“THE ARTISTS AT SUMMER'S END ~ THE DRAPER RENDEZVOUS ”
“I love the harmonies of the Shook Twins, the dreamlike songs that seem somehow permeated by the American Folk tradition, without actually being part of it. They make music that twines through your soul the way vines cover an abandoned shack in the woods.” – Neil Gaiman, New York Times – Best-Selling Author
“The Portland, Ore., folk group is ready to rattle the music world with its ‘What We Do’ album.” – USA Today
“The Shook Twins have sass and spunk to spare! Their live show is tons of fun to behold.” – Laura Veirs
“The Shooks will Shake you. These ladies have been keepin’ it real since the day they were born and that was only seconds apart from one another I think. Do yourself a favor and check ’em out. I do declare, ya won’t be sorry.” – Langhorne Slim
“The Shook Twins put on a heck of a show. Keep your eyes on these folks. I’m excited to hear what they do next.” – Tucker Martine
“A unique, personal music that lights up the stage with its joy and enthusiasm.” – Mason Jennings
Everybody in your life will write his or her own chapter in your story. Take a step back, and you’ll see the influence of your loved ones, mentors, and friends in your decisions. Shook Twins refer to these folks in the title of their fourth album, Some Good Lives. Throughout fourteen tracks, the duo—identical twin sisters Katelyn Shook [vocals, guitar] and Laurie Shook [banjo, vocals]—pay homage to everyone from a late grandpa and godfather to Bernie Sanders.
“We realized there was a theme,” Katelyn reveals. “Even though our minds are mostly on the women of today and wanting the monarchy to rise up, we have several men in our lives who have been such positive forces. We wanted to thank them and honor the good guys who showed us the beauty in this crazy world we live in. So, it’s an album for Some Good Lives that have crossed paths with ours—and to them, we are grateful.”
Laurie agrees, “It’s also an acknowledgment of our thankfulness of the good life that we get to live.”
However, the pair derived their own strength from these relationships. Over the course of three full-length releases and a handful of EPs since 2008, acclaim would come by way of everyone from USA Today and Baeble Music to Langhorne Slim, The Lumineers, Mason Jennings, and iconic best-selling author Neil Gaiman who enthusiastically decreed, “They make music that twines through your soul the way vines cover an abandoned shack in the woods.” Beyond gigs with the likes of Gregory Alan Isakov and Ani DiFranco, they captivated crowds at High Sierra Music Festival, Lightning In A Bottle, Bumbershoot, Hulaween, Summer Camp Music Festival, and Northwest String Summit, to name a few.
During 2016, they planted the seeds for what would become Some Good Lives by thinking bigger. The girls intermittently recorded at Hallowed Halls in Portland, OR. Within this old library building, “which feels full of stories,” they tapped into palpable energy like never before, locking into a groove inside of the spacious, reverberant live room. Moreover, the full band—Barra Brown [drums], Sydney Nash [bass], and Niko Slice [guitar, mandolin]—expanded the sonic palette.
“It took us a long time to find the band that we wanted to record these songs with and for the songs to fully mature,” admits Laurie. “Once Barra, Sydney, and Niko joined us, we really started to explore what our music could be. These amazing players helped us realize that we could be more than just ‘folk pop’. We started adding other genres to the word like ‘disco,’ ‘psychedelic,’ ‘funk,’ and ‘soul.’ We really honed in on a new sound.”
They initially teased that evolution with the single “Safe.” Its airy acoustic guitar and delicate harmonies materialize as a heartfelt and hypnotic rumination on love. The track quickly surpassed 1 million Spotify streams and stoked excitement among audiences for the eventual arrival of Some Good Lives.
“‘Safe’ was written up at a cabin in the woods,” recalls Katelyn. “I had the line ‘a love that feels safe’ in my mind for a while. That’s the only kind of love truly possible and healthy when you’re touring and away from your person all the time. You feel like you can trust it, and it’s not going to change within either of you—no matter how long and far you are away from each other.”
“I was struggling to find that kind of love at the time, and Katelyn had this other perspective,” adds Laurie. “It’s my breakup song my sister wrote for me,” she laughs.
Elsewhere, opener “What Have We Done” struts forward on funky tambourine and boisterous horns before culminating on the shuddering soulful chant, “My God, what have we done?” Inspired by “feeling the Bern,” the track serves as a “wake-up-and-do better social commentary to fire people up.” Meanwhile, the dreamy “Figure It Out” sways from vivid verses into a catchy and confessional hook.
“To me, it’s about being lost and trying to figure ‘it’ out over and over again,” continues Katelyn. “We’re always going to be trying to figure things out, and that’s okay.”
The intimate “Grandpa Piano” draws on 1992 tapes of the girls’ grandpa performing on a grand piano during the final weeks of his life. Such moments thematically thread together the record, following its concept.
Katelyn adds, “You can hear our grandma, uncle, and godfather who have all passed on speaking in those clips too. These are little glimpses of those lives that we are honoring. I knew it was the perfect thing to add and complete the theme.”
Meanwhile, the album concludes on “Dog Beach”—a song penned by their godfather Ted as his only original composition in 1989. Preserving the raw spirit, Shook Twins tracked their background vocals over the initial tape 28 years after the initial recording. As Ted passed away recently, the song possessed a special place in their hearts.
“It’s like our village anthem in a way,” says Katelyn. “We made him sing it, and we’d all sing the responses at every campfire we had growing up.”
In the end, Shook Twins do Some Good Lives justice by reaching new heights themselves as musicians, lyricists, artists, and women.
“I hope people will hear this music as part of the soundtrack to their lives,” Laurie leaves off. “I hope it makes them feel joy, relaxation, or makes them want to dance a little. I hope they’re satisfied with the way we captured these songs.”
“I want them to feel the love that emanates from the songs: the love of the sounds we made and the love of the people we are honoring through them,” concludes Katelyn.
Katelyn Shook- guitar, ukulele, Glockenspiel, mandolin, vocals
Laurie Shook- banjo, percussion, guitar, vocals, beatboxing, bass, looping, ocarina.
Niko Daoussis- mandolin, electric guitar, electric drums, bass, vocals
Josh Simon - bass, vocals
Barra Brown - drums, electronic drum pad, vocals
Honkey Tonk Folk Rock
Junkbox blues duo HILLSTOMP is infamous for digging through the dumps and forgotten backwoods of American music, recycling traditional elements into a refreshing and distinctive brand of do-it-yourself hill country blues stomp. North Mississippi trance blues, a bit of Appalachia, and a dash of punkabilly come clanging and tumbling from assorted buckets, cans and BBQ lids, all drenched in rambunctious slide guitar. Somehow it works.
Despite their homemade instruments and novel approach, Hillstomp is no novelty act.
Hillstomp’s memorable live performances tap into a magic that cannot be rehearsed, converting outlaws and traditionalists alike from skeptics into preachers.
Just the Facts
* Henry Christian ~ Guitar
* John Johnson ~ Buckets
* occasional helpers especially Philip Guttman or David Lipkind on harmonica
Pixie & The PartyGrass Boys
pixie & the partygrass boy
~ Folk ~ String ~ Bluegrass ~
Salt Lake City, Utah
Hailed as “the hottest band in the Wasatch” by the Intermountain Acoustic Music Association, Pixie and The Partygrass Boys is composed of lifelong professional musicians drawn together by a common love of bluegrass and skiing in the Wasatch. Featuring soulful, often harmonic vocals and solid strings and rhythm, this tight-knit crew was born out of the belly of a warm cabin after a long day on the slopes- drinking whiskey and singing into the night. With a high energy sound and a love for silly outfits, they travel the land spreading the gospel of whiskey, chickens, and fun for everyone.
“With tunes spanning the breadth of the American songbook as well as their own songs about wandering, whiskey, lies, and love both lost and gained they are sure to shake loose a storm of music as deep and satisfying as the fresh powder on one of Utah’s mighty mountains.”
— IAMA Newsletter
Vocals, Ukulele / Katia "Pixie" Racine
Fiddle,Vocals / Amanda B. Grapes
Upright Bass / Zach Downes
Mandolin, Vocals / Ben Weiss
Guitar, Vocals / Andrew Nelson
Lounge on fire
Lounge On Fire
~ indie rock ~ seductive soul ~ sexadellic funk ~
A 7-deep battalion with a brass section, fused from the ashes of indie rock, seductive soul, and sexadellic funk, Lounge on Fire is a cacophony of formidable freaks. Rapid and percussive vocals often combine with dark and hypnotic grooves reinforcing a boisterously brassy fanfare to create a unique coalescence of rock, soul, jazz, latin, disco, hip hop, and funk. Lounge on Fire has been noted for their electric live performances that make it impossible to sit physically or emotionally still. This rowdy ensemble channels passion from the roots of the human experience and the dark night of the soul into gyration-inducing anthems. The madmen behind this mélange are Nathan Norton on guitar and vocals, Josh Gilmore on bass guitar, Wade Ronsse on drums, Alan Schwaderer on keyboards and guitar, Matt Patterson on saxophone, Seth Hoffman on trumpet, and Kevan Ash on trombone.
Early in 2017, Lounge on Fire independently released their debut album "Lips of Calypso" on CD and vinyl, which was engineered and produced by Jason Ringelstetter at Tonic Room Studios in Boise, Idaho. While each track stands alone, "Lips of Calypso" is a concept album; an ode to the human body as a hostage to the temptation of sin, particularly that of lust. Each track embodies the perspective of the sinner and their struggle with the burden created by this seduction. The name Calypso literally means "to deceive", which encapsulates the false sense of security provided by the allurement of pleasure. The hedonism experienced by the sinner is further muddled by the notion of being nurtured by societal masculinity into a compulsory state of seeking fulfillment through sexual satisfaction, and conflicting pedagogy to abstain from such lasciviousness. In Lips of Calypso, gratification is met with indignity in the journey of grappling with desire in attempt to be released from the prison of the flesh.
Lounge on Fire is a five-year Treefort Music Fest veteran, with 2017 as a main stage act. They have also headlined at Roseberry Music Festival, Alive After 5 in 2016 and 2018, Tamarack Resort Sunset Series in 2017, Eagle Gazebo Concert Series in 2016 and 2017 Offbeat Music Festival at the Treefort Showcase, Sawtooth Music Festival on second stage, Moscow Hempfest, and the Moscow Renaissance Fair. During Treefort Music Fest in 2017, they recorded a live session with Daytrotter, which was featured in Paste Magazine. In 2017 and 2018, Lounge on Fire was awarded 3rd place for "Best Local Band" by Boise Weekly, right behind Hillfolk Noir and Built to Spill both years. Lounge on Fire has played well over 100 shows in the Pacific Northwest and Canada since their conception. This includes: festivals, fundraisers, private parties, après, ski resorts, weddings, wakes, and even farmers’ markets. On top of regular concerts, Lounge also recently performed alongside Idaho Dance Theatre as part of its Interface series. In addition to headlining many of these shows, they have had the opportunity to open for acclaimed national acts such as St Paul and the Broken Bones, The Suffers, Thunderpussy, Turkuaz, The Dip, Orgone, and Polyrhythmics.
Lounge on Fire has been working with local organizations and charities to raise awareness and money through merchandise sales. They have frequently performed at benefits for Radio Boise. In 2016, they performed at a benefit show for a local man who had been crushed by a cement truck, as well as Curtis Stigers's Holiday Extravaganza - a benefit for the Interfaith Sanctuary in Boise, Idaho. In the summer of 2017, Lounge on Fire worked with Boise Bicycle Project to raise money for the organization through merchandise sales, and additionally performed at some of their fundraising events, including Bike Prom for the annual Pedal 4 the People event. Near the end of 2017, Lounge on Fire campaigned to raise money for the Woman and Children's Alliance through their own merchandise sales, as well as from the track "Night Before Christmas" that was recorded at AudioLab in Boise and released through the Ida Ho Ho compilation. As of July 2018, the group is raising money and awareness for the Idaho Suicide Prevention Hotline...
Nathan Norton /\ Yells, Wah Pedal
Josh Gilmore /\ Bass
Wade Ronsse /\ Drums
Alan Schwaderer /\ Keys
Seth Hoffman /\ Trumpet
Matt Patterson /\ Sax
Kevan Ash /\ Trombone
The Weary Times
The Weary Times
Vintage Rock ~ Retro Blues
Steeped in Vintage Blues and early Rock n’ Roll, the Weary Times have managed to carve out a sound both nostalgic, yet truly their own. The Boise, Idaho based band is fronted by Michigan born signer songwriter Ryan Curtis and joined by Mike Simon on guitar, Mike Swain on keys, Nick Archibald on bass and Ben Wieland on drums.
The band got its start four years ago, when Curtis’ prior band, alt-country outfit, Curtis/Sutton & Scavengers was on a 6 month break prior to releasing their second record. Hungry to pick up some shows he connected with keyboardist, Mike Swain in hopes of putting together a solo project for fun and occasional gigs. The two hit it off musically right away and as each additional player was added to the mix, the small side project quickly turned into the main outlet for Curtis’ writing. The band finally made it into the studio in early 2018, tracking most of their forthcoming record at Osmosis Studios in Meridian, ID, before shipping out the final tunes to Seattle for mixing at Ground Control Recording. The finished product, an ambitious 13 track self-titled debut is set for a July 19th release date.
The new record showcases the band’s wide ranging sound, ironed out over 3+ years of paying their dues bar to bar across Idaho and the Northwest. The lead off single “Best for You” is a soulful garage rocker, with Farfisa keys and a big, wall of sound chorus, filled with echo and early 60’s fuzz. Juxtapose that with do-wop cuts like “Why are you so Lonely” and “Give & Take”, both of which lead you down a familiar road but with darker themes then the tender love songs of the 1950’s. “I’m far too old to leave a good looking corpse, but I ain’t young enough to change course” Curtis sings in Give & Take, a lonely hearts ballad of an aging loner looking back on his wasted youth.
“Hard Times” originally released as single in 2018 and “Piece of Mind” show a more soulful side of the band. They also showcase keys player Michael Swain’s retro electric piano and overdriven Wurlitzer organ, distinct vintage sounds that are all over the record. Also, ever present is lead guitar player, Micheal Simon’s, slow hand playing style reminisce of the British blues rock movement of the mid-sixties. He comes front in center on the album’s bluesier cuts like “I Don’t Know Why, “Anymore”, and “I ain’t Done Drinking”.
The album also contains a couple odd balls, “I Swore” a surf punk number that shouldn’t, but somehow make perfect sense on the album. Curtis along with half of The Weary Times cut their teeth in punk bands as teenagers and you can catch those roots sneaking though in the sing along “ohhs” of the chorus. The album’s closer, “Way Down” is easily the most unique sounding cut on the record. The song starts a slow burning, minor blues crawl with Curtis’, Waits-like rasp, intensified by weeping steel guitar, cello, and Swain’s down right spooky piano work. As the song hit the 2 minute mark the drums come in ripping for an instrumental jam, uniquely textured and diverse as the record itself.
You can tell the intent of the record was to capture the structure and vintage tone of American Mid-Twentieth Century Music. However, the band’s melting pot of styles creates a truly unique sound of their own, while paying homage to their idols. You can hear the classic, but diverse influences of legendary bluesmen, hillbilly rock n’ rollers, street corner R'n'B crooners and sixties garage rockers throughout the songs on The Weary Times. You can hear it for yourself on July 19th 2019!
Ryan Curtis ~ Guitar / Vocals
Mike Simon ~ Guitar
Mike Swain ~ Keys
Nick Archibald ~ Bass
Ben Wieland ~ Drums
~ Prog Rock ~ Psychedelic Funk ~ Jam ~ Americana Country
LOST OX IS A BAND...
Genre-blending Portland, OR-based Lost Ox have been cooking up their own all-original mix of prog rock, country Americana and funk since early 2017.
Hot off recording their first full-length ablum, "Wildheart", the band brings their own brand of inventive playfulness to performances, weaving dark, murderous yarns in the same stride as delightfully groovy jive numbers, saturated richly with improvisation and interplay.
Reed Bunnell - bass + vocals
Scot Cowherd - drums + vocals
Dylan DiSalvio - Guitar + vocals
Mystery man - keyboards or guitar or spoons
~ Rockabilly ~ Country Americana ~ Singer / Songwriter ~
Hailey, Idaho / Nashville, Tennessee
Singer-songwriter Andrew Sheppard grew up in Hailey, Idaho around an abundant amount of musicians as his mother was always playing and singing in rock and roll and blues bands. Influenced by taking in their rehearsals and live shows, Sheppard was playing bass in punk rock bands in high school. At the age of 19, he picked up the guitar and started writing songs and 10 years later, he is poised to release his sophomore album, Steady Your Aim on March 23rd.
Steady Your Aim is a concept record, a musical journey in which every song was methodically thought out to fit the record. An analog recording, it is a cinematic dreamscape narrative that is richly layered with the pedal steel, piano, cello, Wurlitzer and organ. All of their parts are gently tucked in which leaves the listener wondering just what it is they are actually hearing. “We used traditional sounding instruments to create a new sound,” said Sheppard. “For example, we used cello on this record because I wanted a deep sound that didn’t come from anything electric or synthetic. Instead of being a ‘lead’ instrument we used it as a texture tool giving the songs a more rich and ‘real’ feel.” Produced by Sheppard, Eric Loomis and Wes Walsworth (both of whom play guitar on the album), Steady Your Aim was recorded at Loomis’ Ivy Hall Studio in Nashville, Tennessee. John Mayfield at Mayfield Mastering mastered the record.
Leaving Idaho just after high school, Sheppard headed to Los Angeles, CA to pursue his other passion, skateboarding. After a blown-out knee derailed his skating plans, he shifted his focus back to writing music. In 2008 he formed the band, The Gypsy River Haunts that disbanded in 2012. Feeling the need to roam, he bought a car, loaded up his dog and headed around the country collecting stories for what he deemed his “record-writing road trip”. After 8,000 miles of driving, Sheppard wound up back in Idaho with no plan to stay, but realized after landing, that all his childhood friends were great musicians and that he had everything he needed to make the record he had in mind. Packing it up for a trip to LA, Sheppard and pals recorded Far From Here in 2015 at Bedrock Studios before heading back to Idaho. “I realized how much more I thrive in a mountain town,” said the artist. “I need to be in nature to feel a bit more sane.”
But a slower pace doesn’t mean that Sheppard has slowed down. He is on the road constantly (both solo and with band), playing festivals such as Stagecoach Country Music Festival, Treefort Music Festival, The Feed LA Festival and The Northern Rockies Music Festival. He’s shared the stage with The Black Lillies, Ray Wylie Hubbard, Whiskey Shivers and Scott H. Biram and has toured with friend and fellow roots musician, Jeff Crosby.
On Steady Your Aim, Sheppard doesn’t sugarcoat any of the emotions in his songwriting. He writes honest music that comes from the heart and darker places in life. The first track of the album “Take A Walk With Me” is inspired by packing up his life in LA and heading back to the mountains…”I was tired of the coast, so I booked it for the pines. Took a swing at the open road and caught up with my mind.” The more somber 2nd song, the title track, is a response to the first song, where he is taking the musical journey and dealing with the trials and tribulations of what being a musician on the road means. “The instruments are meant to make you look at everything wide-screen, like watching a film,” he explains.
From the sad and happy, “Here at the Bottom”, to the protest vision of “Not My Kind”, to the traditional (yet modern) waltz of “Holy Water” Steady Your Aim takes you on a musical journey from start to finish with a modern and experimental sound. Sheppard writes songs and music that isn’t a carbon copy of other country and Americana artists and that touches on subjects you don’t typically touch.
“Writing a song is something that I don’t, and won’t take for granted,” Sheppard vows. “Every show, every tour and every album provide me with new insight and a new way of looking at life. It helps me grow as a person and an artist and I want to see where that takes me for the rest of my life.”
Andrew Sheppard ~ Guitar / Vocals
Nick Archibald ~ Bass
Daniel Norton ~ Drums
Wes Walsworth ~ Guitar.
The Pan Handles
The Pan Handles
Gypsy Folk And Blues
FROM THE GEM STATE
Gypsy, folk, blues, and bluegrass are among the genres you'll hear from the mouths and instruments of these seasoned musicians. The Pan Handles bring original compositions to the stage and work up unique interpretations from some of their favorite artists.
The Pan Handles have performed at festivals across the Northwest and have shared stages with Sierra Hull, Jay Cobb Anderson Band, Jeff Crosby and the Refugees, Shook Twins, members of Yonder Mountain String Band and Old Crow Medicine Show. You'll also find them pickin' and singin' at your next private event.
Bennett Barr ~ Drums
Heather Meuleman ~ Violin
Neal Goldberg ~ Guitar
Jonathan Warren ~ Strings
Ty Clayton ~ Strings
aaron golay & the original sin
High Mtn Heard
High Mtn Heard
Folky Punky Honky Tonky Slushy Rock n' Roll
Folky Punky Honky Tonky Slushy Rock n' Roll that will leave you smiling ear to ear and probably a wee bit drunk
The members of High Mtn Heard met foraging for shrubs on the highest peaks of the Idaho mountains. When there were no shrubs to be found, they started clapping there hooves together to keep warm. It was discovered that mountain goat hooves striking together deliver a euphoric backline for rock n roll, and the rest is ear piercing history
Luc McCann ~ Guitar
Alyssa Joy Claffey ~ Violin
Olivia Grinder ~ String
Kyle Moore ~ String
Skylar ~ Drums