Show 8pm // Ages 21+ // $56 Advance & $60 Day of Show
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
TREVOR HALL
Trevor Hall and The Great In-Between marks the start of a new era for musician Trevor Hall. Releasing September 15th, 2023 on Hall’s own 3 Rivers Label, the highly-anticipated record delivers a future-folk masterpiece anchored in Hall’s beloved style, while simultaneously bringing a refreshing new sound to the forefront. Created solely within the confines of a barn-turned-studio in his own backyard, this record marks the first of Hall’s career where he helmed every aspect of the production process. Penned without external influence and from a purely creative and explorative space, Trevor Hall and the Great In-Between unveils raw and unfiltered facets of Hall that remain undiscovered.
Hailing from a small island in South Carolina, Hall was raised in a musical family and began formally studying classical guitar in high school at Idyllwild Arts Academy. Quickly thrust into the world of major labels, Hall signed a record deal at the young age of sixteen. After realizing the restrictive nature of such deals, he decided to pave his own way and reclaim his artistic freedom. Starting in 2017, he began releasing music independently. Since then, Hall has sold hundreds of thousands of albums and amassed billions of streams, leaving an indelible mark on the lives of countless listeners. His memorable live performances have graced venues around the world, including multiple sold-out headline shows at the historic Red Rocks Amphitheater. Hall currently resides in Colorado with his wife, author & photographer Emory Hall, as well as his son.
Show 8pm // Ages 21+ // $20 Advance & $24 Day of Show
***This is a fully seated general admissions show. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
JEFFREY MARTIN
with R.O. SHAPIRO
On a small corner lot in southeast Portland, Oregon, Jeffrey Martin holed up through the winter recording his quietly potent new album Thank God We Left The Garden. Long nights bled into mornings in the tiny shack he built in the backyard, eight feet by ten feet. What began as demos meant for a later visit to a proper studio became the album itself, spare and intimate and true. Recorded live and alone around two microphones, Jeffrey often held his breath to wait for the low diesel hum of a truck to pass one block over on the busy thoroughfare. During the coldest nights, he timed recording between the clicks of the oil coil heater cycling on and off.
Martin's fourth full length album, Thank God We Left The Garden comes out on Portland's beloved Fluff and Gravy Records Nov __. He produced and engineered it himself, recalling, "There was a magic quality to the sounds I was getting in the shack with these two cheap microphones, some lucky recipe of time and place that allowed my voice and the way I play guitar and the shape of these new songs to come together with the kind of honesty I was craving."
So much has happened in the world since the release of his previous album One Go Around (heralded by No Depression as 'the poetry of America'), and Jeffrey has filled the time doggedly, but happily, touring the US and Europe, watching it all unfold in a stream of small town conversations and city sprawl. In a moment where depth is so often traded for the instantaneous, where tech billionaires are building rockets to escape the planet, where the dead-eyed stare of artificial intelligence is promising to existentially upend our world, and where divisiveness in our culture is breeding delusional levels of certainty, Jeffrey Martin's new record feels like a hopeful and fully human antidote.
There are holes in all the side walls where the wind it brings the rain in
And the gold crowns have been found out to be brass that has been painted
There are holes in all our bibles where we make secret compartments
To hide the broken treasures we smuggled out of the garden -Quiet Man
The sounds feel warm, close, and refreshingly real, all held up by the richness and rare candor of Jeffrey's voice. Production is restrained mostly to his guitar and vocals, with flashes of classical guitar for a tumbling wash of melody and low end color. Martin's voice sits high above everything, reaching into new melodic territory that goes beyond his earlier work. "I feel like I've only just learned how to sing," Martin said. "Like I've been chasing this record since my very first recordings. I wanted to really see what I could do, just my guitar and my voice and little else. I don't think it was conscious. I think maybe it was a reaction to the pace of life these days. The churning news and entertainment and politics and violence of it all. I needed to know that even in this day and age, just a few simple ingredients still hold up."
Beloved Portland-based guitarist Jon Neufeld added electric guitar to three tracks. Sticking to the same less-ismore approach, his playing skillfully and subtly elevates the lyrical intention. Neufeld's touch is best displayed on Red Station Wagon, a searing story about one man's transformation from a narrow-minded bigot into a person who feels deep remorse for the ugliness of his youth. In his transformation he discovers the clarity of empathy and compassion. The devastating and redemptive four minute song contains the emotional arch of an entire film, and each turn is beautifully punctuated by Neufeld's guitar. In addition to his guitar work, Neufeld mixed and mastered the album, and was such a crucial part of the final feel of the record that Martin also credited him as a producer.
"Jon and I really produced this album together," he said. "Me in the shack, and then him in his studio working with what I brought him as he mixed and mastered. It was such a treat to work with him. I brought this pile of rough songs and he was able to dial it in and make up for my complete lack of recording know-how. I love the performances I got, but Jon's magic is what helped them breathe and truly come to life."
No less lyrically weighty than his previous work, Thank God We Left The Garden holds a new kindness and easy solace that feels timeless and full of generosity. The title is a paradoxical nod to Martin's own spiritual conclusions, a theme that is subtly woven throughout the album. The son of a pastor, he touches on his religious upbringing then carries us well beyond his past where the weight of his deepest questions are free to unfold.
"It's always bothered me how uptight religion gets around the messiness of our human natures, always trying to tell people they're broken and flawed from the get go. The only God I can imagine is one who is overjoyed with the mess. Who revels in the edgeless mystery. I imagine hanging around with angels all day gets boring pretty fast. So maybe we got the story wrong. Maybe we were supposed to leave the Garden all along. Maybe that was the first good thing we ever did. After all, I can't think of anything that has an ounce of meaning or dimension that doesn't come from failure."
This is an album that craves your full attention, best experienced as a whole. Each song further illuminates the scene until you find yourself resting in the strangely comforting tangle of aliveness and meaning (and full spectrum of being alive./what it means to be alive.). At its core Thank God We Left The Garden is an album made of questions, humble and nuanced, a reverent celebration of the asking.
In my mind there's a garden, full of beauty and darkness
Full of sorrow and sweet things where my heart can be honest
In that garden there's a fruit tree and I eat from it daily
The same that Adam and Eve ate / what does that make me? -Garden
Whether singing about his own internal landscape, telling a story of someone else's, or reflecting on the elusive relationship between scarcity and contentment, Martin's writing never pushes the listener away, never points a finger. He sings of things we can all pin a memory on, holding the rough shorn gem of human experience up to the light.
There's a treasure that we all know but we can't have it / It's a place beyond the measure of our minds
It is where we go when we forget we're living / It is where we go when we forget we die . . .
And all the tools we use to feel important / they are useless as a sailboat in the sky
Where old bones and heart aches are forgotten / It's a place we don't have words to describe
The sun will rise like it always does on the day that I die
The world will spin, the sun will go on burning
Never even knowing I was alive
-There Is A Treasure
Thank God We Left the Garden will be released on Fluff and Gravy Records in the fall of 2023. Subsequent touring will carry Jeffrey Martin through all of the US, Canada, and Europe.
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
FRENCH CASSETTES
with BAD TIGER and GETAWAY DOGS
The album title for French Cassettes’ new album Benzene—is neither an allusion to the dangerous fossil fuel byproduct, nor is it a nod to the anti-anxiety drug Benzos, but rather a twist on Huerta’s family nickname, ‘Benz’. “I wish I had a better explanation,” Huerta admits. “I guess I should have Googled it first.”
The self-deprecation is classic Benz, as is this crossing of the wires between the flippant and the deeply meaningful. It’s one reason the San Francisco band’s third album holds up so well to repeated listens. Even when influences like The Magnetic Fields and The Beach Boys peek through, Huerta’s lyrical aesthetic is his own, and Benzene is packed to the gills with funny, memorable one-liners that take a twist for the heartbreaking. “My mother’s mother talks in comic sans,” he sings. “I will never not love her. I wish there were more emails to read.”
Their last album, Rolodex, was a painstaking six years in the making, with perfectionist tendencies, anxiety and grief all playing roles in the delay. On Benzene — recorded and produced with the band’s cofounder Mackenzie Bunch and drummer Rob Mills — they have let their proverbial hair down. And while the album bears evidence of a band more comfortable both taking risks and taking it easy, they still never miss an opportunity to do something interesting. Melodically, production-wise, lyrically: There is always room to add another hook, a new harmony, a strange sound, or a little secret handshake of a lyric.
Ages 21+ // $22 General Admission
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Show 8pm
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
DRIFTR & SUN HOP FAT
with PAUL RUBIO w/ INNA DAGMAN - Songs of an Indigenous Vibrational Mindset
Driftr is a musical collaboration between Brian Wood Capobianchi, who brings his evocative vocals and acoustic guitar to the forefront, and Jamie Schnetzler (aka Joaquin Sun), known for his intricate beat production and guitar work. Together, they blend future soul, hip-hop, and acoustic elements into a sound that’s as innovative as it is reflective of the human condition. Grounded in the earthy depth of acoustic instrumentation and elevated by ethereal electronic textures, their songs navigate the spaces between the introspective and the universal.
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
THE COFFIS BROTHERS - Album Release Show
with MANZANITA
With two songwriters, six albums, and more than a thousand shows under their belt, The Coffis Brothers have earned their reputation as modern-day torchbearers of all-American rock & roll. It's a sound caught halfway between amplified Americana, acoustic folk, roadhouse R&B, and electrifying roots music, crafted by a pair of California-born siblings who've been sharing the stage since childhood, and the five piece band filled out by their childhood friend, Kyle Poppen on lead guitar, and the rhythm section of Aidan Collins (bass), and Cory Graves (drums).
That sound reaches a new peak with Kaw-fis Bruth-urs. The band's third collaboration with Bay Area legend (and longtime Mother Hips frontman) Tim Bluhm, who serves as the album's producer, Kaw-fis Bruth-urs finds Jamie and Kellen Coffis letting their guard down, enjoying the creative ride as much as the destination itself. For every signature-sounding song like "Cut Right Through" — a heartland rock anthem built for highway drives and long horizons, as sunny as the band's Golden State homeland and as hook-driven as a Tom Petty classic — there's another track that stretches the band's sound into new territory. The result is The Coffis Brothers' widest-ranging album yet, running the gamut from bluesy, blue-eyed soul ("Face the Music") to jangling, harmony-heavy power pop (“Do You Want To").
"This is what we do, and we're giving ourselves license to evolve and get better at it, too" says Jamie, who was raised in the Santa Cruz Mountains of northern California alongside his mother — a children's musician — and his younger brother. Decades after Jamie and Kellen made their stage debut alongside their mom, singing three-part blood harmonies at a young age, their musical bond has only grown stronger, sharpened by hundreds of live shows as much as their shared DNA. "It's the natural evolution of us performing together and spending so much of our lives together," Kellen adds. "We didn't set out to make anything in one particular direction — we just wanted to make a batch of really great songs."
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
LOVE CREEK, REDWOOD EXPRESS, TIGER'S TALE and CLIMBING TREES
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
THE AVENGERS & ZEROS 77
The Avengers -
In 1977, The Avengers established themselves as one of the US's preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms, and adolescent venom, the group forged some of the most in-your-face songs of the era. Classics like "We Are the One" and “The American in Me” earned them a spot opening for the Sex Pistols at their final performance at Winterland, as well as a dedicated following that has only swelled during the subsequent years. The number of musicians that count themselves indebted to the sneering indictments of vocalist Penelope Houston and the eviscerating chords of guitarist Greg Ingraham cannot be overstated. The current line up includes rock-solid bassist Joel Reader (MTX) and the exhilarating drumming of Luis Illades (Pansy Division).
While much has been written about The Avengers in the past four decades, rock critic Greil Marcus puts it succinctly, "The word I always come back to is mystical, and that remains almost theirs alone."
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
ODIE LEIGH
with CLOVER COUNTY
Odie Leigh would never have called herself a musician before the depths of the 2020 pandemic, when her rapper roomies made a bet: Whoever records a song that goes viral first, wins. Slightly ticked off that they hadn’t included her in the wager, she decided to hit them with her best shot, and Odie was crowned the victor when a track she wrote blew up on TikTok. “I was like, ‘I'm gonna show y'all. I'm gonna win,’” she recalls, laughing. “Then I woke up to a bunch of comments on TikTok being like, ‘Oh my God, release this. This is amazing!’ Now, I’m a musician.”
Four years after posting what she calls “that silly joke song” on TikTok, Odie Leigh has continued to transform and evolve as an artist — from what she calls “acoustic, ethereal folk sad girl music” to a harder-edge tunes that flirt with early Aughts pop-punktivism. That trajectory culminates in her first LP, Carrier Pigeon. “All the music I've released up until this point can kind of be thrown into the indie folk acoustic genre,” Odie says. “But I never set out to make Americana music. I never set out to make folk music. I'm just a girl with an acoustic guitar.”
The fact that Odie Leigh never set out to make music is key here. Unlike a lot of musicians who grew up picking out tunes on toddler guitars or belting it out in garages, Odie never pictured herself on stage. Born and raised in Louisiana, she sang in the church choir, sure — her grandfather built the building, after all, and her family attended three times per week. But after moving to New Orleans to study English, she fully intended on making her bones in the film industry. That 2020 wager changed things, though, when she realized that she could win hearts in addition to bets. Although she’d taught herself to play guitar as a child, Odie didn’t know that much about music from the get-go, but she was inspired by the likes of ‘50’s singer-songwriter Connie Converse and her out-of-the-box style. “I didn't realize that music could be like this. It was all so unique and not pretentious,” she says. “I was like, ‘I can do this.’” Her first real single, “Ronnie’s Song,” followed in 2021, a sweetly silly track she wrote to cheer up a friend. Coming from the film world, she found songwriting freeing, unbound from the rigidity of screenplay and discovered that simplicity can be a strength.
She released her first EP, How Did It Seem to You?, in 2022, about a situationship gone wrong. Recorded everywhere from Louisiana to Miami, “That first EP was born out of desperation to feel heard and be connected,” she says. “Releasing that EP is probably like one of the scariest things I've ever done because it was just so real and embarrassing. All of my music is stuff I would never say out loud.” In 2023, Odie Leigh dropped her second, EP, The Only Thing Worse Than a Woman Who Lies Is a Girl Who’ll Tell Truths, which was recorded in the woods of Tennessee. “That second project was definitely like the edgier, angrier step up from: I'm a girl that makes folk music,” she says.
After those releases began gaining steam on social media, Odie Leigh started hitting stages hard — an impressive show of hustle for someone who never really dreamed of life on the road. Nevertheless, she toured Europe, North America, and played Newport Folk in 2023; she also has festival gigs like Shaky Knees and Kilby Block Party, among others, later this year. Odie
eventually achieved many an indie musician’s dream when she signed with Mom + Pop in 2023, mostly due to their diverse catalog: Yes, she’s made Americana music in the past, but she’s no one-trick pony. She craved the room to stretch and change and scream. And for Carrier Pigeon, she did just that, teaming up with a producer/musician Derek Ted — and infusing the 10-track suite with a more hard-edged sound, and plenty of fun. “I wanted to call it Carrier Pigeon because as I was writing these songs I just kept on thinking how silly it is that I'm writing all these thoughts and feeling down about someone and for someone who is only going to hear it months if not years after I write it,” she says. “I was like 'I might as well be putting letters in bottles and throwing them into the ocean or just strapping it to a pigeon and hoping it lands at the right house.' This album is the carrier pigeon and the songs are the messages.”
Album opener “A Good Thing” showcases Odie Leigh’s new sensibilities as she goes from tentatively considering talking to a crush to almost wailing: “It’s hard for more me to not romanticize every man I meet.” “I feel like it’s the perfect opener, because it slowly brings you into my new sonic world,” she says. “The entire record is me falling in love.” The ebullient “Already (on My Mind)” follows — a simple song, Odie says, about infatuation: the early stages, the terror and excitement of new love. She wrote “Party Trick” in that same vein after an incident in the Airstream trailer where she lives. She was getting ready to meet friends at the Day of the Dead parade when she found herself almost paralyzed — door wide open, one shoe on — agonizing over texting a boy she’d met on Halloween. Instead of picking up the phone, she picked up the guitar — finishing the track after an exhilarating experience ziplining with fans in L.A. “All of these things were happening, but yet I was still sitting here thinking about this boy,” she sighs.
We get past the first-text paranoia on “Conversation Starter” — a glorious sugar rush — in which Odie Leigh debates how to flirt with her new guy without revealing all her quirky weirdness right off the bat. “The song is me showing all of my insecurities,” she says. “But it's also not not about sexting,” she adds with a laugh. Things get considerably more “cutesy, and hopesy” on straight-ahead-rocker “No Doubt,” which is about, well, having zero of the titular doubts. “I can be stuck in my head and worry all I want, but at the end of the day, I know how I feel. You got me if you want. I'm here,” she says.
“Finer Things” honeys in next, a “moment of chill on a sometimes not-chill album,” followed by the achingly lovely “Either Way,” velveteen vocals on full display. “It's one of the songs that, when I wrote it, I was like, ‘Is this amazing? Or is this the worst thing I've ever written?’” Odie Leigh says, laughing again. “But I feel like songs like that always end up being ones that are actually good.” After the song’s dizzying denouement, Odie gets a little wicked, darkly ruminating on being in the bottom of a ditch of “Common Denominator” and entering her villain error on “Idiom.”
The record wraps with “My Name on a T-Shirt,” Odie Leigh’s “angry-girl song” about ditching a dude after he shows up to a gig with…you guessed it, her name on his shirt. Here, Odie’s ethereal sad girl takes the backseat as she nearly growls about being a “loser” and a “full-time sinner.” Nevertheless, it’s kind of a triumphant image for a woman who bet against her more
experienced roommates that she could break the Internet: getting so big a love interest fanboys out. In the end, Odie did show us all. And she’s having an absolute blast.
Show 7:30pm // Ages 21+ // $22
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
MIKE RENWICK'S HOLIDAY DELUXE
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
THE SUN KINGS - A Beatles Tribute as Nature Intended
The Sun Kings A Beatles Tribute band unlike any other…
Celebrating their 25th year and considered one of the premier Beatles Tribute acts in the country, The Sun Kings play the hits and great album cuts from the entire Beatles catalogue with an uncanny attention to musical detail, vocal harmonies, and onstage energy.
Experience The Sun Kings in concert and you will hear the concert The Beatles never gave!
“The Sun Kings are superb! ...as close to the Beatles live and in studio as possible! -Ben Fong-Torres | Former Editor Rolling Stone Magazine
“The Sun Kings are the best Beatles band I’ve ever heard, and that includes the original Beatlemania cast, circa 1977.”
-Scott Lettieri | KGO Radio San Francisco
“The only band that could come that close to doing Beatles music would be The Beatles!”
-Richard Freedman | Vacaville Media News
“...with their sets loaded with peak moments, their dazzling harmonies leading each ascent, the Sun Kings only flaw is that they eventually have to stop the celebration...” -Tom Stack | Lafayette Town Hall Theatre Board VP
“Unbelievable!”
-Dean Goss | KFRC Radio – San Francisco
Show 8pm // $15 General Admission
***This is a fully seated general admission show. The restaurant will be open for dinner starting at 4pm.
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
FLEETWOOD MACRAMÉ
Fleetwood Macramé has become one of the Bay Area's most exciting tribute bands. What began as a simple exercise in fun has turned into an awe inspiring live experience complete with show stopping renditions of Fleetwood Mac's greatest hits. Audience participation is encouraged, and Bay Area crowds are coming in droves to sing along with Fleetwood Macramé. What's more, they sound so much like Fleetwood Mac, if you closed your eyes, you would think it was the real thing. Only it's better, because you are in the front row!
Show 9pm
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
HARRY & THE HITMEN and WOLF JETT
Harry & The Hitmen -
Harry and the Hitmen serve up classic Motown and Soul with jovial professionalism. But don't let the "suits" fool you, the band comes from an improvised rock tradition, and has years of experimentation behind their tight arrangements. Unearthing nuggets from the golden years of Motown and Stax records, the group also writes original “New Soul Classics”®. Because all six members are multi-instrumentalists and avid improvisers, their concerts continue to evolve nightly. Perfectly suited for everything from stately weddings to far-out festivals, Harry and the Hitmen delivers a one-of-a-kind dance party wherever needed!
Wolf Jett -
The sound of Wolf Jett will make you dance, sing, and possibly even howl! Its roots run deep through the soul and help heal the heaviness of life. Their all-original songs are a celebration of perseverance, infusing folk, blues and Americana into what the band describes as "Cosmic Mountain Music.” Frontman Chris Jones was born in the south and raised in California. As a result, his songs combine the best of both worlds to create a vibe that is fresh, yet immediately familiar to a broad audience. He is joined by long-time musical collaborator Jon Payne on drums, Duncan Shipton on bass and Will Fourt on lap steel and guitar. They often feature Laura T. Lewis on vocals, Alex Jordan on keys, and other special guests.
Wolf Jett was conceived in late 2019 with the intent of bringing people together and putting smiles on their faces. Just prior to the release of their debut album the world was brought to a halt by pandemic. To adapt, they constructed an analog studio at Jon’s residence called “House on a Hill" in Boulder Creek, CA. Unfortunately, the CZU Lightning fires ripped through Big Basin State Park in August that year, consuming the house and new studio along with it. Their story was featured in SF Chronicle, Oakland Tribune, San Jose Mercury, and Santa Cruz Sentinel. Seeing an opportunity to help their community heal, they recorded a breathtaking emotional live video among the ashes and rubble of where House on a Hill once stood with the help of friends, The T Sisters. Their song "Garden of Pain" has since become a local favorite.
Their latest release (March ‘24), “Time Will Finally Come,” was produced by Jonathan Kirchner and is available streaming, vinyl and CD. They have performed with California Honeydrops, Cedric Burnside, Fruition, The Brothers Comatose, AJ Lee & Blue Summit, The Mother Hips, The Sam Chase. Their albums feature guests Jason Crosby (Jackson Browne), Stelth Ulvang (Lumineers), James Deprato (Chuck Prophet), and Eric Yates (Hot Buttered Rum). Currently in Radio rotation on local CA stations KPIG, KZSC, KRML, KBCZ, KSQD, as well as WNCW in North Carolina and WDVX in Tennessee.
Show 8pm // Ages 21+
***This is a fully seated general admissions show. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
PUDDLES PITY PARTY
Puddles Pity Party, the 7-foot sad clown whose golden voice is comparable to rock legends like Tom Jones and Freddie Mercury, has amassed nearly 900K YouTube subscribers and performed sold out shows all over the globe including The Kennedy Center in D.C., San Francisco’s Palace of Fine Arts, London’s Soho Theatre, and a residency at Caesars Palace in Las Vegas.
Neil Gaiman recently featured Puddles as guest performer in his specially curated gala for The Art of Elysium in Los Angeles. In 2022, Puddles performed a duet with the iconic Eric Idle in Homeward Bound: A Grammy Salute to the Songs of Paul Simon filmed for CBS and was a surprise guest on the Season 4 finale of ABC’s The Conners. He also landed the coveted John Lewis Holiday advert in the UK with a cover of “All the Small Things” that he recorded with Postmodern Jukebox. Puddles was a quarter finalist on Season 12 of America’s Got Talent and appeared on the 2020 season of AGT The Champions.
Deftly combining melancholy with the absurd, Puddles has received endorsements and accolades from musical comedy legends like Jack Black, Michael McKean, Weird Al Yankovic, Drew Carey, Nick Offerman and Paul Reubens. His one-of-a-kind “textured voice laced with melancholy” (NY Times) has been hailed as “operatic” (Boston Globe) and his show both “life-affirming” (Herald Scotland) and “hysterically funny” (LA Weekly).
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
JACKOPIERCE
A river runs through this swath of ranch land, snaking in serpentine contours through willows and winters, destined for the nearby fertile plain to the south. Just before she empties into the basin, she joins another moving band of water, on her own journey from headwaters in the same mountain range.
Their power and beauty is greater at the confluence.
I walk that river now, alone, almost there, lost in song.
Well, almost alone.
Are you haunted by your dreams/do you walk with ghosts/do they call out and you don’t know what it means/or do you make a stand/turn around and shake their hand/on 191st street
I walk with ghosts, too, along this riverbank. Divorces, struggles with sobriety, crises of faith and confidence... we all walk with them, though we may call them by different names. And when we find the courage to shake those ghosts’ hands, brushing their fingers in mutual acknowledgment and respect, sometimes we can let them go.
For good.
And then, finally free, we can turn to the future, and run into the joyful arms of breezy melodies, joy, and hope.
Decline defeat politely/then we reassess/lift our heads up/on we press/don’t you know there ain’t no magic potion/life it ebbs and flows just like the ocean/ride the waves but don’t get carried away/turn those lemons into lemonade/ahhh-we’re back again
Cary Pierce’s ‘Back Again’ is that joyous morning-after to Jack O’Neill’s ‘Cadillac Kings’ evening spent dancing with ghosts, the juxtaposition of dark and light reflected in their own deep pool journeys.
Jack and Cary started playing together at SMU in Dallas, TX, when music was shared via mix tape, not mp3. They’d spend the next 10 years recording albums and touring the world, sharing stages with the biggest names of the era.
Those names don’t matter here.
There’s does.
Jackopierce.
Their inaugural decade ended in a short-lived sabbatical, with Jack heading to New York to pursue acting and Cary embarking on a solo career. The duo reunited 5 years later, shook the dust off, and launched another twenty-year run of successful albums and
tours, bookended by sold-out shows featuring an all-star backing band (Vertical Horizon, anyone?) and popular destination events.
Along the way, Jack and Cary’s personal journeys followed turns and drops unique to them, but familiar to us all. And now, as this river meets the next, both peace with the past and excitement for the forward-view is palpable.
And best heard through their songs.
Take a listen.
But not because they’ve been making music together for over 30 years, or because of their half-million albums sold, or late-night talk show appearances, or influence on an entire genre of acoustic-driven rock.
Listen because these two theater-major undergrads, with headwaters in the same late-80s collegiate mountain range, have stumbled over their own stones and through their own canyons over the last three decades.
And now, they meet again, where their power and beauty is the greatest. Here, at the confluence.
Show 8pm // $31 General Admission
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
RASH: A TRIBUTE TO RUSH
Since 2010, Rash: A Tribute to Rush has recreated the energy, the sound – the whole spectacle – of Rush live and in their prime. Seasoned performers all, this group of Rush fans came together with single-minded intent to perform their favorite Rush music and to sound as much like Rush as possible. Performing greatest hits and deep cuts with tremendous attention to detail, Rash will please the hardcore fan and casual listener alike.
Show 8pm
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
RAILROAD EARTH
For over two decades, Railroad Earth has captivated audiences with gleefully unpredictable live shows and eloquent and elevated studio output. The group introduced its signature sound on 2001’s The Black Bear Sessions. Between selling out hallowed venues such as Red Rocks Amphitheatre in Morrison, CO, they’ve launched the longstanding annual Hangtown Music Festival in Placerville, CA and Hillberry: The Harvest Moon Festival in Ozark, AR—both running for a decade-plus. Sought after by legends, the John Denver Estate tapped them to put lyrics penned by the late John Denver to music on the 2019 vinyl EP, Railroad Earth: The John Denver Letters. Beyond tallying tens of millions of streams, the collective have earned widespread critical acclaim from David Fricke of Rolling Stone, American Songwriter, Glide Magazine, and NPR who assured, “Well-versed in rambling around, as you might expect from a band named after a Jack Kerouac poem, the New Jersey-built jam-grass engine Railroad Earth has let no moss grow under its rustic wheels.”
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
DOGS IN A PILE
The sandy shores of Asbury Park, New Jersey are hallowed ground in the northeast; the rolling waves have ushered generations of venerated musicians to worldwide acclaim. Dogs in a Pile, an eclectic quintet, has emerged as the heir apparent to the town’s rich musical legacy. Merging funk, jazz, and rock and roll with psychedelia, the quintet presents a completely original vibe built on kaleidoscopic soundscapes eerily reminiscent of the days of yesteryear.
The Dogs employ a unified approach to performance and songwriting, crafting aural mosaics through adept instrumentation and humble precocity. As avid storytellers, they draw inspiration from personal experiences, balancing life’s foibles with ever-present youthful sanguinity.
Dogs began when Philadelphia University of the Arts guitar gun-slinger Jimmy Law began playing with young Joe Babick (drums), a student at the Count Basie Theater program in Red Bank, NJ. Lightning struck when they were introduced to Berklee School of Music student and bass player Sam Lucid, who immediately suggested fellow Berklee student and keyboard player Jeremy Kaplan. The addition of fellow Berklee student Brian Murray (guitar) in 2019 made for the quintessential final piece in the Dogs’ puzzle.
A string of successful local shows drove the development of a massive northeast fan base, affectionately known as the Dog Pound. The band’s astronomical growth culminated in an epic, sold-out performance at the legendary Stone Pony in Asbury Park during the summer of 2021. Armed with a fresh batch of new material, Dogs in a Pile is taking its perpetually evolving testament to the Great American Songbook on tour in 2022, visiting plenty of new cities and spreading good music and good energy to good people along the way.
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
SIERRA HULL
with STEPHANIE LAMBRING
Sierra Hull is widely regarded to be a as a master of her instrument; A two-time Grammy Nominated artist and songwriter, recognized for both her most recent projects, 25 Trips (2020) and Weighted Mind (2016), she is also the 4x recipient of IBMA’s Mandolin Player of the Year, the first woman to ever receive this distinction. A pioneer for acoustic music throughout her already impressive multi-decade career, she has graced the country's most iconic stages, including Carnegie Hall, the Grand Ole Opry, and the White House. Her virtuosic abilities have garnered respect from genre-defining trailblazers, friends, and collaborators such as Alison Krauss, Sturgill Simpson, Garth Brooks, Dolly Parton, Bela Fleck, Bobby McFerrin, and Brandi Carlile. Originally hailing from Byrdstown, Tennessee, her unique sound is rooted in bluegrass, and she is widely considered one of acoustic music’s most inventive artists.
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
RAINBOW GIRLS
with AVIVA LE FEY
"In a world where the line between the living and the dead blurs...
This fall, prepare yourself for a Rainbow Girls show like no other. As the lights dim, and the fog rolls in, you'll step into a realm where shadows dance, and whispers echo through the night. Welcome to the “Haunting” album release tour—a spine-tingling journey into the unknown. Feel the chill as each note reverberates through the darkness, see the spectral visions come to life on stage, and as the music swells, you'll find yourself drawn deeper into the abyss. But beware—once you enter, you may never leave. This isn't just a show… it’s a journey into the unknown, where every song beckons you deeper into the shadows.
Coming to a city near you.."
Show 8pm
***This is a fully seated general admission show. The restaurant will be open for dinner starting at 4pm.
Show 8pm
***This is a fully seated general admission show. The restaurant will be open for dinner starting at 4pm.
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
ELIJAH FOX
Elijah Fox is a multi-instrumentalist, singer, and producer based in Los Angeles, CA. He grew up in Durham, NC and began playing piano at age 11 and was mentored early on by Yusuf Salim, a pianist who had played with Charlie Parker and began performing in local jazz clubs. Fox studied piano at Oberlin Conservatory with Sullivan Fortner, Billy Hart, Dan Wall, and Gary Bartz and graduated in 2017 before moving to New York City. His piano composition “East Village” was sampled by Drake and 21 Savage on “Major Distribution” reaching number 3 on the Billboard Charts. Fox has also recorded/produced for SZA, Masego, YG, ScHoolboy Q, Denzel Curry, Tate McCrae, Musiq Soulchild, Childish Gambino, Kali Uchis, J Cole, and many others as well as releasing his own original compositions and sample packs. His impressionistic original piano composition “Wyoming” went viral on TikTok and has received over 20 million streams on Spotify. He is signed to UMPG for publishing as a writer/composer. He is also the touring keyboardist for UK drummer Yussef Dayes and has performed throughout the world. Fox has also performed his original music at sold out shows across the US and Europe. His sound blends elements of jazz, Impressionism, and psychedelic soul. Fox also releases instrumental music under the alias @Soren Sostrom
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
GLITTERFOX
with MOUNT SAINT ELIAS
The Portland based band Glitterfox has released five singles in just six months under their new record label Kill Rock Stars, with two more arriving this Spring. The band’s been growing steadily since “Drive” came out in August 2023, with their indie rock recipe that deftly balances Southern songwriting shine and nostalgia-fueled anthems.
The four-piece band’s songwriters and front persons, married couple Solange Igoa and Andrea Walker, have always channeled their personal struggles as well as experiencesas queer, neurodiverse individuals into their songwriting.
Bassist Eric Stalker and drummer Blaine Heinonen bring a love of Americana, grunge, and dance music into the mix. All of these influences can be heard on the band’s latest singles, produced by Chris Funk of The Decemberists, and in their spirited live shows as they prepare for their full-length album debut in 2025.
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
CRASH TEST DUMMIES
With one of the most recognizable voices in Canadian music history, alternative rock band Crash Test Dummies are a three-time Grammy nominated and JUNO award-winning group, who soared to the top of the worldwide charts in the early 1990’s with hits “Mmm, Mmm, Mmm, Mmm” and “Superman’s Song”. Their cover of “The Ballad of Peter Pumpkinhead” was a highlight of the soundtrack to the blockbuster film, “Dumb and Dumber”, while simultaneously reaching #4 on the US Top 100 album charts. All of their releases keep the same folk-hued, alternative spirit of their early sound, centering around the distinct baritone of frontman Brad Roberts and Ellen Reid’s folk-rock fusion.
After a twenty-year hiatus, the Crash Test Dummies reunited in 2018 for a two-week tour to celebrate their most successful album “God Shuffled His Feet”. The overwhelming reception to these shows has since led to continuous touring across two continents, with sold-out shows across the US, Canada, the UK, Germany, Austria and the Netherlands.
“Touring again was not something we’d planned on, but surprisingly– at least to me – there are lots of people who many years later, still want to come and hear us,” says lead singer and principal songwriter Brad Roberts. “It’s humbling, being in the confidence of so many people.” The band is returning to Europe and the UK in the fall of 2024 for an extensive tour before heading down under for sold-out shows in Australia and New Zealand in early 2025.
The dynamic and high-energy stage show features the band’s most iconic songs, performed by original members Brad Roberts, Ellen Reid, Dan Roberts and Mitch Dorge. Joining them are long-standing guitarist Stuart Cameron and relative newcomer Leith Fleming-Smith, Canada’s keyboard whiz-kid.
2025 will also see the band release a “Greatest Hits” double vinyl, which includes their first two new songs in fifteen years - ‘Sacred Alphabet’ and ‘When First the Heart’ - along with and a live version of showstopper and fan favorite “Heart of Stone”.
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
LOTUS
Lotus, innovators in blending electronic dance music with the jamband model of improvisation, have captivated audiences with their high-energy, dance-inducing shows and intrepid studio work. Drawing from genres such as psychedelic rock, krautrock, post-rock, disco, and funk, the four-piece band is known for their festival-favorite performances and intriguing songwriting, which seamlessly transitions from high-flying guitar solos to modular synth workouts, combining tightly composed songs with free ranging group improvisation.
Their 11th studio album, "How To Dream In Color," showcases Lotus's evolution, featuring 12 tracks that traverse a spectrum of soundscapes. While primarily instrumental, this album includes vocals—both traditional and electronically manipulated—integrating elements that create distinct atmospheres for each composition. Highlights include tracks like “How Do I Come Down,” a riveting opener with Radiohead-esque vocals from Gabe Otto, the groovy and unique “Watching the Distant Storm,” and the driving krautrock instrumental “In the Shadow of the Mountain.” The album originated from demos on an old 8-track reel-to-reel tape machine, balancing gritty analog sounds with hi-fi studio production. The album reflects a dreamlike narrative where incongruities blend into a cohesive whole, incorporating guest vocals, horns, violin, handpan, modular synths, and modern electronic techniques.
Building on their extensive touring experience and diverse production styles, Lotus continues to innovate and inspire. Over the last two decades, the band has toured actively throughout the US working their way up from clubs to world-class venues such as Red Rocks (15 times). They've become festival favorites, playing everything from Bonnaroo to Outside Lands and Electric Forest. This year, the band celebrates the sixteenth anniversary of their annual festival, Summerdance, in Garrettsville, OH.
Much like a live Lotus show, "How To Dream In Color" is a journey, offering a beacon for fans old and new, inviting them to explore the vibrant and infinite realms of Lotus' musical vision.
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
CURSIVE
with PILE
Very few bands manage to last decades, and for the ones that do, it’s often easy to settle down and get a little too comfortable. But there’s nothing comfortable about Devourer, the explosive new album from Cursive. The iconic Omaha group is known for their intensity, ambition, and execution, and has spent 30 years creating a bold discography that’s defined as much by its cathartic sound as its weighty, challenging lyrical themes. And Devourer is as daring as ever. Full of intense and incisive songs, the album proves exactly why Cursive have been so influential and enduring–and why they remain so vital today.
In the years since their 1995 formation, Cursive developed into one of the most important groups to emerge from the late-’90s/early ‘00s moment when the lines between indie rock and post-hardcore began blurring into something altogether new. Albums like Domestica (2000) and The Ugly Organ (2003) became essential touchstones whose echoes can still be heard in new bands today. The pull of nostalgia can be strong over time, but Cursive’s work has often felt like a rejection of those comfort zones; the band has continually pushed themselves, with frontman Tim Kasher’s artistic restlessness steering them ahead. In fact, for Kasher, whose pointed observations always begin with looking inward first, it was an interrogation of this voracious creativity that planted the seeds of Devourer.
“I am obsessive about consuming the arts,” he explains. “Music, film, literature. I’ve come to recognize that I devour all of these art forms then, in turn, create my own versions of these things and spew them out onto the world. It’s positive; you’re part of an ecosystem. But I quickly recognized that the term, ‘Devourer,’ may also embody something gnarly, sinister.” Devourer delves into that darker space. The characters populating the album have bottomless capacities for consumption, whether its resources, material goods, art, or even each other. Then they are consumed by larger forces, whether it’s humanity, Earth, dreams, time, or life itself. “Maybe a better word for it is imperialism,” Kasher says. “But it’s in many different forms. It’s not just the political. It’s personal imperialism and the imperialism of relationships, the way we imperialize one another, even ourselves.”
Fans have come to expect such heady topics from Cursive, but Devourer sets a new standard. The glibness of the First World toward the problems of others. The eternal struggle to stay on the straight and narrow. The eager acolytes exploited by their leaders. How anxiety can compound with age. How self-expression can warp into self-indulgence. Beginning with “Botch Job,” a propulsive banger shaking with anxiety and regret, the album seldom relents. Songs like “The Avalanche of Our Demise,” “What The Fuck,” “Bloodbather,” “Consumers,” and “The Age of Impotence” hit hard, hooking listeners with the unique blend of deep melody and discordant sounds Cursive does so well. Even as songs like “Up and Away,” “Imposturing,” and “Dead End Days” lean more into a poppier sound–or “Dark Star” and “The Loss” tone down the intensity–the album’s underlying disquiet remains. But as always, Cursive is here to wail, not wallow. As Kasher sings in “Bloodbather,” “Life’s an abscess or apple pie / So shut those demons up / And devour your slice.”
Devourer being filled to the brim thematically and musically is unsurprising considering Kasher wrote an astounding 69 compositions after songwriting began in the fall of 2020. About 20 made it to the practice space, with a curated 13 ending up on the final album. Wrangling it all at Omaha’s ARC Studios was Marc Jacob Hudson, who co-produced the album with the band after running live sound on Cursive’s recent tours. Hudson’s lengthy discography includes working with Against Me!, Thursday, and Fireworks, among others, but the musical touchstones he shares with Cursive sealed the deal. “We just got along well and had this kind of shared music history that I found so comforting,” Kasher says. “We were introduced to music in similar ways and, being the same age, share a musical knowledge. It was just so fun and refreshing.”
Now seven members strong (“We seem to be collecting band members over the years,” Kasher jokes), Cursive had a large musical toolbox to use on Devourer. Beyond the core trio of singer/guitarist Kasher, bassist Matt Maginn, and guitarist/vocalist Ted Stevens, there’s keyboardist and multi-instrumentalist Patrick Newbery, cellist Megan Siebe, recording/touring drummer Pat Oakes, and founding drummer Clint Schnase (the two trade drumming duties across Devourer, but join forces for a two-pronged percussive force in “Rookie”).
Cursive had self-released their two previous albums on their label, 15 Passenger, and initially planned to release Devourer the same way–but ultimately decided to put out some feelers as well. “We got interest and it made it all feel like, ‘Yeah, we should do this,’” Kasher recalls. The group arrived on Run for Cover Records, who were excited to work with a band who has such a deep discography and storied history; it’s a fitting home for Cursive, with new labelmates like Fiddlehead, Citizen, Teen Suicide, and Self Defense Family that share a same DNA of emotionally and sonically biting music. “It really is the first time that we’ve gone off to another label since we started in 1995, when we signed to Crank! Records,” Kasher says. “So there’s a certain excitement to that. It’s no longer the excitement of, ‘We just got signed! I wonder what’s going to happen with this record?!’ It’s more like we’re doing something different–nothing feels rote.” Maginn adds, “More than most bands, our labels have been part of our history. We did it ourselves for years with 15 Passenger, so it’s a big deal to us to take on and trust new partners.”
While Cursive’s music hasn’t gotten any more comfortable, perhaps its being released into a world that’s at least a little more shaped in their image. Devourer sounds urgent and fresh, the work of a band still experimenting, still hungering to find new creative heights. On album highlight “Consumers,” the protagonist bemoans, “I saw our future and I want to go back.” But Cursive are only moving forward.
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
DANIEL DONATO'S COSMIC COUNTRY
There are a lot of musical influences and sources that Daniel Donato has drawn on during his career and that inform his latest album, Reflector (Retrace Music), his first all-original album. But within those, Donato has carved out a unique and individualized spot for himself, one that speaks to the deep American music heritage that inspires him -- and that he's pushing towards the future with inspired, intentional vigor.
He calls it Cosmic Country, a moniker that's both self-descriptive and a statement of purpose. It's an organic rock band aesthetic with plenty of roadhouse twang; a showcase for Donato's instrumental virtuosity and facility for melodically infectious songcraft. Bridging Nashville and the Great West, Kentucky and mid-60s northern California, tie-dye and plaid, it's a world of his own, and a wide world of musical adventure at that.
While growing up in Nashville his his father, who turned his young son on to music of all genres, suggested the fledgling and industriously minded (even at just 14) artist start busking in Nashville's lower Broadway area and outside concerts, for eight hours at a time on the weekends. One night, the two happened by Robert’s Western World where legendary honky-tonk local mainstay the Don Kelly Band were performing. "Their songbook was that of my main influences still to this day -- Merle Haggard, Willie Nelson, Waylon Jennings, Bob Wills, Marty Robbins, Bill Monroe, traditional bluegrass music, Hank Williams Sr. -- old-timey music with real stories and emotions that everybody has. It just hooked me right away." Donato eventually became a member of the band, playing four hours a night at Robert's (464 shows in total).
Another piece of the puzzle came through later in Donato’s teenage years -- the Grateful Dead, thanks to a high school American History teacher who gave him a pile of bootleg recordings when he was 18. "When I discovered Jerry Garcia, there's really never been anyone who writes like that," says Donato. "From there I went on to discover Bob Dylan and all the great writers and made me want to make that part of what I did as well."
The whole package of player, singer, writer and band leader was in place. Two albums in, Daniel Donato and Cosmic Country, featuring Nathan Aronowitz (keyboards/guitars/vocals), Will McGee (bass/vocals) and Will Clark (drums, percussion/vocals) are selling out venues throughout the country and bringing their brand of Cosmic Country to an ever growing, passionate fanbase.
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
JERRY'S MIDDLE FINGER
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
JERRY'S MIDDLE FINGER
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
SAM GRISMAN PROJECT
A Note From Sam-- The music that my father David Grisman and his close friend, Jerry Garcia, made in the early 90s (in the house that I grew up in) is not only some of the most timeless acoustic music ever recorded, it also triggers my oldest and fondest musical memories. What I find most inspiring about this material is the way their camaraderie and their love and joy for the music, simply oozes out of each recording. It is also impressive how deeply they get beneath their favorite songs—whether they are originals, covers or traditional/old time tunes—and how expertly that material was curated.
My goal in starting Sam Grisman Project is to build a platform for my friends and me to showcase our genuine passion and appreciation for the legacy of Dawg and Jerry’s music. By playing some of their beloved repertoire and sharing the original music that our own collective has to offer, we will also show the impact that this music has had on our own individual musical voices. Ultimately, there is nothing that makes me happier than playing great songs with my best friends and my hope is to share that happiness with audiences all over!”
Show 7:30pm
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
EGGY
Song by timeless song Eggy reaches out a hand, inviting you along as a great story unfolds. Eggy’s music traces the full spectrum of emotions, evoked by a life well-lived alongside friends well-loved.
Eggy formed from a high school dream into a full-fledged reality. Aligning together in 2016, the lineup of Alex Bailey (drums, vocals), Jake Brownstein (guitar, vocals), Mike Goodman (bass, vocals) and Dani Battat (keys, vocals) has captured the ears of listeners across the USA and beyond.
Following the release of their 2019 debut record, “Watercolor Days,” the band has toured constantly, performing in over 40 states. Amidst their travels in 2021, Eggy stopped in Nashville to record two singles, released as Nashville Tapes the following year. Highlights from the band’s many eclectic shows have been handpicked by the band for consumption, including the most recent “Eggy Selects: Spring Tour 2023, Vol. 1).”
Eggy’s new record, “Waiting Game,” is out now. Co-produced by White Denim’s James Petralli, “Waiting Game” showcases the band’s artistry through a concentrated and refined studio approach as a compliment to their exploratory live shows.
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
BALLYHOO!
with SERANATION and THE HARBOR BOYS
Through 25 years and eight independent albums, the last four on their own Right Coast Records, Ballyhoo! have earned the exclamation point which marks their name. Starting in the basement of their mom’s Aberdeen, MD, home, rocking out on guitar and drums respectively, practicing every day, brothers Howi and Donald Spangler formed the proto-punk band in the mold of Green Day and Nirvana, with an eye towards the emerging ska genre led by Goldfinger, Sublime, 311 and No Doubt.
The group’s eighth and most recent studio album, the breezy, ska-fueled, hook filled Message to the World, on their own Right Coast Records, finds the self declared “beach-rockers,” having grown up in public, accepting the responsibilities of adulthood while still hanging on to their dreams of world domination. Stylistically, their music ranges from the hard-edged punk of 2018’s Detonate, which captured the feelings of anger and depression from dealing with personal loss and the exhaustion generated by over a decade on the road to the island reggae beats of the follow-up, Message to the World. “Whatever you want to achieve, just focus on that and work towards it,” explains Howi about the Ballyhoo! ethos. “Don’t worry about followers, views, or even money. Just keep making good stuff. One day it may be possible to finally quit that day job and live your dream full time.”Ballyhoo! is still doing just that, purveying good vibes, positivity and fun live shows meant to take you away from real life...
Show 8pm // 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
JENNY OWEN YOUNGS & JENNY O.
Jenny Owen Youngs -
In the decade since Jenny Owen Youngs last released a full-length album, she’s toured the world, co-written a #1 hit single, launched a wildly popular podcast, landed a book deal, placed songs in a slew of films and television series, moved from Brooklyn to Los Angeles to coastal Maine, and gotten married, divorced, and married again. She’s done everything, it seems, except release another album.
“After writing a zillion songs with other artists and immersing myself in other people’s voices for ten years, I finally started to get excited about making my own music again,” she explains. “It was like I took this extended sorbet course, and after that palate cleanser, I was ready to dig back in.”
With her exceptional new Yep Roc debut, Avalanche, Youngs delivers a main course worthy of the wait. Written with a series of friends including S. Carey, Madi Diaz, The Antlers’ Peter Silberman, and Christian Lee Hutson and recorded with producer Josh Kaufman (Bonny Light Horseman, The Hold Steady, Cassandra Jenkins, Josh Ritter), the collection is an achingly beautiful exploration of loss, resilience, and growth from an artist who’s experienced more than her fair share of each in recent years. The songs are deceptively serene here, layering Youngs’ infectious pop sensibilities atop lush, dreamy arrangements that often belie the swift emotional currents lurking underneath. The performances, meanwhile, are riveting and nuanced to match, gentle yet insistent as they reckon with the pain of regret and the joy of redemption, sometimes in the very same breath. The result is the most raw and arresting release of Youngs’ remarkable career, a brutally honest, deeply vulnerable work of self-reflection that learns to make peace with the past as it transforms doubt and grief into hope and transcendence.
“There’s a good deal of heartbreak and disappointment in this music,” Youngs explains, “but it ultimately gives way to excitement and promise, to the incredible, immeasurable bliss of falling in love and finding yourself again. These songs travel the whole emotional spectrum.”
That kind of range has been Youngs’ calling card from the very start. Born and raised in rural New Jersey, she fell in love with The Beatles at an early age before eventually finding her way to The Cranberries and Elliott Smith in high school. Her self-recorded debut, Batten Down The Hatches, landed a high-profile sync in the Showtime series Weeds and led to a deal with Nettwerk Records, which re-released the album along with her 2009 follow-up, Transmitter Failure. Widespread acclaim and dates with the likes of Regina Spektor, Ingrid Michaelson, Frank Turner, and Aimee Mann followed, but by the time Youngs released her third album, 2012’s An Unwavering Band Of Light, she was ready for a change of pace, moving to LA to focus on writing for other artists and for film and TV. In 2016, Youngs co-wrote Pitbull’s “Bad Man,” which debuted at the 58th annual Grammy Awards; in 2017, she co-wrote Shungudzo’s “Come On Back,” which was featured in the Fifty Shades Freed soundtrack; and in 2018, she co-wrote Panic! At The Disco’s smash hit “High Hopes,” which went five-times platinum and broke the record for most weeks atop Billboard’s Hot Rock Songs chart. Along the way, Youngs also launched Buffering The Vampire Slayer, an episode-by-episode podcast devoted to Buffy The Vampire Slayer that attracted more than 160,000 monthly listeners and led to a book deal with St. Martin’s Press. Youngs recently launched a new series with her podcasting partner/ex-wife called The eX-Files and has a narrative fiction podcast due out next year, as well.
Jenny O. -
Jenny O. is a singer-songwriter living in Los Angeles, California. Her latest release and fifth record, Spectra, is her most joyful and her favorite. It has been called “psychedelic pop” and likened to an “instruction manual for healing and kindness.” It is also, at times, rowdy and funny. Spectra was produced by Kevin Ratterman (My Morning Jacket, S.G. Goodman, Andrew Bird).
Songs by Jenny O. can be heard in television soundtracks like Orange Is The New Black, Shameless, and Grey’s Anatomy, or featured in The Sims and Rocksmith video games. She has toured with Jenny Lewis, Violent Femmes, The Proclaimers, Father John Misty, Rodriguez, and performed on recordings by Conor Oberst, Bonnie “Prince” Billy, and Jim James.
Jenny O. recently recorded a solarpunk album— ecological pop songs for a decarbonizing society— or music for solving the climate crisis. She invites us to envision non-dystopian futures after fossil fuels. What does it look like to get it right? How does it feel? By accommodating only negative outcomes in our minds and pop culture, we use our available attention on despair and uphold the status quo. Yet if we envision a just, renewable energy transition, with intentional regeneration of our ecosystems to cool the planet, we are activated to get there. This album will be out in 2025.
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
THE GARCIA PROJECT
The Garcia Project is the only nationally touring tribute that performs full, classic Jerry Garcia Band set lists from 1976-1995!
The Garcia Project stands as a premier tribute band dedicated to faithfully recreating the legendary performances of the Jerry Garcia Band. With a meticulous attention to detail, they reconstruct not only the beloved setlists but also the distinctive tempos, arrangements, and even utilize replica guitars and gear to authentically capture the essence of Jerry Garcia's sound.
Comprised of dedicated musicians and passionate fans of Jerry Garcia's solo work, The Garcia Project goes beyond mere homage, striving to transport audiences back to the intimate and transformative concert experiences that defined the Jerry Garcia Band. From soulful ballads like “Mission In The Rain to electrifying jams such as "Deal," every performance is a journey through Garcia's musical universe, faithfully recreated with precision and reverence.
Through their commitment to authenticity and musical craftsmanship, The Garcia Project ensures that each show is not just a nostalgic trip down memory lane, but a vibrant celebration of Jerry Garcia's enduring musical legacy. By meticulously recreating the nuances of Jerry Garcia Band concerts, from the gear to the groove, The Garcia Project honors Garcia's spirit of improvisation and musical exploration, ensuring that his music continues to inspire and resonate with audiences everywhere.
Not a Grateful Dead tribute, but a tribute to Jerry Garcia’s beloved other band, The Jerry Garcia Band, which toured in between Grateful Dead tours, and played original songs as well as great covers from many genres, including rock, Motown, gospel, bluegrass and more.
“The Garcia Project is a must-see for anyone who had the good fortune of seeing Jerry’s band live. I was lucky enough to share the JGB experience with Jerry, John Kahn, Maria Muldaur, Keith and Donna. Being on stage with Mik, Kat, Dan and the crew is the closest thing to the original. They are Jerry’s kindred spirits when it comes to making music. Even if you never saw JGB live, you can see and hear their spirit at a Garcia Project performance.”
– Buzz Buchanan, Drummer for The Jerry Garcia Band 1977-1978
Often called the “DSO of JGB” by fans, The Garcia Project’s performances are based on actual set lists performed by The Jerry Garcia Band. All of their performances are recreations of full classic Jerry Garcia Band shows from 1976 to 1995. For anyone that never had a chance to experience the Jerry Garcia Band or for fans that want to relive a classic show, The Garcia Project delivers.
The founding members of The Garcia Project got to see the Jerry Garcia Band live on tour for many years, and the sound and feelings are deeply embedded in them. With precise arrangements and the proper instrumentation and feel for the various eras, The Garcia Project faithfully channels and projects the feelings, emotions and music that propelled the Jerry Garcia Band and the fans through many years of musical bliss. It’s about family, soul searching, rejoicing, contemplating, celebrating, seeking truth and loving one another.
Praised by Dennis McNally, the press, and fans, The Garcia Project has been recreating classic Jerry Garcia Band set lists with stunning accuracy and detail across the country since 2010.
Show 8pm
***This is a fully seated general admission show. The restaurant will be open for dinner starting at 4pm.
Music is storytelling, and some of the best stories have been told through centuries-old traditional folk songs. On their new album ‘Northern Sky’, The Wellermen have given this rich traditional musical history a new sound.
The Wellermen’s history is well-known: originators of the sea shanty trend on Tiktok, they’ve since gone from strength to strength. Their versions of ‘Misty Mountains’, ‘Nancy Mulligan’, and ‘Hoist The Colours’ have racked up billions of views and led them to appearances on shows like Ant and Dec, Last Week Tonight, The Colbert Show and more.
The group have now returned with their new album ‘Northern Sky’. Among much-loved traditionals such as ‘Wild Mountain Thyme’, ‘Amazing Grace’, and ‘Red Is The Rose’, you will find more modern songs such as a tribute to Johnny Cash on ‘Hurt’ and a lively version of ‘The Nights’. The band also present originals ‘Northern Sky’ - inspired by maritime life in the Hebrides in the 18th century, and the humorous ‘Tall Tales’ - a one-upmanship of the telling of wild sea adventures.
Say the Wellermen: “It’s all about connection and storytelling, and we hope the listeners are able to find something meaningful.” One thing is absolutely certain: these talented young men are in it for the long haul.
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
Show 8pm // Ages 21+
***This is a standing room general admissions show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. The restaurant will be open for dinner starting at 4pm.
Felton Music Hall Presents:
LAURA JANE GRACE & THE MISSISSIPPI MEDICALS
with ALEX LAHEY and NOUN
Laura Jane Grace is a major figure in today’s rock scene as both a solo artist and the front person of Against Me!, which she founded in Naples, FL in the late 1990s. As a working artist, she has released six solo offerings and seven albums with Against Me!, and in 2012 went public with her gender transition in the pages of Rolling Stone. In her music, she continues to detail her journey all while staying true to her earlier themes of outspoken political critique – environmentalism along with personal and social liberation – with a base in American music including country and folk-rock, with a penchant for noise and anarchy. Laura Jane will be joined by her band "The Mississippi Medicals" featuring Matt Patton of Drive-By Truckers (bass), Mikey Erg of The Ergs (drums) and Paris Campbell Grace (vocals, percussion).