Psych power-pop outlet Sun Parade (Northampton, MA) marked a new era in its life with the release of Shuggy Mtn Breakdown. Ear-candy hooks, crunchy dueling guitars. “The guys can harmonize like the Beach Boys on acid ... They sound like the psychedelic ’60s, the indie ’80s, and the electro-pop boom of the aughts. If you like, well, rock ’n’ roll, you’ll like Sun Parade." - Boston Herald / “A hook line and sinker winner of ragged mischief and melody. Like Dr. Dog, Delta Spirit and Islands, Sun Parade offers a candid approach to music ...” - Glide / "Sun Parade bring infectious and playful melodies to the table in a way that few bands are in 2017. Their musicality and songwriting are bound to draw comparisons to legendary acts like The Beatles and The Beach Boys, and breathe those influences into a brand of indie-pop that still feels fresh and exciting.” - Substream / SMB was produced by Rubblebucket’s Ian Hersey. Sun Parade is Chris Marlon Jennings, Jeff Lewis, Karl Helander, Max Wareham, Eli Salus-Kleiner, playin' raw.
“I said what was true for me,
I did what was true for me.
It might not have the outcome other people want,
or other people think it should be…
But I told the truth as it is to me.”
With a building sheath of synth and down on it groove, Lucie Silvas digs in on “Kite,” the reckless kind of women who knows no fear. Pounding, pumping, thumping, this is a dance song about a woman getting gone, an admonition to a lover that shows the New Zealand/United Kingdom-grown songstress isn’t afraid to thrown down.
Not that everything the dusty blond lifts her voice to lands that aggressive. For the irrepressible Silvas who can tempest and coo, it’s about hitting the emotional bull’s eye that lends an immediacy to the songs on E.G..O, the utterly independent project that follows her critically acclaimed Letters To Ghosts.
There’s the Beach Boys-meet-Dusty Springfield “Girls from California,” lush harmonies wafting like fluffy clouds across a cerulean sky over the ocean waves falling towards the beach as the singer laments the objects of her desire’s fixation on the tan’n’honey’ed blond Los Angelenas. Or the garage rock/power pop punch of the looking for love, but not willing to settle “First Rate Heartbreak” that confesses preferring the title to “a second rate love.”
That emancipation matches the “Have No Fear” tattoo on Silvas’ forearm. If not by design, then perhaps musical manifest destiny took a platinum-selling British songstress and – like Dorothy over the rainbow – found her finding a whole new musical ethos in Music City.
From the laconic Muscle Shoals steam of the slow burn “I Want You All To Myself” to the cocktail jazz that’s equal parts Philly Soul, Todd Rundgren smooth and Dean Martin smoke “Everything Looks Beautiful,” to the minor-keyed string tumbles that lead into classic concert piano on the confessional and unadorned post-break-up benediction “Just For The Record,” Silvas’ torch vocals caress and catch on the raw emotion. Making retro somehow contemporary, she washes vintage feeling arrangements with the kind of heart that transcends time, place and genre.
“Fleetwood Mac, the Carpenters, Carole King: I love the way they write songs,” concedes the pianist who’s been an international sensation and walked away from it. “Bowie to Bacharach to the BeachBoys, Karen Carpenter to the Jackson 5 and Dusty Springfield, it’s all mixed up in here in ways that maybe aren’t so obvious, but I promise is in there.”
She laughs. “It’s like I’m doing arts & crafts with my career, like I have a sewing machine in the back of my shitty apartment. I’m just piecing and patching together all these things I love, making something else altogether.”
Something else, and so much more. Working with producer and “my best friend” Jon Green, the pair excavated a nu soul/cocktail/dance’n’roll hybrid that moves through an emotional palette reflective of a young woman on the brink of the best part of her life. Wryly honest about the vixen’s intentions on the shuffling “Smoking Your Weed,” then seeking redemption on the starkly cascading “People Can Change,” there is hope amongst the drama – and unsentimentally sliding into the “Uncle Albert/Admiral Halsey” Paul McCartney channeled through Petula Clark’s soignee tenor imbues the recidivist “My Old Habits” into a comfortably sleek proposition.
“Jon’s from England, and he’s been my best friend since I was 14. We were in a band that played weddings,” she mock-shock confesses. “You know, Motown, and ‘Grandma’s Hands,’ and Jackie Wilson. We were two Brit kids from the middle of nowhere with all this music inside.”
Green shares his friend’s gene for unpredictability. He’s produced Kylie Minogue, James Bay, Linkin Park and Aquilo, as well as written songs or played on records by Ryan Kinder, Paloma Faith, Ronan Keating, Lady Antebellum and Jack Savoretti.
The pair enlisted some of Nashville’s musician’s musicians. Drummer Fred Eltringhman, electric guitarist Derek Wells, drum/bassist/Hammond organ player Ian Fitchuk, Jon Green, Silvas made up the core band. John Osborne, her husband and master guitar player, also joined in as well on “Kite” as well as “E.G.O.” He also produced “Just For The Record.”
That humanity is a big piece. If the Mirage era Fleetwood Mac invoking “Black Jeans” sees Silvas trying to break out from her inner average girl through a sartorial decision, trying to own her space as the melody curls up and her husky voice caresses the gentlest liberation anthem this year.
“My voice wasn’t always so husky,” she marvels. “I toured a lot, I talked a lot – and then when I realized what the world was, it got this realness.”
That dusky voice flattens for the spin’n’hype creeper “E.G.O.” A blues guitar line, a tribal rhythm and wanting fame, fabulous excess, Silvas casts a spell of “we’re all in this bloated game together” as the superficialist’s national anthem.
“I’m as guilty as anyone,” she says, taking the incrimination out. “We all get so caught up in it. This song is about getting uncaught.”
For the young woman who’s seen more than most, who manages to outrun the jaded that dampen most people in the music industry, there’s a vulnerability that permeates this record. Even when knowing, even when drawing the line, Lucie Silvas believes in humanity, in possibility, in hope.
Spending much of her time over the past few years touring with the likes of Chris Stapleton, Little Big Town, Miranda Lambert, Brothers Osborne and James Bay is incredibly telling of the respect Silvas continues to garner from her peers. Most of these jaunts come from personal outreaches from artists, themselves, who see her as not just compatible on so many musical levels but as someone who’s known to add unique flair and flavor to any tour.
After everything, the album slides into the standard-defining “Change My Mind,” a sultry drift of guitar and wafting vocal. With an opening salvo of, “I’ve never really wanted to grow up/ Cause what if magic only happens when you’re young/ I don’t believe the stars can align/ Til somebody comes to change my mind....”
Without stridence, Silvas shines a light in women who wish to stay unencumbered until they find someone truly worth the commitment. A slow ballad, it takes its time, the beat shifting side to side and Silvas’ vocal a rising moan towards the end. Though the heroine is not coupled, she refuses to relinquish her faith that there is someone out there who can change her mind. Here, Silvas’ greatest strength is manifested: not quite magical thinking, but the ability – at least in song -- to make faith attainable.
Hailed as “The new master of the slide guitar” by the Montreux Jazz Festival and “The real thang” by the legendary Bootsy Collins, Jack Broadbent has spent the past year wowing international audiences with his unique blend of virtuosic acoustic and slide guitar, and poignant folk and blues inspired vocals.
Born and raised in rural England, Jack grew up listening to artists such as John Lee Hooker, Peter Green, Robert Johnson, Neil Young and Joni Mitchell, to name a few. These legends of rock, blues, roots and folk influenced Jack’s distinctive song writing, singing and performance style, which have a depth and heart that defies strict musical genres. Jack‘s performances exude a warmth, humour and energy that has electrified audiences worldwide.
Evan & Luke - 8p
Iceland Soundscape Trio - 8:30p
Lil Buh - 9:15p
Claire Wellin - 10p
Beatbox House - 10:45p
Luke & Evan - 11:30p
Apartment Sessions is a Brooklyn-based multimedia artist collective created and produced by Luke McGinnis, Evan Tyor, and Liz Maney.
We produce bi-monthly videos, performing original arrangements/orchestrations with a rotating ensemble of NYC/New England-based pro musicians, covering our favorite artists and featuring our favorite musicians.
London based indie-pop star Leon of Athens channels the flamboyant beauty of Sufjan Stevens, Perfume Genius and Grizzly Bear alongside a similar widescreen pop sensibility as Tame Impala, Foster The People and Phoenix. His brand new album Xenos is a beautiful, thoughtful piece of work. It showcases just why he has become a huge live draw in Greece – where he plays to audiences in their thousands – his ever-growingfanbase across Europe and his rising profile in the USA where he has just been confirmed to appear at Okeechobee Festival and SXSW . The album follows the highly acclaimed release of his debut album Global, championed by the likes of The Guardian, NME, Q, New York Times and more. It is produced by David Kosten (Bat For Lashes, Everything Everything) and is informed lyrically by the refugee crisis, the rise of fascist groups in Europe and the US, but
also personal upheavals: fractured relationships, lost faith, youth, freedom and death.
From the uplifting indie-pop of previous singles ‘Aeroplane’ and ‘Fire Inside You’, to the dark creeping electronics of the title track and ‘Xenos’, Leon Of Athens proves himself an intriguing and exciting force. There are delicate moments on the stark piano-led ballads of ‘Letters To My Father’ and ‘Final Moment’, while the album closes with the joyous ode to his favourite place in the world ‘Corfu’.
On June 8, discover Dreams, the new EP from Twisted Pine. Praised by NPR for their “upbeat, poppy vibe; energetic, driving rhythms; virtuosic solos” and “tight harmonies,” the acoustic quartet deftly reimagines seven pop, rock, and disco favorites. Twisted Pine wrote every song on their acclaimed, self-titled 2017 debut album. Now, after their mashup of Vulfpeck and father-of-bluegrass Bill Monroe went viral, they’ve turned to Sam Kassirer of Great North Sound Society (Lake Street Dive, Josh Ritter, Elephant Revival) to record inspired interpretations of Blondie, The Beatles, The Cranberries, and others.
The Cranberries’ late Dolores O’Riordan was a major influence on bandmates Kathleen Parks (fiddle) and Rachel Sumner (guitar), who weave a sweet and spooky harmony on O’Riordan’s 1993 hit “Dreams.” Sumner revs things up with Joni Mitchell’s “Raised on Robbery,” an unforgettable cruiser sped along by the airtight rhythm section of Dan Bui (mandolin) and Chris Sartori (bass). The two singers blend cool seduction and high wattage on Blondie’s “Heart of Glass” and Scissor Sisters’ “I Don’t Feel Like Dancin’” which, in spite of its name, makes you feel like doing nothing else.
Instrumentally, the group shines on “Funky Kentucky,” a surprising, swinging reinvention of Monroe’s “Kentucky Waltz.” Parks doesn’t so much bend the lyrics as sculpt them, while she, Bui, and Sartori dig deep into the groove bag for a dexterous and soulful string interlude. Vulfpeck’s “El Chepe” and an elegantly far-out “Lucy in the Sky with Diamonds” complete the fun and free-spirited offering.
Though steeped in traditional music, these musicians are also fearless, tuneful improvisers and passionate lovers of pop. Each member impresses on their own, but the ensemble playing and arrangements, incorporating tasteful hints of percussion and keyboards, create a sound that is more than the sum of its parts. Even when Twisted Pine plays the music of legends, what you hear most of all is their singular voice.
Dreams is a proud production of Signature Sounds Recordings. Be sure to see Twisted Pine on tour throughout the spring and summer of 2018, bringing what one critic has called a “charming as hell” live show to stages from Maine to Texas.
Adam Neely, the New York- based session bassist, multi-instrumentalist, educator and YouTuber, brings his large ensemble J A Z Z S C H O O L to Rockwood Stage 2 for a night of belting and too many notes. Over-the-top jazz fusion, metal and pop meld together in a visceral and kinetic blend that will feature Justina-Maria Sóto, Dani Lynn, Gabe Violett, and Hannah Sumner on guest vocals. Basically, if Dirty Loops was a 15 piece band.
Adam is best known for his hugely popular YouTube channel that is dedicated to exploring new horizons in music. His show investigates musical concepts and curiosities in a series of video essays that challenge assumptions about what music truly is. Adam’s videos cover topics as simple as “What makes a song sound like Christmas?” or “Which key is the saddest?” and as esoteric as “Musical Fractals” and “Jazz fusion re-harmonization” – all in a tone that’s as witty and accessible as it is informative and brain-frying.
Devastatingly powerful vocals & retro-rock guitar, with lyrics that run the gamut from vulnerable to all-out venomous: Jocelyn & Chris Arndt are creating a new generation of authentic album rock.
As The Kin, The Brothers Koren were signed to Interscope/Universal Records. Their music has been featured in major movies, they've appeared on Conan, and traveled the world as headliners and alongside the likes of Coldplay, Pink, an Rod Steward. After fifteen years they chose to retire The Kin, and began to express themselves on their terms and help other aspiring and someday artists do the same.
Bartika Eam Rai is a multilingual singer-songwriter and musician of Nepali descent currently based out of New York, U.S. She began her musical career in Kathmandu’s underground music scene before becoming a solo artist and releasing her debut EP titled Bimbaakash in 2016. She is considered the pioneer in her generation to revive the way music is written and sung in Nepali, a language that is minority in the world map. Rai is one of frontrunners to introduce Nepali to New York's multicultural music scene. Her songs have appeared on all major radio stations and televisions in Nepal and she is increasingly performing in Nepali to both Nepali-speaking and non-Nepali speaking audiences. Rai is currently on her US pre-release tour for her second album ‘Taral’ scheduled to release on June 9th 2018. She is currently self-represented and self-managed.
From their humble beginnings on a college campus four years ago, Magna Carda has steadily risen to the top of the Austin music scene as the premiere hip hop act of 2016. Described by Mashable as “Austin’s answer to The Roots,” Magna Carda is led by the city’s most dynamic MC-producer duo — Megz Kelli and Dougie Do — whose work pairs like a fine wine with the meat-and-potatoes backbone of the group’s signature live instrumentation. With their genre-defying blend of rap-meets-jazz-meets-R&B-meets-electronic, the band has quickly captured the imagination of listeners and the attention of critics alike in Austin and beyond.
After forming as a rapper/producer duo on the campus of Austin’s St. Edward’s University in 2012, Megz Kelli and Dougie Do set their sights on developing a new sound that would make use of both live musicianship and studio production. In 2014, the duo began working with drummer Michael Gonzales alongside longtime guitarist and collaborator Eric “The Greek” Nikolaides. Since then, the band has been at the forefront of Austin’s burgeoning hip hop scene, and has shared the stage with hip hop’s biggest names from The Pharcyde and Joey Bada$$ to Chali 2na and Oddisee. Magna Carda’s unique sound has attracted the attention of NPR among other regional and national press.
“In today's world, there are no musical boundaries,” says Max ZT of ‘House of Waters,’ a trio that makes those words come alive as they incorporate elements of West-African, jazz, psychedelic, indie rock, classical and world music into their astonishingly unique sound.
Five years after their groundbreaking Revolution, House of Waters now returns with its eponymous follow-up. The album features Max on hammered dulcimer, Moto Fukushima on six-string bass and percussionist Luke Notary - Though now the band tours with Argentinian-born Ignacio Rivas-Bixio! The album also features virtuosic cellist Dave Eggar, flautist Sam Sadigursky and the singer Priya Darshini.
“Our music is a constant melting pot, which is so relevant to now,” says Max. “It’s like that last D’Angelo record or Kendrick’s Butterfly...you know, that wasn’t just rap, or hip-hop, or jazz, or soul, but it had all of that. It’s an amorphous thing. It’s how the future is going to be.” Moto agrees: “We always just say what we do is ‘good music.’ If I need to say something to someone who's never heard of us, I just say, ‘Please come to our show!"
Elizabeth Ziman, who performs as Elizabeth and the Catapult, is a critically acclaimed singer/songwriter from New York, living and working in Brooklyn. She's toure with the likes of Sara Bareille and Kishi Bashi; collaborated with Esperanza Spalding, Gillian Welch, Blake Mill and en Folds; scored, with Paul Brill, a variety of international award-winning documentaries including Trapped, a Peabody winner; and won the 2015 Independent Music Award for Songwriting, Folk category. Her songs have been featured in national television campaigns for Google, Amazon, Sky TV, and "o You Think You Can Dance".
Always writing, Elizabeth has narrowed her vast collection of previously unrecorded material down to her fourth full-length studio album KEEPSAKE, produced by Dan Molad (Lucius) and featuring collaborations with Richard Swift (The Shins). KEEPSAKE is her most personal and cohesive recordyet, comprised of both upbeat and sentimental songs, many of which came to her in dreams. The album was produced by Dan Molad and Peter Lalish (Lucius), featuring performances from Rob Moose (Bon Iver, Antony and the Johnsons, Joan as Policewoman) and Richard Swift (The Shins).
“What’s so bad about happy?” John Fullbright sings on the opening track of his new album, ‘Songs.’ It’s a play on the writer’s curse, the notion that new material can only come through heartbreak or depression, that great art is only born from suffering.
“A normal person, if they find themselves in a position of turmoil or grief, they’ll say, ‘I need to get out of this as fast as I can,’” says Fullbright. “A writer will say, ‘How long can I stay in this until I get something good?’ And that’s a bullshit way to look at life,” he laughs.
That plainspoken approach is part of what’s fueled the young Oklahoman’s remarkable rise. It was just two years ago that Fullbright released his debut studio album, ‘From The Ground Up’ to a swarm of critical acclaim. The LA Times called the record “preternaturally self-assured,” while NPR hailed him as one of the 10 Artists You Should Have Known in 2012, saying “it’s not every day a new artist…earns comparisons to great songwriters like Townes Van Zandt and Randy Newman, but Fullbright’s music makes sense in such lofty company.” The Wall Street Journal crowned him as giving one of the year’s 10 best live performances, and the album also earned him the ASCAP Foundation’s Harold Adamson Lyric Award. If there was any doubt that his debut announced the arrival of a songwriting force to be reckoned with, it was put to rest when ‘From The Ground Up’ was nominated for Best Americana Album at the GRAMMY Awards, which placed Fullbright alongside some of the genre’s most iconic figures, including Bonnie Raitt.
The Funky Dawgz Brass Band are one of the premier touring acts on the live music scene today. Emerging from Connecticut, these young men have engulfed the spirit and traditions of New Orleans as well as earned the respect from local musicians who grew up and reside in the city. It is impossible not to enjoy yourself during a show as they play a contagious upbeat mix of traditional New Orleans R&B, original music, hip hop, funk, and today’s top hits with a brass twist.
They have toured nationally from coast to coast, as well as internationally and have been featured in all corners of the live music scene. From playing sold out shows at Madison Square Garden as the horn section for Dispatch, to Camp Bisco, to closing out The Peach Music Festival, their performances flow seamlessly from EDM festivals to jam band festivals to traditional New Orleans second line parades. They were also recently featured multiple times on national televised programming on ESPN (house band for March Madness Tournament Challenge, opening segment of First Take).
There is a reason they were featured as one of Live For Live Music's Brass Bands You Need To Know. The Funky Dawgz are dropping jaws. These high energy horns have been featured on bills with Dispatch, Trombone Shorty & Orleans Avenue, We The Kings, Snarky Puppy, The Soul Rebels, Lettuce, The Motet, Preservation Hall Jazz Band, Rebirth Brass Band, Twiddle, Turkuaz, Kung Fu, Bernard Purdie, Sister Sparrow & The Dirty Birds, Big Sam’s Funky Nation, and the list continues.
Come see what all the hype is about.
Ain’t no party like a Funky Dawgz party, ‘cus a Funky Dawgz party don’t stop!
Stretching across three continents and cultures (Thailand, Sweden and America), Sirintip’s
remarkable debut album Tribus — produced by three-time Grammy winner Michael League of Snarky Puppy — is a gathering of different moments from the last four years of the
singer/composer life. It’s an exciting, eclectic work that touches on pop, R&B, electronic and jazz, while creating a sound uniquely its own.
Tribus means “three” in Latin, a number that serves as the overriding theme on the album—three continents, three languages and the three relationships we all share (to the world, to other people and to ourselves).
Born in Thailand, Sirintip moved with her mother to Sweden at the age of 11. A student of
classical piano, violin and double bass, her study of jazz would eventually take her from the Royal College of Music to (years later) the prestigious Manhattan School of Music.
This musical appreciation and study would pay off years later, when Michael League discovered the singer working at a jazz club in Stockholm. Recognizing an adventurous and like-minded musical spirit, the Snarky Puppy bandleader told Sirintip to send some music and “give him a call” if she ever moved to New York.
Sirintip did end up helping Snarky Puppy’s Bill Laurance on his album Swift. She also moved to New York to pursue her Master’s Degree. While going to school, performing and competing in the Thelonious Monk International Jazz Competition, she also began work on Tribus, with League in the producer’s chair.
"Sirintip uses everything she has to her advantage — clout in both the pop and jazz worlds, tri-lingual vocal ability, and the soaring ethereal elegance of her Scandinavian upbringing and the percussive sharpness of her Thai roots,” says League. “Her desire to explore, though, shines through it all.”
Tribus is an album of empowerment and hope. It also embraces the singer’s jazz heritage while sounding decidedly modern — you could easily put these songs on a playlist between Thundercat, Kimbra and Little Dragon. “The idea behind the album is to bridge the gap between pop and jazz by combining singable melodies with grooves, jazz harmonies and electronics,” says Sirintip. “The music might sound simple when you listen to it at first, but if you dig deeper, you´ll find the hidden depth and complexity.”
Outside of her album, Sirintip’s talent and musical background have led to some fascinating collaborations: She opened up for Wayne Shorter at the Polar Music Prize, in conjunction with his talk at Polar Talks in Stockholm. She also worked with Benny Andersson from ABBA during a fundraiser held at the Guggenheim. As well, she’s also been selected twice to perform and compose a musical interpretations of Nobel Prize nominations at the Nobel Museum in Sweden.
If you do catch her live, Sirintip will be working with a quintet, while also using a guitar pedal board to create different vocal effects. It presents another unique arrangement to her music. “I incorporate electronics so I can be one of the instruments,” she says. “People are programmed to listen to the human voice first, so it can sometimes be hard to lead the ear to other instruments. By manipulating my sound with my electronics, I can create a sound landscape behind a solo … without creating unnecessary attention.” As well, you’ll witness more of her jazz influence — Tribus purposely had no solos, but the live arrangements have room to breathe.
After years of playing in bands that inevitably fell apart, as bands so often do, keyboard player Delvon Lamarr landed in a different kind of group: one founded by his wife and manager, Amy Novo. She created the Delvon Lamarr Organ Trio so her husband could fully focus on the thing she does best: writing and playing music.
With a deep soul backbone augmented by jazz, rhythm & blues and rock ’n’ roll , the Seatt le trio — Lamarr on B-3 organ, Jimmy James on guitar and David McGraw on drums — evokes a classic instrumental sound with a fresh, virtuosic sensibility all its own on debut LP Close But NoCigar. The band put out the album independently in 2016, and Colemine Records gives it a wide release in March.
All three musicians knew each other from the local soul scene. When Novo founded the Delvon Lamarr Organ Trio in 2015, Lamarr asked McGraw if he was interested in joining the band. After playing for a year with another guitarist in the group, Lamarr invited James to sit in as a substitute one night at the trio’s regular Tuesday gig, and he never left. That’s when the band truly found its sound. “We had chemistry right out of the gate, and that doesn’t always happen,” Lamarr says.
Some artists want to shine a light in the darkness. Common Deer come with an arsenal of floodlights.
Music is a balm in anxious, isolated times. In the hands of this powerful Toronto quintet, it’s a vessel of uplift, a call for camaraderie, an act of resistance against jaded nihilism. Though not explicitly political, the lyrics of vocalists Graham McLaughlin (guitar, violin) and Sheila Hart (keyboards) reflect the zeitgeist: addressing the anxiety of the modern age, crying out for a sense of connection, driven by a sense of carpe diem that stems from personal tragedy. “Trying to create light in the darkness; it’s a mentality we share,” says Graham. They’re not blind optimists peddling escapism, though their live shows are joyous, celebratory affairs, rich with rousing, orchestral pop sound built for festival stages.
Roots of A Rebellion are a jam band from Nashville, TN playing heavy Reggae-Rock-Dub music for the soul. The band is known for their dynamic live shows showing their progressive sound and energy. Having shared the stage with The Wailers, Rebelution, 311, Slightly Stoopid, moe., North Mississippi Allstars, SOJA, Nahko and Medicine for the People, and more, Roots of A Rebellion represents another side to Music City.
In 2016, Roots of A Rebellion released their second full length album, A Brother’s Instinct, which debuted at #4 on the Billboard Reggae Charts. This release marked their first time being included in Billboard and was the follow up to their 2014 debut album, Heartifact. Their current release is the Summer Sampler Vol. II, a collection of dub remixes and alternate takes of fan favorites, featuring the single, No Crime (feat. Foundation).
"These guys can make music and elevate a scene."
- Music City Roots
Waker was founded by childhood friends and songwriting duo Chase Bader (Vocals, Acoustic) and Conor Kelly (Electric Guitar). The group hails from Nashville, mashing soul, rock & roll , & funk into an eclectic, danceable sound, focusing on songs that aim for the heart, head... and feet.
Originally known as Koa, Waker christened in late summer 2016 following the addition of Dave Czuba (Drums) and David Crutcher (Keyboards) to the already talented lineup of Ryan Ladd (Bass), Alex Mathews (Saxophones), and Ryan McClanahan (Percussion).
With a name that stems from the line, “Getting close to bedtime, time to wake,” in their song, “Fever,” The intention has always been clear, to “wake people” with their music. In a short amount of time, the band has already conquered festival stages at Bonnaroo, ACL, Hangout, SXSW, Firefly, and Wakarusa. They’ve toured with Blues Traveler, JJ Grey & Mofro, Moon Taxi, Galactic, the Wailers, recorded a session for Audiotree Live, and headlined shows across the country.
Since the release of their 2015 EP, the band has continued their nonstop regiment of touring & writing. Before the summer of 2017, Waker released two singles, "Wake Me Up" & "Pike", both of which will be featured on their debut album due sometime in 2018.
Waker is an experience meant to be shared with others.