Leftover Salmon w/ ClusterPluck & Grass Fed Mule
Sunday May 27
Doors 6pm // Show 7:30pm
ADV $25 // Day Of $30
Atomic Cowboy Pavilion | 21+ unless accompanied by a parent or guardian.
Atomic Cowboy has seated dining inside until 10pm and a food stand outside during concerts. Seating is first come first serve. Doors are 6pm unless stated otherwise, so come early, claim your spot and enjoy!
Limited Seating Available.
No Coolers. No Lawn Chairs.
For ADA seating or to reserve a party of 20 or more in advance, email us at email@example.com
For any band to thrive on the road for nearly thirty years, there needs to be a constant source of renewal, a fresh spring of creativity at the center of the music that brings each member back for more. For Leftover Salmon, one of the great purveyors of Americana, this source came first from the American roots music traditions they came up with: bluegrass picking, Cajun two-stepping, the country blues. For all these years–over the course of their rise to become one of the biggest bands on the roots music circuit today, with legions of fans and routinely sold-out shows–Leftover Salmon have picked up many more influences. Much of this comes from the interactions between the founding members’ roots and the newer band members, who bring refreshingly different influences and ideas to the songwriting process. With their new album, Something Higher, due out May 4, 2018 on LoS Records, Leftover Salmon taps into everything from horn-blasting R&B to reverb-drenched desert noir, from the cosmic roots music sound they helped create to neo-New Orleans-meets-Appalachia liquefaction. There’s an unmistakable evolution to Leftover Salmon’s sound, and Something Higher has an edge to it that feels entirely new.
To create Something Higher, Leftover Salmon returned to long-time producer Steve Berlin (Los Lobos) with a new mission: to record at the famed Wavelab Studio in Tucson, Arizona, and to go all analog. The warmth of analog, coupled with Berlin’s uncommonly attuned ear for the dynamics of larger bands, brought a more focused sound to the group and challenged them as well. “He’s always looking for that thing in a song or a groove that he hasn’t heard before,” says bassist Greg Garrison about Berlin, “which is tricky because he’s heard a lot of stuff already! He pushes the band to do something different, to surprise him.” Over 10 days in Tucson, Leftover Salmon laid out the new music, each songwriter bringing a songwriting kernel and letting the rest of the band work out new improvisations to craft the final song. The key to Leftover Salmon’s music, now more than ever, is the way they marry technical precision with easy groove. It’s a trick that old jazz players used to pull, a dance between virtuosity and the illusion of ease. In crafting the new music, founding members Vince Herman and Drew Emmitt provide a foundational focus and guiding spirit, while banjo player Andy Thorn keeps the band close to their original roots in backstage picking parties. The rhythm section–bassist Garrison, keyboardist Erik Deutsch, and drummer Alwyn Robinson– was a key focus point for Berlin, who drew out members’ backgrounds in jazz and hip-hop to zero in on the heart of Leftover Salmon: the groove.
For the past quarter-century, Leftover Salmon has established itself as key to the Americana genre, digging deep into the well that supplies its influences; rock ‘n’ roll, folk, bluegrass, Cajun, soul, zydeco, jazz and blues. They are the direct descendants of bands like Little Feat, New Grass Revival, Grateful Dead and The Band, born of the heart and soul of America itself, playing music that reflects the sounds emanating from the Appalachian hills, the streets of New Orleans, the clubs of Chicago, the plains of Texas, and the mountains of Colorado. They’ve endured over all these years, earning their unequivocal stature as a truly legendary band.
Americana's wild child, ClusterPluck, mixes bluegrass, folk, rock, and
country into a hearty sonic stew. Throwing tradition aside, they utilize
banjo, guitar, bass, violin, mandolin, and dobro. This four piece band
from St. Louis, MO produces an up-beat, grassy energy with a little
country jam for listeners of all ages to savor.
ClusterPluck has released two full length albums: "ClusterPluck"
(2013), and "The Open Road" (2014); followed by a 5 song E.P. in 2015
simply titled: "E.P." In December 2016, a 12 song full length studio album "Thousand Miles to Go" was released. With their fan base steadily growing, "The Pluck" has toured throughout the country.
They have played various well known venues including: Cervantes
(Denver, CO), Mystic Hot Springs (Monroe, UT), The Bottleneck
(Lawrence, KS), and The Old Rock House (St. Louis, MO),
as well as music festivals including: Wakarusa, Harvest Festival,
Summer Camp, and Revival.
This band of hungry songwriters are hitting the road, and are ready to
come to a town near you.
Meet Grass Fed Mule... the Miles Davis inspired indie folk & bluegrass quartet from St. Louis MO. Drawing energy from their river town roots in bluegrass, old-time, blues, indie folk & jazz, the band’s upbeat shows flood the ears with strong vocal harmonies and instrumental finesse, featuring sounds of claw hammer banjo, harmonica & mandolin. Established in 2015, Grass Fed Mule has hit the ground running, playing festivals, touring the midwest, and releasing their debut album “Hay Is For Horses”. While the core of the band is a quartet, don’t be surprised if they gather some of the most prolific pickers around to entertain your ears—GFM has shared the stage with members of Yonder Mountain String Band, Old Salt Union, ClusterPluck, River Bend and many more. "If you like your bluegrass in a jam, Grass Fed Mule should be sweet to your ears." - Columbia Daily Tribune 2016 "The St. Louis act started as a side project for two members of jam-band Acoustics Anonymous, then expanded to enfold a member of Elemental Shakedown. Prog and jazz streams flow into the band’s sound, which displays its members’ sure-handed instrumental prowess." - Columbia Daily Tribune 2016