.AnthonyOrio.com or by visiting him on Facebook: https://www.facebook.com/AnthonyOrioMusic, on Twitter @Anthonyorio, or on Instagram @Anthonyorio

 

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Lee Brice with Tyler Farr at The Wharf – May 28

Posted on: February 22nd, 2016 by brent

Photo Credit: Joseph L. Lanes

LIFE OFF MY YEARS TOUR 2016

LEE BRICE

WITH SPECIAL GUESTS

TYLER FARR
& RANDY ROGERS BAND

ORANGE BEACH, ALABAMA

SATURDAY, MAY 28TH – 7PM

GENERAL ADMISSION: $51.50

RESERVED SEATS: $51.50 & $27.00 **PLUS APPLICABLE FEES & SERVICE CHARGES**

TICKETS ON SALE FRIDAY, FEBRUARY 26th – 10AM!

ONLINE AT TICKETMASTER.COM, THE WHARF BOX OFFICE
OR CHARGE BY PHONE 800.745.3000.

ALL DATES, ACTS & TICKET PRICES SUBJECT TO CHANGE. A SERVICE CHARGE IS ADDED TO EACH TICKET.

Brantley Gilbert – The Wharf – June 26

Posted on: February 8th, 2016 by brent
TAKE IT OUTSIDE TOUR 2016

BRANTLEY GILBERT

WITH SPECIAL GUESTS

JUSTIN MOORE & COLT FORD

ORANGE BEACH, ALABAMA

JUNE 26TH – 7:00PM

GENERAL ADMISSION: $59.75

RESERVED SEATS: $59.75 – $34.75 – $24.75 **PLUS APPLICABLE FEES & SERVICE CHARGES**

TICKETS ON SALE FRIDAY, FEBRUARY 12TH – 10AM!

ONLINE AT TICKETMASTER.COM, THE WHARF BOX OFFICE
OR CHARGE BY PHONE 800.745.3000.

ALL DATES, ACTS & TICKET PRICES SUBJECT TO CHANGE. A SERVICE CHARGE IS ADDED TO EACH TICKET.

Brantley Gilbert – The Wharf – June 26

Posted on: February 5th, 2016 by brent

Listen Monday (2/8) for more ticket info.

Miracle on Palafox – Raises over $15,000

Posted on: November 23rd, 2015 by brent

This year for Christmas Wishes, we are assisting United Way in helping needy children have toys under their Christmas tree.  It started with an idea…  What if we could raise thousands of dollars and fulfill more toy wishes this year?  The United Way says that Christmas 2015 will likely see the largest number of kids in need but there are fewer organizations who are able to help.

Next we came up with how we could do it… Have a Concert!  William Michael MorganMo Pitney and SCOTTY MCCREERY all agreed to come to Pensacola and donate their talent to the show.

Next…  how do we get a location that can hold enough people to make a difference?  That’s where Gulf Winds Federal Credit Union came in.  Gulf Winds has underwritten the cost of doing a concert event at the Saenger Theater on Palafox. Thanks to the generosity of Gulf Winds, all of the proceeds of the show go directly to United Way to help some needy children have something under their Christmas tree.

The result?  We raised over $15,072 to be distributed by the United Way!

United Way Escambia County is the fiscal agent. Florida Solicitation of Contributions Act# CH746.

 A copy of the official registration and financial information may be obtained from Division of Consumer Services at 1-800-help-fla or www.800helpfla.com. Registration does not imply endorsement, approval, or recommendation by the state.