Show 8pm
***This is a fully seated general admission show. Seating will be first come first served. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Born and raised in Southern California, Karla Bonoff was a songwriter by the age of fifteen. She and her sister Lisa were writing songs and playing as a duo titled "The Daughters of Chester P" named after their father, Dr. Chester Paul Bonoff. She had already fallen in love with the guitar and studied with Frank Hamilton of the famous folk group, The Weavers. By 16, Karla and her sister Lisa auditioned for Elektra Records. An 11-song demo [recorded by Doors' engineer Bruce Botnick] was recorded but no deal came of this first effort.
Karla's sister became a teacher of history and religion, but Karla's passion was always music. She became friends with other singer-songwriters and musicians [in the '60s] who were creating their own unique sound. She talks about lining up at the legendary Troubadour at noon on Mondays to get a slot in the famous Monday night Troubadour "hoot," which was a breaking ground for many artists who went on to great success. She says, "It was an amazing time. Jackson Browne, James Taylor and Elton John were around the Troubadour in those days." There were some other writer-singers who became friends of Karla's, and eventually, they decided to put a band together. They were Kenny Edwards, (who had started the Stone Poneys with Linda Ronstadt and Bobby Kimmel), Wendy Waldman, and Andrew Gold. Something powerful in their combined sound drew them together. Thus the band Bryndle was born - one of the early songwriter groups, even before the Eagles. The band made an album for A&M, but it was never released. They were, unfortunately, a bit ahead of their time.
Speaking of the A&M project, Karla says, "They didn't release it. I think they didn't really know quite what to make of it. This was right before Crosby, Stills and Nash, and before Fleetwood Mac. We were these two girls and two guys... the closest thing they could compare us to was the Mamas and the Papas. They actually had Lou Adler [producer for the Mamas and Papas] produce a single to try to make us like that. In the next few years, had we stayed together, I think we could have done well." A single, with Karla singing lead, was released from those sessions, but failed to forward the band's career. "It was a hit in Santa Maria [California]," Karla remembers. Bryndle broke up, but it launched four very illustrious careers. Kenny and Andrew joined Linda Ronstadt's band, and through that connection, Ronstadt was to hear a demo of hers. Karla recalled playing a tape of "Lose Again" for her. "Hey, you know that's real good," Bonoff remembers Ronstadt saying, "What else have you got?" On Linda's "Hasten Down the Wind" album [released in 1976], there were three Bonoff songs: "Someone to Lay Down Beside Me," "If He's Ever Near" and "Lose Again."
As Ronstadt was scoring hits with Karla Bonoff songs, Karla herself was signed as a solo artist to Columbia Records in 1977. There, she not only recorded the three songs Linda had done, but also the hit single "I Can't Hold On" and the tune "Home," which later wound up on one of Bonnie Raitt's albums. The producer of this great first album [and the next two] was Karla's old friend and partner, Kenny Edwards. Bonoff then embarked on a solo tour to promote her album, and by the time she reached Seattle, "I Can't Hold On" was Number 1 in the Pacific Northwest. "I was headlining and I barely had enough songs to play," Karla recalls, still amazed at the memory. "So I just kept playing them longer!" She went from there to coveted spots on major tours, opening for James Taylor and Jackson Browne and earning a rave review in Time magazine. Two subsequent albums, "Restless Nights" [released in 1979] and "Wild Heart of the Young" [released in 1982], established Karla as one of LA's major artists and songwriters. Musicians such as Russ Kunkel, Joe Walsh, Waddy Wachtel, Danny Kortchmar, Don Henley, Timothy Schmit, Peter Frampton, Bill Payne, J.D. Souther, and her old partners from Bryndle, Wendy Waldman, Andrew Gold and Kenny Edwards all participated in the making of these wonderful records. Bonoff had a big hit with "Personally," from her album "Wild Heart of the Young" - a song Karla did not write. "I'm sure there're people out there who only know me from this song, but I really enjoyed singing and recording it."
Her fourth album, New World [first released in 1988], was originally released on Gold Castle, and is now available on the Valley Entertainment label. Karla began to tour in Japan, where audiences fell in love with her, and where she became a very successful artist - and continues to be to this day. There's been work in film - she and J.D. Souther wrote songs for the motion picture "About Last Night." She is also the voice on the Tom Snow/ Dean Pitchford song from "Footloose" called "Somebody's Eyes." In 1994, Karla had a top-ten AC hit single with a song from the film "8 Seconds," called "Standing Right Next to Me." This track was produced by the legendary Keith Thomas (a longtime fan of Karla's) and written with her old partner, Wendy Waldman. Throughout the years, Karla has continued to do what she does best. She's toured with Bonnie Raitt, John Prine, J.D. Souther and others, building up a passionate audience, resulting in sold-out houses everywhere. In 1990, strange things began to happen in Karla's life. Her career came full circle. She wrote three songs which wound up on her old friend Linda Ronstadt's album "Cry Like a Rainstorm, Howl Like the Wind." "All My Life," a duet with Ronstadt and Aaron Neville, won the Grammy for Best Vocal Performance by a Duo or Group. People magazine ranked "All My Life" as one of the top 5 most popular wedding songs.
In 1993, Karla's song "Tell Me Why," sung by the legendary Wynonna Judd [with Karla on acoustic guitar, and Bryndle members singing backup vocals], was the title song to Wynonna's second album, and a tremendous hit. The Eight Seconds soundtrack album [released in 1994], featured the aforementioned "Standing Right Next to Me" and a duet with Vince Gill on "When Will I Be Loved," [a '70s hit for Linda Ronstadt] bringing Karla's sound to an even bigger Country music audience.
Karla and her three old partners, Kenny Edwards, Andrew Gold and Wendy Waldman, then decided it was time to put Bryndle back together again. The thought had always been there, but now with each person having experienced many successes alone, there was much more to bring to the Bryndle experience. "When we decided to put this band back together," Bonoff explains, "we realized that one of the things that was wrong with it the first time was that we all wrote separately. We thought it would be great to write together this time. It's been new and really fun to do that, the
four of us." Twelve out of the 14 songs on Bryndle's CD were written as a group. In the fall of '95, after four years of hard work, the first Bryndle CD came out, released in the United States and Japan. The band toured Japan in the summer, then began to tour the United States. Karla had some incredible showstoppers on the record and onstage. "On the Wind," "Under the Rainbow" and "Daddy's Little Girl" brought the house down every
single night no matter where Bryndle played. Bonoff fans flocked to the shows and were thrilled to see her with her old friends, having a great time. In 1996, Andrew Gold left the band but Bryndle continued on, performing into the summer of 1997.
A duet with the Dirt Band, "You Believed in Me," written with Wendy Waldman, was released in January of that year on a prestigious MCA album honoring the 1996 Olympics.
In 1999, Sony/CBS Legacy released "All My Life - The Best of Karla Bonoff," a 16-song fully remastered collection spanning Karla's entire career. An extensive article by Billboard Editor-In-Chief Timothy White and an interview with Karla were included with the CD.
Progress on Bryndle's follow-up CD [with the working title of "Bryndle 2"] stopped and started after 1997 and for a few years, it appeared there might not be another release by the band. At one point, parts of the unfinished "Bryndle 2" digital recordings were lost in a hard drive crash - a nearly fatal omen to the project. Meanwhile, Karla [accompanied by Kenny Edwards] began touring more as a solo act as Bryndle stopped performing live.
In 2001, enthusiasm for the "Bryndle 2" project built up within the band and the recording pace intensified. Regular sessions took place at Kenny's Santa Barbara studio and Wendy's San Fernando Valley "Long House Studio." Former bandmate Andrew Gold contributed to the recording as well. Finally, in the first week of 2002, "House of Silence," the second collection of songs from Bryndle, was independently released. Although there's a different feel to the recording compared with the first album, it still reflected the unique sound that these artists make when their talents merge. Autographed editions of this CD are available from the Karla Bonoff Store and it's been released in Japan through Japan/JVC. Karla often plays the song "(My Heart Is) Like A Compass" from this release when she tours.
In November of 2002, Karla, Kenny Edwards and Wendy Waldman played their first show together under the Bryndle banner in more than 4 years. The setting was an intimate house concert in the Los Angeles area. Rumors of a CD release of "The House Concerts" have begun circulating. Although there are no plans for Bryndle presently, the members remain friends and there's always the possibility of future recordings and performances.
In a 2000 magazine article, Karla described herself as "semi-retired" - content with going out on short tours a few times a month. But she's also talked of recording a new album as well - perhaps at home. "I'd like to make a record completely for myself, one that isn't governed by what other people in the business think it needs to be," she said. "I don't have to go audition. I don't need a record company to pay for it. I can put it out on the Internet and it doesn't really cost anything. If a record company picks it up, great. If they don't, it doesn't really matter."
"I always had somebody mad at me because I wasn't making records, keeping up the pace," revealed Ms. Bonoff, who writes about four songs a year. "I'm really not that prolific - I think I've spent so much time trying to fit a round peg into a square hole that I just sort of worked my way out of wanting to write anymore. And I got a bad taste in my mouth about not being able to just be myself. I think in the time I've taken off, I've watched music change to the point where I really see songwriters - and women in particular - being able to write about what they want to. So it encourages me to just go, 'You know what? I'm just going to write whatever I want, and I'm just going to make the record I want.'" When it comes, a new collection of songs from Karla Bonoff will be exactly her vision of what it should sound like, and well worth the wait.
In 2007, Karla finally released a live double CD, a project she had talked about for years. "I think many of these songs have improved with age and and I have never really documented what we do." Karla recorded all but one song of it at a small club in Santa Barbara with her long time touring band, Kenny Edwards and Nina Gerber, plus Scott Babcock on percussion.
Karla continues to perform all over America. Often after her concerts, Karla talks with fans and signs CDs and well-worn LP covers people bring to her shows. Japan has also been very supportive of Karla's music and she's toured there twice in recent years. An expanded version of her "Best Of" CD collection as well as Bryndle's "House of Silence" were released in Japan in 2002.
Sadly, during the summer of 2010, Kenny Edwards required an emergency med-flight back to his home in Southern California, and was hospitalized with rapidly advancing prostate cancer. He passed away peacefully August 18th in Santa Barbara CA among an outpouring of loving words, thoughts, generosity, and kindness from friends and fans around the world. Karla writes on her web site, “I want to thank Kenny for being my teacher, my musical partner and my best friend for the last forty-three years.”
Karla’s legacy as a writer and perseverance as a performer are spoken best in a Billboard Magazine review of Karla’s "All My Life" recording. "Long before Alanis and Jewel, there was a breed of singer/songwriters whose earthly anthems of soul-searching, heartache and joy touched souls in a way few can muster today."
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
THE OLLLAM
MONTHLY EVENT! Tickets can be purchased here for each individual date.
3-Show Passes for all three nights are also available for a limited time!
MAY 6
JUNE 3
JULY 1
21+ // Doors 7 PM // Show 8 PM
Felton Music Hall Presents:
Felton Comedy Night
Hosted by Nicolas Trevino
***This is a general admission seated show. Seating will be first come first served. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
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:
NORTH MISSISSIPPI ALLSTARS
NMA started by brother Luther and Cody Dickinson in 1996 as a loose collective of musicians from their North Mississippi home inspired by their father Jim Dickinson aswell as neighbors and musical elders of their community; RL Burnside, Junior Kimbrough, Otha Turner and Fred McDowell. Luther’s first national tour was the RL Burnside Ass Pocket of Whiskey tour in 1997,selling out shows in the US and Canada. “Kenny Brown hired me to tour with RL and Cedric and showed me the ropes. That experience blew my mind. Cody and I havebeen on the road ever since.”NMA began touring in 1998 and over the years the touring lineup has included, Cedric, Duwayne and Garry Burnside, Chris Chew, Berry Oakley Jr, Oteil Burbruidgemand currently Joey Williams of the Blind Boys of Alabama and Ray Ray Hollowman, guitarplayer for Eminem and Nee-O. Since their debut album in 2000 and hitting the never ending road, they have shared the stage with countless legends; Phil Lesh, Mavis Staples, Robert Plant, John Hiatt, the Allman Brothers, The Black Crowes, Buddy Guy, Snoop Dogg, and Jon Spencer to name a few, while earning multiple grammy nominations for their experimental albums of they like to call Modern Mississippi Music.
Show 8pm // Ages 21+
***This is a fully seated general admission show. Seating will be first come first served. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
GLEN PHILLIPS (OF TOAD THE WET SPROCKET)
with GARRISON STARR
During his almost 40 years as lead singer and main songwriter of Toad the Wet Sprocket, Glen Phillips has helped create the band’s elegant folk/pop sound with honest, introspective lyrics that forged a close bond with fans. Alongside his work with Toad, Glen has released acclaimed solo albums and collaborated on projects ranging from Mutual Admiration Society (with members of Nickel Creek) to the experimental Remote Tree Children.
“I’ve been playing a songwriting game with Texas folk singer Matt The Electrician for about ten years,” Glen says. “Every Friday, he sends out a title. We have a week to write a song that includes it. The process allows me to write songs I wouldn’t write on my own. I’m always surprised at what comes out.” That sense of curiosity and play continues to fuel his creative life.
Coming off a very full year of music, Glen played to packed solo shows across the US, toured the Rockies with John Craigie, and hit the road with Toad the Wet Sprocket for a massive summer tour that featured openers The Jayhawks, Sixpence None the Richer, KT Tunstall, and Vertical Horizon. This fall he heads overseas to tour the UK with Colin Hay, and in October he hosts his first-ever European river cruise on the Danube, traveling from Budapest to Nuremberg.
Glen has also launched a new partnership with Volume, where he’ll be live streaming at least once a month. These shows give him the chance to connect with fans when he and Toad are off the road, offering a space for community, new songs, deep cuts, and the stories behind the music. “I have a long history of livestreaming, and am excited to start a new chapter with Volume. Their format allows me not just to do livestreams, but also post new material and host online get-togethers.”
Looking ahead, Glen plans to begin work on a new solo album in 2026. “I’ll be spending this year writing new material for both Toad and solo projects. There’s also an acoustic Toad album coming out, as well as a side project solo collection of songs. Between that and touring, I’ll be plenty busy.”
Show 8pm // All Ages
***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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
Takuya Nakamura
Show 8pm // All Ages
***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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
ROBERT LESTER FOLSOM
with KASSI VALAZZA
Sunshine Only Sometimes: Archives Vol. 2, 1972-1975 continues Anthology Recordings' excavation, and exploration, of southern singer, songwriter, and psychedelic serviceman Robert Lester Folsom's bountiful archives. Recorded across Georgia in various bedrooms, a barn, and a motel room with a reel-to-reel and a revolving cast of whip smart studio musicians in the first half of a dazed and confused decade, Sunshine Only Sometimes furthers Folsom's place in the canon of long lost but eventually found independently spirited, high-flying American folk rock.
When Anthology's reissue of Music and Dreams, the sole contemporaneous album released in 1976 by Folsom, surfaced in 2010, little else was known of Folsom's nearly five-decade deep archive of unreleased demos and fully formed studio recordings. Born and raised in Adel, Georgia — both then, and now, a sleepy hamlet with a population of less than 5,000 — Folsom was fortunate to be minded after extremely supportive parents. Exhibiting a precocious affinity for music, things went widescreen when he observed the same ferry from 'cross the Mersey as many others of his generation, carrying the four musical moptops to their paradigm shifting appearance on The Ed Sullivan Show.
Soon thereafter, Folsom began religiously absorbing every morsel of musical output The Fab Four offered, as well as that of their contemporaries. Yet, it wasn't long before observation transformed into a motivation to create. Even a children's record player bought by his parents as a gift to him was traded off to a neighborhood friend for a stringless, disheveled guitar (which Folsom's father shined to prime and function for him in short order). As time went on, Folsom's innate drive and field of vision broadened; he began enlisting neighborhood friends, classmates, and family members to fulfill his small-scale musical dreams, which would increase in weight with the passage of days.
Over the next several years, while employing ingenious, home brewed over-dubbing techniques with his "love at first sight," a Sears 3440 two-track reel-to-reel tape recorder, Folsom served as the de facto producer/arranger for any and all scrappy garage band or aspiring singer songwriter in the radius of Adel. Abetted by his mobile recording unit, across a number of unusual locations, and assisted by guitarist and collaborator Hans VanBrackle, this period produced the bounty of Folsom's self-penned compositions which make up Ode to a Rainy Day and Sunshine Only Sometimes. And eventually, this period of woodshedding led to the formation of his rural-tinged, progressive, southern rock outfit Abacus.
Though carrying Folsom's own singular sound and vision, Music and Dreams, in equal measure, chartered the seas of smooth West Coast AOR before the yachts to come, while tracing the distinctly Californian sound of Laurel Canyon singer-songwriter soft rock Americana, which tussled on the waters before the large vessels overtook the big blue. Folsom's earlier compositions found on Sunshine Only Sometimes reflect a darker-hued mixture of mellow folk, downer vibes, and rural tones, revealing his talent for melody and hook was intact far before Music and Dreams, with a keen sense of introspection making the dark and light equally resonant.
Sunshine Only Sometimes offers up another sterling set of tonally-shifting, sub-underground, alternate timeline classic rock. The C&W-influenced, sprightly-pop of George Harrison — whose Dark Horse Records is one of a handful of record companies Folsom and VanBrackle submitted demos to — is invoked in the uber-melodic "Ease My Mind." "Julie" brings to mind Nixon-era ragged 'n' ramshackled country-blues from the Glimmer Twins' pen, and the semi-acoustic, heavily-flanged, out-of-time psych-pop of "Lonely Lovers" sits somewhere between a forward-looking glimpse at Music and Dreams and a demo from a would-be Cosmic American Music king.
Unlike similar iconoclasts with crystal vision who held forth with the oppressive thumb of a musical dictator, Folsom was ever in service of song, standing equally aside his collaborators, which uniformly engendered affinity and respect lasting to this day. While a tick higher than the second-tier, the mountaintop was always narrowly out his grasp. Though, with the right set of opportunities, bolstered by talent and drive, Folsom, if not as a stand-alone, star-quality artist, could have led the career of any number of songwriters behind the curtain who rode the magical musical continuum across the decades with faceless success.
Perhaps it was Robert and company's playing "weird spacey stuff and ballads," as guitarist VanBrackle describes, in small town Georgia skating rinks, bowling alleys, and school dances expecting Top 40 dance-ready hits which held them down. Perhaps it was simply location. Though, the music of Sunshine Only Sometimes is composed of an intrinsic ability to hear the music truly playing, as opposed to the space in air heard by the lay-ear, which places Folsom's music in a timeless space primed for perennial (re)discovery.
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
TOPS
TOPS — musicians David Carriere, Jane Penny, Marta Cikojevic, and Riley Fleck — write timeless music that reliably threads immediacy and depth. Bury the Key, their first full-length since 2020 and with new label home Ghostly International, is a captivating reintroduction for the Montréal band: ever refined, undoubtedly masters of their melodic craft yet unafraid of evolving and testing themselves against different, at times darker tones. The album faces feelings once locked away, engaging the give-and-take between happiness, hedonism, and self-destruction. While often inhabited by fictional figures, their glowing, grooving, self-produced songs draw from personal observations: intimacy (both inside and outside the band), toxic behavior, drug use, and apocalyptic dread. When recording started, they noticed a shift and leaned in, jokingly dubbed "evil TOPS," says Penny. "We're always kind of seen as a soft band or like naive or friendly in a Canadian way, but we made it a challenge to really channel the world around us." Through the lens of a looming epoch and the clarity that comes with age, TOPS dip into a more sinister disco realm with Bury the Key, giving their soft-focus sophisti-pop a sharpened edge.
***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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
Dylan Earl
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
CORNELIA MURR
Cornelia’s Murr’s newest album began with a question: What do I want? The answer is everything, and it’s never felt more urgent.
On her first LP in six years, Run To The Center, out February 28, 2025 on 22Twenty, the London-born singer-songwriter delivers her most confident, expansive album yet. Across 10 hypnotic pop songs is a fully realized portrait of a woman and an artist in her thirties, standing triumphantly in uncertainties, asking the crucial questions one needs to sustain a life: How can you fit everything you want into a life? How can you do this if you want so much?
Run To The Center, which Murr will tour internationally next year, is her first release since her self-produced, six-track EP Corridor in 2022 and her first LP since her 2018 debut Lake Tear of the Clouds, produced by Jim James of My Morning Jacket. For years, Murr tried to make another LP, but extraneous forces kept getting in the way, whether economic or global.
But in the spring of 2023, Murr started working with prolific producer Luke Temple (Adrienne Lenker, Hand Habits), adding to her impressive list of collaborators, which includes Rodrigo Amarante, Alice Boman, Reverend Baron, and Oracle Sisters among many others. Temple was an old friend whom she had met in New York more than a decade prior. Finally, forces coalesced for them to work together. The result is a sweeping album of Murr’s most spectral and tender pop yet, born of a need to excavate her desires and experience of time, both in new songs born spontaneously out of an easy collaboration with Temple, as well as older songs that, for years, had been knocking around in her brain.
Run To the Center is the most updated expression of who Murr is now, both sonically and emotionally, particularly as questions around artmaking have become more urgent for her over the better part of the last decade.
“As a young person you’re free to wander. There's a lot of power in that,” Murr says. “But there's an incredible sense of urgency that has snuck up on me. All of a sudden it feels like I must define my life in some major ways. Am I going to be a mother or not? If so, who am I going to do that with? If so, where am I going to do that? How am I going to afford that? Meanwhile, this feels like the most important time to devote to my work. Life these days is seemingly asking for my commitment to what can feel like contradictory things.”
But from urgency comes purpose: Run To The Center is an explosion that sounds like an exhale: the delicate, ethereal beauty of Murr’s music is fortified by a new sonic strength, expressed in more muscular production than Murr’s last releases, including louder drums and bouncier synths.The album swirls with a sparse and hazy futurism, exploring life’s biggest questions with the assurance of someone comfortable basking in its uncertainties.
While writing the record, Murr did literally run to the center, that is, of the 48 contiguous United States, where she hunkered down in the 948-person town of Red Cloud, Nebraska while restoring an abandoned house. Music flowed out of her during this monastic period of stripping wallpaper in a derelict construction zone in the middle of nowhere. In the last place she expected, she was able to gain a vantage point of her own life and ultimately locate her own center, a grounding force that was inside of her the whole time. “Working on this old house as if it’s my body/If I take care of it it’ll take care if of me/Stripping leaves off the centuries/Maps of other worlds obscured destinies,” she sings on the title track with a delicate nerve, like tapping a champagne glass with the tine of a fork before making a toast. She may not have answers to all the big questions, but for Murr, the beauty is in being able to ask.
Murr and Temple began working together at Temple’s apartment in Pasadena, then recorded with bassist Shane McKillop and drummer Kosta Galanopoulos at a studio in Long Beach. When Murr moved to Nebraska in the summer of 2023, Temple came out to join her. She had set up a bare bones recording rig, and there they finished all the arrangements together. While Murr’s past albums, with her signature soft voice and celestial production, have been described as “dreamy,” the multilayered, revved up production of Run To The Center sounds more like waking up.
When Murr recorded Lake Tear of the Clouds, she had barely performed as a solo artist but rather had backed up other artists for years. That album marked a pivotal change in her life: the shift where she decided to focus on her own music, a shift of intention and identity. If Murr’s first album was about unveiling her own voice in music, her latest record is about exploring that commitment.
The album’s radiant, seasoned production is on particular display in lead single “How Do You Get By?”, which explores the brass tacks of life, asking real questions around the economics and the personal currencies that drive you, whether it be money, fame, or spirituality. “In the dream I asked you it seemed kinda rude/But in the light of day I’m going to/How do you get by,” Murr sings.
“I've found that people who seem to have wealth in one way are seeking it in another,” Murr says. “The song starts with curiosity in others, but it's also asking yourself: What is it that sustains you? What do we need from each other?
For all her sweeping questions, Murr brings humor to her songs. “Bless Yr Lil Heart” is at once a tongue-and-cheek and earnest cry in response to our unstoppable mercurial whims and urges. “Tell me how am I ever gonna make a real life/Wanting everything at the same time,” Murr sings in a closing stanza that’s as soothing as it is cathartic. After all this time, Murr has arrived, standing fully in her power.
***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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
Steely Dead
Show 8pm // Ages 21+
***This is a fully seated general admission show. Seating will be first come first served. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
WILLIE NILE
The New York Times called Buffalo, NY born Willie Nile "one of the most gifted singer-songwriters to emerge from the New York scene in years." Uncut Magazine called him “A one-man Clash” and “the unofficial poet laureate of New York City”. His album Streets Of New York was hailed as “a platter for the ages” by Uncut. Rolling Stone listed The Innocent Ones as one of the “Top Ten Best Under-The-Radar Albums of 2011” and BBC Radio called it “THE rock ‘n’ roll album of the year.” His single from that album, “One Guitar,” was the “Top Pick of the Week” in USA Today.
Bono, Bruce Springsteen, Pete Townshend, Lou Reed, Lucinda Williams, Jim Jarmusch, and Little Steven are among those who have sung his praises.
His album, American Ride, won “Best Rock Album of the Year” at the Independent Music Awards. It appeared on dozens of year-end Top Ten lists for 2013 and was voted “Album Of The Year” by Twangville Magazine. Bono called it, “One of the great guides to unraveling the mystery that is the troubled beauty of America.”
In November 2014 he released an album of piano-based songs, If I Was A River, to great critical acclaim.
MOJO wrote about his 2016 album World War Willie, “Four Stars! The real thing…stomp-‘til-ready rock’n’roll…timeless fare.” It won Album of the Year Reader’s Poll from Twangville Magazine and made numerous top ten lists for Album of the Year.
His album Positively Bob: Willie Nile Sings Bob Dylan from 2017 was hailed as “one of the best Dylan tribute albums ever made.” Powerpop Magazine wrote: “Astoundingly great…must be heard to be believed. If this doesn’t get your blood flowing, seek medical help.” And the Associated Press said his 2018 album Children Of Paradis, which also won Twangville’s Album of the Year Reader’s Poll, “Might be the best album of his career!”
Willie has toured across the U.S. with The Who and has sung with Bruce Springsteen and Ringo Starr. As the induction program from the Buffalo Music Hall of Fame says: “His live performances are legendary.” His 2020 album New York At Night got rave reviews, with The Associated Press calling it: “As sharp and guitar-driven as ever…the fire within Nile, once a peer of The Replacements and The Clash, continues to light a similar torch…anthemic…custom made for these times.” Downbeat Magazine calling it a “sonic love letter to Gotham.”
His recent studio album The Day The Earth Stood Still features a duet with Steve Earle on the song “Blood On Your Hands.” The London Times called him “A man who embodies the true spirit of rock n’ roll.” The New Yorker wrote that Willie Nile is “One of the most brilliant singer-songwriters of the past 30 years.”
In the fall of 2022 Willie released a single, “Wake Up America”, a duet with Steve Earle. It’s a call for the better angels of the country to stand up and be counted.
His live album “Willie Nile – Live At Daryl’s House Club” released in April 2024 was listed as one the “Best Rock Albums of the Year’ in Classic Rock Magazine. PowerPop magazine wrote: "A life-changer -- recorded at a moment when Willie & Company happened to be the greatest rock 'n' roll band in the world!"
Willie is currently working on a new studio album for a June 2025 release. He will be touring in Europe and in North America this year and lives in New York City.
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
Mason Jennings
Ft. Blue Lemonade
Show 8pm // 21+
***This is a fully seated general admission show. Seating will be first come first served. The bar will be open at 5pm.
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
DOGS IN A PILE
Something organic has been blooming from Asbury Park, New Jersey, and is now making its way around the world. Dogs In A Pile, a band of five twenty somethings with old souls and limitless chops, is waking people up to the timeless and ineffable joys of psychedelic-tinged jazz-funk rock n’ roll.
This is one of the busiest touring bands of today, averaging 130 live shows per year since 2022. The road has become their creative engine, generating a rapidly growing catalog of original tunes. Distroid, the band’s newest album, is a 10-song collection featuring long-awaited studio versions of some of the Dogs’ most beloved repertoire.
Dogs In A Pile is guitarist Jimmy Law, guitarist Brian Murray, keyboardist Jeremy Kaplan, bassist Sam Lucid, and drummer Joe Babick. In addition, the Dogs In A Pile community includes the Dog Pound, the group’s extended family of fans across the country.
Besides being a lyric from the Grateful Dead song, “He’s Gone,” the name “Dogs In A Pile” is an apt description of the five-piece band’s stylistic breadth. The sonic image it conjures is a heap of storyteller Americana, bluegrass, jazz improvisation, eccentric instrumental excursions, pop-rock sophistication, and deep-pocket grooves, ranging from funk to Latin to reggae and beyond.
Distroid features material that has already become staples of the band’s live show. These studio renditions have afforded the group a chance to present the compositions just how they envision them. Distroid offers a cross-section of the Dogs In A Pile essence, tight and tuneful four-minute funk and jazz informed psych-rock songs, and then sprawling 15-minute compositions with intricate unison lines, agile genre-jumping, and dazzling improvisation.
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
MIHALI
***This is a standing room general admission show. There will be a limited number of chairs located in the back of the concert hall. Seating will be first come first served. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
Vana Liya
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
STRAIGHT TEQUILA NIGHT
Event Description:
Straight Tequila Night is Texas's original '90s Country Tribute Band. From Garth Brooks and George Strait, to Tim McGraw and Brooks & Dunn, to Shania Twain and The Chicks, they play all the songs you love from '90s Country radio, and some you forgot you love! Started "just for fun" in 2012 by a group of friends and co-workers at Granada Theater in Dallas, TX, they went on to be recognized as one of the best tribute bands in Texas. Featured in Vogue, D Magazine, The Dallas Observer, The Knot, and the hearts of tens of thousands of people all over Texas and beyond who've seen their show over the years. Though this was the first time these musicians all played together, there's about 100 years of combined professional music experience between them, including 10+ years now together as Straight Tequila Night. Known for their energetic and faithful renditions of these classic songs, and their engaging and often humorous performances, STN never fails to get the boots scootin’!
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
AARON WOLF
ft. Geoff Weers
and The Baytals
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
Uncle Lucius
ft. The Point
***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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
Nik Parr & The Selfless Lovers
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
THE LAGOONS
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
NICK LUTSKO
Nick Lutsko is a songwriter, producer, and performer based out of Chattanooga, TN. He routinely changes hats between performing high energy, theatrical shows with The $100K Band and creating songs and music videos for the likes of Netflix, HBO, and Comedy Central. His music can also be seen and heard in ad campaigns from Old Spice, Life360, and an upcoming Superbowl ad for Manscaped. Regardless of which hat Lutsko is wearing, weirdness abounds.
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
Nation of Language
Four years on from the release of their unexpectedly self-assured debut album, NYC based Nation of Language have attracted a rapidly growing international audience via their danceable and impassioned take on new wave, post-punk & shoegaze genres. Following the critical acclaim of their their first LP Introduction, Presence, its 2021 follow-up A Way Forward pushed them to a wider audience—landing them their late-night TV debut on The Late Show with Stephen Colbert and a string of sold out tours—and their 2023 record Strange Disciple has continued this momentum, landing Rough Trade’s coveted #1 album of the year spot. Now a mainstay atop lists of the best live acts of recent years, the band continue to charge synth-first into their latest chapter as a major festival draw at recent iterations of Austin City Limits Festival, Desert Daze, Pitchfork Festival, Primavera Sound, Corona Capital, Outside Lands, Bonnaroo and many others.
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
RJD2
ft JEL
With the same care he combines sound sources into songs, RJD2 has stitched together an
impressive career out of many projects: instrumental albums, international tours, credits for
Mos Def, MF DOOM, Phonte, producing the theme for Mad Men, and beyond. The Columbus,
OH producer titled his new album Visions Out of Limelight in honor of his comfortable
place in the underground and his "self-imposed exile" at work on the tracks. For his latest
instrumental LP, the producer found inspiration in sources that can be taken for granted by
less-discerning listeners.
Thanks to time at home with his son, RJD2 was completely immersed in the TV theme
songs of the '70s, '80s, and '90s. "I realized how incredibly composed and skillfully
complex many of them were. These songs contained a few core tenets: a great groove, a
great chord change, a strong melody, and a concise time frame," he says. "It made me
realize how hard it is to make instrumental music with a melody that's as memorable as a
lead vocal."
The producer was also determined to build tracks around interesting basslines, inspired by
classic parts in Dr. Dre's "Deep Cover," KMD's "Black Bastards," and [Diamond D example].
It was a deliberate change from the chord-centric compositions in post-millennial hip-hop
and funk. It became a "mini-mission" for the producer to make a modern album that puts
the bass in the forefront of the songs.
Both approaches align on single "Catch The Exit Door," as electric bass percolates up and
down the neck under wah-wah guitars and horns straight out of a syndicated cop drama.
"Through It All" features crooning from English vocalist Jamie Lidell, pondering his
existence over piano stabs and a steady breakbeat. Frequent collaborator Jordan Brown
flexes his paranoid android falsetto to fit the loose groove of "Fools at the Haul" with
robotic precision.
Some songs were recorded with live instrumentation while others were chopped and reassembled via sampler "like the olden days," RJD2 says. "I still to this day appreciate the
radical shift in mindstate inspired by constructing a song with bits of found sound."
Good luck figuring out which drums are live or samples. With 15+ years of studio
experience, the producer has developed a combination of mic placement, technique, tuning
and gain staging to get drum sounds that evoke the same grit and urgency of classic hiphop breakbeats. "You either run out of great drum samples, or you spend the bulk of your
creative time chasing new ones, to varying degrees of success," he says. "The finite nature
of great drum samples has pushed me further into honing my drumming game."
RJD2 has a wide range of Visions: "Wild For The Night"'s aggro horn loop was inspired by
the legendary Bomb Squad, while "What I Do, Man" and "Asphalt Lamentations" were
inspired by French touch house of Daft Punk and Ed Banger Records. At proper volume, the
full album evokes the thrift-shop psychedelia of Paul's Boutique.
And the producer really did bury himself up to his neck in the dirt [where?] for the album
art.
"Album covers have become my opportunity to do something fun in the real world," he
says. It's a dual homage to Funkadelic's Maggot Brain and Redman's Dare Iz A Darkside,
two artists with enduring catalogs of no-bullshit, rock-solid music. RJD2 aspires to create a
similar body of work, from his 2002 opus Deadringer to 2020's The Fun Ones on to the
future.
"I have come to terms with the fact that the most impactful and lasting effort I can put
forth in my limited time on Earth is to leave behind the best music I can, not for the sake of
pitching 'me,' but for the sake of the music itself," he says. "The timeless nature of recorded
music and its ability to touch an unknown future listener makes it as close to a worthy
endeavor as I'll ever attempt." Visions Out of Limelight channels RJD2's many influences
into another incredible instrumental album, and it just might be a classic one day too. -Jack
Riedy
JEL
Jeffrey James Logan, known as Jel, is an American hip hop producer, rapper, and co-founder of the influential indie label Anticon. A foundational member of such influential early '00's groups as Themselves, 13 & God, Subtle, and Deep Puddle Dynamics - JEL has also produced songs for the likes of Mike Patton, DJ Krush, Atmosphere and Sage Francis. Having toured the world over many times as a live solo producer, JEL has been a trailblazer with a sampler and drum machine on stage.
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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
HOT BUTTERED RUM & TEA LEAF GREEN
At the center of Hot Buttered Rum is the enduring camaraderie of old friends. The band was conceived on a backpacking trip of high school and college buddies in the High Sierra. What was dreamed up on mountaintops and around campfires has found its way into the hearts, minds and bodies of thousands.
***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. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
KR3TURE
TWO DATES WITH DUANE BETTS & PALMETTO MOTEL!
Wednesday August 26 & Thursday August 27
Tickets can be purchased for individual dates here, along with a limited quantity of 2-day passes so that you can catch both nights!
Show 8pm // 21+
***This is a general admission seated show. Seating will be first come first served. Bar and food will be open at 5pm. Ticket holders will receive 10% off food!
Felton Music Hall Presents:
Duane Betts & Palmetto Motel
Duane Betts ignites and brings an evolution to the Southern rock tradition. With a fiery legacy forged by his father, the legendary Dickey Betts, the second generation musician infuses it with his own soul-stirring blend of blues, raw passion, and six-string mastery. Backed by his band, Palmetto Motel, Betts delivers a dynamic live show filled with searing guitar solos, heartfelt storytelling, and a mix of classic influences with fresh energy. Fans can expect a blend of roots rock, blues, and some improvisational jamming, creating an electrifying yet deeply authentic experience. With top-tier musicianship, a connection to rock ‘n’ roll history, and the desire to make every performance a true experience, a Palmetto Motel show is an unforgettable journey that no music lover should miss.
Palmetto Motel is…
Johnny Stachela (guitar, vocals)
Pedro Arevalo (bass, vocals)
Vincent Fossett Jr. (drums)
Max Butler (B-3 organ)