Listings are in the opposite order of appearance: headliner is listed at the top, next is the support band(s), and the last band listed is the opener.
Friday May 29
This show is postponing and will be rescheduled for later this year, exact date as yet unknown. Your tickets will be transferred to the new date automatically unless you request a refund, which you can do at any time. Once it is rescheduled, we will let you know the new date, and you will still have one more opportunity at that time to request a refund if you cannot make the new date.
Friday May 29 2020
8:30PM doors -- music at 9:00PM
••• 21 AND OVER
The Good Luck Thrift Store Outfit
country / americana
The Weary Boys
folk, country, americana
The Good Luck Thrift Store Outfit
Willy Tea Taylor
-from Oakdale, CA
-Take two Americana singer-songwriters, an indie-rock veteran of a drummer, country-born bassist, and metal-bred pedal steel player, and what do you get: the rough-hewn yet driftwood-smooth; rebel-headed, but heart-of-gold sound of The Good Luck Thrift Store Outfit. The outfit includes singer-songwriters Chris Doud and Willy Taylor, drummer Aaron Burtch, Taylor Webster on Bass and vocals, and Matt Cordano on pedal steel and flying V guitar. They most often defy categorization, usually settling for some hybrid of Americana, folk, rock, bluegrass, and that sweet, old country & western. They describe their efforts as trying to make good, honest, insightful music, that's not afraid of a good time and a little fun, that people will move their feet to, and that also goes real well with a straight road and a long drive.
The Weary Boys
-from Austin, TX
-The Weary Boys story begins in 2000, when three friends, Brian Salvi, Darren Hoff and Mario Matteoli, left Northern California for Austin, Texas to make a living playing music. In a place like Austin, Texas, of course, aspiring musicians arrive everyday. Something about The Weary Boys, though, was different. Initially, the young trio toiled in trenches of a notoriously competitive music scene. Their first jobs were on street corners, and their first payments were mainly in coins. Almost immediately, however, word of the young California vagabonds began to crisscross the circuits of Austins music scene. With their huge cowboy hats, tattered jeans, and the infectiously manic combination of telecaster, propulsive rhythm guitar, demented fiddle and close harmony singing, the young trio snapped Austin music lovers awake. In many ways, The Weary Boys seemed to have stepped out of Austins musical past, reminding people of the reasons Austin first gained fame as the home of outlaw country music in the 1970s. In rapid succession, street corner gave way to happy hour, happy hour to opening slot, opening slot to headlining slot, headlining slot to festival stage. Ace Austin bassist Darren Sluyter joined the band, and later, hometown friend and drummer Cary Ozanian came to play. By the Summer of 2001 and the release of their first album, The Weary Boys had dramatically ascended to the top of the Austin music scene. Building on their popularity and critical acclaim in Austin, The Weary Boys ventured into neighboring states, establishing enclaves of support in cities throughout the South and Southwest, particularly in towns with vibrant interest in roots music, such as Lafayette, Louisiana, Seattle Washington and Tuscon, Arizona. In the process, they have also opened shows for the likes of Merle Haggard and Willie Nelson, Leon Russel, The Drive-By Truckers, Southern Culture on the Skids and many others. They have played in backyards, front yards, notorious dives, not-so notorious dives, festival stages and the Angola State Penitentiary (twice). In the independent tradition of Austin musicians, The Weary Boys have maintained control over their music, releasing an album every year, managing and booking themselves. In their fifth and latest release, Jumping Jolie, they continue to mine the fertile musical ground between country, bluegrass and rock and roll, creating a sound that defies strict classification. Texas has been good to Weary Boys and they have returned the favor. A band of outlaws in an outlaw town in a state that does things its own way, The Weary Boys continue to remind us what country music is all about.
-from Vancouver, BC, Canada
-“I’m kind of a junkie for sad songs and ballads,” says Bob Sumner, the younger half of Vancouver-based Americana outfit The Sumner Brothers. “As a teenager most of my friends were into hip-hop, but I felt pretty out of place rolling around suburban White Rock, British Columbia, pumping gangster rap.” Sitting in his room with his headphones on, Sumner compiled downhearted mixtapes pulling together the more introspective songs of CCR, The Band, Led Zeppelin, Emmylou Harris. As he began writing his own songs, this innate attentiveness to songcraft and emotional understanding became a hallmark of Sumner’s songwriting and aesthetic. In the years since, he’s released five albums with The Sumner Brothers, blending sounds as disparate as Neil Young and The Dead Kennedys, but Bob Sumner’s Wasted Love Songs (out January 25) presents Sumner back in the bedroom, attentive to the quieter recordings of his formative years. Helmed by the gentle intentionality of Sumner’s voice and lyricism, this rare debut from a songwriting veteran expresses the timeless quality found in the melancholy of Townes Van Zandt, the atmospheric momentum of Tom Petty, and the prophetic restlessness of Bruce Springsteen.
The culmination of Sumner’s creative intention and sensitivity, Wasted Love Songs is born out of an entwining of musical influences spanning decades. With his brother Brian, he’s written and played finely tuned songs erected at the borders of country and rock and roll for nearly 15 years, making the Sumner family name synonymous with the alternative folk and country music scenes throughout the Pacific Northwest and Western Canada. In the midst of The Sumner Brothers’ growing orientation toward rock and roll in recent years, Bob Sumner felt the draw toward his balladic roots. “I had all these ballads and folk songs that worked really well together,” he says. “I wanted to make an album someone could just put on and unfold into.”